Category: Whats On

Review, Theatre, Whats On

REVIEW: Red Stitch Presents DEAD CENTRE / SEA WALL

Impressive and powerful as always

By Margaret Wieringa

Three squares of light, perhaps windows, gradually appear on the scrim that divides the stage. As the audience quieten for the start of the show, slowly the lights come up on a couple, the woman sleeping on the man’s shoulder. There is a weight to the tableaux which is held and held, and then fades to black.

Dead Centre and Sea Wall

And then out bursts Helen an Englishwoman who now lives in Australia, accidentally. Rosie Lockhart plays Helen with charm and a fast smile that immediately has the audience in the palm of her hand. She relates her stories filled with such ridiculous behaviours (such as her choice of travel companions when heading inland to visit Uluru), yet there is something beneath it, something sinister or painful. And it comes out in a strange mix of sadness and anger, somewhat misdirected.

After Helen leaves the stage, Alex wanders on, an Irishman photographer who relates stories of taking his wife and daughter to visit her father in France. Like Helen, he is charming and bright, a man who people like, and who likes people. But he too has a darkness, and as he spoke, and I realised where it was going, I was hoping, almost praying, that it would turn out he was taking us for a ride. But no. Ben Prendergast broke my heart with his smiles through the tears, with his ability despite it all to give some sense of hope. Of hope not for now, but for one day.

Sea Wall was written by Olivier award-winning Simon Stephens (whose Birdland recently closed at MTC). Dead Centre was written in response to this by local Green Room and AWGIE winner Tom Holloway. In Sea Wall, Stephens has created a monologue that grabs the audience and draws them in to Alex’s story, so they cannot help but feel his grief as he attempts to get through it. Holloway captures these juxtaposing emotions beautifully, and manages to give Helen her own story without stepping on the toes of Alex. And the gentle vignettes behind the scrim bring it all together for a strong but emotionally challenging evening of theatre directed by Julian Meyrick, from the ever-impressive company Red Stitch.

Where: Red Stitch Actors Theatre, Rear 2 Chapel St, St Kilda East
When: July 14-August 15, Wed – Sat 8pm and 3pm Matinee on Saturdays and 6:30 Sundays
Tickets: $20 – $37
Booking: By phone Tues-Fri 11-2pm 9533 8083 or visit www.redstitch.net

Musical Theatre, Opera, Whats On

REVIEW: Victorian Opera Presents SWEENEY TODD

Loved it!

By Jessica Cornish

In celebrating their 10th birthday, Victorian Opera have chosen to end their Stephen Sondheim trilogy that began in 2013 with the famous musical horror Sweeney Todd: the Demon Barber of Fleet St, directed by Stuart Maunder.

Sweeney Todd

Sweeney Todd (Teddy Tahu Rhodes) is a man seeking revenge on Judge Turpin (Philip Rhodes) for the wrongful imprisonment that separated him from his beautiful wife and child, Johanna (Amelia Berry). Escaping colony convict life, Todd returns an obsessed and disillusioned man, and in a cruel and unforgiving society crumbling into filth and poverty, loses his humanity and becomes a serial killer alongside his infatuated accomplice, Mrs Lovett (Antoinette Halloran). They promptly make a business of slitting the throats of barbershop customers and baking them in to pies. Meanwhile, Todd’s estranged daughter is locked away by her adopted guardian the Judge, and a lovesick boy Anthony Hope (Blake Bowden) tries to free Johanna from the lecherous man planning to marry his ward.

Victorian Opera debutant but Melbourne music-theatre favourite Teddy Rhodes has a beautiful rich voice, and his strong brooding frame demanded attention at all times; however, for the first act he seemed a little wooden and detached (even for Todd) when delivering his few lines. Halloran was a triumphant highlight of the show: her singing was always clear, well-executed and perfectly acted, providing black humour throughout the night. Her Mrs Lovett was all at once funny, revolting, and greedy yet still managed to gain the sympathy of the audience. Another standout performance was soprano Berry as Johanna, who effortlessly and accurately glided through her notoriously difficult songs and had amazing vocal clarity and control. Finally, Kanen Breen as Beadle Bamford definitely needs a mention for his hilarious performance as the snarky Judge’s companion, with a killer falsetto that reared itself spectacularly in the second act.

