Category: Whats On

Musical Theatre, Review, Whats On

REVIEW: Melbourne Premiere of SEXERCISE THE MUSICAL

Working out the kinks

By Myron My

Who ever said that sex and exercise have to be mutually exclusive? This is definitely not the case with the new musical comedy directed by Sara Grenfell and presented by Aleksandar Vass and Malcolm C. Cooke, Sexercise, where we follow a married couple’s journey to rediscovering the fun and sexy times in their relationship.

Sexercise the Musical

The strength and success of Sexercise lies very much with its talented group of actors. Despite two solid hours of acting, singing and dancing, the small cast all manage to keep their energy levels up and the further we progress with the story the more this dynamism is visible. Clearly there is much fun to be had on stage, with the audience and with each other.

Nicole Melloy and Lyall Brooks are both extremely likeable as married couple Sam and Joe. They could easily have been pigeonholed as the annoying nagging wife and the insensitive, ignorant husband but they are able to expose a vulnerability to their characters that is natural and subtle whilst still bringing on the laughs and delivering the jokes.

The rest of the cast consisting of Fem Belling, Cameron MacDonald, Kristin Holland and Lulu McClatchy display their ability to support the protagonists but also command the stage when required. It almost reached the point where I wanted to learn more about these people than Sam and Joe: what exactly is going on in Andy’s marriage and who is this woman that has broken Tania’s heart? Writer Derek Rowe does well to feed the audience just enough information that we eagerly await the return to the stage of these characters.

While there may be some funny and touching moments in Sexercise, there are scenes that are too long and seem to drag to their conclusion and others that apparently don’t even need to be included. At a running time of over two hours, I felt some editing is required to allow the story to stay snappy and constantly moving forward at a pace that allows our attention to not falter.

While the musical numbers, also by Rowe, are on the whole enjoyable, there are some that seemed unnatural and awkward but due to the talent of the performers, were still fun to watch. Sexercise’s musical highlights )directed by Trevor Jones and choreographed by Dana Jolly) included ‘Mates For Life’, ‘Are We Done Yet’ and ‘36 not 23’ but by far my favourite song of the evening would be MacDonald and McClatchy singing ‘It Might Be Different This Time’, a wonderful number which could have been the signature song for every characters’ journey in this production.

Sexercise is more than just a story of 30-somethings wanting to have sex. It is cheeky, it is fun and it is naughty but it’s also about a group of individuals trying to connect with someone else. By cutting down the running time and undertaking some rewriting, this new musical has the potential both to make that theme more meaningful and create greater enjoyment for the audience. Nonetheless, this production of Sexercise is still worth seeing for the stellar effort by the excellent cast.

Venue: Alex Theatre St Kilda, 135 Fitzroy St, St Kilda
Season: Until 15 March | Tues-Sat 8.00pm, Wed 1pm, Sat 2pm, Sun 3pm
Tickets: From $50.87
Bookings:  http://sexercisethemusical.com

Review, Theatre, Whats On

REVIEW: La Mama Presents THE UNSPOKEN WORD IS ‘JOE’

Mesmerizing meta-theatre

By Myron My

Remounted by MKA Theatre, The Unspoken Word Is ‘Joe’ is a play about a play about a play. I think. Things get confusing very early on. But ultimately it’s what happens when actors no longer have a script with which to protect themselves and must face life, real life. It’s about what you do when the shit really hits the fan and find yourself losing control for the sake of your art.

The Unspoken Word is Joe

I will admit it took me a while to realize that this was not an actual staged reading, such was the convincing nature of the cast, especially Natasha Herbert as the “straight” stage director. She manages to steal every scene she is in and even some of the ones she isn’t in. Fortunately, once the off-script action starts, Herbert is cleverly placed in the background so focus remains on the four actors.

Nikki Shiels is particularly wonderful to watch portraying Zoey Dawson, one of Australia’s emerging playwrights (and the actual writer of the play), who slowly and (melo)dramatically unravels as the cracks in her happy façade begin to surface. I recall seeing Shiels in MTC’s True Minds two years ago and her comedy timing was apparent then. With The Unspoken Word is ‘Joe’, she has a lot more freedom to explore this zany and controlling ability and goes at it with full speed.

