Comedy, Festivals, Stand-Up Comedy, Whats On

REVIEW: CJ Delling in REALITY BANDIT

Gentle and genial international comedy

By Narelle Wood

This little comedy show for this year’s Melbourne International Comedy Festival had me intrigued from the beginning, mostly because CJ Delling is German, and I always figured that a German comedian was something of a cultural oxymoron. My reality shifted a little bit, as I was easily proved wrong; of course Germans can be funny and this German was funny in a particularly endearing, sweet kind of way.

Reality Bandit

CJ’s comedy provided more giggles than jolly belly laughs as she proceeded to ponder her experiences of moving to Australia, getting to stage four in learning English, competing on the Welsh version of Wheel of Fortune and the highs and lows of being a surf-life saver.

The funniest parts, which I find with most comedians, is when they are self-deprecating. These small moments littered through out the show, often seemed more natural and off the cuff than some of the anecdotal stories that were funny but came across a little contrived at times. It may have had something to do with the pacing of the jokes; sometimes the delivery was quick and punchy and other times the story took a while to develop, which meant that the joke became a little more predictable.

The links between the jokes and stories tended to be a touch tenuous, but when the connections were made, for example in the recurring theme of the British Museum, they were done so very well. Most of the jokes hit their mark and CJ did extremely well in the intimate atmosphere to interact and involve the audience in a number of her stories. I do have one gripe though; she never finished telling us the running shoe story. Even though it was only a small piece of a much larger show, it had the promise of being really funny.

While the show’s blurb doesn’t accurately portray what the show is about, Reality Bandit is observational comedy at its sweetest and I could not help but walk out with a smile on my face and thinking that CJ is possibly one of the most endearing German comedians I’m ever likely to meet.

Venue: The Bull and Bear Tavern, 347 Flinders Lane
Season: Wed – Sat 2nd – 12th of April 6.30pm
Tickets: $18 Full | $15 Conc
Bookings: www.ticketmaster.com.au or at the door

Comedy, Festivals, Review, Stand-Up Comedy, Whats On

REVIEW: Ivan Aristeguieta is LOST IN PRONUNCIATION

Come for comedy, and be charmed!

By Jessica Cornish

‘Tis the season for comedy: the 2014 Melbourne International Comedy Festival has begun. Last night I was lucky enough to have tickets for Ivan Aristeguieta’s sold-out preview of Lost in Pronunciation.

Lost in Pronunciation

Performing in the Portland Hotel’s cosy Pool Room, we were treated to an hour of steamy bikram comedy. However, I’m assured the bikram experience was a one-off event due to a broken air conditioner, but to be honest it didn’t make the performance any less enjoyable. He likened our dilemma to a Spanish adage which roughly equated to being trapped inside a soup lid: it defiantly conjured up some strange images in my head, but seemed accurate.

This light-hearted hour of comedy was essentially the highlights of Australian life through the eyes of an exotic Venezuelan. Luckily for Ivan, Australia has been kind to him – until people learn he’s from Adelaide, and then it’s another story entirely…

Making fun of Aussies’ adoration of yeasty vegemite and tomato sauce is a running joke that he subtly weaves into each segment as he segues between family-friendly witty stories and meringue-style covers of beloved Aussie folk songs.

Ivan has great facial expressions and was very charming and charismatic on stage. His comedy style wasn’t aggressive and didn’t rely on belittling people in the crowd. It was happy and harmless fun, and included a dig at our homophobic PM which is always entertaining.

However, at times I did feel as though I had snuck in to an exclusive Latino club. Three-quarters of the crowd were South American, which even included a Venezuelan contingent who adored the show. They definitely embraced the chance to reminisce about life back home and how different life in Australia is, and to laugh at themselves as well. However, the material wasn’t so refined as to be alienating, and I certainly enjoyed the show overall.

Chosen as one of five up-and-coming comedians to participate in Melbourne International Comedy Festival’s The Comedy Zone, Ivan definitely put on a good night’s entertainment and a polished preview performance. He will be performing at the Pool Room until April 20.