The ensemble are highly participatory throughout the performance, reminiscent of a Greek chorus narrating and commentating on the action unfolding. In this production, the ensemble’s well-executed diction was truly impressive because of the rapid-fire of lyrics and intense musical and narrative demands, whereupon for the most part every word was heard even amongst the complex rounds of verses. The famous Sondheim score is lyrically rich, metrically unstable, dissonant and riddled with constant tension. Under Phoebe Brigg‘s astute musical direction, even songs seemingly beautiful and sweet were laced with vengeance and murder, always leaving the audience deliciously uncomfortable and on edge.

The clarity of the audio designed by Jim Atkins was excellent: however the balance between the orchestra and the vocals was often slightly off, leaving the occasional vocal lines difficult to hear, while the infamous eerie factory whistle was literally painful to listen to and, with patrons covering their ears, really needs to be turned down. Philip Lethlean‘s atmospheric lighting was harsh, using cool washes, up-lighting, and at times, one dimensional angles to give a real horror feel, and adding to the unease of Fleet St. The sets by Rodger Kirk were simple yet adequate, and were easily and smoothly manipulated on a scene-to-scene basis (with just the one bed that seemed to be stuck on stage for a little extra time than required).

Sweeney Todd is a thrilling and enthralling musical, and with a difficult score for the regular music-theatre or operatic performer, it is not often as vocally perfected as it is here by the Victorian Opera. The opening night performance was an absolute pleasure to see and hear, and as the ‘Demon Barber’ isn’t a steady theatre standard, I warmly suggest everyone go see this musical operetta. (Just make sure that if you are purchasing or picking up ticketson the day to arrive at least half an hour in advance due to very long lines, and even more importantly make sure you are in the correct venue! Many people, including myself were ushered into the wrong theatres within the Arts Centre, so I almost saw West Side Story, another Sondheim classic, last night!)

Victorian Opera’s Sweeney Todd is playing at the Playhouse in The Arts Centre until July 25, 2015. Tickets from $50, bookings via http://www.artscentremelbourne.com.au/whats-on/opera/sweeney-todd

Image by Jeff Busby

Review, Theatre, Whats On

REVIEW: TBC Theatre Presents MADE IN CHINA

Irish ninjas and gang politics

By Myron My

You wouldn’t expect the seedy underworld of Dublin to have much in common with martial arts, but in Mark O’Rowe‘s dark comedy Made In China, these two worlds collide for three men who are all facing their own power struggles with each other and within gang politics. One wants to get out, one wants to get in, and the other one wants to remain on top.

Made In China

Unfortunately, this promising story moves at an incredibly slow pace, with nothing happening until roughly the final twenty minutes of this two-hour play. Even when the plot reaches its climax, it still feels drawn out and lacks any suspense. There is very little in terms of character development, which has these people come across as monotonous beings. Even by the end of the show, there is very little that has actually changed for these people in the greater scheme of things.

High up in the gang food chain, Kirby (Stuart Jeanfield) is such a weird character that his menace and aggressiveness is farcical, and not in a good way. In fact, I found a lot of the humour scripted in this to be quite a miss, particular the cringe-inducing sexual overtone scenes with Kirby and his Nik Naks crisps. Hughie (Vaughn Rae) is more or less a passive pawn in his power struggle with Kirby from beginning to end. Damien Harrison as Paddy is fortunate enough to play a character that at least gets to go on an emotional journey and is somewhat changed by the end of the proceedings, even if the way it occurs seems forced.

Despite these issues, first-time director Fleur Murphy works well with the actors to produce highly committed performances, and some physically demanding ones too with the choreographed fight scenes by Myles Tankle. Murphy does her best to keep the action on stage engaging, but given the confines of the space and script, it results in a lot of repeated pacing around and sitting down.

I have to say the set design failed to excited me aesthetically and the random lighting effects during the fight scenes felt contrived. The vocal coaching by Suzanne Heywood proves to have worked soundly with all three actors consistently keeping to their accents. However, the strong accents and the added slang used throughout the play admittedly made it very difficult to follow what was happening at times.

Walking out at the end of Made In China, I must confess I did not feel satisfied with the pay-off we received as an audience. Despite the interesting premise, this is ultimately not the most exciting story, and as written, the characters feel boring and one-dimensional. There appear to be some talented minds behind TBC Theatre however, with the choice of their current production, that does not come across successfully.