The two male leads – Matt Hickey and Aaron Orzech – are great as the catalysts and foils to Zoey’s eventual downfall. Annie Last is so wonderfully over the top as the craaaayyyzyyy girl that she does risk becoming more of a caricature than a person until Dawson (the writer not the character) dials her character down a notch with a strong emotive scene between her and Dawson (the character not the writer).

Dawson’s script is filled with hilarious moments, somber moments and honest moments. There are a few times where the dialogue get a little clunky or long-winded but these can be overlooked for the overall brilliance and wittiness of her writing.

The Unspoken Word is ‘Joe’ not a straightforward theatre performance. The meaning gets hidden within the story within the story, and a bit muddled in the meta-ness of the script but then, that is what life (and theatre-making) is like sometimes. It’s not always clear and it’s not always pretty to watch but it’s compelling and it’s something we can’t take our eyes off.

Venue: La Mama Theatre, 205 Faraday Street, Carlton

Season: Until 1 March | Wed 6.30pm, Thurs-Sat 7:30pm, Sun 4:00pm

Tickets: $25 Full | $15 Conc

Bookings: 
http://lamama.com.au
 or 9347 6142

Review, Theatre, Whats On

REVIEW: Barking Spider Visual Theatre’s PSYCHOPOMP & SEETHING

Down into dream worlds

By Myron My

Barking Spider Visual Theatre has consistently created shows and performances that have a lingering effect on their audiences. Collaborating with MUST (Monash Uni Student Theatre), their newest production Psychopomp & Seething delivers on this reputation yet again. In two short pieces, they transport the audience to two very different dream-like worlds that are paradoxically calming yet unsettling.

Psychopomp & Seething

The audience seating area has been specifically designed for this show and only seats twenty people in its very intimate structure. As we take our seats, the doors close in on the stage, boxing us in, and we begin to move. Yes, the seating bank moves. With nothing but a blue spotlight sporadically shining above us, I get images of the boat ride in Willy Wonka and the Chocolate Factory and the hurricane from The Wizard of Oz, which is fitting as this is the type of intriguing experience I’ve come to expect from Barking Spider.

Once we “arrive” at our “destination”, the doors open to Seething. The stage is bare except for a woman (Vanessa O’Neil) standing in a lit up sound booth. She begins reading a poem revolving around sex, the body and image. As she begins, a person (Kate Brennan) appears from the darkness and brings her words to life through dance and movements. Brennan is like a marionette to O’Neil’s words and there is a strong sense that the two need to co-exist in order to be here. The words spoken have a lingering effect on my mind and I find myself lost and overcome by the visual and aural beauty on stage.

Upon its conclusion, the doors are shut and we are transported to Psychopomp, which has a very different feel to Seething. This is a two-by-two square box stage, with each square occupied by a performer (James Cerche, Nicola Grear, Aislinn Murray and Lindsay Templeton). In a whimsical setting reminiscent of Alice in Wonderland, the four individuals recount their own experiences with death where, as in the previous piece, they are bound together yet separated from each other.

The stunning set designs, detailed costuming and makeup, and strong performances in particular by Murray and Templeton, make Psychopomp highly memorable. However, I feel more clarity was needed with the narrative. It took quite some time to understand who these characters were and what their story was. After the audience being so visually overwhelmed, with a 30-minute show there is a need to be more direct and clear with the story.

While walking home after the show, and even as I write this review, there is still much of Psychopomp & Seething that remains in my thoughts. The fact that this is not the type of theatre that leaves you the next day makes it a must-see experience. Barking Spider constantly aim to produce original and unique theatre for its audiences, with no performance experience the same. It is risky but so far, they are hitting all the right spots.