Tue-Sat 8.15pm
Sun 7.15pm
Cost: $15 – $22

Bookings: http://www.comedyfestival.com.au/2014/season/shows/lost-in-pronunciation-ivan-aristeguieta

Cabaret

REVIEW: Danielle Matthews in WHERE DO I BEGIN? – The Voice of Shirley Bassey

Divas are forever

By Margaret Wieringa

The Las Vegas showroom was dark. The band was ready. Then Shirley Bassey walked onstage, greeted the crowd like old friends, and a night of musical magic commenced. In truth, it wasn’t actually Vegas, and it wasn’t actually Shirley Bassey, but it sure felt like it was.

Where Do I Begin

Our Shirley for the night was Danielle Matthews, a diva in a magnificently sparkly red dress. Her wit and banter was perfectly timed, but it was when she sang that she took my breath away. What a voice!

In Where Do I Begin?, writer Matthew Robinson matched stories of Bassey’s life with many of her classic songs. Telling of the loss of her daughter led into the tragic “If You Go Away”, a rendition that had both Matthews and the audience in tears. And whilst the songs were amazing, I felt there could have been even more of the story of her life.

The musicians for the evening were the Footscray-Yarraville City Band, led by band musical director Phillipa Edwards and musical director Adam Przewlocki. The band were tight throughout, but it was like a fire was lit when “History Repeating” started. Bam! When I could draw my eyes away from Ms. Matthews, I saw a group of musicians who could match the power of the singer without overwhelming her. There were also lots of lovely little moments where band members had solos. It was a shame that their big moment was overshadowed by the powerful front lady, but the layers created only added to the overall fabulousness of the performance.

Waiting in anticipation for an encore, the band played and the lights flashed. A quick note about this – lights onto the audience can be awful. Especially in a small venue with quite bright, blinding lights… Luckily Bassey/Matthews returned, resplendent in another, magnificent red dress with a fabulous boa and stunning jewelry. By this stage, I was getting terribly concerned that, somehow, “Goldfinger” was going to be missed. Thank goodness, no.

If there is any chance you can get to this show, do. And keep the name Danielle Matthews in mind; surely, she has greatness ahead of her.

Manilla Street Productions presents Where Do I Begin? – The Voice of Shirley Bassey

Venue: Chapel off Chapel, 12 Little Chapel Street, Prahran

Dates: 23-24, 30-31 March, 8pm

Price:  $45 /$40 Conc

Tickets: (03) 8290 7000(03) 8290 7000(03) 8290 7000(03) 8290 7000 or www.chapeloffchapel.com.au

Music, Opera, Review, Whats On

REVIEW: Melbourne Opera Presents MADAME BUTTERFLY

The Butterfly reborn

By Margaret Wieringa

It’s one of the greatest tragedies in opera – Madame Butterfly, a young Japanese woman who falls in love with and marries an America serviceman only to be abandoned and, ultimately, takes her own life.

This production by Melbourne Opera is a restaging of director Caroline Stacey‘s production that was nominated for seven Green Room Awards a decade ago. Of the two casts being used for this performance, I had the pleasure of seeing Antoinette Halloran as Madame Butterfly.

Madame Butterfly

The turmoil of the title role poured out lusciously not only in her singing, but through every part of her presence. While she was the emotional centre of the performance, her grief was reflected in other characters, most notably  her maid Suzuki (played with beautiful large physical gestures by Caroline Vercoe) and Sharpless, the US consul (in a contrastingly still but equally grief-stricken performance by Roger Howell),

As I came through the foyer, I was surprised at the variety of people in the audience. There were young and old, some families; some seemed very familiar to the theatre experience and others, like one gentleman I overheard “could not believe they would ever go to the opera!” To get such a wide variety of audience members to embrace the performance is a large challenge. Luckily, a slight hitch with part of the set could not have been better timed, as it was followed shortly by a line from Pinkerton (Jason Wasley) wondering if the Japanese style of house would fall apart. The audience laughed together, brought into a shared joke and brought into the house.

The Athenaeum is a venue built for such an intimate performance, as the sounds of the orchestra seem to fill the entire auditorium. Occasionally, the music overpowered the singing, however with such magnificent sounds, it was hard to be disappointed. The simple use of the large, white paper doors as the main set allowed the mood of each scene to be set using delicate colour washes and other lighting effects, and contrasted beautifully with the bright colours of the costumes and umbrellas of the female chorus as they celebrated the wedding day.

