Category: Whats On

Review, Theatre, Whats On

Don’t Look Away Presents FRANKENSTEIN

Snapshots of modern horror

By Owen James

Don’t Look Away’s modern-day production of Frankenstein presents the classic tale reinterpreted to face issues of tolerance, diversity, sanctuary and acceptance.

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The horror of this Frankenstein comes not from a fictional, gothic world, but from the mirror that this production holds to the horrors of contemporary Western society. We are asked to reflect on our own place in the world, as Frankenstein’s monster desperately tries to find its own.

The stripped-back script by Lally Katz (after Mary Shelly) presents us with every necessary moment for plot development, but no more. Within a tight 65 minutes, the familiar but gargantuan story is totally reinvented for a modern audience, and then thrown at us in a series of fast-paced vignettes of both drama and comedy, with the themes and characters given a welcome priority. Director Phil Rouse ensures these vignettes are seamlessly connected, finding the thematic flow between sharp bubbles of action and moments of heightened dramatic tension.

The choice of Chantelle Jamieson as The Creation is a compelling and powerful one, her gender and ethnicity intrinsically linked to the thematic content of both the play and the character. She presents a Creature not unlike a possible young woman of today – lost in a confusing world without guidance – and draws every bit of intertextuality out of the text possible, ensuring the audience is left both uncomfortable and amused. With mesmerising stage presence in every scene, it is unmistakably her journey we are following.

The titular Victor himself is presented through an incredibly physical performance by Michael McStay. This Victor is not an arrogant scientist but a man as lost and confused as his own creation. Although presenting levels of both eye-opening physicality and balanced subtlety, McStay’s dramatic side could not always match his natural affinity for comedy.

Their performances are joined with beautifully timed assistance from Martin Quinn as the onstage assistant. Some of the best comedic moments came from the presence of Quinn’s movement or assistance onstage, and I would almost love to have seen more from this quirky addition.

The bold and inventive sound design by Neil McLean creates the perfect atmosphere, and also adds to the comedy of the piece with the synthetic texture of pulsing 80’s beats. Lighting by Richard Whitehouse is evocative and resourceful, matched by sets and costumes by Martelle Hunt, which are simple but incredibly effective.

When exposed and stripped back, the themes and characters of Frankenstein are hauntingly relevant to modern issues prevalent worldwide. The uncompromising sharp wit of Don’t Look Away’s tight production ensures these themes will continue to turn around in your mind long after you leave the theatre. Ultimately we are faced with a question of acceptance, and a challenge to embrace the ignored.

Frankenstein runs at TheatreWorks in St Kilda until July 29, tickets through theatreworks.org.au

Image by Sarah Walker

Cabaret, Festivals, Whats On

Provocaré Festival Presents HOW TO SAVE THE WORLD WITHOUT REALLY TRYING

Unfailingly funny

By Myron My

Satirical cabaret artists George Bourgeois and Maurice Maurice have been performing together for ten years, and at this year’s Provocaré Festival, Melbourne audiences are treated to an evening of comedic political activism with their fabulous show How To Save the World Without Really Trying.

How to Save The World

Capitalism has failed us. As has fascism and communism. So what’s left? Well, according to Bourgeois and Maurice, it’s time to explore the benefits of their unique form of hedonism as the duo rip through various political issues such as marriage equality, Brexit and feminism with razor-sharp wit and joy.

At one point, Bourgeois and Maurice ask us to lament for the turmoil that the richest and most powerful people in the world feel in having to be in charge of all that money and needing to decide what they should do with all that fortune. It’s not easy at all. Meanwhile Maurice’s emotional feminist call-to-arms performance to “kill all men” speaks volumes of truth regarding (in)equality between genders, while also providing plenty of laughs for the audience.

The visuals in the show are a constant source of enjoyment from beginning to end including when Bourgeois and Maurice drop in for a Face-time chat with Bourgeois and Maurice to offer up some advice on how to make their cabaret stronger, and the duo’s out-of-this-world costume designs. The costumes have a fun intergalactic feel and Maurice’s blink-and-you-miss-it outfit change is simple, yet creates a full transformation. The hair and make-up adds to the alternative nature of the cabaret and I don’t think I’ve ever seen eyelashes as spectacular and eye-catching as those that Bourgeois was wearing.

How To Save the World Without Really Trying is a perfect example of what late-night cabaret is all about. Political, entertaining and thought-provoking, Bourgeois and Maurice deliver the goods with this show. Here’s to hedonism, and a whole lot of it.

