Festivals, Theatre

15 Minutes from Anywhere presents Cock

Cock is hot, Cock is great

By Leeor Adar

 

From the get-go, Beng Oh’s direction of Mike Bartlett’s witty work is sharp and arresting. We are thrust into the ring of a domestic dispute between John (Matthew Connell) and his long-term boyfriend, M (Shaun Goss). The dialogue is the kind of whip-crack smart that makes you laugh and consider for a moment the tortured inertia that lingers between the pair and coupledom at large.

Cock plays out like a fight between M and W (Marissa O’Reilly) for the affections of John, but it rapidly reveals itself to be the fighting rounds in John’s own mind that drive the plot, oscillating between the feminine ideal and the comfort of his accepted sexuality.

Shining the light on bisexuality it would seem, John crushes his poignant observation that love is reserved for the individual and not the gender while he still remains wholly inept at choosing his person. I find myself torn between the belief that Cock is a genuine attempt for Bartlett to unpack bisexuality in a world that seeks to rigidly define desire, or a plot that clenches its fists at the insecurity of indecision whilst moonlighting as an intellectual take on sexuality. Despite these feelings, I am raptured in the glory of the performances and dialogue that truly carry this play.

Emily Collett’s costume and staging is minimalist, allowing for the characters to shine, whilst gussying up W and throwing a stern jacket on the judgemental father figure, F (Scott Gooding), to solid effect.

Goss is pure energy, unrelenting in his performance throughout, countering with his grand movements the wilting indecision of Connell’s almost boy wonder. Connell perfectly captures the differing relationships his character has with M and W. With M, he is the lost boy needing direction in discovered territory, and with W he seeks direction like a voracious and able explorer. One is almost rooting for his passage to W, and not for ultra-conservative reasons, but for the new pathway he forges to a would-be maturity.

Having now witnessed O’Reilly’s performance a second time as W in Cock, she takes the character to a more insecure and jaded place. This incarnation of W frets a great deal more, leaking her truth of the wreckage of a past relationship, throwing her hopes and dreams upon John with the intent that his virgin heterosexuality will invoke a new life for her too.

The entrance of Gooding as F late into the play is a great shift in the dynamic of the piece, carting out now generally accepted archaic belief systems to pick apart the revelations of John’s newfound feelings and desires. F’s focus to define and box the individuals before him largely fails, and he enters and exits Cock’s world like an awkward flashback.

It’s all a bit overwhelming, and in the last gasp of the play, the great question hangs above us all. Quoting critic Michael Billington’s earlier observation, Cock is truly in Schopenhauer’s words, a “tyranny of the weak” – and a spectacular display of it.

 

Cock is being performed as part of Midsumma Festival at Fortyfivedownstairs until 10 February. Tickets can be purchased online and by calling the box office on 03 9662 9966.

Photograph: supplied

Theatre

Old Stock: A Refugee Love Story

Eclectic mix of theatre and music depicts love across borders

By Samuel Barson 

Through the growing anti-Semitism of the early 20th century, millions of Jews began to flee their homes for the West. Although the United States received the overwhelming majority of these immigrants, Canada was also a regular destination of choice for those Jewish communities seeking a safer, better life for their families.

In Hannah Moscovitch’s Old Stock: A Refugee Love Story, this devastating fragment of Jewish history is told through the voices of Chaya (played admirably by Mary Fay Coady) and Chaim (played with undeniable warmth by Dani Oore). The two arrive in Halifax, each escaping their own respective horrors in Romania. With the help of the wonderful Ben Caplan in his narrator role of the Wanderer, audiences are given a heartbreaking yet rewarding insight into what this period of history meant for Jewish people then, and more importantly what it means for people today.

Director Christian Barry must be hugely congratulated. The way Barry curates the humour, the romance, the devastation and everything in between brings Moscovitch’s already exceptional script to new heights. And the fact he was also wearing the lighting and set design hats in this production is additionally admirable – these design elements unequivocally enhanced the cultural and historical contexts the playwright was attempting to display.

It must also be said that Barry was blessed with three incredible actors to bring his ideas and Moscovitch’s words to life. Coady and Oore bounced wonderfully off each other, as well as personally finding the perfect moments to present their characters’ lightness and darkness. Ben Caplan’s role as the Wanderer is one of the greatest, tour-de-force performances I have ever seen on a Melbourne stage. With superb comedic timing and the singing chops to match, this show is worth going to even just to see him.