By the end of the performance, I felt emotionally wrung out and was happy to leave Madame Butterfly’s house, though I was glad I’d dropped by. And especially glad that I’d brought my tissues.

Athenaeum Theatre

188 Collins St, Melbourne

Friday March 21, 7:30pm; Saturday March 22, 2pm/7:30pm, Monday March 24, 6:30pm

Book on 9650 1500 or through Ticketek on 13 28 49

Tickets from $25-$98

Alexander Theatre – Monash University

Wellington Road, Clayton

Saturday May 3, 8pm

Book on 9905 1111 or artsonline.monash.edu.au

Tickets from $30-$75

Comedy, Dance, Review, Theatre, Whats On

REVIEW: FOLA at Arts House Presents GAME SHOW

What would you do for fame and prizes?

By Myron My

Game Show begins just like you’d imagine a real-world game show would. The studio audience (you) take their seat, are told what will be happening by the crowd-warmer, and receive a lesson on clapping (there’s always a lesson in clapping!) Then the crazy fun begins!

Tristan Meecham & Aphids GAME SHOW at the Meat Marketas part of

Our host (Tristan Meecham) appears and charms us with his perfectly manicured hair and shiny white teeth. The 30 real contestants are introduced, and although I’m not aware of the process used to choose them, they did seem to cover the stereotypical game show contestants: the shy ones, the joyful older woman, the funny guy that tries to upstage the host, and so on. Through various games, the contestants are whittled down to one who must then face off with our flamboyant host in order to win a number of his very own possessions.

During this time, we are treated to the talents of two leotard-wearing acrobats (Jon Campos and Jon Allingham), a full choral performance by Jonathon Welch and THECHO!R, and The Bodyelectric Dancers on stage! It’s a show of epic spectacle that would make any commercial television network salivate.

Conceived by Meecham, Game Show looks at the superficial relationship between the contestants and the show in which they appear. Ultimately, game show contestants are revealed as not important, for they will do anything they are told in order to get their 15 seconds of fame. Indeed, we see this happen in numerous ridiculous games in Game Show including one where contestants jump and writhe around on the floor to get all their table tennis balls out of a small opening in a box that is attached to their body…

If I had one criticism about Game Show, it would be its length. Coming in at nearly two hours, I felt the pace lagged at times and I wanted things to move forward. It is evident why the final game was what it was, but it had no tension and even with the choir belting out a great tune, the finale felt like it went on far too long.

It would seem that for most people, going on a game show is their moment to shine and they will attempt anything they can to hold on to that. Game Show offers that experience but more importantly, offers a unique and satirical look at the competition, materialism and enduring desire to be a celebrity in the game show world.

Venue: Arts House, Meat Market, 5 Blackwood Street, North Melbourne.

Season: Until 22 March | Sat 7:30pm,

Tickets: $25 Full | $20 Conc

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

Musical Theatre, Performances, Review, Whats On

REVIEW: Manilla Street Productions Presents BLOOD BROTHERS

Tragic tale impeccably told

By Bradley Storer

Blood Brothers, the award-winning West End musical about a tale of twin brothers separated at birth, has come to Chapel off Chapel in a strong new production by Manilla Street Productions. This modern tragedy, directed by Chris Parker, explores the classic ‘nature versus nurture’ debate and the great divide between the English upper and middle class.

Blood Brothers

Chelsea Plumley in the crucial role of Mrs Johnstone is the emotional touchstone of the entire piece, producing a portrait of a flawed, poverty-stricken woman of fierce maternal love and indomitable spirit, slowly bowed down under the tragic consequences of an impulsive decision. Her expressive and earthy singing voice perfectly captures the essence of the character, and she is to be applauded especially for flawlessly maintaining the extremely challenging Liverpool accent for the entire show. Glenda Linscott as Mrs Lyons, the rich housewife whose adoption scheme sets the plot in motion, turns in a compelling and complex performance that travels the gamut from heart-warming to bone-chilling as the character’s initial sweetness and good nature crumbles frighteningly under the pressures of anxiety and guilt.