Venue: The MC Showroom, Level 1, 46 Clifton St. Prahran
Season: until 30 July | Tue – Sat 9:30pm, Sun 4pm and 8pm
Tickets: From $24
Bookings: Provocaré Festival

Cabaret, Festivals, Whats On

Provocaré Festival Presents THIS BOY’S IN LOVE

And so are we

By Myron My

Ado is looking for love. He’s 35 years old, and working as a casual drama teacher contending with obnoxious teenagers and work frustrations. And then along comes Felix. Presented as part of Provocaré Festival, This Boy’s In Love is a sweet and endearing cabaret about falling in love and not letting fear stuff it up.

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The show opens with Ado (Adriano Cappelletta) preparing for a first date, full of nervous excitement as he tries on various outfits. This montage both allows Cappelletta to highlight his clowning abilities (having trained at the famous Gaulier clown school), and establishes his story is driven by heart. It is this last point that really makes his show stand out from others that also have an affable protagonist unlucky in the world of romance. Ado has such an adorable heartfelt quality to him (as with Cappelletta), that it is not surprising just how quickly and unexpectedly we become invested in his quest for love.

Cappelletta plays all the characters in his story and his quick transformations between each may only utilise subtle changes in body language and voice, but they are also very distinct. The conversations between Ado and Felix are perfectly timed, and the way he (and he) reacts physically and emotionally to what is being said is so well-executed it begins to feel like there are actually two people on stage.

The original songs in This Boy’s In Love are lyrically engaging and funny and delve further into exploring Ado’s desires and feelings, with “Zomgay” being a perfect example of this: a retort to the gay men who spend all their time at the gym or beach, and going on drug binges every weekend. Apart from possessing a great voice, Cappelletta also has some slick moves that he displays during his drug-infused dance sequence at a Sydney gay nightclub, with simple lighting design used effectively also during these scenes.

According to Ado, a gay reaches his use-by-date at the age of 35. I may have a year to go before this happens to me, but you only have a week left to see this brilliantly charming show. This Boy’s In Love is a big gay love story with plenty of laughs and a whole lot of heart.

Venue: The MC Showroom, Level 1, 46 Clifton St. Prahran
Season: until 29 July | Tue – Sat 6:30pm, Sat 2:30pm
Tickets:From $24
Bookings: Provocaré Festival

Image by Karen Lowe

Review, Theatre, Whats On

Boyslikeme Presents NEXT FALL

Fine performances in fragile love story

By Myron My

Being in love is never easy. Geoffrey Naufft’s Next Fall tells the story of Adam and Luke, a gay couple who begin a relationship spawning five years before tragedy strikes when Luke is hit by a car. Opening with Luke’s friends, family and Adam gathering at a hospital waiting room to hear news on his outcome, the story flashes back to various moments in the lives of both Adam and Luke and those closest to them.

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Each flashback builds on 40-year-old Adam’s (Darrin Redgate) frustration over where his life is heading, and Luke’s (Mark Davis) attempts to reconcile his sexuality with his Christian faith. Redgate does a capable job as the neurotic candle-seller who seems to be subconsciously attempting to self-sabotage his chances at ever finding happiness, even when it’s staring at him right in the face. Davis evokes a naive self-assuredness in Luke with regards to his dogmatic beliefs, but he is also able to bring out a warmth and kindness to him as his relationship with Adam grows.

Kaarin Fairfax simultaneously brings fragility and strength to Arlene, Luke’s mother. A touching scene between her and Adam displays Fairfax’s ability to convey the deep emotions her character is feeling without resorting to overt dramatics. Sharon Davis as Holly delivers a solid performance as the supportive friend for both Adam and Luke, with her subtle comedic timing allowing us to momentarily forget the impending tragedy.

Unfortunately I felt Paul Robertson‘s performance as Luke’s homophobic father Butch needed further development in allowing us to understand the nuances of the character. Throughout the story Luke has an intense fear of his father finding out about his sexuality – and yet nothing eventuates from this, even when Butch comes across Adam and Luke during a moment of intimacy, which I found very unsatisfying. Similarly, the character of Brandon (James Biasetto) in this production feels more like an outsider looking in and even during his flashback scene with Adam, Brandon doesn’t reveal anything to the audience that we are not already aware of.