Venue: La Mama Courthouse, 349 Drummond Street, Carlton

Season: Until 1 March | Wed-Sat 6.30pm & 8pm, Sun 4pm & 5.30pm

Tickets: $25 Full | $15 Conc

Bookings: 
http://lamama.com.au
 or 9347 6948

Image by Sarah Walker

Musical Theatre, Review, Whats On

REVIEW: Stage Art Presents IN THE HEIGHTS

Exhilarating

By Bradley Storer

Melbourne music theatre company Stage Art score a major win this year with the Australian premiere of In the Heights, the musical which opened on Broadway in 2008 and introduced the world to the lives and vibrancy of the urban Latin community in New York City.

In the Heights_Photo Credit Belinda Strodder

This fresh and modern approach to music theatre is cemented in the opening image, a spectacular hip -hop combination from Graffiti Pete (Peter Sette), as well as the musical’s titular opening number which combines extensive rap and lush Latino music and Salsa rhythms that, under the musical direction of Cameron Thomas, throbs with energy and passion. The incredibly talented ensemble handle Yvette Lee‘s complex and pyrotechnic choreography with astonishing ease, although the group numbers tended to blur together towards the end of Act One before roaring back to life in ‘The Club’ sequence.

The cast as a whole should be congratulated, delivering strong performances on nearly every front. Stephen Lopez as Usnavi, the emotional centre and sometimes narrator of the show, brings both charisma and an adorable awkwardness to the role, as well as amazing vocal dexterity and diction in Usnavi’s many rap-based streams of consciousness. As his love interest Vanessa, Bianca Baykara showed off thrilling vocal power and confident dancing, but seemed a little unsure of herself in the role at times. Anna Armenia as Nina had an inexhaustible belt and a sweet stage presence, and James Elmer as Benny made a comic masterpiece out of ‘Benny’s Dispatch’ as well as revealing a lovely pop tenor voice in the character’s more romantic moments with Nina.

Francesca Arena was stunning in the role of Abuela Claudia, the grandmotherly figure who embodies the strength and determination of the Washington Heights community – her tour-de-force story of her journey from her home country, ‘Pacienca y Fé’, was an Act One highlight, Arena unleashing roof-shaking vocals and a gospel-like intensity. Laura Marcucci owned the stage as Daniela, the ballsy local salon owner, in the gossipy ‘No Me Diga’ and as the rousing ring leader of ‘Carnival del Barrio’. Andrew Doyle was cheeky and heart-warming as the frenetic Sonny, Usnavi’s shop assistant.

Director James Cutler and the entire creative team should be incredibly proud of this show and bringing this wonderful story to our shores, which even on opening night had the audience almost leaping to their feet in pure exhilaration and joy.

Venue: Chapel off Chapel, 12 Little Chapel St, Prahran.
Date: 18 February – 8 March
Time: 7:30 Tuesday – Sunday, 2pm Matinee Saturday and Sunday
Tickets: A Reserve $59 Full, $55 Concession / B Reserve $49 Full, $45 Concession
Bookings: www.chapeloffchapel.com.au , Phone: 03 8290 7000, Email: chapel@stonnington.vic.gov.au , at the door.

Image by Belinda Strodder.

Cabaret, Review, Whats On

REVIEW: Jacqui Dark and Kanen Breen are STRANGE BEDFELLOWS

Deliciously dirty cabaret

By Bradley Storer

Australian opera stars Jacqui Dark and Kanen Breen bring their delightfully perverted brand of dark cabaret to the Melbourne stage.  The diabolical duo, clothed in corsets and border-line S&M finery, storm the stage of The Butterfly Club and make clear from the outset their aim to both offend our sensibilities and entertain us at the same time. In their opening number Dark and Breen harness the operatic power of their voices in thrilling ways to deliver a roof-rattling Robbie Williams number, never apologising for their classical roots but finding a surprisingly comfortable middle ground between modern rock and opera.

Strange Bedfellows

The evening was an onslaught of confrontational sexuality, moral degradation and gasp-inducing humour that harkened back to the highly political and satirical origins of classic German cabaret, but always performed with a cheeky smile and a refusal to be serious. Topics ranged from the masculine/feminine dichotomy found in both men and women alike, a Germanic rendition of ‘Tainted Love’, an extended and uproarious rock opera/morality play about sexual fetishes too heinous to be mentioned here, all the way to a medley of the pair’s childhood songs which culminated in a simultaneously heart-rending and bone-chilling performance of the Dresden Dolls’ ‘Slide’.