Venue: Q44 Theatre, 550 Swan St, Richmond.
Season: Until 25 July | Wed- Sat 7:30pm
Tickets: $30 Full | $25 Conc
Bookings: Q44 Theatre

Musical Theatre, Review, Whats On

REVIEW: The Production Company’s WEST SIDE STORY

Simply impeccable

By Narelle Wood

There were two things: the fact that The Production Company was responsible; and the recreation of Jerome Robbins’ original choreography by Michael Ralph. It did not disappoint, in fact with this production of West Side Story, The Production Company has set a new bar for itself and for theatre in Melbourne.

West Side Story

The storyline is a mostly faithful reinvention of the Shakespeare classic Romeo and Juliet, set on the streets of New York’s Upper West Side. Two gangs, the Jets and the Sharks are engaged in a turf war, more to do with cultural prejudices and nothing better to do, than an actual place to hang. Of course when Tony (Gareth Keegan), a boy from the Jets, and Maria (Anna O’Byrne), a girl from the Sharks, meet, dance and fall in love, the cultural tensions go from casual street rumblings, to choosing weapons at a war council. And, as per the original, tragedy ensues, but not before some of the most spectacular renditions of some of Broadway’s most iconic songs.

Byrne’s voice is incredible and had the potential to overpower the rest of the cast. However, under the direction of Gale Edwards, it perfectly complimented all the other voices, especially Keegan’s and Deone Zanotto (Anita). Byrne and Keegan seemed to fit so naturally together that I found myself genuinely hoping things would somehow work out; something that I’ve not experienced before in any production of West Side Story or Romeo and Juliet. The whole cast was brilliant, but Zanotto was spectacular in absolutely everything she did.

Sets and costumes were exactly as I expected from The Production Company: simple, effective and impressive. In fact, what made this production so remarkable was how flawlessly everything came together. It was a highlight for me to hear the music to West Side Story played live, at speed and with every nuance. But the star of the show was the choreography. It was truly a privilege to watch how Ralph and the cast were able to recreate the original choreography and make it their own. I would have happily sat and watched them dance every number over and over again.

I don’t think I will ever risk seeing this musical again. The Production Company’s West Side Story is perfection.

Venue: The Arts Centre
Season: Until 19th July
Tickets: Tickets between $21 – $126
Bookings: www.artscentremelbourne.com.au/whats-on/musicals/west-side-story

Review, Theatre, Whats On

REVIEW: Bell Shakespeare Presents HAMLET

Exceptional

By Narelle Wood

Hamlet would have to be one of my favourite Shakespearean tragedies so I was intrigued to see how Bell Shakespeare reinvented the story of Denmark’s demise in this new production.

Hamlet

If you are not familiar with Hamlet’s story, it’s a classic tale of treason, incest, revenge and eventual madness. Throw in a few sightings of a royal ghost, the famous soliloquy ‘to be or not to be’, a sword fight and an extremely high body count, and you have the tragic but highly entertaining tale. The more contemporary setting of the play allowed for some clever use of technology for parts of the plot, but the costuming at times might have been well suited to the 1960’s. This means Bell Shakespeare once again accomplished what it is so good at: highlighting the timeless nature of Shakespeare. This could well have been set in any era and still the themes of betrayal, love, grief and regret are still relevant.

Under Damien Ryan’s direction, the cast found the humour and lewdness often missed in many performances of Shakespeare’s tragedies. As a result the performance was dynamic and captivating from start to finish. The casting was impressive, with many members playing more than one character, a lofty task given the very heavy dialogue in parts. Ophelia (Matilda Ridgway) was appropriately tormented, with Ridgway striking a nice balance between grief and insanity. Josh McConville’s portrayal of an angry, vengeful and grief-stricken Hamlet was extremely impressive. In fact McConville’s Hamlet was so complex that it is difficult to classify in any definitive way what type of Hamlet he played, except for one of his own making.

There was not one element in this production that did not work. The sets (designer Alicia Clements) were exquisite but simple. The lighting (Matt Cox) seemed to be a character all of its own, and the scarce use of soundtrack (Steve Francis) was only noticeable in that it added to the often eerie atmosphere.

If you are new to Shakespeare, or not sure whether you’re a fan, Bell Shakespeare’s Hamlet would be a good choice to start with. It was enthralling from first word until the last silence.