Peter Blackburn takes care in his direction to not rush the story and otherwise allows the characters and their relationships time to develop organically. The set design by James Lew is interesting in that it suggests that the past and present are inextricably linked, however the set changes where an actor appears in the waiting room for a few seconds for no other purpose than to give time for the crew to prepare the stage for the next scene feel very much like filler rather than substance.

While religion and getting old are major themes explored in Next Fall, it is ultimately a touching love story between two people. As such, Naufft’s script may be a formulaic play with no real surprises, but the dedicated performances from this cast are what turn this production into a story worth sharing.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran
Season: until 30 July | Wed – Sat 8:00pm, Sun 5:00pm
Tickets: $39.50 Full | $29.50 Conc
Bookings: Chapel Off Chapel

Review, Theatre, Whats On

MTC Presents NOISES OFF

Superb production of an hilarious classic

By Myron My

It’s been 34 years since playwright Michael Frayn penned his farcical comedy Noises Off and I have patiently waited decades to see this production on the stage. As part of its 2017 season, Melbourne Theatre Company has fulfilled my wish and the production does not disappoint with this wild and witty play-within-a-play.

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While this is a fast-paced farce, one of the strengths of Frayn’s script is that we are still provided with time to get to know the characters and understand the relationships between them all. Once these are established, the laughs begin to build until the absurd and ridiculous circumstances the cast get themselves into hit peak hilarity. The second act where we are privy to the goings on behind the scenes offers the most entertaining moments of the show, as the actors struggle to separate the drama of their personal lives with the drama happening on stage.

The hugely talented ensemble of this production deliver superb performances and there is an energetic chemistry between them all. Ray Chong Nee as the pompous Gary has brilliant timing and literally throws himself into his character. As one of the more “straight” characters, Nicki Wendt as Belinda still captures our attention in all her scenes. Louise Siversen as Dotty is sensational and fully embraces the wackiness of both characters she plays.

Meanwhile, Libby Munro as Brooke is delightful to watch as the actor who will not go off script no matter what, as is Hugh Parker as the sensitive but consummate thespian Freddie. Steven Tandy as Selsdon is great comedy relief as he exasperates the cast with his tendency for drinking on the job.

Simon Burke as Lloyd the director of sex farce Nothing On – the play-within-a-play – finds a serenity and calm in the character who yet simultaneously speaks through gritted teeth to his frustratingly inept cast. James Saunders and Emily Goddard as stage managers Tim and Poppy bring some hilarious moments as they try to keep everything on track despite the mishaps along the way.

Sam Strong’s attentive and considerate direction in the real world ensures that despite all the relationships being portrayed (in Noises Off and Nothing On), we never feel overwhelmed or confused by what we are seeing. While there are moments that seem to stretch themselves for laughs, such as the axe-fight scene and watching each actor constantly sneak across backstage to avoid being spotted by the audience, he manages to keep those laughs consistent and plentiful.

Set designer Richard Roberts has done a truly marvelous job in creating the two-storey interior of the Brents’ house as well as the backstage area. The detailing in both, particularly the backstage area, is well thought-out and the rotating stage is highly impressive and used effectively.

While Nothing On is an absolute shambles of a show (but one I would still like to see), Noises Off is a slick production of the (in)famous play with a cast and creative team that has clearly put in much effort and thought into its creation. Melbourne Theatre Company presents a guaranteed crowd-pleaser with this, and rightfully so.

Venue: Arts Centre Melbourne, 100 St Kilda Road, Melbourne, 3004 
Season: Until 12 August | Mon – Tues 6.30pm, Wed 1pm, Wed-Fri 8pm, Sat 4pm and 8.30pm 
Tickets: $39 – 99
Bookings: Melbourne Theatre Company

Image by Stephen Henry

Cabaret, Review, Whats On

Jenny Wynters is FULLY MADE UP

Comedy cabaret off the cuff and on a roll

By Jessica Cornish

Welcome to a twilight zone: saddle up and grab your favourite flaccid, furry, stretchy squid for one hour of random and ridiculous improvised musical comedy. Fully Made Up is an improvised cabaret performance entirely based on suggestions written from audience members prior to the show.

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The cabaret presumably follows the same core story every performance in following the life of a mystery lady (in our performance she was known as Glenda from Toowoomba), covered in red plastic diamantes and flowing grey curls, living in a yet-to-be-determined location, and on a quest to secure a lead role on Broadway. After many trials and tribulations our leading lady of the evening scores her long-awaited dream job, only to find it’s not all she imagined it would be…

The evening began with a disclaimer from the talented and animated pianist Greg Munrow purported to lower our expectations: but of course unnecessarily so. Veteran comedian Jenny Wynter’s continuous quick wit was able to transform abstract themes and suggestions adroitly into a discernable and hilarious narrative.

