Category: Whats On

Dance, Events, Performances, Review, Whats On

Review: CLOUDS ABOVE BERLIN

An extraordinary performance of two remarkable new dance works

By Anastasia Russell-Head

Clouds Above Berlin, a double-bill presented by choreographers Melanie Lane and Antony Hamilton, showcases two pieces very different in aesthetic and expression, yet united by a finely-honed, precisely-crafted movement and attention to detail – and are both firmly rooted in the urban.

Melanie Lane’s Titled Fawn opens the evening with an abstract study into space and sound. A lone dancer manipulates brick-shaped cardboard boxes, creating fantastical highrise developments – at times like a miniature Le Corbusier cityscape. Tiny speakers inside the boxes create interesting sound landscapes; especially effective when the boxes are in motion. The movement of the boxes creates a subtle tension and release without the involvement of narrative – we wonder what she will do with the boxes next, will she be able to carry them all, will some of them drop?

Breaking into this very contemplative mood is a too-short interlude of disjointed, almost grotesque dance – in platform shoes. Lane’s movements in this section are fluid and hypnotic, and the sudden burst of energy a welcome counterpoint to the restraint of the rest of the piece. 

After interval Antony Hamilton’s Black Project 1 opens with a post-apocalyptic, post-traumatic bleakness where two dancers, almost camouflaged against the grey-black set, move in fragments, seeming to express an urgent narrative. This is both moving and engaging, drawing the audience into an abstract world of tenderness, tragedy and discovery.

The graffiti-inspired techno brilliance of the later part of the piece is simply stunning, with sound, light and movement all combining and overlapping to create an arresting and captivating panorama. Hamilton uses simple techniques, such as peeling off strips of masking tape, to create striking effects that look like digital wizardry.

I walked into the North Melbourne Town Hall not knowing what to expect from this show, and came out with a new appreciation for choreography, movement, and physicality. Highly recommended.

Arts House, North Melbourne Town Hall
Until Sunday 11 March
Fri 9, 7.30pm
Sat 10, 2pm & 7.30pm
Sun 11, 5pm

Tickets: $25 / $20

Bookings: 9322 3713 or www.artshouse.com.au

Events, Performances, Review, Theatre, Whats On

REVIEW: Stripped at LA MAMA

Laying a story bare…

By Adam Tonking

Stripped is the story of two sisters, Lillian and Sophie, estranged by the various circumstances of their vastly different lives, and brought back together through tragedy.

Lillian is a lawyer, married to Daniel, good friends with Louise and Jack: she is also dying. Sophie is a stripper, and there are more characters in this story; but what is important is that all of these are played by the one amazing actress.

Caroline Lee, creator of the original text, is the actress at the helm of all these characters in this overwhelming story about the repercussions of death on relationships. While the different characterisations took a while to sink in for the audience, Lee was in complete control the entire time.

She obviously understood each character down to the bone, and presented their individual identities clearly for the audience, managing the different ages, genders, and motivations with grace and apparent ease; in fact, one of the most provocative moments was told from the perspective of Lillian’s husband, Daniel. All this, while allowing the compelling story to unfold before us.

In spite of the subject matter, the script never became manipulative, melodramatic, or clichéd. Rather, it remained conversational and deeply personal throughout. I did feel at times that this conversational tone clashed with Lee’s often declamatory style of speech, and with Laurence Strangio’s restrained direction which occasionally seemed too stylised.

I suspect that these choices were made to clear any extraneous clutter for an audience required to keep up with the complexity of shifting narrative perspectives, however I felt that it created a barrier between the audience and the characters, forcing the audience to sympathise rather than empathise.

But that is ultimately a small detraction, in what is otherwise a masterful performance of a challenging and powerful piece.

Stripped is on at La Mama Theatre, 205 Faraday Street, Carlton, from Wednesday 7th March till Sunday 18th March. Bookings at www.lamama.com.au or by calling 03 9347 6142.

Cabaret, Editorial, Events, Festivals, Opportunities, Performances, Whats On

Last Few Days To SAVE MELBOURNE CABARET FESTIVAL!