Dark is an earthy, sensual presence onstage, using her commanding mezzo-soprano in a wide variety of styles and wielding her forthright and ribald sense of humour to maximum effect. Her tale of being classified as a ‘geriatric’ mother and the trials of IVF was a refreshingly sincere change of pace in the show that still managed to draw laughs even as it touched the hearts of the audience. Breen’s devilish grin and sinuous stage manner, along with a powerful and penetrating tenor, make him and Dark an ideal and complementary duo onstage. Together they drew the audience into depths of filth, lust and sin that terrified and titillated in equal measure. My only critique would be a slight loss of pace towards the end of the evening as more sincere material took over, losing some of the crackling and dynamic energy of the darkness which preceded it.

A terrific evening of classic Weimar-style cabaret from two accomplished local artists, Strange Bedfellows: Under the Covers sure to be savoured by those enjoy the darker and dangerous pleasures of life.

Venue: The Butterfly Club, Carson Place, Melbourne

Date: 18 – 22nd February
Time: 6pm Wednesday and Sunday, 7pm Thursday – Saturday
Tickets: At the door, www.thebutterflyclub.com
Price: Full $32, Concession $28, Members $26, Groups 8+ $25
Cabaret, Review, Whats On

REVIEW: Malthouse Theatre Presents BLAK CABARET

Dynamic satire and stirring music meet

By Margaret Wieringa

Theatre under the stars. How delightful. The forecourt of the Malthouse Theatre has been transformed into an outdoor cabaret venue complete with small tables and a bar to one side. Relax, enjoy a drink and before you know it, the first group of performers are introduced; musicians Kutcha Edwards, Deline Briscoe, Bart Willoughby and Emma Donovan. But before you can get too comfortable with the tunes, the doors will spring open and there stands Queen Constantina Bush (Kamahi Djordon King), the first settler of the land, to claim this terra nullius.

Blak Cabaret_Photo Credit Pia Johnson

Queen Constantina and her sidekick, Nikki (Nikki Ashby) have taken rule of this country with the noble goal of saving the indigenous white population from themselves. Over a series of vignettes, their humour allows the audience to recognise just some of the unforgettable and unforgivable historical events of Australia by flipping the roles. Yes, it is political, and it is also hilarious.

And then.

“Close your eyes for just a minute. Imagine this place three hundred years ago.” In just a sentence, Edwards takes the audience from the laughter to a moving song with heart-tearing harmonies. And then, before we know it, reggae beats start, and then a kick-arse rap from Ashby. And throughout is King as Queen Constantina, in magnificent outfits, bringing back the laughs, and not pulling any punches.

Blak Cabaret is part of Southbank’s inaugural SummerSalt Outdoor Arts Festival, There are events happening until the 21st of February all around the area, but make sure you get to this wonderful show. Also, get there early; there is a beautiful barbeque that you can enjoy under the stars before the show starts. Oh, and don’t forget that it’s Melbourne, so take a jumper or two.

Blak Cabaret is playing at the Malthouse Theatre Forecourt until February 22. Tickets are $30-$60 and are available at https://tickets.malthousetheatre.com.au/ or call 9685 5111

Review, Theatre, Whats On

REVIEW: Red Stitch Presents THE RITUAL SLAUGHTER OF GORGE MASTROMAS

The evils of success

By Caitlin McGrane

The opening of this interesting postmodern production is explicit in its scene setting: the five members of the ensemble cast explain the circumstances of Gorge Mastromas’ conception, birth and childhood. It is immediately apparent that this will be a performance that will both show and tell its protagonist’s story. Written by Dennis Kelly, the Australian premier of The Ritual Slaughter of Gorge Mastromas is well executed by director Mark Wilson; the staging is highly stylistic and minimalist – sleek, sharp lines frame the performance space and projectors are gainfully employed to immerse the audience in Wilson’s vision.

