Cabaret

Review: Tattle Tales

Come one, come all!

Leeor Adar

We descended down the stairs of the Bard’s Apothecary in Melbourne. Fitting name, fitting cocktails. Theatre with a tarot reading is an appealing concept. I haven’t stumbled into a reading in years, but before Tattle Tales starts, performer (and founder of Ponydog Productions) Davey Seagle gives my friend and I a tarot reading with half a deck (but magic is magic, you see). For true believers, it’s a damn good reading. For the sceptic, half the deck sits candlelit a table away.

It’s cosy down below, and Seagle is an excellent storyteller who expertly sets the mood for the evening. It’s a little mysterious, quite fun, and at the same time surprisingly relaxing for an immersive show. That’s largely the doing of Seagle’s respectful approach, which in turn sparks engagement with the more introverted among us. 

Weaving the audience together into groups, we’re choosing our fate and adventure for the next 60 minutes. Everyone politely urges a member of each group to choose the group’s fate and select a tarot card at different points. Each night is a new group, new reading and new storyline. We fall into classical storylines quite easily, but sometimes you need to spice things up. I offer a thumbs down (quite the anti-hero) and the audience gasps. What have I done? Well, the group behind us with the Sun card are feeling suddenly vengeful. And that’s the magic of it. Each group brings the unexpected, and Seagle is a magical facilitator with a wise voice to guide us along.

Ponydog Productions (Hotel Bella Luna) is based in Sydney, and is a relatively new immersive theatre company. Tattle Tales, created by Seagle and Lachlan Ruffy, is their first show in Victoria as part of the Melbourne Fringe Festival… but something in the cards tells me it won’t be thier last.

Tattle Tales played at the Bard’s Apothecary as part of the Melbourne Fringe Festival

Photo by Aaron Cornelius

Theatre

Review: Ghost Stories

Spooky symposium
Owen James

Endowed in hazard tape and festoon lights, the bellows of Melbourne’s Athenaeum Theatre make for the perfect location for a night of Ghost Stories. The intimate yet cavernous space is superbly transformed into numerous locations through extremely effective Lighting Design by James Farncombe and stunning Production Design by Jon Bauser; the production looks a million dollars.

Penned by Jeremy Dyson and Andy Nyman, the play was a long-running smash hit in the West End, and it’s easy to see why. Designed purely to elicit screams and yelps from audience members tempted by a ghoulish evening, the text relies, as all good horror does, on capacious sequences of suspense, exploding into heart-palpitating jumpscares. This is a very fun night at the theatre, and hearing the packed Athenaeum scream together is a delight.

Taking the form of a horror anthology ala Creepshow or Tales From The Darkside, three seemingly isolated stories are framed by the conceit of a lecture dissecting the history and mythology inherent in Ghost Stories themselves. Steve Rogers masterfully leads this ongoing lecture as Professor Phillip Goodman, whipping through sometimes extraneous passages with delight, and coping with building horrors of his own.

While staving clear of spoilers, it’s safe to say the first story featuring Jay Laga’aia as unnerved nightwatchmen Tony Matthews is undoubtedly the strongest. Laga’aia lulls us into a tense sense of calm as his horror draws closer and closer, milking the building stress in a realistic and cathartic performance that is the highlight of this production. Laga’aia’s exquisitely paced storytelling is aided by, again, superb Lighting Design from James Farncombe.

Darcy Brown plays stranded motorist Simon Rifkind with delightful dread, and Nick Simpson-Deeks is perfectly cast as smarmy businessman Mike Priddle, tormented with infantile terrors. Strong Direction from original creative team trio Jeremy Dyson, Sean Holmes and Andy Nyman successfully lands each tale and its alarming climax, rewarded with screams from the baited crowd.

Mastering horror on the stage is a difficult and admittedly rarely explored feat, and Realscape’s production of Ghost Stories tackles this challenge with tremendous design and absorbing performances. Sure, the scares are silly sometimes – but isn’t that the point of a good ghost story?