The central triangle of the piece, the two brothers Mickey (Gareth Keegan) and Eddie (Matthew Bradford), and Linda (Lisa-Marie Parker), the woman who comes between them, are a powerhouse trio – their chemistry is palpable, and they perfectly embody each stage of their character’s respective journey from child to adulthood (kudos to them for avoiding cringe-inducing caricature while playing children). The second act, where the harsh realities of life begin to take their toll on the three and their relationships, is wrenching to watch after the honest simplicity of the actors has won our love. They are ably supported by a small but talented ensemble who swap between multiple roles. Simon Wilton as the Narrator does his best with a role that is essentially one-note and continuously repetitive, but the fault lies with the character rather than the actor in this case.

This dark, tragic tale is engrossing theatre, and the catastrophic finale which ties together all the themes of class division and destiny proves the overall success of the production, leaving the audience with a gut-wrenching sense of loss that won’t fail to bring tears to the eyes of anyone who sees it.

Venue: Chapel off Chapel, 12 Little Chapel St, Prahran.

Dates: 20 March – 6 April (Preview 19 March)

Times: Tues-Sat 8pm, Sat (5 April) 3pm, Sat (29 March) 3pm,  Sun (30 March) 3pm, Sun (6 April) 2pm

Price: $49 Full, $45 Concession, $40 Group 10+, $40 Preview (19 March), $40 Tuesday Performances, $60 Opening Night (20 March)

Tickets: www.chapeloffchapel.com.au, Phone: 03 8290 700003 8290 700003 8290 700003 8290 7000, Email: chapel@stonnington.vic.gov.au, at the venue.

Events, Performances, Theatre, Whats On

REVIEW: Mockingbird Theatre Presents THE JUDAS KISS

Bravado and betrayal in the fall of Oscar Wilde

By Ross Larkin

The Judas Kiss

It can be difficult to associate one of the world’s most iconic, hilarious comic writers with tragedy and betrayal, and as such, a play about Oscar Wilde’s life behind his witty penmanship is confronting, and a harsh reminder of how brutally he was treated.

The Judas Kiss, written by David Hare, has been staged by Melbourne’s own Mockingbird Theatre, and directed by company member Jason Cavanagh. The play examines the hours leading up to Wilde’s arrest for partaking in consensual sex with another man, followed by post-prison life in a filthy, run-down apartment in Naples with former lover, Lord Alfred ‘Bosie’ Douglas. The before-and-after contrast surrounding Wilde’s two-year sentence is stark as the audience are made privy to the life and mind which was drained from him for supposed crimes and the consequences thereafter.

The initial scenes of The Judas Kiss are driven and ‘bolshie’, as Wilde’s comrades argue about whether he should flee to the continent or not, while Wilde, after feigning indifference, finally admits he lacks the will to try. As these quieter moments set in, the script becomes more engaging and the ensemble cast begin to showcase just how rock-solid they are.

The challenging, changeable role of Wilde is played to perfection by Chris Baldock, who simply nails the part, capturing beautifully the witty and charming bravado of the man prior to his arrest, and the pained, tortured soul thereafter. Oliver Coleman as Wilde’s literary executor and long-standing friend Robert Ross is equally impressive, cleverly demonstrating presence and commitment with an understated fury.

Nigel Langley as Bosie and the supporting cast are all worthy of mention in Mockingbird’s version, which director Cavanagh has succeeded in reimagining with simplistic charm and poignancy. The lighting in particular is beautifully designed by Rob Sowinski and made powerful use of.

The Judas Kiss is another fine example of why Mockingbird Theatre continues to fire along with the big guns, and save for the excessive duration of the final scene, this production is one of Melbourne’s not-to-be missed theatrical experiences.

The Judas Kiss is playing now at TheatreWorks, Acland Street, St Kilda until March 22, Tuesday to Friday at 8pm, and Saturday 2pm and 8pm plus Sunday March 16 at 5pm.

Bookings at www.theatreworks.org.au or (03) 9534 3388(03) 9534 3388(03) 9534 3388(03) 9534 3388.