Geoffrey Rush already gave the shirt off his back…

Literally! Melbourne Cabaret Festival is desperate to raise the $15000 that will allow it to go ahead this year, and Geoffrey Rush offered his support with a limited addition Pirates of the Caribbean t-shirt being donated to the prize draw.

Although the t-shirt was soon won by a happy contributor, there are still lots of exciting offers for you to win when supporting this great campaign.

The unique reward list on the ‘crowdfunding’ website Pozible includes a wide variety of free tickets and memberships, a personalised caricature (only one left!), a private supper booth in the famous Spiegeltent, your own personal piano man for an evening, or a recorded bedtime story (!), a free burlesque class  or even a house cabaret!

With exceptional Melbourne and international cabaret artists like Amanda Palmer, Sammy J and Randy, Kaye Sera, Trevor Jones, Karin Muiznieks, Luke Escombe, Anne Edmonds and The Jane Austen Argument offering their services, your donation to save this year’s Melbourne Cabaret Festival immedately becomes an exciting prize pack: nothing like supporting a good cause and getting an fanastic reward of your choice!

However, this is THE LAST WEEK of the campaign, so if you don’t get in quick, not only do we miss out on once again rejoicing in one of the most vibrant, diverse and extraordinary music and performance festivals in Australia – you also miss out on your chance for a once-in-a-lifetime prize.

Cabaret in Melbourne has a well-earned reputation for exceptional and exciting performers and performances, and in recent years, the Melbourne Cabaret Festival has been the premiere showcase for the greatest local and international cabaret stars have to offer.

We don’t want to lose this!

Check out the campaign and the rewards for yourself HERE! 

Save Melbourne Cabaret Festival!

Cabaret, Cabaret Review, Events, Performances, Stand-Up Comedy, Whats On

REVIEW: Fabian Lapham in REALITY CAN BLOW ME

Opening a chaotic can of comedy

By Adam Tonking

Fabian Lapham’s Reality Can Blow Me is a one-man show more in the style of a stand-up routine than anything else. He takes to the stage, nervous and awkward, and explains self-deprecatingly that there is no linear narrative, that the nature of reality will not be discussed, and nothing will get blown.

Then he amuses the audience for the next fifty minutes with various shtick; from observational humour, to one-liners, to sight gags, to comedic songs… Everything is thrown at the audience to make them laugh.

And it worked. While Lapham’s show would have been much better suited to a larger audience than were present the night I attended, our small group were laughing and applauding heartily at Lapham’s various antics. His running gags – dance routines commenting on the action, and impersonations of impersonations – scattered throughout the show were received particularly well.

My personal highlight was his series of “Tiny Stories,” including a novelisation of Al Gore’s An Inconvenient Truth, told as a noir detective story. His songs were clever and well-written, if not well-executed, and build to a great finale – every show needs a good ending.

Lapham is clearly a talented comic, but the constant shift of pace as he switched between different styles of comedy was at times confusing for the audience as they struggled to keep up. The gags were genuinely funny, and giving the audience more time to absorb them would have helped.

Lapham’s self-referential commentary on the progress of the show seemed a slightly dated device, and at times appeared apologetic for the show’s lack of structure. However, there were enough entertaining moments in the show to make it a fun night out, and to suggest great things from Lapham in the future.

Fabian Lapham’s Reality Can Blow Me is on at The Butterfly Club, 204 Bank Street, South Melbourne, from Thursday 1st March till Sunday 4th March at 9pm, or 8pm on Sunday. Book at www.thebutterflyclub.com

Events, Performances, Review, Theatre, Whats On

Review: AND THE BIRDS FELL FROM THE SKY

Experience theatre in a completely unexpected way

By Adam Tonking

Created by theatre director Silvia Mercuriali and filmmaker Simon Wilkinson, And The Birds Fell From The Sky is somewhere between amusement park ride, film, and nightmare.

In more traditional forms of theatre, the audience is invited to experience the story on their own terms. In And The Birds Fell From The Sky, you are pushed into the centre of the action, and given new eyes and ears – you’re forced to experience the story as if you are in it, not merely witnessing it. Your senses have been kidnapped, which seems appropriate as it appears that you have been kidnapped by a car full of clowns.