The cabaret also featured guest artists: Pasquale played the part of the Glenda’s daughter performing poetry, but unfortunately the duo were not successful in conjuring up some witty words and rhymes under the pressure of our particular evening’s performance. However, Wynter’s male guest Rik Brown featured in one song and here the impro worked like a charm, as the pair were able to skillfully and spontaneously create a one-hit wonder song ‘Bring It On’ which had the audience in hysterics.

Fully Made Up was incredibly funny and Wynter continued to weave in reference material mentioned earlier in the evening to tie the performance satisfyingly together. It was impossible not to be drawn in as we waited to see if the next suggestion from the up-turned black hat would in fact be ours!

I laughed all night and thoroughly enjoyed myself. I can’t think of a better way to spend a cold drizzly night In Melbourne, so grab your ticket before Fully Made Up is packed up for this season.

When: Wednesday 5th of July- Sunday 9th of July, 8:30pm every night!

Where: The Butterfly Club, 5 Carson Place, CBD

Cost:$28 (concession) and $32 (full)

Bookings: 03 9663 8107 or https://thebutterflyclub.com/shows or at the Box Office.

Musical Theatre, Review, Whats On

Watch This Presents MERRILY WE ROLL ALONG

Fine performances in a challenging musical

By Bradley Storer

Merrily We Roll Along, currently being presented by Watch This at the MTC, is one of Stephen Sondheim’s most beloved scores but was regarded in its original Broadway incarnation as a critical and commercial flop. Part of this is due to the challenging structure of the show, moving backwards in time to unravel the complexities of the characters depicted, but also since we begin with the central character at his most morally corrupt it can be hard to generate sympathy for him.

WatchThis Productions

As this character, Franklin Shephard, Lyall Brooks faces an uphill battle trying to make him sympathetic. He acts and sings the part very well, but feels stronger as the older Frank more than the younger one. Nelson Gardner is charmingly nerdy and goofy as Charley, bringing wonderful physical comedy to the role. Completing the central trio in the role of Mary is Nicole Melloy, and she is so brilliantly funny and heart-breakingly transparent in every moment that it feels like the role could have been written for her – watching her in the part makes a compelling case that the show’s central journey is actually Mary’s instead of Frank’s.

Sophie Weiss as Beth ably handles the show’s biggest ballad, ‘Not A Day Goes By’, and her character’s transition from a haunted and heart-broken woman to the sunny naivety of youth. As the famous Broadway star Gussie, Cristina D’Agostino nails her big dance number but doesn’t manage to find the humanity under the glamourous façade, directed to play the character so over the top that it comes off a caricature. The ensemble, playing a wide variety of characters across the twenty-year time lapse, are marvellous with too many standout moments to recount here, and their united voices as they sing ‘Our Time’ are a truly beautiful conclusion to the evening.

Sara Grenfell’s direction and staging feels slightly confused which is a problem with a show such as this where there is already a complex structure, and the minimalistic set (consisting mainly of a large staircase and a set of curtains) tends to blur the scenes together. Cameron Thomas does a wonderful job as the sole musician in this production, and while it is lovely to hear the voices of the cast and ensemble unamplified in the space, the score loses much of its potential power when played only on the piano.

While not entirely successful on all fronts, the collection of strong performances and Sondheim’s magnificent score make this new production of Merrily a worthwhile visit.

Venue: The Lawler Studio, Melbourne Theatre Company, 140 Southbank Boulevard, Melbourne VIC

Dates: 29th June – 15th July

Times: Tues – Sat 7:30pm

Prices: $39 – $49

Bookings: 8688 0800, MTC tickets online

Image by Jodie Hutchinson 

Opera, Review, Whats On

Victorian Opera Presents CUNNING LITTLE VIXEN

Wonderfully weird and charming

By Caitlin McGrane

Victorian Opera’s production of Leoš Janáček’s Cunning Little Vixen is a deeply moving portrayal of youth, the passage of time, and the pain of loss. Janáček’s immense skill is clearly evident in the juxtaposition of the soaring score and the conversational libretto. It struck me as a kind of fever dream combination of Animal Farm and the 1996 live-action film of Wind in the Willows featuring most of the Monty Python cast – a wicked combination of socialism, humour and fuzzy critters keeping the sting in the tail of the Vixen.

