Events, Musical Theatre, Performances, Review, Whats On

REVIEW: StageArt Presents HAIR

This is the dawning of the Age of Aquarius! With these famous words I experienced the ‘new age’ movement of StageArt’s production of Hair at Chapel Off Chapel.

Hair

From the second you walk into the venue, you feel like you have transported back in time with hippies scattered throughout the space and mingling – in character – with the audience. These guys don’t just break the fourth wall: they smash right through it! There are many moments where the cast runs into the audience singing their songs, speaking directly to us and generally including us in the show. Costume designer Hazel Green has also perfectly encapsulated the essence of the era with her pieces for the cast.

The level of energy the cast had and maintained throughout Hair was quite phenomenal. During the rousing final number of Let The Sun Shine In, I could hear the breathlessness of some of the performers as they stood beside me having given the song all they had.

The other stand-out numbers would have to be the famous Aquarius, Hair as wonderfully performed by Ashley Rousetty and Sam Kitchen and What A Piece of Work Is Man sung brilliantly by Mitchell Sanfillipo and Gina Mets. However, and this is my main qualm with the show, the sound production was not up to scratch. There were moments throughout where it became difficult to hear what was being sung or spoken as the mics would drop in and out.

With eighteen performers and a brilliant five-piece band – led by musical director Cameron Thomas – on stage the whole time you would be right to assume that it is a large space. Upon inspecting the stage and seeing that it is in fact a very tight place I appreciated how much precision and care was needed for the choreography to work and the level of awareness the actors needed at all times.

Famously ending with that powerful final scene and its strong message regarding war which remains relevant in today’s society, you have two more weeks to “come to the orgy” that is Hair and revel in this wonderfully colourful, vibrant and trippy production.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran

Season: JAN 31st – FEB 17th, Wed – Sat 8pm,  Sat & Sun 2pm

Tickets: $46.50, $41.50 Conc

Bookings: www.chapeloffchapel.com.au

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Review: KATE MILLER-HEIDKE for Melbourne Zoo Twilight Concerts

The iconic Melbourne summer experience

By Jess Cornish

The 2013 Twilight Concerts kicked off last week at the Melbourne Zoo for its annual ‘Summer of Music’ season.The profits of the ongoing event go towards fighting against animal extinction, as well as supporting an incredible array of talented Australian artists.

Last night I had the privilege of experiencing Kate Miller-Heidke perform live. She was amazing, and sounded just as good as any of her recordings, if not even better somehow in the open air! The quirky queen delivered her colloquial pop songs with a dash of opera sprinkled throughout, with ample character and perfect pitch through the overcast night.

Kate Miller Heidke

Her distinctive voice cut through the cold evening air, and had her fans eagerly hanging on every word. Highlights of the evening included the popular hit, Can’t Shake It. The tune brought the crowd to life in  replicating the dance moves from her video clip. Another stand-out moment was Caught in the Crowd, which has interestingly become a tool schools are using to  explore schoolyard bullying.

My only possible complaint about Miller-Heidke’s set was that she didn’t perform an hour longer!

However finger-tapping support act, Kim Churchill was extremely entertaining to watch. Armed with a mixture of acoustic guitars, a harmonica, kick drum, a New Caledonian electric violinist and French Canadian trumpeter his music reminded me of a younger Xavier Rudd with a shot of caffeine injected into the set.

It even seemed fitting that his first song for the evening was one about the falling rain, whilst the audience, my self included, sat firmly on the grass with the heavy clouds slowly splattering light drops of water onto us.

I had a great night but here are some crucial tips for all you future Zoo Twilighters:

If you’re meeting people make sure you clarify where you intend to meet at to avoid confusion. For the summer concerts it’s best to meet at the ‘rail gate entrance’, as it’s a quick and easy walk to the stage from there.

Secondly, this is Melbourne, so while the concerts are advertised as a summer event it could be 42 degrees or 10! So bring everything: sunscreen, hats, beanies and blankets. This is a must so your plus-one doesn’t end up begrudgingly jacketless for the night in the spirit of kindness for their unweather-savvy girl friend…

Thirdly, consider bringing a picnic. Only one food outlet had card facilities and food choices were limited and expensive.

