Kids Theatre, Musical Theatre

StageArt Presents Garfield: A Musical With Catitude

Garfield roars, or rather sarcastically purrs, onto the Chapel stage to delight children and adults alike.

By Owen James

Garfield: A Musical With Catitude sees the titular feline leave his safe surroundings at home with owner Jon and go exploring for his “fantastic birthday” in alleys and daydreams. Accompanied by animal friends Odie, Arlene and Nermel, together they contemplate life as pets, and avoid animal control in the scary outside world. Garfield is StageArt’s first school holiday show produced for children and does not disappoint.

Director Luigi Lucente has milked the child-friendly book by Michael J. Bobbitt and Jim Davis for all it’s worth, creating a colourful palate of lively characters that make children squeal and adults smile. You can’t help but grin and giggle in this delightful world.

Musical Director Caleb Garfinkel has made the most of the zany music by John L. Cornelius II. With beautifully executed harmonies peppered throughout, this ensemble of five brought this simple but charming score to theatrical life.

Madison Lee’s choreography is highly energetic and rarely leaves characters a moment to breathe. Children will delight in enthusiastic and playful movement that keeps the imagination of young audience members active.

With his sour attitude leaping out of the comic strip and onto stage, Lachlan Graham’s Garfield has ten times the energy of any cat I’ve ever met. Graham’s expert grasp on physical comedy induced frequent laughter, and his genuine enthusiasm for the role and for theatre for youth shines in his performance.

Garfield’s friends Arlene (Grace Browne), Nermel (Laura Greenhalgh) and Odie (Callum Warrender) deliver highly polished performances with beautifully clear caricatures that engage even the youngest attendee. Never once dropping gusto or focus, these characters dance and sing their way through Garfield’s pessimism, reminding us to look for the silver lining in every situation. Warrender as Odie was a special fan favourite, with his lines including “woof” and “bark” inducing many squeals and smiles.

Garfield is a treat. Adults will love the scattered pop culture references, kids’ faces will light up at the animated onstage antics, and “I Hate Mondays” will stay in your head for the rest of the day. With a running time of only 60 minutes and ticket prices as low as a movie ticket and small popcorn, Garfield makes purrfect school holiday entertainment.

Garfield: A Musical With Catitude plays at Chapel Off Chapel until 13 April.  Tickets can be purchased online and by calling the box office on 03 8290 7000.

Comedy, Festivals

MICF presents Sketch Me Like One of Your French Girls

Enter the mad, mad world of David Massingham

By Leeor Adar

David Massingham is a one-man show of wonder, and he takes you and your fellow audience on an adventure, and one that requires you to become a part of the act. Now, that isn’t exactly everyone’s taste, but I can assure you that even the wallflowers of the audience had smiles bursting at the seams as Massingham drew them into his mad, mad world.

Set in a gorgeous and intimate room in Tasma Terrace, one really feels like they’re in a boudoir being sketched by an eccentric. With artful use of voice over, and a fantastic set of drawings to accompany his sketches, Sketch Me is an utterly spirited and innovative sketch show. Massingham’s marvellous embodiment of a multitude of characters, and brilliant knack for unique sketch makes this a highly enjoyable show for this year’s Melbourne International Comedy Festival.

Massingham is kind of a big deal already in comedy circles, he’s a state finalist for Raw Comedy Queensland (where he hails from), is a member of The Sexy Detectives, and has been running shows since 2015 for the Melbourne International Comedy Festival. He swims in his material, and as a comedic improv master, he’s not afraid of his audience, but rather harnesses the audience’s power to his bidding. This particular quality features frequently in his sketches, where he anticipates audience avoidance, and instead turns it into participation. I won’t let on how he does this, but at one point he uses his sketchpad.

Within a series of sketches, some are recurring, and honestly garner the most laughs. I had a perpetual smile on my face, teeth ready for the next toothy laugh. The audience became Massingham’s co-conspirators in the humour on show, and it takes a truly talented performer and sketch writer to harness us all on stage with him. This is what really drives the success of Sketch Me, between the clever plots and puns, Massingham challenges his audience through breaking – no, smashing – through the fourth wall to deliver comedy gold.

David Massingham is a rising star, and I am genuinely excited to see what he sketches next.

Sketch Me Like One of Your French Girls plays at Tasma Terrace until 8 April.  Tickets can be purchased online and by calling the box office on 03 9245 3788.