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I adored the score, and conductor Jack Symonds and his orchestra masterfully kept the production moving even during some slow moments. In fact, as much as I enjoyed the libretto, the opera could have been performed entirely without words and I admit I would have enjoyed it just as much. Despite the serious subject matter, the production is playful and light; director Stuart Maunder has clearly had a great deal of fun during the creative process, and it shows most clearly during the moments when the animals and insects are on stage.

The opera opens with a whole forest of animals and bugs anthropomorphised by the Adult and Children’s Choruses beautifully setting the stage for the feverish weirdness that is coming. The animal costumes (Roger Kirk), particularly the frog (Lisha Ooi), are magnificent, and are honestly one of the highlights of the show. The eponymous young Vixen (Ruby Ditton) plays with her mother (Celeste Lazarenko), and is captured by the Forester (Barry Ryan) as a pet for his children. She grows up, and the adult Vixen (Lazarenko) transforms into a Marxist feminist – taunting the other animals for their backwards views and yearning for her freedom. After a wildly funny hen massacre (RIP the marvellous Cockerel) she flees, meets a charming Fox (Antoinette Halloran) and falls madly in love.

Meanwhile, the Forester basically falls into melancholy drinking with his friends the Schoolmaster (Brenton Spiteri) and the Parson (Jeremy Kleeman), ruminating on the missing Vixen and mercilessly taunting the Schoolmaster for loving a local gypsy woman Tyrenka (Danielle Calder). Frankly, I could have done without the weird human subplots: the Vixen’s story was far more interesting than all the male human characters combined, and I really didn’t need the inclusion of Tyrenka’s wedding to the unfortunately sappy Harašta (valiantly portrayed by Samuel Dundas).

The whole ensemble performed wonderfully and with a sense of mischievous playful fun, particularly Lazarenko and Halloran (who I was secretly hoping would be an anthropomorphised lesbian fox duo). Despite such misgivings, there’s so much to be charmed by in this opera: the choruses perform their animal alter-egos with inventive physicality, and the singing from every cast member is an absolute delight.

Overall, I thoroughly enjoyed the weirdness of Cunning Little Vixen, and it seemed the opera’s playfulness transferred to the audience, as they suppressed giggles both times the cast sang ‘Looks like she has a new muff’. I’d recommend this show for anyone who enjoys inventive costumes and/or subtle proto-feminism: it was a beautifully crafted ride.

Cunning Little Vixen is now playing at the Arts Centre. For tickets or more information visit: http://www.victorianopera.com.au/season-2017/cunning-little-vixen/

Cabaret, Circus, Review, Whats On

Strut & Fret Present BLANC DE BLANC

A toast to the highlights

By Myron My

Set inside the Aurora Spiegeltent, Strut & Fret’s Blanc de Blanc is the newest blend of cabaret, circus and burlesque to make its way to Melbourne. A stream of scantily-clad men and women present a variety of acts intended to titillate and dazzle, and while there are certainly some thrilling moments, this is unfortunately rarely the case. As such, the show ultimately comes across as a relatively mediocre variety night of dance and clowning, which over two hours begins to feel repetitive and even tiresome.

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Spencer Novich is absolutely hilarious as the right hand man to maitre d’ Monsieur Romeo. His clowning and physicality kept the entire audience bellowing with laughter and his mime montage of various sound bytes all thrown together was the highlight of the evening. His later pairing with J’aiMime for a second dose of this was even more impressive. Unfortunately the same cannot be said for his Romeo, whose entire presence throughout the show felt awkward and at times unnecessary.

Of the limited circus acts performed, it must be noted Hampus Jansson and Milena Straczynksi’s double aerial act showed strength and sensuality, while the bellhop acrobatics by Masha and her spinning hotel luggage cart displayed strong skill and real concentration.

Despite the glaring presence of champagne throughout, there was neither a strong, fluid (pun intended) theme running between each act or an overarching narrative to make Blanc de Blanc a cohensive whole. The use of the spa felt tacky and as if it was imposing on the show rather than working as a character. Meanwhile, towards the end of the show audience members are given five minutes to take selfies with the performers, and while the intentions might be to connect with us, the overt self-promotion meant the show unfortunately lost any charm for me it may have garnered along the way.