For the next couple of weeks, every time a streetlamp flickers, I’ll think of Ghost Stories, playing a limited season until November 5: https://www.ghoststoriestheshow.com.au/

Photography courtesy of Charles Alexander

Review, Theatre

Review: The Meeting

Enter a dreamer and a revolutionary with a plea for equality still missing today 

By Sebastian Purcell

The Meeting is an outstanding theatre play depicting a fictional dialogue between American Civil Rights Activists, Dr Martin Luther King Jr (Dushan Phillips) and Malcom X (Christopher Kirby) in February 1965. Playwright Jeff Stetson brings events that occurred nearly 60 years ago alive and transforms them into contemporary issues that are at the forefront of today’s political discourse; he play was conceived nearly 35 years ago yet is strikingly relevant now.  

The Meeting explores Dr King Jr’s and Malcom X’s opposing views of how to bring about societal change and equality to African Americans, one dedicated to non-violent means and peaceful demonstrations and the other advocating an advance to freedom through revolution with the ends justifying the means, even if that includes violence.

Peter Mumford (set and costume design) and Richard Vabre (lighting design) immediately place you into what feels like the Audubon Ballroom, New York, where Malcom X was assassinated on February 21, 1965, and later transitioning to the balcony in which MLK Jr was assassinated three years later. The staging, while sparse, cleverly uses a large wooden table as the centrepiece depicting the meeting, the balcony and even competing ideals of the two activists. The lighting and sound (Justin Gardam) works to transport the audience to what feels more like a memory, using almost sepia tones as if to say the movement, and those who fought for its ideals, are beginning to fade like an old photograph with the passage of time.

Director Tanya Gerstle has excelled in all elements here, firstly through casting. Not only do Phillips and Kirby go toe to toe for 60 minutes in both a verbal and physical contest, but Kirby’s towering and athletic physic adds to Malcom X’s heightened sense of willingness to use force to create change. It is a wonderfully paced play and the addition of Akkhilesh Jain as Malcom X’s body guard offers levity in what is a tense and thought provoking story. Jain had the audience laughing out loud with his well-timed quips, and serves as a physical representation of the pawns which Malcom X is fighting to protect in his game of chess.

Phillips and Kirby as Dr King Jr and Malcom X respectively are captivating. Their verbal sparing is delivered with conviction and clarity. The energy from both is cleverly aligned to their characters; Phillips is calm, stoic, patient, non threatening, aligned to that of his beliefs in civil protest, while Kirby is more rash, forceful in delivery and bold and physical in his performance.

Some of the clear messages that arise from The Meeting include: that non-violence does not equal non-action; that we all have to put in to create a better, more equal society; and that while the systems and laws may change, if those who wield power and hold privilege don’t change then the application of those laws and systems will continue to disproportionately affect those they were intended to uplift.

The Meeting is a timely reminder that even when our philosophies differ, pushing in the same direction will support achieving equality for all, much sooner and with far less resistance.

The Meeting is presented by Red Stitch until to 23 October in St Kilda, tickets available at Red Stitch or via Melbourne Fringe Festival 

Promotional photo by Robert Blackburn & Work Art Life Studios

Circus, Theatre

Review: Circonoclasm – NICA

An enthralling exploration of art

By Leeor Adar

Always in for a treat, NICA delivers an enjoyable romp with a message from its second-year student ensemble.

Directed by David Woods (Ridiculusmus Theatre Company, London), Circonoclasm is a sharp and fun take down of the sacredness of the arts space. In the National Australia Gallery, the artwork’s shelf life is brief as elastic thieves swing, bounce and flounce between the bored security guards. As the nation collectively yawns, bored by the art perhaps, or bored by the way in which it is displayed, the capable hands of thieves go to work.