Special mentions must also be made to Graham Scott and Jamie Kronick who helped elevate the performance with their various musical contributions.

A cleverly eclectic mix of monologue, vocals, instrumental pieces and dialogue, Old Stock has truly set the bar for Melbourne theatre in 2019.

Old Stock: A Refugee Love Story is being performed at Arts Centre Melbourne until 2 February. Tickets can be purchased online and by calling the box office on 1300 182 183.

Photograph: Fadi Acra

Cabaret

Review: The Miss Behave Gameshow

A fast-paced, raucous and euphoric experience

By Owen James

Adorned in sequins and seeping in sass, audacious host Miss Behave holds no punches in this fast-paced, full-throttle theatrical gameshow, where one half of the audience battles the other.

Every game is unique with the title scrawled on a cardboard sign and held up to the audience, think quickly! Some last for less than five seconds, some for five minutes – there are no rules and “cheating is rewarded”. It’s a cathartic hoot, and you’ll find yourself obsessively vying for points within minutes.

Don’t enter the Fairfax Studio at Arts Centre Melbourne expecting to sit calmly in your seat while you enjoy this extravaganza directly from Las Vegas. The Miss Behave Gameshow demands participation, and honestly, it’s nearly impossible to resist the joyful atmosphere.

Anything goes, and anything will get you points. If you think you have a competitive personality, you’ll be absolutely in your element. Miss Behave (Amy Saunders) unleashes gags and comebacks at a rapid-fire pace, feeding off the raw energy of the points-hungry crowd. Sidekick Tiffany is the perfect companion to Miss Behave, playing perfectly timed music from a mounted iPad and filling gaps in the evening by dancing with extremely flexible limbs and eyebrows.

Ensure you prepare for the game with a fully charged phone and having downloaded WhatsApp as the event page recommends – there’s free WiFi to help you win the more electronic challenges.

You’ll dance, you’ll sing, you’ll scream, you might even misbehave, and you’ll certainly see more nudity than you probably expected. While it’s not for the faint-hearted, it’s a raucous and euphoric experience unlike any other show I’ve seen or heard.

Miss Behave celebrates simple, uninhibited fun in a world where stupid men with stupid hair make stupid decisions, and it proves you don’t need anything but some cardboard and a sharpie to create an exhilarating night. It’s worth every penny, so why not take the risk?

The Miss Behave Gameshow is being performed at Arts Centre Melbourne as part of Midsumma Festival until 27 January. Tickets can be purchased online and by calling the box office on 1300 182 183.

Photo credit: Prudence Upton

 

magic

The Illusionists: direct from Broadway

Who doesn’t love a little bit of magic?

By Leeor Adar

Prepare to be completely astonished and awed, as the glamour and trickery of The Illusionists returns to Aussie shores where all the magic began. Simon Painter and Tim Lawson’s inspired production has been tantalising audiences for almost a decade, performing in 350 cities and 35 countries. It’s an unstoppable phenomenon and is as expected, a hallmark of society’s fascination with the dark and seductive grandeur of smoke and mirrors.

The Illusionists features an array of extraordinary talent, who’ve honed their skills and showmanship to mastery. Expect to see the classics: card tricks, femme fatale’s being sawn in half, a bit of the old spook and plenty of laughs. It’s a seriously family-friendly show, and children are delighted to watch and frequently be included in some of the on-stage antics. If audience participation terrifies you, this is not for you. But if you don’t mind a bit of schadenfreude at the hapless individuals who find themselves in the cross-fire of a joke, you’ve really come to the right place.

Featuring some of the most celebrated tricksters from across the globe, one can expect a little bit of something for everyone’s personal tastes.

Paul Dabek as The Trickster is our delightfully scathing master of ceremonies. Dabek’s British flair and wit make for a perfect segue into various acts, and he certainly gets the audience laughing. Humour abounds in this show, and Dabek is joined by Chris Cox as The Mentalist, whose name really lends itself to the type of humour he indulges us in. Cox is another British boss with a stellar repertoire, and his games of guessing leave the audience shaking in both disbelief and fits of laughter as well as awe for those who were subject to his astonishing mind reading.