Photograph: Kris Anderson

Comedy, Festivals

MICF presents Massive Bitch

 The eccentric and brutal machine of network television revealed

By Josephine Burford

The realm of daytime TV might seem shiny, smiley and choreographed, but the business of network television can be brutal. In order to win the battle for ratings, the producer must be ruthless. She must court controversy and know which buttons to press and which to leave untouched. She must be, well, a bitch.

Returning to the Melbourne International Comedy Festival with Massive Bitch, Chelsea Zeller’s one-woman theatrical production flips the focus, revealing the backstage drama of live television and the eccentric cast of characters that create it.

Massive Bitch is built around Victoria Bidder, the fierce producer brought in to resurrect the once great, “Do You Want The Good News?” Having pulled ratings back to respectable numbers, Victoria only needs to survive her sixtieth show and she will be rewarded with an executive role on the production of her choice. But with an inexperienced crew, unpredictable hosts and guests who don’t play by the rules, Victoria’s success is far from guaranteed.

Zeller gives an impressive performance, transitioning smoothly between wildly divergent characters; from the uptight and ambitious host Angie, to the sporting hero now appearing on the latest season of The Bachelor. From the no-nonsense cameraman to the all-nonsense psychic Beverly. Moments of audience interaction are negotiated with care, and the performance feels present – specific to this audience and this night.

This production is filled with familiar and well-worn cultural-political references such as the dual-citizenship scandal, the Me Too movement and Lee-Lin Chin’s exclusive clique of journalistic stars. While Massive Bitch doesn’t add anything new to these issues, the show’s satirical style is refreshingly kind. Together, Zeller and the show’s director Samuel Russo are ridiculing daytime television and its strange inhabitants yet not disrespecting them. It is at once a send up and an affectionate ode to Australia’s attempt at show business.

Given the unavoidable limitations of a shared performance venue, the duo has made the smart decision to keep technical elements to a minimum. Simple shifts in lighting combined with a recurring theme song mark the transitions between on-air and back stage. These are effective, but unobtrusive, ensuring the focus remains where it should: on Zeller’s multitude of characters and the strange people they become under pressure and on camera.

Massive Bitch plays at The Butterfly Club until 8 April.  Tickets can be purchased online and by calling the box office on 03 9245 3788.


Comedy, Festivals

MICF presents RockWiz’s Really Really Good Friday

The tongue in cheek way to celebrate the Easter holiday

By Leeor Adar

RockWiz live out of Hamer Hall on Good Friday is exactly the kind of Easter treat I’m looking for – I just wish it had the seedy intimacy of the Gershwin Room in St Kilda’s Esplanade Hotel.

With sell-out seasons in 2016 and 2017, Really Really Good Friday delivers many belly laughs and the antics of RockWiz veterans, Julia Zemiro and Brian Nankervis. It’s an excellent way to start the Easter weekend, with a series of Easter jokes and quiz answers; it’s certainly a tongue in cheek way to celebrate the holiday.

The show begins with a rock quiz for several selected audience members and the top two will sit alongside rock legends in the main leg of the quiz. Joining the talented list of performers on this occasion is Aussie rock legend, Joe Camilleri, The Jezabels’ Hayley Mary, newcomer Alex The Astronaut, Something for Kate’s Paul Dempsey, Gillian Cosgriff and comedian Bob Franklin. RockWiz’s The Orkestra, is accompanied by Vika and Linda Bull, whom serenade and provide musical clues to our panel of artists.

Any given night of RockWiz turns on the unique qualities the performers bring, and 2018’s Really Really Good Friday is no exception. Dempsey blows us away with his voice and music knowledge, Hayley Mary’s wry humour and astonishing vocals give us the much-needed edge of the evening, and Camilleri’s winding tales test Zemiro’s metal as she drives the show on. Standout comedy goes to Bob Franklin and his love of The Wurzels, and Gillian Cosgriff’s musical number on the social media #hashtag-craze. It’s a real cocktail of cool on this stage, and there’s really something for everyone.

I’ve certainly walked away from this 2018 show with a renewed love of certain artists, and others I’ll be keeping my eye on. Do yourself a favour and keep an eye out for some of the Really Really Good Friday comedians featured during the 2018 Melbourne International Comedy Festival, and take a listen to the rest.

I’m certainly keen to see what Really Really Good Friday brings out of the bag next year for another rock-fuelled night.

Really Really Good Friday ran 30 March. For more information see this Arts Centre page.

Comedy, Festivals

Review: A Bit of Shush

Dry wit in a mad world is what Daniel Connell packs into his latest comedy show. 