“Not our fault” is repeated by a gussied-up Maya Davies, who in a transatlantic accent delivers a history of all the failed attempts to preserve past works. In Woods’ own words, the “deadpan physical theatre schtick” is the mode for which iconoclasm is explored by the students in this 70-minute performance. The messaging is clear: the arts has given way to excuses and corporate sponsorships, where art for art’s sake is preferred to quality. One could say we experience Circonoclasm as shtick for schtick’s sake, but I like that Woods has injected something deeper into the showcase of NICA’s talent.

The talent is indeed on display, which is a hard feat to pull off when you have a 23 strong ensemble with their own unique skill to showcase. We cycle through Seurat (with a magical nod to the circus), Michelangelo and Munch to name a few, as works of art come to life through the physical expression of the performers.

Dominating the performance is a series of heists that toy with physical boundaries, but the plot thickens (as does the humour) with enquiring characters, a dog-pigeon, and some fantastically mind-bending backtracking. In an attempt to uncover the architects of the heist, we are treated to a series of hysterical vignettes where the guards interrogate one another. Notable mentions to Dean Moran’s compelling relationship with an orange, and Harrison Sweeney’s great seduction.

Overall, I was enthralled with NICA’s talent and Woods’ vision.

Circonoclasm was performed at the National Institute of Circus Art. For more about NICA visit https://www.nica.com.au/

Musical Theatre, Review, Theatre, Whats On

Review: Freaky Friday

Family, love and hard truths, by Kiana Emmett

Theatrical’s Victorian Premiere of Freaky Friday is a fresh new take on the Disney movie we all know and love, bringing a familiarity and an updated viewpoint on the story of Mother and Daughter who switch bodies.

As the two leading players, daughter Ellie (Lyla Digrazia) and mother Katherine (Stephanie Powell) are both strong. The score is a big sing, and they both do well to keep up with it throughout the piece. Powell’s comedic timing as the daughter Ellie trapped in her mother’s body is well executed and highly entertaining, she manages to perfectly execute the differentiation between the physicality of mother and daughter. Her solo moments including ‘Parents Lie’ and ‘After All of This and Everything’ were heartfelt, and these emotional ballads are where she seemed to thrive the most.

Digrazia’s performance was deeply grounded and was a strong presence on stage, setting the precedence for those around her. Her vocals were strong, and she was at her best during ‘Oh Biology!.

The standout of the production however was Michael Gray as Katherine’s husband to be Mike. His vocal prowess was undeniable but felt underutilised in a score that so heavily featured mother and daughter. 

Vocally, the highlight of the show was ‘Bring My Baby (Brother) Home’ near the top of at two with Digrazia, Powell and Gray all at their strongest and most impressive.

The supporting cast gave strong performances, with Jessi Neilsen Carreno, lending her strong voice to play Ms Meyers during ‘Watch Your Back’ as well as a multitude of other cameo roles. Jack Lear’s comedic timing was brilliant, with small interjecting lines throughout the piece that had the audience in stitches. Tach Sutton was also strong as Katherine’s assistant Torrey.

There were a few issues and malfunctions of set and props throughout the show, and I felt the transitions were at times a little clunky, but as a whole the production was strong in its delivery of story above all else. The intimate setting of Chapel off Chapel was perfect for the scale of the production and the lighting design was crucial in the believability of the magical aspects of the show. The lanterns used in the opening of the second act were also effective, with cast members heading into the audience, enhancing the relationship between story and audience.

Musical direction by Peter Pham Nguyen was strong, with harmonies being clean, and packing a punch when it really mattered. The work done with leads especially in their vocally demanding performances was clear, and helped to further the story more.

Theatrical’s Freaky Friday depicts the importance of family and love, accepting hard truths in life and coming together despite it all. It is a hilarious, heartfelt night out!