Mexico’s Leonardo Bruno as The Alchemist is a crowd pleaser, he melts the hearts of his audience with the dancing tissue act, and tissue snow storm for the seriously smaller members of the audience. Bruno’s charm and warmth make him a highly likeable addition to the magical family.

Australia’s own, Sam Powers as The Enigma is both tempting and terrifying as he utilises his astonishing physical endurance honed by NASA technology (actually?). Powers’ execution of the flaming trap trick while being strapped upside down in a straitjacket makes for some tense moments, and I certainly had to look away. Although, don’t be fooled, these guys know what they’re doing with all the tech in the world. Considering Houdini stalked this territory long before without modern trappings astonishes me even more. I certainly wouldn’t survive what Powers can do with elegance and ease.

All the way from France, Florian Sainvet as The Manipulator gives us his science fiction flair wielding cards in a space suit. I found myself less as enthusiastic with this piece, but was later delighted by his street card trick antics and audience interaction – an area he really shines in.

At the crux of the show, Jinger Leigh as The Conjuress and her Showman husband performed by Mark Kalin, love to excite and stir the audience with their large-scale Houdini style illusions. Leigh’s saucy quality lends perfectly to her glowing ball illusion, adding an enchanting quality to the show. For myself and my partner, the most memorable moment of the night came with Leigh and Kalin’s ring trick, which has to be seen to be believed. Taking three rings from audience members, Leigh somehow managed to merge them all to our absolute disbelief. As promised, I’d never look at rings the same way again.

If anything, The Illusionists could close its show on a more grandiose scale than was provided. We were both thrilled with The Illusionists, and vowed to make a beeline for Vegas to catch more shows like this. The larger-than-life tricks, humour and pure showmanship make for an exciting few hours with these amazing performers. I highly recommend to absolutely everyone I know, whether aged 5 or 95.

The Illusionists runs for one week only at the Regent Theatre, Melbourne. Tickets are available online for Saturday 26 and Sunday 27 January or by calling the box office on 136 100. 

*Robyn Sharpe “The Warrior” was not featured in the 22 January show.

Photograph: Laura Osborne (AKA Digital) 

Cabaret, Theatre

Review: The Legend of Queen Kong

Punk, bawdy and a tad confusing

By Bradley Storer

Midsumma Festival 2019 launched this week, and what more appropriate way to blast off than with a story set in the deepest reaches of space?

The Legend of Queen Kong – Episode Two: Queen Kong in Outer Space is the latest endeavour from Sarah Ward, the performer behind the infamous Australian cabaret cage-rattler Yana Alana. Ward introduces us to the mythological and immortal being Queen Kong – half ape, half living rock – in the midst of an epic trilogy, a space journey commencing after a daring escape from Planet Earth. Backed by a queer and gender diverse punk band the HOMOsapiens (Bec Matthews, Gen Bernstein, Jo Franklin and Cerise Howard), Kong vaults from experience to experience in an intergalactic quest of sensation. Complementing the group is the omnipresent Motherboard creatively portrayed and signed by deaf performer Asphyxia via projection with a voice over by singer Ilana Charnelle, whose gorgeous music ranges from rock ballad to operatic aria. Accessibility is paramount in this production, with AUSLAN interpreter Kirri Dangerfield providing live signing (as well as doubling as performer) in addition to surtitles.

Ward commands the stage from beginning to end, wielding her gigantic and miraculously versatile voice with finesse along with her bawdy and fearless physicality. The HOMOsapiens, under the musical direction of Matthews, tear the house down in their rock numbers and play with delicate fragility in the softer musical interludes. Asphyxia, even in projection form, is so charismatic and engaging that they almost overshadow Kong herself!

The show seems deliberately designed to frustrate linear narrative convention, appropriate for a story that involves a black hole reducing time and matter to a singularity where beginning, middle and end merge. Kong reminds the audience at several points that it’s perfectly fine to have no idea what is happening as we loop from event to event, backwards and sideways in time, resisting hetero-patriarchal structures of storytelling.