By Leeor Adar

Rising star of the Australian comedy world, Daniel Connell, returns to the 2018 Melbourne International Comedy Festival with a Bit of Shush. Since 2009 Daniel has brought his humour to our stages, and had a smashing success with his 2017 act, Stacks On. Daniel made his debut performance at the Melbourne International Comedy Festival Gala and was selected to tour Asia and Australia as part of the Festival Roadshow.

Dubbed as ‘one to watch’, Daniel combines the affable larrikin nature of Dave Hughes with the sharpness of Tommy Little. What makes Daniel a cut above most comedians is his ability to make us laugh without giving in to crassness, to which many of his contemporaries give themselves. Although, he does give us a stirring sausage/refugee analysis that could make you cringe as well as admire the genius of its comparative qualities.

From beginning to end, Daniel keeps pace and keeps the laughs rolling with a dry wit that can be enjoyed by all. In-jokes are established with his audience within the hour, and there is a joyful energy in the air. Although the piece is centred on finding ‘a bit of shush’ in this mad world, the direction of the show takes a few twists and turns, but we are happy to go along with it, particularly when Daniel takes us to Elon Musk’s alternate dimension.

Daniel’s show is one of the high quality acts you can come and watch at the Melbourne Town Hall this comedy fest season, so do yourself a favour and see a Bit of Shush.

Bit of Shush plays at The Melbourne Town Hall until 22 April.  Tickets can be purchased online and by calling the box office on 03 9245 3788.

Photograph: Nicole Reed

 

 

Comedy, Festivals

MICF presents The Big HOO-HAA!

The Big HOO-HAA! returns to the Comedy Festival with a duel of dazzling wit.

By Rebecca Waese 

What’s been running every Friday night for 8 years and is still new to the stage every time? It’s The Big HOO-HAA!, Melbourne’s long-standing comedy improvisation battle where the audience’s suggestions prompt two teams of comics to a duel of dazzling wit and spontaneous songs. Usually at home on stage at the Butterfly Club, The Big HOO-HAA! brings a rotating cast of performers to Melbourne Town Hall for opening night mayhem at the Melbourne International Comedy Festival.

This show, (and I saw the late one at 11 pm), was an energetic blast of good-time feels coming at us hard. The format is designed to pit wits and courage of two comic teams, the Hearts and the Bones, against each other, mediated by a Master of Ceremonies/umpire, and fuelled by the suggestions of the audience. The feeling in the room was warm and creative and the MC, last night played by Dan Debuf, created an atmosphere where the audience was part of the magic and never a target.

Photographs: Mark Gambino

In a series of competitive comedy challenges and games, each team put their heart and wits on the line and the audience voted for a winner. There was spontaneous song-writing, scenes that were re-done in different eras, a Charades-inspired challenge of guess-three-things-about-my-perfect-lover, and a pun-infused round of one-liners with instant death elimination. Not every offer was a winner last night, but it was good for the soul to see the performers laying it out there and there were far more laughs than groans from the Hearts and Bones.

Last night, an entire musical about cheesecake arose from an audience suggestion, and the chorus from Louisa Fitzhardinge’s spontaneous ballad of ‘I’m a Milky Girl’ is still playing in my brain. Sophie Kneebone was also a standout; I particularly liked her Scottish brogue that emerged in a Russian communist party scene and her decision to embrace it. Caleb Garfinkel on guitar was a treat to listen to and set a range of musical moods at the audience’s request.

The rules of improvisation were made clear on stage: accept any offer made, commit to your choices even if they lead you to bizarre places and help out your fellow actor wherever you can. This is undoubtedly what led to the outing of an unusual love affair between Milky Ma (Brianna Williams) and her favourite talking cow, Bessie, (Luke Ryan) which will never happen again. Such is the ‘once upon a time’ quality of The Big HOO-HAA! For clever, rapid-fire comedy that makes you feel part of the winning team, head to The Big HOO-HAA! You’ll be glad you did.

The Big HOO-HAA! plays at Melbourne Town Hall until 21 April.  Tickets can be purchased online and by calling the box office on 03 9245 3788.

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

 

Comedy, Festivals

MICF presents My Comedy Festival Show

Wacky ideas and self-deprecating humour

By Leeor Adar 

Andy Balloch presents, as part of the 2018 Melbourne International Comedy Festival, My Comedy Festival Show. Andy assures us this is not a comedy show, which if we are being honest, is not a comedy show.

Andy is funny, and Andy is self-deprecating. That’s what makes him such a relatable persona, particularly as the show’s content is largely concerned with insecurities. We all have those, right? Andy is no stranger to the stage, as one half of improv duo, ‘The Sparrow Men’, it’s hard to imagine Andy has any insecurities. Andy sure does, and most of the show is segmented by these insecurities, which he talks about with a painful earnestness that has us all transfixed – he absolutely commanded our attention. Nothing is quite as liberating and confronting than being seated a meter away from someone prepared to tell you their worst moments.