Am I being too vague, too abstract? I went into this performance with very little certainty about how it was all going to work, and the delicious fear of the unknown only builds in the foyer as you remember small pieces of information – there are only two people in each audience, you will be sitting in a wheelchair – while strange sounds shake the floor from the next room, and you read the warnings on the wall that say things like “People with claustrophobia may experience difficulties with the performance…”

Then you’re led into a small room and given video goggles and earphones, and told to follow any instructions very carefully…

Clearly, this is an experience like no other. The narrative comes at you like a dream – you’re in this car full of clowns, you have a task to perform – and hints at a subtext about the nature of experience, while the experience itself is given to you through all five of your senses.

It’s fascinating, overwhelming, and thrilling. The word “immersive” seems to have been designed for a show like this. Wilkinson and Mercuriali have created an astounding and innovative theatre experience.

And The Birds Fell From The Sky is on at the Arts House, North Melbourne Town Hall, 521 Queensberry Street, North Melbourne; Wednesday 29th February till Sunday 18th March 2012.

The show runs every 15 minutes between Wed – Fri, 2.30pm – 4.30pm & 6pm – 9pm; Sat 1pm – 4pm & 5.30pm – 8.30pm; Sun, 1pm – 4pm & 5.30pm – 7.30pm. 20 minutes no interval. Book at www.artshouse.com.au or call (03) 9322 3713.

Cabaret, Events, Performances, Review, Whats On

REVIEW: Sophie Walsh-Harrington is HOT

In search of the sequel to success

By Bradley Storer

After her incredibly successful debut cabaret, The Damsel in Shining Armour (winner of Best Cabaret Adelaide Fringe 2011), Sophie Walsh-Harrington returns to Melbourne with her new show HOT. Crafting a follow-up is a massive task as Sophie herself is obviously aware – the first segment of HOT acts as both a funeral and exorcism of the success of Damsel, Sophie entering in mourning black, greeting individual audience members like attendees at a wake, brandishing her Fringe award in their faces.

Those coming expecting similar fare to Damsel should be forewarned: Sophie continuously informs the audience, via bullhorn, that ‘this is not a cabaret’. Instead we are taken through Sophie’s travails to leave behind her cabaret past and become a ‘serious’ artist, ranging from attempts at monologue, mime and in one particularly hilarious segment, political donkey-themed agitprop anthems. Songs fromartists such as Paloma Faith, Muse and Sia are scattered throughout the show with fragments popping up like bad habits.

Sophie nevertheless retains the goof-ballish but headstrong innocence that made Damsel such a joy, which here keeps the audience on side even as the show takes a more confusing turn. Her vocals have only increased in power, which makes one sad about the relative lack of songs in comparison to her previous work – but in a show which she repeatedly proclaims is not a cabaret, this makes sense.

The show’s major theme is a continuation from Damsel: the attempt to live an authentic life – in this case the struggle of artists to maintain artistic originality and legitimacy in the wake of enormous success. Sophie shamelessly parodies artistic self-indulgence as the show moves into the realm of ‘serious’ theatre. 

The culmination of this endeavour is a lengthy, ‘Animal Farm’-style play. Despite Sophie’s uproarious characterizations and comically expressive physicality, this section began to drag the further it went along – even though this links in with the overall thematic structure of the show, self-indulgence (whether real or simulated) is only funny for so long.

However at the climax of the show, the accumulated superficiality collapses in on itself as if by magic. Sophie seems to rise from the debris of the dissembled show like a phoenix, with a spontaneous rendition of Des’ree’s ‘Kissing You’ so powerful it held the audience completely spellbound. For this alone HOT is worth seeing, reiterating not only Sophie’s incredible skill as a cabaret artist but reassembling what has come before in the show into a true, electrifying moment of artistic rebirth.

HOT stands as a riotous examination of the downsides of creative success, in its own way as cunningly and cleverly structured (if not more so) as its predecessor, and, if the finale is anything to go by, promises even greater achievement and success for Sophie’s future. What is perhaps required is a bigger audience for this show to burn at its brightest.  