While there is a wealth of riches in Queen Kong in terms of production, performers and form – as well as definite moments of deep beauty and emotion – it feels as though these elements never quite coalesce into a cohesive whole. Despite the clear themes of patriarchy, religion and resistance that emerge, we’re only left with the message Ward and the creatives of Queen Kong are trying to communicate through Joni Mitchell’s classic refrain: “We’ve got to get ourselves back to the garden”. Nevertheless, the show’s sheer creative vitality and passion is more than enough reason to hope for more accessible-queer-feminist-punk art such as this!

The Legend of Queen Kong is being performed until 20 January at Arts Centre Melbourne. Tickets can be purchased online and by calling the box office on 1300 182 183.

Photograph: Peter Leslie

 

Theatre

Review: Macbeth

The Australian Shakespeare Company present Macbeth

By Samuel Barson

Shakespeare in the park and under the stars. It seems like an idyllic way to watch the work of such a beloved playwright. Unfortunately, in the case of Australian Shakespeare Company’s production of Macbeth, not even the magic elements of a balmy Melbourne night could save it from several elements of mediocrity.

Macbeth depicts the damaging physical and psychological effects that seeking power for power’s sake can have on an individual. The famous tale of power, greed and war was led this time around by Nathanial Dean in the titular role of Macbeth and powerhouse Alison Whyte as Lady Macbeth. In their driving roles, Dean and Whyte both excelled in the bigger moments of the play. The bigger moments being the play’s famous monologues. They tackled their respective monologues with ferocity and intensity, clearly understanding and appreciating the prose they were speaking. The smaller moments however, in which emotions and the stakes perhaps weren’t so high, drifted by and regrettably were overshadowed. Their decision to only put their energy into big soliloquies meant their characters were not as fleshed out as they could have been.

Among the supporting cast standout performances can be credited to Annabelle Tudor, Madeleine Mason and Syd Brisbane as the three witches – their energy and approach to the language was marvellous and exciting. Brisbane also brought what was perhaps the highlight of the night with a particularly hilarious portrayal of the much loved Porter role. The remaining characters were disappointing for the most part. It seemed there was a lack of clarity and understanding in both the scenes and dialogue. The rhythm of their speech rarely varied, meaning that moments went by unnoticed and engagement was lost.  

The design of the production was delightful, especially when the sun had fully set and the splendid lighting bounced off the surrounding trees and gardens, creating a unique theatrical atmosphere to be a part of. Glenn Elston and Peter Amesbur’s lighting design was undoubtedly the highlight of the production. Andrew Nielsen’s sound design also provided some quality moments which brooded and seethed, especially in the scenes where Macbeth and his wife found themselves haunted by their actions.

Although the performances were not as strong or memorable as they could have been, the design brought an undeniably magical quality to this production that makes for a fun and unique night out at the theatre. Director Glenn Elston and the team have created a theatrical world well worth a visit during this festive summer season.

Make sure to bring bug spray! Mosquitoes love Shakespeare and they’re definitely out to play.

Macbeth is being performed until 23 February at the Royal Botanic Gardens, Melbourne. Tickets can be purchased online and by calling the box office on 03 8676 7511. 

Photograph: Nicole Cleary

Kids Theatre

Australian Shakespeare Company presents Alice in Wonderland

Colourful and whimsical, with even a touch of the impossible

By Narelle Wood

The Australian Shakespeare Company’s retelling of Lewis Carroll’s Alice in Wonderland is everything you would expect it to be, colourful and whimsical, with even a touch of the impossible.

The adventure starts, as any good adventure does, by following the White Rabbit (Kathleen Douglas) into Wonderland. On her journey Alice (Ayesha Gibson) encounters many strange and wondrous creatures, including all the old favourites: Tweedle Dee and Tweedle Dum, the Mad Hatter (Dennis Manahan), and of course the Cheshire Cat to name but a few. Humpty Dumpty also makes an appearance, as does Absolem the caterpillar and the Duchess who has some interesting parenting tips.

There are plenty of opportunities for the younger audience members to engage with the characters and be a part of the show. The older generations need not feel left out as they also have a part to play helping to distract the awful Red Queen (Terri Brabon) from her stolen raspberry tarts. Of course, anything to do with Red Queen comes with the risk that someone might lose his or her head, but the risk is totally worth it.

The gardens at Rippon Lea Estate provide the perfect backdrop for Alice’s adventures, with plenty of space to enjoy a picnic and a special spot at the front so the smaller audience members can see. The storyline is enhanced by some very cute song and dance numbers, as well as some good humour to keep the adults entertained.