The Ritual Slaughter of Gorge Mastromas

Initially Gorge, excellently played by Richard Cawthorne, is unassuming and almost unbearably feckless. Then, after a particularly tense business deal, Gorge’s temperament changes; he becomes convinced that the only way to succeed is to live by three rules, all of which revolve around lying. The rest of the play unfurls while Gorge’s morals crumble and dissolve as he manipulates his way to personal and financial success.

The rest of the cast beautifully bring to life this darkly comic morality tale; Jordan Fraser-Trumble, Olga Makeeva and Dion Mills inject so much humour into the narration that the exposition rarely feels unnecessary or laborious. However, there are certainly moments where the play drags, particularly in the second act. The first travels at such a cracking pace that it was surprising over an hour had passed since we first entered the theatre; but this was sadly not repeated in the second act. This lack of continuity was distracting, yet the performance was saved by the strength of the script, and the combination of lighting (Clare Springett), sound and video design (Robert D Jordan). Red Stitch’s small performance space has been well utilised by stage manager Melissa Place.

There are some very, very dark themes in this play: scenes of suicide and child abuse, scenes with blood and implied violence. Never gratuitous, it wasn’t until the end of some scenes that I noticed my hands had formed tight fists. And that’s how I felt when I left the theatre, like I had been hit by a well-placed, well-timed punch to the gut.

The Ritual Slaughter of Gorge Mastromas is showing at Red Stitch Actors’ Theatre until 7 March 2015. Tickets are $20-$39 available here: http://redstitch.net/bookings/.

Photo credit: Jodie Hutchinson

Festivals, Theatre, Whats On

REVIEW: Midsumma Festival Presents BAD ADAM and PONY

Religion and evolution collide

By Myron My

On the surface, the double bill of Bad Adam and Pony during this year’s Midsumma Festival appears to be constrasting highly different pieces of work with distinct moods and tones. However both these shows leave us questioning what it means to be a gay man and how gay male sexuality is perceived both by society – but more importantly – by us.

Bad Adam_Pony

In Bad Adam, the title character (creator and performer Dosh Luckwell) spends his time in “Club Eden”, a sex on-premises venue, where we follow his various experiences and are privy to his thoughts during these moments. The overt religious imagery and themes throughout Bad Adam, such as the apples, the lit-up cross on the floor and our protagonist’s name for example, worked well in subtly exploring the idea of sexual repression and suppression and the conflict the two forms of pressure often present with each other.

Given Luckwell is the creator of the live art project Sex Poetry Booth, it is not surprising he has a way with words and the language used and the way it is presented in Bad Adam is indeed quite poetic and intriguing at times. Yet while we see a vulnerable, lonely and conflicted side to Adam, a number of scenes were too similar in execution. This lessened the impact of the overall work and impeded us in retaining an interest in Adam which, in a one-man show, is pivotal to its success.

The second part of this double bill, Jay Robinson’s Pony, looks at similar ideas of sex and sexuality but with fewer dark overtones than Bad Adam. Here, we see the evolution of man and then more specifically the evolution of a person exploring and experimenting and with his own sexuality.

Robinson has a strong presence on stage and this helps with his demanding physical performance. He uses his body to its full extent and fully commits to the moment, however there are a number highly obscure scenes that left me confused as to their purpose and significance, such as the moment when Robinson transforms into a dog.

The final moments of Pony though are quite positive and playful and the idea that once you are at ease with yourself and can be what you want to be, then there’s no reason to not feel complete and free.

Both Bad Adam and Pony offer some interesting thoughts and ideas on gay male sexuality but I felt they need to focus more on how they share these thoughts and ideas. With further development, these two pieces have the potential to be a profound commentary on the society and an important voice for the community in which gay men live.

Venue: Theatreworks, 14 Acland St, St Kilda.
Season: Until 7 February | Fri 9pm, Sat 3pm and 7pm
Tickets: $23 Full | $18 Concession
Bookings: www.midsumma.org.au, http://www.theatreworks.org.au, or 9534 3388

Cabaret, Cabaret Review, Whats On

REVIEW: The Butterfly Club Presents STRANGELY FLAMBOYANT

Quirky comic charm with cabaret combo

By Myron My

On stage for the first time together with their first-ever full length cabaret show Strangely Flamboyant, Claire Healy (Flamboyant: Like a Flame but Buoyant) and Strangely (Roaring Accordion) deliver an entertaining evening consisting of a mis- mash of clever and humorous performances, dialogue and songs.