HOT plays at La Mama Theatre until March 4, 8:30pm Wed/Sun, 9:30pm Thur-Sat

Directed by Alex Wright, backing tracks performed and engineered by Jason Odle

Tickets: (03) 9347 6142 or www.lamama.com.au

Cabaret, Cabaret Review, Events, Festivals, Performances, Whats On

Review: EMMA CLAIR FORD in Butterscotch

“Fall down seven times, get up eight”

By Maxine Montgomery

The quotation is a good motto we should all take into life, and one that Emma Clair Ford has taken to heart in writing her latest solo cabaret work, Butterscotch.

At the top of the show, Ms Ford entered the show room of the Butterfly Club with a great deal of poise and a dash of mystery, silently stalking down the centre aisle towards the intimate stage.

With her entrance, she created a mood of intrigue and simplicity all at once. She gave away nothing and kept the audience fully engaged as she took us on a journey, on “an adventure within an adventure”.

Ms Ford has crafted a very clever and well-structured script, and at all times, she was in control of its pace and delivery. Her careful choice of words painted very vivid pictures of childhood memories, tales of an oft-broken heart, and time in foreign lands.

I very much enjoyed her repeated use of one scenario, presented in two entirely different veins, to bookend a climactic moment of the show.

The music Ms Ford has chosen throughout the cabaret is so well matched to the progression of the through line that the songs could have been purpose written for the show.  Myself, I will never again be able to listen to “Six Months in a Leaky Boat” in quite the same way!

Emma Clair’s voice is clear, well controlled, and most adaptable in handling the music of the show. Her versatility extends from a music theatre belt to a sweet, pure tone which she introduced as she sang “Vieni a mia diletto” (Come, my delight) – the song was a perfect choice as she told of her desire to visit Juliet’s famous balcony in Verona.

Butterscotch is a unique cabaret, expertly created and delivered. Ms Ford deserves every success as she takes this show across to the 2012 Adelaide Cabaret Fringe Festival this month.

The second and final Melbourne preview is on Wednesday February 22nd at 8pm at the Butterfly Club in South Melbourne, but look out for details of another Melbourne season later in the year.

For tickets, please visit http://thebutterflyclub.com

Events, Performances, Review, Theatre, Whats On

Review: COGITO at La Mama

You think, therefore you’ll like…

By Anastasia Russell-Head

This play is intriguing. Two women, dressed almost identically, stand on a minimalist white stage and declare:

“My name is Katherine Lee.”

“My name is Katherine Lee.”

Which one is Katherine Lee? Are they both Katherine Lee? And what is that heart doing in a clear perspex box suspended above?

Originally written for the Singapore Arts Festival, the themes and scope of Huzir Sulaiman’s play Cogito are reminiscent of a short story.

There is an element of sci-fi in exploring the concept of artificial intelligence, but it is essentially a human story about loss, grief and reconcilliation.

Kristin Keam and Suzy Cato-Gashler were both strong as the two on-stage Katherines, with Cato-Gashler being particularly convincing in the role. Newcomer Frank Handrum was excellent as the dour, efficient lawyer, Lex.

It was unfortunate that the excellent cast and script were let down by the spacing of the production.

The audience were situated “in the round”, with the result that much of the play was spent looking at the back of the actors’ heads and trying to decipher what they were saying when it was directed at the other side of the room. I

n addition, the superb voice-over provided by Glenda Linscott was compromised by poor EQ-ing, and was often too boomy to be able to understand clearly.

Visually the production was quite successful, despite the spacing issues. The lighting was very effective, and the special effect moment towards the end (I won’t spoil the plot for you!) was quite stunning and unexpected.

Sit on the side next to the entrance door, prepare to be intrigued and slightly confused (in a good way), and enjoy the talents of some excellent seasoned actors in this little futuristic “short story” of a play.

 

Cogito by Huzir Sulaiman

La Mama Courthouse

February 9 – 19

Wed, Fri, Sun 8:30pm

Thur, Sat 6:30pm

Cabaret, Cabaret Review, Events, Performances, Whats On

Review: LACHLAN MACLEOD’S A Very Merry Christmas

Get into this christmas comedy quick!