Everything about the production (directed by Glenn Elston) is great, but the costumes and puppetry are standouts. The White Rabbit’s costume is stunning, and the use of puppetry to bring Humpty Dumpty and the Cheshire Cat to life is very clever. The only thing that was really disappointing is that the cast finished their last song and went straight to photo opportunities with the children; it felt a little bit strange not to have an opportunity to acknowledge their fantastic performances with a round of applause. That being said the photo opportunity was hugely popular, the show a clear hit with the kids.

As a lover of the books, this production does not disappoint. It’s an endearing performance, and has everything one might hope for in a retelling that is appropriate for all ages. It’s a perfect way to spend a summer’s eve.

Alice in Wonderland is being performed at Rippon Lea House and Gardens until 27 January. Tickets can be purchased online and by calling the box office on 03 8676 7511.

Photograph: Nicole Cleary

Kids Theatre

Boyd Productions presents Alice in Wonderland

A colourful ride down the rabbit hole

By Owen James

Alice in Wonderland has been my favourite book ever since I was a child. Its timeless themes and madcap characters have lent the material to countless adaptations for more than 150 years, and this latest touring production is a faithful and colourful rendition that caters adeptly to the whimsy and adventure of children and adults alike.

As Alice ventures through Wonderland meeting assortedly chaotic characters and anarchic animals, she’s very pleased to quench her boredom from the riverbank at the top of the show. Younger children may find it hard to focus on longer scenes such as the Mad Tea Party or the trial of the Jack of Hearts, but overall this 60-minute production moves at a rate of knots, to keep every child engaged and entertained.

Adaptor and director Penny Farrow has ensured that despite the complex linguistic treats inherent in Lewis Carroll’s original text, her production delivers a world easily understood by children through larger than life caricatures and clear, comedic movement. Farrow relies greatly on the audience’s imagination to show Alice’s transformations when she grows and shrinks, and as ensemble members transform into doors, playing cards and wind, her very clever direction proves how little you need to tell a story.

Costumes by Diana Eden, Louisa Bannah and Gayle MacGregor are rich in colour and elaborate in design and detail. Kids especially loved the Caterpillar (Anthony Craig) and Tweedle Dum and Tweedle Dee (Sarah Whalen and Justine Anderson), as well as the expertly realised puppets by Dieter Barry Creations.

Georgina Walker leads the cast as audacious Alice, bringing smiles to small faces throughout the audience from the moment she first steps onto stage. Every member of this eight-person ensemble plays their part with joy and boundless energy – children are mesmerised.

Alice in Wonderland is fantastic school holiday entertainment filled with colour, gorgeous music and costumes, enchanting puppetry and extraordinary storytelling, all of which will delight children of all ages.

Alice in Wonderland was performed 10 – 12 January at Melbourne’s Athnaeum Theatre before touring to Frankston, Bendigo, and Perth. See here for more information about dates and tickets.  

Ballet

Review: Nutcracker

Christmas classic dances into the dreams of a new generation

By Rebecca Waese

Last night’s opening performance of Melbourne City Ballet’s The Nutcracker was a joyful Christmas treat. I saw a number of parents and grandparents clutching the hands of excited young children in the audience who had come to watch young Clara’s dream unfold. I brought my eight-year old daughter with me and teared up when she gasped at the Snow Queen, played last night by Emma Cheeseman, rise and pirouette on pointe in her glorious costume and tiara. With strength and grace the dancers delivered a top-quality performance, choreographed by artistic director Michael Pappalardo and principal artist Brendan Bradshaw, that engaged the audience.

Melbourne City Ballet began in 2013 with the vision of director Michael Pappalardo, a former dancer, who saw a need for a professional ballet company that could deliver the classical stories to audiences without the exorbitant ticket prices associated with the ballet. With a surplus of highly-trained dancers in the city, Pappalardo saw an opening where dancers could use their talents and provide accessible classics to metropolitan and regional audiences right in their communities. In The Nutcracker, Melbourne City Ballet brings together dancers from their Finishing Year Program and Ballet School as well as children from the Community Participation Program to play minor roles.