Overall, these iconic Melbourne concerts are definitely an amazing concept with an incredible variety of artists, and support a great cause. What more could you ask for?

If you haven’t already been – get on it!

Where: Melbourne Zoo

When: 25 Jan- 9 March, 7pm start.

Cost: Adults from $45.00-$49.10, Children: $22.50- $26.10

Bookings: online or phone 1300 966 784

Events, Music, Performances, Review, Theatre, Whats On

REVIEW: The Giraffe’s Uncle at LA MAMA

Local Aussie theatre at its best

By Tania Herbert

For those who came of age in Carlton, a return to La Mama Theatre is like coming home. And what better to come home to than a good old Aussie yarn. The Giraffe’s Uncle is the story of Sydney writer Les Robinson, a self-proclaimed  “cave-dwelling fantasist” who stumbles through the 20s to the 60s in the Sydney fringes.

Photo by Cynthia Sciberras

Well in command of this one-man show, Martin Portus’ background as a former Radio National arts broadcaster places him in good stead. His impressive command of voice really does capture an old school spirit and you could have happily close your eyes and feel that you were listening to an old-time Australian radio serial.

Although clearly portraying a very colourful Australian character– who is, in his own words ,”basking in a sense of the florid”- Portus’ performance is somewhat lacking in naturalism, and is choreographed down to every gesture.

The Giraffe's Uncle

However, this is certainly part of the reason this was a strong execution of an entertaining piece of theatre.  The show is punctuated with historic projections and chuckle worthy snippets of letters from Les’ life. Singer Darryl Emmerson also steps in to give us a couple of good old Aussie folk tunes that will leave you feeling like you’ve just had a beer with your granddad.

Very approachable, very Australian, and just very La Mama this is indeed a show which is, as Les found himself amusingly described, “not without a mild form of talent.”

Dates: January 31 – February 10, Wed, Fri, Sun 8.30pm, Thur, Sat 6.30pm

Venue: La Mama Theatre, Level 1, 205 Faraday St Carlton

Tickets: $25 full/ $15 conc, online at www.lamama.com.au or 03 9347 6142

Events, Performances, Review, Theatre, Whats On

Review: MTC presents THE OTHER PLACE

Compelling and wrenching theatre

By Christine Moffat

The Other Place by Sharr White is one of the best-written pieces of theatre I’ve seen in a long time.

TheOtherPlace_MTC

It is a fabulous double mystery: the cause of the mental disorientation of Juliana (Catherine McClements), and the discovery of what really happened at ‘the other place’.  The answer to each is dark and gut-wrenching, but the play is a clever combination of bittersweet humour and authentic characters.

Tragic stories can sometimes be too brutal to be enjoyed, but director Nadia Tass has evoked a delicacy from the text, creating a production that is simultaneously saddening and relatable.  This makes for a show in which the audience invests; we want to watch because we care.  At opening night this reviewer and many other audience members of various ages were in tears, and more than once.

Due to the disjointed timeline of the play, it’s a tough journey for the actors.  All of the cast were superb, with McClements in the lead role of Juliana and Heidi Arena as ‘A Woman’ being the standouts.  McClements beautifully navigated the alternating acidity and vulnerability of Juliana.  Arena played several roles, all with great humour, one with incredible pathos, and jumped between the scenarios ably.  However, I believe that more could have been done visually to differentiate between her roles.  I think this would have been less distracting for the audience, as playing different people only moments apart is difficult feat to achieve through performance alone.  David Roberts’ performance of Ian was touching and at times confronting, making his portrayal all the more believable given Ian’s circumstances.  David Whitely as ‘A Man’ had very few scenes, but he was very engaging in the stage time they allowed him.

The set design by Shaun Gurton was minimal and incredibly well-suited to the show.  The transitions between locations were elegant and the sense of place was fantastic.  The use of multimedia, via a giant screen at the back of the stage, was well-integrated and added to each setting in obvious or subtle ways without ever being distracting.

This production has obviously benefited from the talent and hard work of every person involved.  I found the story almost unbearably tragic, but the telling of it is too well-executed to miss.