Venue: The Arts Centre Melbourne
Season: Until July 25th
Tickets: Prices range from $49 – $79
Bookings: artscentremelbourne.com.au/whats-on/theatre-drama/hamlet

Kids Theatre, Review, Whats On

REVIEW: CDP Theatre Presents THE GRUFFALO’S CHILD

Venture blithely into the deep dark wood

By Kim Edwards

The National Theatre was abuzz this week with excited pre-schoolers and little primary students eager to see one of their favourite picture books leap from page to stage. CDP Theatre’s touring production of The Gruffalo’s Child, based on the beloved rhyming tale by Julia Donaldson and Axel Scheffler, is a slick intelligent 55-minute performance that draws out the story and characters nicely into live action and features some exceptional young artists.

Chandel Brandimarti as The Gruffalo's Child

Chandel Brandimarti as the title character gives an assured and dynamic performance, balancing nicely between childish bravado and cutsey angst. Jessica Vickers holds the narrative together with demure charm as the Mouse who becomes a kind of high-energy Greek chorus, but it is Andreas Lohmeyer playing all the other characters who is given the most room to exercise his vigorous and impressive character talents: his self-parodying Snake and smarny Fox were especially entertaining.

The script is well-wrought, and the little meta-jokes were appreciated. The songs are fun and appropriate but forgettable (and the lyric about breaking necks was unpleasant!), the mobile forest set pieces are efficient and effective, and I respected the decision to have both open faces for the costumes (which prevented s scariness factor) and very simple evocative designs: the Mouse’s ears were buns of hair for example, and the Owl had some feathers sticking through his cardigan. If I was to criticise, it would be that some of these ‘theatrey’ touches were just a little too vague or confusing for the young audience, such as the Mouse enacting the footsteps, Lohmeyer having to openly discard his Gruffalo costume, or the final shadow appearing in the sky. I admire the ingenuity in dealing with these plot issues for a small touring cast, but some of the kids around were a bit bemused at times.

While the production couldn’t quite keep its lively audience constantly enthralled throughout the performance, there were regular and successful efforts to encourage audience interaction, and the final section of the show which invited the kids to finish the rhyming lines, included a fabulous slapstick chase sequence, and put a rather lovely twist in the Mouse’s closing act of kindness kept even my little toddler companion glued to the stage.

A charming and enjoyable morning all around – looking forward to more productions from this company.

Melbourne

National Theatre
14 – 19 July 2015
Bookings: www.ticketmaster.com.au or Phone 136 100

Bendigo

The Capital
22 July 2015
Bookings: www.thecapital.com.au or Phone 03 5434 6100

Shepparton

Riverlinks
23 July 2015
Bookings: www.riverlinksvenues.com.au or Phone 03 5832 9511

Wodonga

The Cube Wodonga
24 July 2015
Bookings: www.thecubewodonga.com.au or Phone 02 6022 9311

Image by Matthew Aberline

Review, Theatre, Whats On

REVIEW: MTC and Elbow Room Present WE GET IT

Looking for the women in theatre

By Myron My

In We Get It, sexism is no more. Everyone rejoice! We are now truly living in the age of equality. Hoorah! To celebrate, five women are competing for an opportunity to perform with a ‘real’ theatre company in a classic female literary role. They appear on stage gyrating to a medley of “sexy” songs and when the musical number is over, return to the stage brandishing self-identifying beauty pageant sashes. We have the “Token”, the “Ethnic Extra”, the “Funny Bitch”, the “Muslim Doctor” and the “Bogan/Migrant”.

We Get It

These five women (Amy Ingram, Tamiah Bantum, Kasia Kaczmarek, Maurial Spearim and Sonya Suares) explore the ideas of theatre showing diversity through casting and roles and also the question of treating women as equals. Perhaps it’s because I have chosen to associate myself with strong women in my life, and have been conscious of where my white male privilege has taken me and the freedoms it has provided that I felt frustrated watching We Get It. I am aware of what my role is in supporting gender equality and I also believe that message needs to be constantly repeated and spread to as many people as possible, however I struggled to connect in this instance: not because of what was being said, but how it was being said.

I found myself being talked at for much of the show rather than being informed or educated. Furthermore, there were a number of scenes that seemed to go on for that bit too long and could have benefited from an edit. The beginning of the show also seemed clunky and flat, which is a shame as the intention behind it had the potential to make a strong impact and set the tone for the rest of the production.