Freaky Friday is playing at Chapel off Chapel until the 18th of September. Tickets are available at:

https://chapel.sales.ticketsearch.com/sales/salesevent/76184

Cabaret

Review: Il Mago di Oz

Journey into another world, by Owen James

Victorian Opera’s production of Il Mago di Oz (The Wizard Of Oz) is a delightful cornucopia of music, design, and storytelling that is sure to put a Ozian smile on your face. Keeping faithful to L. Frank Baum’s original text (now 122 years young), composer Pierangelo Valtinoni and librettist Paolo Madron incorporate characters and plot points that differ slightly from the famous 1939 film, keeping us intrigued every step along the Yellow Brick Road, and twisting our expectations to ensure their work stands on its own in the labyrinth of Oz adaptations.

Georgia Wilkinson shines as Dorothy, a role she was born to play. Adorned in silver shoes (as the original novel dictates – no ruby slippers here!), Wilkinson glides over impossible motifs and confidently fills every crevice of the magnificent Palais without amplification. Her high notes in the penultimate scene melt effortlessly in the air, and she pulls us in to Dorothy’s fairytale with expert repartee between fellow cast and audience alike, emanating joy for performance in every beat.

The Scarecrow (Michael Dimovski), The Tin Man (Stephen Marsh), and The Cowardly Lion (James Emerson) are an equally matched troupe, in vocal prowess and high-strung comedic energy. They each have a distinct sound that defines their characters, and together, provide a masterful blend for a male trio – among the best I’ve heard.

Tiernan Maclaren is the audience favourite as thoroughly over the top Guardian of the Gates, and The Wizard Of Oz himself. Maclaren cracks smiles not only throughout the audience, but in the ranks of the masterful children’s chorus, a highlight every time they pour onstage. Staging Director Constantine Consti has given these cheeky munchkins clear, defined movement – an impressive feat given their number and age!

There are no hummable melodies in Pierangelo Valtinoni’s score, but still it is a musical paradise. The children’s chorus are used to spectacular effect, especially in darker moments, where their haunting phrases remind me of compositions by Michael Abels and Indigenous ensemble Spinifex Gum. Valtinoni captures the atmosphere for each scene with rousing orchestration (divinely conducted by Chad Matthias Kelly), embellished by Paolo Madron’s often amusing libretto, which makes skilful use of purposely out of place slang, always rewarded with a laugh. Daniel Gosling’s projection and lighting design amplifies this magical score, reaching its apex when Dorothy and crew arrive at the Emerald City; the Palais shimmers in green from top to bottom. Costumes by Mel Serjeant are stunning, beautifully tailored for each character and packed with detail.

Il Mago di Oz ran for only two performances, and is another remarkable new work from Victorian Opera. Here’s hoping the season’s success prompts a return in the near future: https://www.victorianopera.com.au/season/il-mago-di-oz

Musical Theatre, Review, Whats On

REVIEW: Nine To Five

Come for Dolly, stay for the powerhouse performances

By Kiana Emmett

In 1980’s America, three women work together to dismantle the ‘boys club’ that keeps them confined. Dolly Parton’s 9 to 5 is a sobering and inspiring look at female empowerment. Set up by Dolly herself as a world ‘different to our own’ at the start of the show, the misogynistic constraints of the corporate world, and our society as whole, are put on full display in how little we have changed in the time since the original source material. A love letter to the power of female friendship and strength, 9 to 5 is a glittering production full of ‘Hart’.

Led by some of the finest performers in Australian musical theatre, 9 to 5 is strong vocally. Between the dazzling harmonies, both in an ensemble context such as the titular number and between the principles in beautifully intimate moments like ‘I Just Might’.

Marina Prior is a force as Violet, confident and reliable. Although she seemed to have some issues with sound in the opening number, she well and truly made up for it in her jazzy solo number ‘One Of the Boys’, where Violet shares her aspirations to break-through the gender disparity in management.

Erin Clare was dynamic and thoroughly engaging as the Dolly-esque Doralee, bring charisma and heart to the role, as well as a killer set of pipes! Her struggles as an employee encountering harassment in the workplace was strikingly poignant and well delivered.