Strut & Fret delivered an amazing show with LIMBO during Melbourne Festival in 2015. Unfortunately they have failed to re-create that magic for me with Blanc de Blanc, with its lack of a clear purpose and the dearth of exciting acts.

Venue: The Aurora Spiegelent, Jacka Boulevard, St Kilda (next to Palais Theatre) 
Season: Until 30 July| Tues – Thus 7:30pm, Fri – Sat 7pm and 9:30pm, Sun 7pm
Tickets: between $38 and $78
Bookings: Map 57

Circus, Review, Whats On

Circus Oz Presents MODEL CITIZENS

Brilliantly breathtaking

By Joana Simmons

In their newest show Model Citizens, the Circus Oz crew has made a masterpiece that blows our socks off and tickles our feet as the same time. Featuring a highly energetic all-Australian cast, and an absolutely fantastic live band, we are taken on a journey to explore the myths of modern Australia, what it means to fit in; to be a model citizen. The range of circus acts is immense, all skillfully choreographed and intertwining with the blue set and giant everyday objects, with a delightful dash of the company’s trademark Aussie charm.

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The Circus Oz Big Top on Birrarung Marr buzzes as the audience of all ages piles in to the well-lit, well structured, technical canvas wonderland. The blue set designed by Michael Baxter, with a giant pair of scissors side stage, provides a familiar yet unrecognizable backdrop for the world we are about to enter.  We are asked to wonder what makes us us, to open our eyes and mind, as the models come to life: flipping over and around each other to the punchy drums. There’s a real sense of play throughout the show, contrasted with the element of danger in the acts and the deeper questions we are searching for answers to. We crane our necks gasping as the performers hang and spin high above us on various circus apparatus, each with a wonderful twist – a giant pair of Y-Fronts, a huge safety pin, trapeze and more. From the contortion to hula hoop, spring sequences, adagio, fire, juggling, balancing to rollerskating, each act seamlessly glides into the next, with no divide between storytelling and ‘tricks.’ This show is something greater than people making shapes to music.

I could rave for days about the band. The original music by musical director Ania Reynolds had me tapping my feet and at the edge of my seat. Reynolds was joined by energetic musical ensemble – Michelle John, the multi-talented and highly hilarious Matt Wilson, Alex Wiebel Wiebel and Jeremy Hopkins (whose new rendition of “Waltzing Matilda” was a standout). From synth to drums to guitar, bass saxophone and violin, the soundtrack united the show.

Moreover, the athletic performers ought to be properly chuffed at how they all kicked some serious ass, and clearly have trained for a very long time to be the top of their game. All performers’ characterization was natural and they don’t only make it look easy: they make it look fun.  Individual acts that had the audience going berserk included the “Peg Acrobatics” featuring Jake Silvestro, Lachlan Sukro, Steph Mouat, Luke Ha and Mitch Jones – a delightfully playful, well-choreographed and comic sequence. Meanwhile, Jarred Dewey’s contortion irons were graceful and stunning, and Freyja Edney is a multifaceted performerand incredibly strong; she also wears an apron like a boss.  It was the penultimate piece however – Alex Wiebel Wiebel on the slack ropes – that absolutely tore the top down.

It’s hard to believe it’s Artistic Director/ Concept creator Rob Tannion’s first show. Everything is so well put together, with the right combination of comedy and something to think about. He has something wonderful to share, and I am excited to see what he will bring next. Shows of this magnitude take an army of creatives to bring to life – Laurel Frank’s costume design was both fitting with the theme and all the individuals’ bodies.  Lighting by Sian James-Holland gave a real sense of originality and ingenuity, especially paired with Ryan Taplin’s rigging design (never before have I seen a giant pair of undies from which one can suspend themselves). It gives me so much inspiration and pride to see what is capable when such creatives work together on something with such overt dedication.

If you still think circus is just tightropes, jaded bearded ladies, and seedy ringmasters, you couldn’t be more wrong. Circus Oz has created its own ballsy brand, and has bought us a terrific show in Model Citizens. Go with your kids, your partner, your friends: it’s worth every penny, and will get your heart racing and a smile on your face.

Model Citizens – Circus Oz Big Top premiere in Melbourne 

Season 20 June – 16 July 2017

Duration 2 hours (including 20 minute interval)

Venue Circus Oz Big Top

Location Birrarung Marr, Melbourne (between Federation Square and Batman Avenue)

Tickets $30 – $95 (plus booking fees)

Bookings ticketek.com.au

Image by Rob Blackburn