Venue: Arts Centre Melbourne, Playhouse

Dates: 2 February to 2 March

Tickets: From $58, Under 30 $33

Bookings: Southbank Theatre Box Office 03 8688 0800 or mtc.com.au; Arts Centre Melbourne 1300 182 183 or artscentremelbourne.com.au

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REVIEW: Camille O’Sullivan in THE RAPE OF LUCRECE

Disturbing and superb

By Bradley Storer

“We’re going to tell you the story of the Rape of Lucrece, a tale full of both beauty… and violence. Be warned – there may be a bit of singing.” With this simple introduction, Irish cabaret star Camille O’Sullivan launched us headfast into an evening of hearty and full-blooded (in more ways than one) story-telling. O’Sullivan, along with her collaborator and accompanist Feargal Murray, has taken Shakespeare’s classic poem and transformed it into what feels like a chamber opera written for a single voice. The performance, produced by the Royal Shakespeare Company, combines Shakespeare’s text in both spoken form and as songs set to original music by O’Sullivan and Murray.

Photo by Keith Pattison

The set is simple, consisting of a backdrop of several windows and the stage floor littered with numerous piles of manuscript. The only other element is the touching presence of two pairs of shoes at opposite ends of the stage – a pair of delicate white slippers, and a large pair of dark leather military boots, representing cleverly the characters of Lucrece and her rapist Tarquin.

O’Sullivan as a storyteller and actress is magnificent, beginning simply telling the narrative but slowly transforming before our eyes into both the menacing and malevolent Tarquin, and the innocent, tragic Lucrece. Filling the stage with her gargantuan presence, O’Sullivan paints the picture of the story and each of its characters effortlessly. With just a sardonic flick of her hand, she can make Shakespeare’s poetry as achingly and horrifically relevant as anything written today. Her wondrous singing voice can soothe and terrify in equal measure, ranging from a low seductive murmur to a full-bodied shriek of agony.

This is not an evening for the faint-hearted – the performance does not shy away from displaying the full horror of events, O’Sullivan so committedly and perfectly embodying the pain of rape and its aftermath that at times it is almost too horrible to watch. Even in Tarquin’s part of the narrative, O’Sullivan shows us the deep ambivalence and disgust which co-exists with the man’s darker impulses. The amazing lighting design throughout contributes massively to the many worlds, interior and exterior, within which the story plays out.

Do not come to this show looking for a relaxing night at the theatre – however at the end of the harrowing tale, we are left with not only sadness but also the deep, primeval pleasure of an epic tale told with immaculate skill.

Directed by Elizabeth Freestone

Dates: January 31st – February 10th , 8pm

Venue: The Sumner, Southbank Theatre, 140 Southbank Boulevard

Tickets: $85 / Conc $77 / Youth $33

Bookings: www.mtc.com.au or 03 8688 080

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Review: NOT A VERY GOOD STORY by May Jasper

A confession, a sacrifice and an unexpected love story

By Myron My

Let’s get to the point: Not A Very Good Story is not a very ‘good’ story. Not A Very Good Story does not have a strong, confident protagonist. Not A Very Good Story is not told well. But it is for all of these reasons that Not A Very Good Story is in fact, a very good production.

Not a Very Good Story

Our protagonist, Stephanie (May Jasper), works in a call centre and she has a story to tell us. It’s not a nice story either. It’s about cancer. And what happens when a group of people all in the one call centre suddenly get it.

Jasper – who also wrote Not A Very Good Story – is a joy to watch as she plays the awkward and nervous Stephanie who umms and aahs her way through her retelling. This disposition ultimately makes her even more real, authentic and vulnerable to us. Jasper herself is very comfortable on stage and is clearly in her element, talking intimately to the audience for just over an hour without having the safety net of any cues for dialogue.

Even though this is a one-woman play, there are roughly twelve characters that Jasper portrays. Some of these we meet briefly, whilst others are fleshed out more, such as Jen the romantic interest. Jasper takes on some good mannerisms and inflections to differentiate her characters, including changing her voice and posture which helps the audience keep track of who said what when. I did feel however, that a bit more distinction was needed between some of Stephanie’s six co-workers, as there were some slight moments of confusion.

I have seen quite a few one-person performances recently and this one would have to be one of my highlights. Despite the tough subject, this is also a play about a woman sacrificing the woman she loves to save the woman she loves, which makes Not A Very Good Story a great story to experience.