Casey Donovan was a knockout as Judy, vastly different to other musical theatre roles she has taken on. She excelled in not falling into the trap of treating Judy as the victim, but instead portrayed a strong, independent woman who needed the support and clarity in order to fully realise that independence. Her act two showstopper ‘Get Out and Stay Out’ rightfully had her audience on their feet, both as a result of her moving simultaneous depiction of vulnerability and strength, as well as her otherworldly vocal prowess.

Stealing the show however was the iridescent and magnetic Caroline O’Connor as the secretary Roz Keith, obsessed with her boss. She had the audience hook, line and sinker, following her every move in her limited time on stage. With her impeccable comedic timing, incredible dance capabilities and a brassy musical theatre belt that is second to none, she had the audience in stitches in her big number ‘Heart to Hart’. O’Connor’s characterisation is a masterclass in performance and resulted in an almost instant standing ovation when she came out for her bow.

As the egotistical Franklin Hart Jr. Eddie Perfect is hilarious. He treads the line between unlikability, with outdated lines that bring a hush over the crowd by the sheer audacity of them, and hilarity. He is a great example of an irredeemable character, that has no real full circle, or remorse for his actions. He is uncannily able to present this farce of a human, who is so exaggerated and yet as an audience we can so easily compare him to someone we have met.

The set design and lighting work in tandem to create the true 80’s feel of the piece, with the use of colour in the second act a nod to the change in leadership, and celebration of diversity in the workplace.

The ensemble were a strong unit that were used well in their limited capacity as other office members. The level of talent and commitment to choreography was stunning, and the choreography wowed from the opening number through to the conclusion of the piece whenever used.

9 to 5 guises as a night of fun, and it truly is so much fun, but at its core, this new production is a commentary of the tumultuous social landscape, and the inequality faced by women in the workplace. It also stands to share the power we have to ‘change it’ if we all commit to the creation of the greater good. Come for Dolly, stay for a brilliant night of powerhouse performers, a powerful message and a smile that will stay with you long after you leave the theatre.

9 to 5 is currently playing at the State Theatre through September 16th. Tickets available at: https://www.artscentremelbourne.com.au/whats-on/2022/musical/9-to-5-the-musical

Photography by David Hooley

Comedy, Musical Theatre, Review, Theatre, Whats On

Review: Six the Musical

The six not-so-merry, but incredibly fierce, wives of Henry the Eighth

By Narelle Wood

Six the Musical is a modern, girl-power infused, diva-driven, retelling of the stories of Henry the Eighth’s wives or, more accurately, ex-wives.

Catherine of Aragon (Phoenix Jackson Mendoza), Anne Boleyn (Kala Gare), Jane Seymour (Loren Hunter), Anna of Cleves (Kiana Daniele), Katherine Howard (Chelsea Dawson), and Catherine Parr (Shannen Alyce Quan filling in for Vidya Makan on opening night) are each given their moment to tell their story, win the audience’s sympathies and, in the process, reveal a little bit of untold history.

Each queen is inspired by different queens of pop, such as Adele, Beyonce, Britney, Rihanna, Alicia Keyes and Avril Lavigne. The songstresses’ styles permeate each performance from attitude, musical genre, to dance moves, as well as the costumes and styling. Costume designer, Gabriella Slade, has created masterful pieces befitting all the dancing queens. In any other musical, the amount of detail and number of diamantés could be too much, but every part of these bedazzled outfits, including the shoes (I would like pair), are in and of themselves a piece of art.

I must admit, in terms of performances, I found myself gravitating towards the musical genres and artists that would normally fit within my musical tastes. So, the standouts for me were Gare’s Boleyn and Daniele’s Anna of Cleves. Both Gare and Daniele capture the playful edginess of Avril Lavigne and Lilly Allen, and Nicki Minaj and Rihanna respectively; they also had the added bonus of being the more up-beat solo numbers of the show.