What I thought was a great inclusion was the use of The Diary Room, which the contestants treated as a type of public private confessional. This device gave the best insight into these women’s lives, where truth and honesty were present in what is expected of them when auditioning for roles and rehearsals.

Considering the five “contestants” collaborated with Marcel Dorney and Rachel Perks in writing this piece and to an extent, based on their personal experiences, it is no surprise just how impressive they all are in their roles, with Bantum’s strong stage presence making her particularly captivating to watch. Directors Dorney and Emily Tomlins have worked very closely and developed a trust with these women to create the opportunity for them to explore the issues they face as actors and women.

Set design by Matt Adey was well-thought out and considering everything that happened on stage, the use of the space and props never had you feeling overwhelmed with what was happening. However, there were a few technical issues the night I attended, particularly with mic and sound levels.

Whilst I completely and utterly agree with the messages being conveyed here, I believe there have been stronger shows put on recently that still have a strong feminist approach but present their ideas in a more accessible way. That said, We Get It, presented as part of the 2015 NEON Festival of Independent Theatre, still created a conversation with the people I attended on the night about the changes that we, as males, can make to support gender equality and that is probably the most important thing for such a production to have achieved.

Venue: Melbourne Theatre Company, 140 Southbank Boulevard, Southbank

Season: Until 19 July | Tues-Sat 7:30pm, Sunday 4:00pm
Tickets: $25 all tickets
Bookings: Melbourne Theatre Company

Review, Theatre, Whats On

REVIEW: Jane Miller’s CUCKOO

Unsettling funny

By Narelle Wood

Cuckoo, written by Jane Miller and presented by 15 Minutes from Anywhere, is a dark comedy that delivers on both promises of darkness and humour. It’s an ordinary night, Mel and Leo are having an ordinary conversation until a knock at the door reveals the unexpected: the return of their long ago lost son J. Over the next 90 minutes the plot teeters on tragedy as it explores the effects of such monumental events on those involved.

Cuckoo

Miller’s script is something quite unique. Most of the dialogue seems like benign chatter, with characters often talking to themselves, and over the top of each. However this is actually a cleverly disguised ploy for plot exposition as each seemingly random utterance reveals small details about the characters, their relationships and how those relationships are shifting. Under Alice Bishop’s direction these layers of conversations are perfectly timed and interspersed with just the right amount of pause.

The lighting and character movement are also used to establish story and character dynamic. Lighting changes are used to denote flashbacks that only give glimpses into the past, never really revealing too much. And while the characters are always moving, it never appears too busy, but rather adds to the understanding of where this story is and perhaps where it is going.

The ensemble cast of Natalie Carr (Mel), Matthew Molony (Leo), David Kambouris (Dan) and Samuel Russo (J) are exceptional and just one more element that makes this play work so well. The chemistry between the cast heightens the uncomfortable feeling that something is not right and that perhaps one or more of the characters is being manipulative, but you’re never quite sure who or what they are up to. Russo’s portrayal of J is both infantile and calculating, which borders on the sociopathic and is completely intriguing.

The subject matter of Cuckoo could have been harrowing and potentially offensive. But instead what it accomplishes is an honest, unsettling and thoroughly humorous account of life in the face of tragedy. Everything about this play works, and I walked out slightly disturbed but thoroughly entertained.

Venue: fortyfivedownstairs, 45 flinders lane
Season: 8th to 26th July
Tickets: Full $36 | Conc $28
Bookings: fortyfivedownstairs.com ph: 96629966

Image by Lachlan Woods

Review, Theatre, Whats On

REVIEW: Monash Shakespeare Company’s TITUS

Ferocity unleashed

By Amy Planner

Violence has many forms and this production holds no punches in exploring the history of humanity and our gravitational attraction to that violence. Written and directed by James Jackson, Monash Shakespeare Company presents Titus, a non-conventional and radical reworking of Shakespeare’s Titus Andronicus.

Titus

Broken down in to three distinct acts, Titus explores the Shakespearean tragedy in a vastly postmodernist way. The focus in its many forms is violence; Act I presents The Symbolic in an almost wordless adaptation, Act II delves in to The Objective with a script-ridden dialogue surge, and Act III tackles The Subjective in a physical exercise of rather ferocious proportions.