There was a commanding stage presence by Uncle Drosselmyer (Brendan Bradshaw) and an enjoyable sibling rivalry by last night’s Clara (Yuiko Masukawa) and last night’s Fritz (Soji Shinse). Masukawa’s grace and flexibility gave her an ageless quality and sense of wonder as Clara. For me, the Arabian dancers were a highlight, particularly the lithe extensions and sheer strength of Alex Rolfe whose grace and muscular structure was a sight to behold. Emma Cheeseman as the Snow Queen was captivating and the magic of the snow and the growing Christmas tree did not disappoint. For the young boys in the audience, unfamiliar with the sheer athleticism of dance, there were the astonishing mid-air split jumps of the Russian Dancers and creeping life-size rats to intrigue them.

With the film The Nutcracker out this Christmas holidays, this is a terrific opportunity to take the family to Melbourne City Ballet first and follow up at the cinema to see how the storyline comes alive differently on stage and on the screen. The music by Tchaikovsky is recorded but still emotive and stirring. There were a few inconsistencies with synchronicity of legs near the beginning and a few wobbles here and there, but overall I was impressed with the quality and polish of the performance. I was grateful to Melbourne City Ballet for dancing this joyous version of The Nutcracker into the dreams of a new generation of young dancers. Buy a ticket for a young dancer you love, as it’s a great pre-Christmas treat to enjoy together.

 

The Nutcracker is being performed 14 – 16 December at Darebin Arts Centre, 20 December at Frankston Arts Centre and 21 December at Plenty Ranges Arts & Convention Centre. Tickets can be purchased online. 

Rebecca Waese is an Honorary Associate at La Trobe University in the Department of Creative Arts and English.

Musical Theatre

Review: Evita

Tina Arena’s lead receives a standing ovation

By Samuel Barson 

There is something undeniably refreshing about the story of Eva Perón. First and foremost, she was very much a woman in the centre of her own story. And while her husband was the President of Argentina, she too had a great deal of power as a celebrated actress and tireless advocate of workers’ rights and women’s suffrage. The truthfulness of her humble beginnings and subsequent life story also provide audiences with a break from the clichéd romanticism of many biopic stage adaptations. In this Australian tour of Evita, director Harold Prince has curated a strong cast and has created the most powerful, raw and heartfelt of musical productions.

I am usually quite cynical of big names being cast in big Australian productions. In an age of repeated casting, it’s become quite easy for certain showbiz personalities to be cast simply because of who they are. Tina Arena is a significant exception. Her grace, beauty and talent shine tenfold in her portrayal of the titular character. Her voice is reliably flawless, and she pleasantly surprises with her acting skill. Despite the numerous scenes and range of notes she perfects, the most memorable moment of the night was the curtain call. The tears Tina shed as she looked out into the large sea of a standing ovation perfectly reflected a humility and grace rarely seen on stage.

Supporting her were two equally impressive men. Tony Award winner Paulo Szot did the required work as Eva’s stoic husband, Juan Perón, to allow Arena’s Eva to take charge. Kurt Kansley was particularly impressive as Che, guiding the audience along with utmost energy, humour and aggressive charm in his role as narrator.

Rounding out the support cast were the charismatic and flashy Michael Falzon as Magaldi and recent high-school leaver Alexis van Maanen in a wonderful yet brief turn as the Mistress.

The ensemble cast were tight and provided the leads with an intricate and brilliant support network. Larry Fuller’s choreography put the cast to good use as they filled the stage and evoked the emotions of the Argentinian people.

Timothy O’Brien and Richard Winkler’s respective set and lighting design managed to be epic yet not too overdone. In collaboration with Duncan McLean’s clever video and projection design, they transported audiences into the essence of 1940’s Argentina and left room for our imaginations to fill the gaps. Mick Potter’s sound design complimented David Cullen’s exquisite orchestration, and Guy Simpson did a beautiful job in conducting their work.

Evita is a delightful production, with arguably the strongest leading musical cast to be seen in Melbourne. Tina Arena proves herself to be one of Australia’s most dynamic and versatile performers, and she is supported by a cast that I hope to see more often on Australia’s mainstages. Tickets to this production could be the perfect Christmas present for those who enjoy an entertaining night out.

Evita is being performed at Arts Centre Melbourne’s State Theatre until 17 February 2019. Tickets can be purchased online and by calling the box office on 1300 182 183.  

Photograph: Jeff Busby