The book by Toby Marlow and Lucy Moss, capitalises on the rock-musical genre with a little bit of a Cell Block Tango feel and not too much dialogue. The staging is minimal yet effective, and the all-female back-up band, the Ladies in Waiting (Claire Healy, Heidi Maguire, Kathryn Stammers, Debbie Yap and Ann Metry), were phenomenally tight. I couldn’t help but wonder though what directors Moss and Jamie Armitage would do with a much bigger stage, or if Six might benefit from a theatre more suited to a rock concert; it felt at times very small for a cast of six women with such big voices and a band with such big sound.

I did worry at times about how the stories were held together and what commentary the retelling might be making on the worthiness of female historical figures. But Six is a very self-aware show and doesn’t shy away from highlighting potential problems with either the show or how these women have historically been portrayed.

If you are a history buff, a fan of pop-princesses and diva-queens, and don’t flinch at the thought of watching Eurovision, then Six should definitely be on your list of musical theatre to see this year. And even if you’re not any or all of those things, Six the Musical will definitely educate and entertain.

Tickets from $89 available at https://premier.ticketek.com.au/. Six the Musical is on at the Comedy Theatre until 7 August 2022.

Photography by James D Morgan-Getty

Opera, Review, Theatre

Review: The Who’s Tommy

By Kiana Emmett

In it’s Australian Premiere, The Victorian Opera’s production of The Who’s Tommy is a camp, acid trip into The Who’s ground-breaking concept album. Following a young boy who is ‘deaf, dumb and blind’ that becomes a Pinball Wizard, Tommy is a step back in time, told with a modern twist.

Stylistically, it feels as though the production sits between two different time periods: what is indicated by the story and music, and what is chosen vocally. The vocals of especially the leading cast are more contemporary, whereas the music suggests a more old-school rock sound, of which The Who are synonymous with. That being said, musical director Jack Earle treads the line between these two well, and helps the cast to shine musically.


As the show is a Rock Opera, the story is sung through, and the tight knit, in-sync band are to be commended for driving the show, as it felt as though the music was thrusting the show forward rather than anything else. At times this I felt as though it was a little rushed, with there not being a moment to acknowledge the end of a song with applause before the audience were back into the action. I found this intense and overwhelming some of the time, with not much time to comprehend where the show was going. The costume design by Isaac Lummis was well done, with clear depictions between time and space. The Acid Queen’s flamboyant and dramatic costume was a highlight, as were Mrs Walker’s multitude of costume changes throughout the show.


Amy Lehpamer as Mrs Walker was divine. ‘Smash the Mirror’ was a highlight as her chilling vocals carried all the way through the Palais. The emotional complexity of her character was clear, despite her limited opportunities to really externalise it. Her anguish for her son, and her complicated relationship with her husband I found thoroughly engaging. Matt Heatherington was magnetic as Captain Walker, always drawing your eye with his presence on stage. The gravel like tones of his voice, mixed with the character’s sophisticated, put together dress sense was an interesting juxtaposition between his past experience, and how he wanted those around him to view him. His voice was extraordinary and his performance was a standout.


The ensemble were strong throughout, linking scenes and times together with their clear character presence that really built and enhanced the world. ‘Pinball Wizard’ and ‘Miracle Cure’ were particular standouts. Aided by the richness of Dana Jolly’s choreography, where the music and lyrics failed to provide clarity, they were there to soften the blow.


Vincent Hooper and Kanen Breen were both brilliant in their portrayals of Cousin Kevin and Uncle Ernie, dynamic, while bringing the darkness needed in their abusive characters. They helped make up a cast of truly exceptional vocalists, there was no faulting the musical capabilities of the cast as a whole.
Mat Verevis as Tommy was intricate and well executed, with the depth and complexity required to make an audience relate to a character that for the vast majority of the show cannot present their emotions whatsoever. His voice was stellar, and I found him captivating.


The Who’s Tommy is a whirlwind of 70’s rock and roll, and will be thoroughly enjoyed by anyone who is familiar with the source material of the concept album and film.