Venue: La Mama Courthouse, 349 Drummond St, Carlton

Season: Until 10 February | Wed, Fri, Sun 6:30pm. Thu, Sat 8:30pm

Tickets: $25 Full | $15 Concession

Bookings: http://lamama.com.au

Events, Festivals, Performances, Review, Theatre, Whats On

REVIEW: The Dead Ones at THEATREWORKS

Remembering those who came before us

By Myron My

The first thing to note about The Dead Ones, now playing at Theatreworks as part of Midsumma Festival, is that this is not like any other performance. There is no acting, there are no characters and there is no ‘script’. The Dead Ones is a presentation, a homage of sorts in which Margie Fischer retells the life of her family, now that she is the last remaining member of it.

Margie-Fischer

Whilst Fischer speaks to us, there is a photo slideshow of her family and the places she describes playing prominently centre stage. Putting faces to the names makes this seem all the more real (even though it already is) and Fischer’s stories seek to strike a more poignant note with the audience.

The thing that disappointed me about The Dead Ones was the level of detachment. Fischer is sharing some deeply moving and personal moments of her life yet I felt little of the emotional connection to what she was saying which I think was pivotal to a piece such as this. I felt in the performance style and language there was a real lack of dramatic rhetoric being utilized.

At times we kept switching from one period of time to another without warning and it seemed as if there were moments where we had already heard particular stories. There was a wealth of tales mentioned about which I – and I’m sure the rest of the audience – would have loved to hear more but it felt like we skimmed the surface of many of these due to the rapid nature of the changes in narrative direction.

Fortunately, these moments don’t detract too much from Fischer’s over-arching and admirable theme of honoring those we have met; those who have lived before us. It was very difficult to not simply go away inside myself and get lost in thinking about the love and loss I have experienced over the years, and the final minutes of The Dead Ones therefore do achieve the show’s goal in being particularly bittersweet and touching.

Venue: Theatreworks, 14 Acland St, St Kilda

Season: Until 3 February | Tues – Sat 7:30pm & 2pm Sat & 5pm Sun

Tickets: $28 Full | $22 Conc

Bookings:  9534 3388 or http://www.theatreworks.org.au

Events, Festivals, Review, Theatre, Whats On

Review: TRANSIT at Gasworks

Buy the ticket, take the trip

By Christine Moffat

Transit is a story about travellers being thrown together by chance and trying to stay together on purpose.  This hour-long production for Midsumma Festival tells the stories of three young Australians living abroad, but it is also the universal story of the first taste of the ‘foreign’.  The three Aussies learn that sometimes travel is difficult, sometimes it’s sublime, but it’s always life-changing.

The show, devised and written by Troy Nankervis, is based on interviews conducted with travellers he met whilst travelling himself in the UK.  The result is a script with sections that are a little undramatic; perhaps these sections follow the interviews too faithfully.  That being said, most of the show is interesting and touching, and ably performed by the three actors. 

Transit

Ewan Whittle is amusing and surprising as the slightly disconnected Tyler.  Ella Di Marco is very watchable in her stage debut as Nicole.  Ezel Doruk who plays Kieran, also does well with difficult task of playing several small characters that help the story flow.

The overall style of this production is a slightly stilted mix of naturalistic and stylised elements.  I much preferred the stylised elements.  For example, director Cameron Stewart created a great series of silent tableaux performed during monologues with the non-speaking actors. I think the two styles would have combined much more successfully if both elements were heightened.

Everything is there in this show, but when working from real life, writers and directors often feel that dramatising will take away from the truth.  However, this  is theatre: I think that Nankervis has a knack for finding the important stories, and should give himself permission to ‘crank up’ his script so that more is at stake for the characters.

I believe that if the script had a little more bubbling beneath the surface, and the production smoothed out its style choices, this show has the potential to be challenging and moving play.  As it stands, Transit is a great piece of new Australian theatre, and an entertaining 60 minutes promising great things in the future from all involved.