Strangely Flamboyant

The two establish great camaraderie and bounce off each other well in repartee. Their ad-libbing with one another and with the audience allows their distinct personalities to shine through during the show and for a stronger relationship with us to be formed. This is further strengthened by the intimacy that the performance space at The Butterfly Club creates, so Healy and Strangely can connect with us very quickly.

Both performers have strong dynamic voices and they mix well together and with the accompanying instruments played throughout Strangely Flamboyant: the accordion, the ukulele and the bells. However, I would have loved to see more songs where they both let themselves go. At times, it seemed that just when they were about to transport us with their music or vocals, they pulled back. I especially felt this with Healy’s singing, of which I really wanted to hear more.

The show is filled with numerous genuinely lovely moments, such as when Healy and Strangely perform a song with a variety of bells as the music. The novelty coupled with some audience inclusion in the bell-playing and the sincerity of the lyrics make this number the highlight of this show.

Despite one or two moments that get a little flat, there are plenty of entertaining songs and interactions to make Strangely Flamboyant a whimsical cabaret worth seeing. The long applause at the end of the show was certainly well deserved and I will be eagerly anticipating this duo’s next creation.

Venue: The Butterfly Club, 256 Collins St, Melbourne

Season: Until 8 February | Thurs-Sat 9:00pm, Sunday 8:00pm

Tickets: $32 Full | $28 Conc

Bookings: http://www.thebutterflyclub.com

Cabaret, Performances, Theatre, Whats On

REVIEW: Paul Capsis in LITTLE BIRD

Fascinating fable enchants all

By Bradley Storer

Australian cabaret and musical theatre star Paul Capsis comes to Melbourne with Little Bird, a dark modern fairytale by playwright Nicki Bloom, with music and songs by Cameron Goodall and Quentin Grant.

Little Bird

Little Bird tells the story of a young boy named Wren, magically conceived by the fall of feather on a winter’s day, and his journey to find a missing parent as well as discover his own identity. Bloom’s writing thrillingly mines a vein of moral and sexual ambiguity to create a bewitching narrative that draws questions of gender, love and the essential idea of the self.

The show works best when it stays within the realm of the fantastical and fey – the first section of the show, interwoven with the voice of a mysterious and bird-like narrator, is intensely engaging in its sparse poetical prose that draws on all the tropes of fairy tales while twisting and subverting them in thrilling new ways. When the tale reaches a metropolitan city and touches on the story of a cross-dressing woodcutter, the narrative takes a turn into punk rock territory, reminiscent of Hedwig and the Angry Inch, which although entertaining jars against the overall tone of the show in a way that makes it far less compelling.

Capsis himself is never less than completely spell-binding, his use of body and voice a masterclass in story-telling, summoning up all the characters with a simple shift in posture and voice while always maintaining the clarity of Wren’s own central development and journey reacting against these other characters. His androgynous rock-star charisma is used to great effect at various points, roaring glam-rock ballads that recall the work of Queen and David Bowie along with scintillating gypsy rhythms, but always finding the deep vulnerability and sadness of Wren to tear-inducing effect. The simple but surprisingly versatile set and incredibly nuanced lighting provided by Geoff Cobham must also be praised, responding to the mood and rhythm of the story in ways that heighten the drama and atmosphere invaluably.

This rich, luscious fable starring one of our best country’s best performers is truly an event not to be missed, drawing us into a dream-like, magical (but on some level, still achingly real) landscape that leaves the audience with the visceral and satisfying joy of a story well told.

Venue: Playhouse, The Arts Centre, 100 St Kilda Rd
Time: 8pm, 5pm Tuesday February 1st
Dates: 29th January – 4th February
Price: $49 Premium, $39 A-Reserve, $30 Under 30’s, Concession also available.
Bookings: www.artscentremelbourne.com.au, 1300 182 183, at the box office.