Comedy, Events, Performances, Theatre, Whats On

REVIEW: Insite Arts Presents THE LONG PIGS

Hilariously dark and frighteningly funny…

By Myron My

Firstly, if you have a fear of clowns, then this show is probably not for you but it doesn’t mean you still shouldn’t go see it. The clowns in The Long Pigs are not your traditional-looking clowns (for the most part).

These guys are dirty and dark with black noses, and are hell-bent on collecting the red noses of other clowns…

LONG PIGS

The uncanny ability that performers Clare Bartholomew, Nicci Wilks and Derek Ives (who along with director Susie Dee, also devised the show) have to use something as small as a facial expression or taking a step to make their audience get actual stitches from laughing is testament to their darkly funny skills as clowns.

Even with minimal dialogue and the unsettling atmosphere, the cast are able to both convey a strong story and evoke sympathy and empathy from us over their individual and group plights. In fact there are some very suspenseful moments interspersed throughout The Long Pigs which form a great contrast to the more ‘traditional’ clowning that occurs.

All the stage elements blend perfectly in the performance to help create this grim world that is thrust upon us – especially Jethro Woodward’s excellent sound design and composition, as the constant changes from cheery to eerie amplified all the action that was going on on stage.

Furthermore, Anna Tregloan’s nicely creepy set design reminded me of a haunted house-cum-butcher shop with variety of seemingly random objects just strewn about covered by bloody white sheets, and the atmospheric lighting design by Andy Turner was reminiscent of a carnival freak show tent with dim lights casting larger sinister shadows in the background.

So even if you do have that fear of clowns (or coulrophobia), The Long Pigs is a show that still needs to be seen. Even though it’s only March, I can confidently say that this is going to be one of my highlight shows of the year, because how often can you simultaneously be completely entertained and utterly creeped out by the one show?

Venue: fortyfivedownstairs, 45 Flinders Lane, Melbourne

Season: Until 23 March | Tues- Sat 8:00pm, Sun 5pm

Tickets: $35 Full | $28 Conc

Bookings: http://www.fortyfivedownstairs.com/events or 9662 9966

Circus, Comedy, Events, Performances, Review, Whats On

REVIEW: Spiegelworld Presents EMPIRE

Beautiful, bawdy – and breath-taking

By Kim Edwards

Empire has returned to Melbourne after its sell-out season last year, and it is a sumptuous spectacle to behold. In the ever-delightful space of the Spiegeltent now perched atop Crown Casino, vaudeville has run away to the circus as contortionists, acrobats, balancing acts, strip-tease artists, musicians and comedians converge for our entertainment.

I loved the casual, classy chaos as the performers mingled merrily with the audience before the show, willingly stepping in as ushers, posing for photos, striking up conversations, or attempting silly or sexy pseudo-seductions. The effort to establish memorable and iconic characters meant our favourites were greeted like old friends when reappearing on stage for their respective acts, and made the reveal of their actual talents all the more jaw-dropping.

EMPIRE Miss A in a Bubble _PhotoCredit Karon Photography_

The show plays out on a tiny stage in the round, and there is a real sense of risk in this immediacy and intimacy when dangerous routines are being performed just inches away from or above the audience. Crowd-charmer Yasu Yoshikawa countered his cute antics and pigtails with terrifying spinning and springing in and over giant hoops, while Vlad Ivashkin and Aiusha Khadzh Khamed performed an acrobatic balancing act of impressive strength and skill.

The opening act with contortionist and aeralist Lucia Carbines suspended in a perspex bubble was utterly beautiful, and Denis Petaov and Mariia Beseimbetova actually made me forget to breathe with their ferociously fast spinning routine. I was not the only one to gasp aloud in horror at the lifts and speeds they achieved, but I also delighted in the beautiful choreography that held the piece together and the couple’s intense self-involvement: there was something wonderfully private and poignant in their lack of audience acknowledgement.

The show’s finale was an obvious highlight – I am still in awe. Memet Bilgin Rigolo builds and balances an amazing impromptu skeleton of branches with slow and hypnotic grace and grandeur, and the tension mounts with each addition to his structure. But it is the final moment which reminded us so powerfully of the wildly improbable feat just performed – simply unforgettable theatre.