Dates: Sat 23 Jan – Fri 1 Feb, 7pm

Venue: Studio Theatre, Gasworks Arts Park, Cnr Graham & Pickles St, Albert Park

Tickets: $22 /$17 Conc

Bookings: www.gasworks.org.au/events/transit

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REVIEW: Here Lies Henry for MIDSUMMA 2013

Dark truths and slick lies

By Myron My

Directed by Jason Langley, Here Lies Henry by Daniel MacIvor is the second show to open at Theatreworks during Melbourne’s Midsumma festival. In Here Lies Henry we are treated to a one-man play where we meet the remarkable Henry, and Henry has something to tell us that we don’t already know.

Here Lies Henry

A single spotlight shines down on the stage as Henry (Matthew Hyde) awkwardly enters and breaks the fourth wall: speaking directly to us, interacting with us and at times, flirting with us.

Hyde is brilliant as Henry and has clearly been taken over himself by this character with dual personalities. There is the initial Henry we meet, who is timid, nervous and fidgety and it’s almost a relentless power struggle between him and the angry, loud and erratic Henry.

As we delve inside the mind of this troubled man Hyde creates and retains all the nuances that make Henry who he is. His body language, the fidgeting, his inflections and stutters remain constant and considering all eyes are fixated on him for the whole time, are very impressive. The confidence of being Henry is evident when he even remains in character to acknowledge and welcome some latecomers into the theatre.

Although Blake Garner’s lighting design and James Luscombe’s sound design are at a discreet minimum in this production, they ensure that when they do come into play, they are used at the most advantageous moments to create the most impact.

The great thing about an abstract play such as Here Lies Henry is that we have the freedom to interpret it as we want. Even the title itself could mean here lies Henry baring his soul and self to us or here stands Henry lying to us, as he openly admits he does.

It takes a lot to make one-person shows successful, as having a sole performer in front of you who not only demands your attention but also deserves it is not an easy accomplishment. Hyde does this and then some in a flawless performance. Here Lies Henry is a thoroughly thought-provoking, experimental piece that will leave audiences thinking about it long after they have seen it.

Venue: Theatreworks, 14 Acland St, St Kilda

Season: Until 27 January | 7:30pm

Tickets: $30 Full | $22 Conc

Bookings:  9534 3388 or http://www.theatreworks.org.au

Events, Performances, Review, Theatre, Whats On

Review: VIEUX CARRE by Tennessee Williams

A rare classic performed with real finesse

By Tania Herbert

Fortyfivedownstairs must be one of the more atmospheric venue spaces in Melbourne, and the conversion into a seedy New Orleans rooming house for ITCH Production’s Vieux Carré was an impressive use of space. Add the live blues artists to the side of the stage for score, and the stage is set for a fully immersive theatrical experience.

In the Midsumma festival of extremes, subtlety is the new black, and the piece still manages to capture a feeling of controversy by running a delicious line between sensuality and crudity.

Photo by Julian Dolman

Noted as Tennessee Williams’ most autobiographical coming-of-age piece, Vieux Carré follows the awkward character of “Writer” who ends up destitute in the rooming house. Who doesn’t love the tried-and-true Williams model of fast-paced humour descending into heart-wrenching angst? – and despite the obscurity of the play, this is Williams at his best.

The quiet entry of Thomas Blackburne as the everyman “Writer” captured the audience from the opening moment, and his beautiful albeit self-conscious presence plays in contrast to the dramatic and colourful individuals around them who find commonality in their individual tales of loneliness.

For an opening night, this was an astonishingly polished performance, and there was a veteran command of the stage by all performers without exception. The immaculate timing and flawless build-up of intensity plays sentiment to the skill of director Alice Bishop, and her tale in the program of having visited New Orleans in preparation for the played out in the authentic feel.

While difficult to single an individual in such an impressive ensemble, particular highlights included the gut wrenching despair of Stephen Whittaker’s performance, Samantha Murray’s exceptional ability to spout a running monologue without breath and Kelly’s Nash’s wonderful range throughout the play.

Vieux Carré is a little piece of life in a box. Not for the dramatically faint-hearted, ITCH Productions have done true credit to Williams and to Midsumma. Highly recommended.

Venue: fortyfivedownstairs, 45 Flinders Lane

Dates: 17th Jan – 3rd Feb, 2013

Tickets: $40 full, $35 conc, $35 groups 6+

Bookings: www.midsumma.org.au or www.fortyfivedownstairs.com