In true post-modernist form,  Titus does away with answers and instead raises many deep-seeded and philosophical questions about humanity, honour, love, family and violence.

The small cast (Elizabeth Brennan, Emily Stokes, Lindsay Templeton, Meaghan Laurie and Tom Molyneaux) offered a range of talents and although some performers were stronger than others, there were a number of memorable moments. The lighting was stark but appropriate and the use of sound and music created an eerie ambiance.

Designed by Nathan Burmeister, he unique staging comprised of a beach-worth of sand, a brick or two and metres of Dexter-esque plastic lining the spray painted walls. The distinctive take on Shakespeare was matched only by the interesting use of space. Unfortunately, the meekly tiered seating did leave those behind the front row gasping for news on the activity happening down front, but were left out of the loop.

Being ready for the metaphysical interpretation did not prepare for the blitzkrieg of symbolism, figurative actions, metaphorical moments and deluge of questions thrown at the audience in rapid succession. Perhaps a more defined focus on one or two theatrical elements would have allowed the unsuspecting audience to follow the hasty plot and really grab a hold of some of those big subjects.

If you play shy to a bucket-load of blood, have a phobia of sand or hold on to haunting memories of the dreaded Beep Test then perhaps Titus isn’t for you. But if you are in need of a little philosophical punch to the face through a never-before-seen Shakespearean awakening, then Titus should be right up your postmodernist alley.

Titus by Monash Shakespeare Company
Season: 9-12 and 14-18 July 2015 7.30pm (2pm show on 11th July)
Venue: Second Story Studios, 3/159 Sackville Street Collingwood
Tickets: $21 Full, $17 Concession, $15 MSC Member
Booking: trybooking.com/HYJQ

Image by Sarah Walker and Debbie Yew

Performances, Review, Whats On

REVIEW: Becky Lou in SHAKE

Sexy, funny, resolute and resounding

By Myron My

Fittingly having her Melbourne premiere of Shake at iconic venue The Butterfly Club, Becky Lou lives up to her show’s title. Twirling tassels, bouncing breasts and jiggling buttocks; there is a lot of shaking going on. However, there is more to this show than just sexy and entertaining burlesque routines, as they are interspersed with Becky Lou’s musings on significant moments in her life that have led to her career as a burlesque performer.

Shake

Shake is a well-crafted show that allows Becky Lou to expose herself in more than just the literal sense. Beginning with memories of her four-year-old self dancing topless in a supermarket to Madonna’s Like A Virgin, each story that Becky Lou shares has a purpose. It’s not for entertainment value, it’s not to shock us, but it’s to strengthen the relationship women have with their bodies.

Women are being constantly told to cover up yet to “show us ya tits”, are made to feel imperfect yet subjected to continuous sexual harassment. What Becky Lou does with Shake is invite women to reclaim their bodies, to own their bodies and be proud of them. In this regard, Shake reminded me of a similarly beautiful and thought-provoking show in Maude Davey’s My Life In The Nude.

Like so many burlesque performers, these women should not be congratulated or fawned over for being “brave” about performing nude. They should be admired for being strong women who love their bodies and for taking power away from the male gaze. Becky Lou shares stories from her life in a non-confrontational way so that she does not create a divide with the audience. With a fine balance of comedy timing and frustration and derision towards a patriarchal society, we are all equally disgusted when she informs us of the policeman who wolf-whistled at her when she was just fourteen.

The burlesque routines in Shake highlight the skill and creativity that had Becky Lou crowned Miss Burlesque Victoria in 2013, among numerous other titles. She captures the sexiness and the mischief of the art form but each number is unique in style, costume and the character that she takes. The most memorable ones of the evening were her opening and closing numbers, the latter bringing her story full circle and the former showing us exactly why she is a force to be reckoned with in the world of burlesque.

Shake is more than just a show to titillate or excite us. There is heart and truth in the stories that Becky Lou shares with us, and in the message that she wants to get across. At one point, she confesses that she is most nervous about using her voice in the show because it’s not something she usually does in burlesque. She needn’t be nervous at all though, because we are enthralled by every word she says just as much as every item of clothing she removes.

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: Until 12 July | Thur-Sat 9:00pm, Sunday 8:00pm
Tickets: $32 Full | $28 Conc
Bookings: The Butterfly Club