Victoria Matlock and John Shannon provided a rich and dramatic musical backdrop to the acts, though some sound issues unfortunately affected her diction and his solos. Jonathan Taylor and Anne Goldmann provided the comic relief as husband-and-wife-comperes, and while their hen-night style humour and audience humiliation was a bit too crass for my taste, the crowd loved them, and their quick-change talents and banana routine were genuinely clever and skillful.

There’s a joke about the show not needing a story like Cirque Du Soleil, and it’s true, but if I have a criticism, it would be the New York ‘theme’ is superficial at best and it would have been nice to have something more evocative cementing the show together. Meanwhile, my special mention must go to the slick and dextrous crew, and the happy helpful FOH stuff.

Empire is both highly memorable and wondrously diverting, and there is little surprise it is enjoying a return season now with extra shows: I was entranced.

EMPIRE by Spiegelworld
From March 11 to April 20 2014
Under the spiegeltent on the Rooftop at Crown, access via Level 3, Whiteman Street, Southbank.

Performance Schedule: Tuesday, Wednesday, Thursday 7:30pm; Friday & Saturday 7:30pm & 9:30pm; Sunday 7:00pm

Tickets: Tue/Wed/Thu: $59.00 – $129.00, Fri/Sat/Sun: $69.00 – $149.00

Bookings: http://www.ticketek.com.au

Events, Review, Theatre, Whats On

REVIEW: Yannis Simonides is SOCRATES NOW

Reanimating the past to ponder the present

By Warwick Moffat

Socrates Now is an event in two part:; an eighty-minute delivery of Plato’s The Apology followed by discussion on how its message might be applied today. The Apology is Plato’s retelling of how Socrates defended himself against charges of atheism and youth corruption. Its success as a philosophical argument is unparalleled. As a defence, many believe it guaranteed Socrates would be put to death.

Elliniko Theatro has produced 300-plus showings of Socrates Now, at least fifty in the open air, like the stunning Renaissance Revival setting outside the Hellenic Museum.

Socrates Now

I am quite conflicted about this production, which has accumulated global goodwill and received great praise from respected academics. A great deal has focussed on having brought Socrates to life or having advanced the appreciation of Classical culture. I must insist that as a theatrical experience Socrates Now raises some issues.

Yannis Simonides’ portrayal of Socrates is indeed a masterpiece. This Socrates is three-dimensional. Of course he is wise, but he is also arrogant, occasionally manic and strange in his mannerisms. He is often mesmerising. Given scholars continue to debate the conflicting evidence on how Socrates actually behaved, this aspect of Socrates Now deserves every accolade.

That said, these qualities, and Simonides’ own powerful presence, are too heavily relied upon. To sustain eighty minutes, the audience needs more. Faithful renditions of Plato lack the storytelling needed by a modern audience. Excellent Shakespearian companies regularly overcome the same shortcomings, without diminishing the original text.

As an educational piece this lack may be fine; but Elliniko Theatro’s ambitions are to reach anyone concerned enough about current events to “Think. Question. Change.” I overheard many comments on the night between satisfied enthusiasts and bemused non-enthusiasts. To truly achieve this broader ambition, a reappraisal is needed.

Simonides The Performer knew the personal limitations of Socrates. Simonides the Discussion Mentor left me wondering where that sense of limitation had gone. He seemed too driven by the sanctity of his intended message to be truly open to the possibilities from within his audience. One must wonder: is Simonides standing on the shoulders of a philosopher who openly disdained teachers, in order to teach people?

Misgivings aside, the ambition and boldness of Socrates Now commanded attention and justify attendance. It is great entertainment for anyone interested in philosophy (especially ethics) or ancient wisdom. Despite its limitations, the after-show discussion may still prove stimulating.

Melbourne Shows:

The Melbourne sessions of Socrates Now have concluded for this tour. They were held on the 7th, 9th and 10th March at the Hellenic Museum, 280 William Street, Melbourne.

Sydney Shows:

Dates: Fri 14th March to 16th March.

Times: Fri 14th and Sat 15th March at 7:30pm, Sunday 16th March (Greek Language Showing) at 5pm.

Venue: York Theatre at the Seymour Centre, cnr City Rd & Cleveland St, Chippendale

Tickets: Adult: $40, Conc. $35 (+ booking fee)

Bookings at www.socratesnow.com.au