By Melissa Trickey

After having a somewhat scrooge-y day, I was a bit “bah humbug” when I entered The Butterfly Club on Thursday evening…. But the “magic, majesty and hhhhhwhimsy” of Lachlan’s Macleod’s A Very Merry Christmas soon warmed the cockles of my heart to turn my frown upside down and make me Madame President of the Christmas Spirit Club!

Christmas sure smacked me in the face as soon as I walked in the door, with the busiest set I’ve ever seen in that performance space. I had no idea the stage could fit so much! Three musical instruments, a fully decorated Christmas tree, a framed Jesus picture and a curious object that was concealed by some kind of mystery Christmas material…

This turned out to be Lachlan himself, who promptly did what I did not expect at all – sat as his keyboard and played a (seemingly) serious song about Christmas. Next second he totally bazinga’d me with the lyrics: “The doors are locked, I’ve got your cash, so f***you all!” People didn’t seem to mind though – we were all laughing too hard!

There were many lyrical gems like this along the way. Lachlan touched on such topics as re-gifting, office work parties, due rewards from Santa for being a bad little boy, and the evergreen last-minute present shopping. His lyrics are simple, direct and right on the money (except for the priest thing…), and his songs are very funny and appealing to a broad audience with great writing, delivery and chorey!

Lachlan has a gift for simple and effective storytelling that is quite endearing and suited the show very well. Some opening night nerves made Lachlan appear slightly jittery at times, but I’m sure they will settle down and Lachlan can relax into his performance more. From a performer’s perspective he has put A LOT of pressure on himself with his all-singing, all-gags, mostly-playing and sometimes-dancing agenda! In accompanying himself on no less than three instruments, Lachlan certainly is working harder than most. 

I thought there was a slight lag in the middle of the show that could be tightened up by shaving back some verses and material. It was good to be mellow but the feeling rather overstayed its welcome.  However, the finale was sharp, witty, and brilliant to watch, with the emergence of a special Christmas costume and resulting song. I don’t want to give too much away but it was absolutely hysterical and a closing highlight for the show!

Lachlan is everyday funny like Hamish and Andy, writes clever and witty lyrics like Tim Minchin, and delivers them with the pathos of Tripod. One day I will see him on TV and be like, “Hey, I reviewed that guy once!” Thanks for the Handy Christmas Facts, Lachlan, and for the numerous laughs! Merry Christmas!

Dates: Thurs 8th to Sun 11th Dec
Time: Thurs-Sat at 9pm & Sun at 8pm

Venue and bookings: The Butterfly Club, Sth Melbourne

Cabaret, Cabaret Review, Events, Performances, Review, Whats On

REVIEW: April Albert is DIE KNEF

A tribute to a legend misses the triumph

By Adam Tonking

Die Knef, a cabaret written and performed by April Albert, traces the life of Hildegard Knef, a chanteuse whose survival of World War II coloured the rest of her career as a performer, but never held her back from her ambition.

Albert’s show is a brief insight into a relatively unknown figure in Australia, and showcases songs in a language that is too seldom celebrated outside of opera here.

Hildegard Knef, referred to by Albert as “the Edith Piaf of Germany”, was an actress and singer who enjoyed a long career spanning from the 1940s through to the 1970s. With Albert as Knef, Die Knef is at its most simple the story of one woman’s life, featuring the songs that made her famous.

But Albert presents it as a kind of nostalgia concert from a faded artiste you can imagine touring RSLs and pokies venues, and so Knef comes onstage with all of the pizzazz and charisma of a star, but gets distracted reminiscing about the many tragedies of her life.

Watching Knef unravel under the weight of her memories makes for fascinating viewing.

I had thought that a show containing entirely foreign language songs might present a challenge, but the audience quickly accepted the change and Albert seemed most comfortable when singing or speaking in German.

Although her commitment to the character is admirable, she rarely seemed to connect with the unimaginable horrors that Knef describes experiencing during World War II.

The script appears meticulously researched, peppered with pithy quotes for which Knef was well-known, but then focuses too heavily on these bad times, not on the successes that made her so famous and hence a character worth getting to know.

April Albert’s Die Knef was on at The Butterfly Club in South Melbourne from the 1st till the 4th of December at 7pm. 

For details of other upcoming shows, visit www.thebutterflyclub.com.