The Who’s Tommy is playing at The Palais Theatre through March 1st. Tickets can be purchased through the Arts Centre

Photography by Jeff Busby

Musical Theatre, Review, Theatre

Review: Fun Home

By Kiana Emmett

Moments are transient, memories are at times unreliable, though once a person is gone, grappling at those moments are all you have left.

In the Melbourne Theatre Company’s vibrant production of Fun Home, cartoonist Alison Bechdel’s journey to find truth and clarity about her father’s death leaves her spiralling into her upbringing, reliving both light and shade through her Little and Medium Alison counterparts. Based on Bechdel’s graphic memoir, with book and lyrics by Lisa Kron and sweeping score by Jeanine Tesori, Fun Home made history with the first female writing team to win the Tony Award for Best Original Score. Its appeal translates to Australian stages, with its universal themes of family, loss and identity making a heartfelt production.

The sharp, meticulously executed direction by David Bryant brings out the humour and heartbreak of the source material, and ‘Come to the Fun Home’ was a crowd favourite, with the performances of the younger cast garnering praise and applause. ‘Ring of Keys’ specifically was performed with pinpoint precision, excellently depicting an innocence and a knowledge far beyond her years.

Ursula Searle as Medium Alison was near perfection. Her portrayal was raw and vulnerable, awkward and uncomfortable and uplifting, it was exactly what life should be. She put her whole life force into the character and the result was a depth and immensity that was a joy to watch.

Alicia Clements’ set design is spectacular, and the use of the roundtable stage was especially poignant, representing the cycle of life and death, and how the two are inextricably linked.

Musical Director Carmel Dean presents vocals and a 7-piece orchestra that ebbs and flows and feels as alive and present as those on stage. It always feels as though the music is a manifestation of character wants and needs, instead of being for the sake of song- the sign of a great musical.

The standouts of the production however were parents Bruce and Helen Bechdel (played by Adam Murphy and Silvie Paladino respectively). They brought depth and complexity to their characters. Paladino’s ‘Days and Days’ was soul crushing and exquisite. Her electric presence and energy on stage spills out into the audience and touches anyone lucky enough to be in the presence of her performance. Murphy’s portrayal is a triumph, the complexity and subtlety of his performance of which treads the line between his responsibilities as a parent and his duty to be true to himself as an individual. This often manifests itself in angry outbursts taken out on those around him, which would be more truly directed to the world he lives in. He longs for the opportunity to be as open and forthright with his identity as his daughter is.

Euan Fitstrovic-Doidge’s vocal prowess is on full display with ‘Raincoat of Love’, as was his versatility, as he slid through characters effortlessly throughout the piece.  

The candid, conversational tone that Alison (Lucy Maunder) brings to the show provides relief from the larger, more complex issues taking part in non-linear vignettes. She is understated at first, before finding herself falling into her memories, which makes her shift into ‘Telephone Wire’ (where gay father and daughter long to connect over their similarities, instead of divide themselves in their differences) all the more heartbreaking and beautiful. This transformation at the end of the show, where we’ve seen Alison grow, mature and find herself, from the little girl who didn’t want to wear a dress, and sees herself in the butch delivery woman she encounters in a diner, To an overexcited college student who is exploring her sexuality with Joan (excellently portrayed by Emily Havea, who brings sultry and supportive tones), to the mature woman who leads us through the show, grappling with the death of her father is brilliantly executed and thoroughly engaging.   

Fun Home is a celebration of self-discovery, family and love, with the joy of discovery, ecstasy of love, and the crushing pain of loss. It is an invitation to view the impact of not living authentically as oneself can have on a person and their loved ones. Fun Home is a ground-breaking triumph. You must see it.

Fun Home is playing at the Art Centre Playhouse through March 5th. Tickets can be booked at: https://www.mtc.com.au/plays-and-tickets/whats-on/season-2022/fun-home/