The rest of the show (the comedy of it) is more an interspersed montage of wacky ideas. Andy begins the show with a ‘choose your intro’, and quickly it’s established that Andy’s physical comedy is what wins the day, and certainly brings the most belly laughs. Admittedly, not all of the wacky ideas are the belly laugh varietal, and I found myself wanting more of the earnestness of his insecurities.

Andy’s act is worth seeing, but mostly for the connection that he builds with you as an audience. If Andy can connect his humour to his truths, that won’t necessarily deplete from the connection he makes with us. I hope he reboots this concept and gives us more of that self-deprecating humour we saw glimpses of.

My Comedy Festival Show plays at The Croft Institute until 9 April.  Tickets can be purchased online and by calling the box office on 03 9245 3788.

Comedy, Festivals, Musical Theatre

MICF presents Romeo is Not the Only Fruit

A refreshing Shakespeare mash-up that obliterates all lesbian stereotypes

By Lois Maskiell

Another reimagined Shakespeare might not have everyone leaping from their couches to purchase tickets, but Romeo is Not the Only Fruit definitely should convince otherwise. Jean Tong’s latest offering revolutionises the tale of star-crossed lovers, by creating a highly original romantic comedy. Written and Directed by Tong and featuring a cast of queer women of colour, this sharply satirical and heart-warming musical is easily the most refreshing mash-up of Shakespeare I have seen.

Revolving around the “bury your gays” trope, whereby queer characters are often killed off in various media, Juliet (Margot Tanjutco) and Darcy (Louisa Wall) fall in love despite their odds. The couple’s trajectory is witnessed by the dead lesbian chorus (Sasha Chong, Nisha Joseph and Pallavi Waghmode) who are both onlookers and meddling family members. At times they cheer the lovers on, while at others they coerce Juliet towards a heteronormative route. Though, like in all good rom-coms true love prevails as Juliet and her white girl lover overcome the obstacles of conservative parents, interracial romance and of course “dead lesbian syndrome”.

Photographs: Jules Tahan

Tanjutco plays a charming and determined Juliet whose journey in love is mirrored by an arcade game of Mortal Combat. Fantastic sound effects tally Juliet and Darcy’s points as their romance develops. The chorus becomes increasingly involved in the outcome of their relationship, enjoying their clumsy triumphs as well as their spicier moments.

Tong’s lyrics teamed with James Gales’ composition and sound create a quality score with catchy, in-your-face lyrics. Diva powerhouse Pallavi Waghmode’s singing is something to witness in itself, her voice carries the songs with power. Sasha Chong as Juliet’s mother is quick-witted and captivating, and together with the naturally humorous Nisha Joseph, makes half of a strong comedic duo.

James Lew’s set and costumes give the show a kitsch aesthetic, the most innovative example being oversized cardboard drinks that Juliet and Darcy slurp on while watching performance art. All this, with Laura Frew’s pop choreography make this brilliant mash-up of Romeo and Juliet a pleasure to watch. Romeo is Not the Only Fruit challenges conventions and tropes with humour, and there’s no doubt many will leap from couches to see this production before it closes.

Romeo is Not the Only Fruit plays at Malthouse until 8 April.  Tickets can be purchased online and by calling the box office on 03 9685 5111.

 

Theatre

La Mama presents TO LONELY, WITH LOVE

A poignant exploration of the art and power of letter writing

Leeor Adar

Director and Performer, Jennifer Monk, works towards unpacking the art and power of letter writing in To Lonely, with Love. It’s a beautiful concept – the idea that letter writing can transcend our circumstances offering connection to someone who can be so far away from our reality, or so withdrawn from their own present.

I found Monk’s thoughts on letter writing poignant, particularly as she found connection with a loved one behind prison walls through writing letters. As an avid letter writer myself, I am converted to the powers of the written word and how humbling and truly meaningful it is to write and receive it. To Lonely, with Love does a commendable job of extracting its powers, even in the short space of an hour, in such an intimate space of La Mama.

Performed by Lisa Dallinger and Monk herself, they use a stylised humour to fuss about the stage as postmasters, reading letters and voicing the trivialities and romantic longings of the letters that reveal people and worlds upon the sheets of paper. Both Dallinger and Monk are strong comedically, and this softens the intensity of the subject matter in a way that prevents it from becoming indulgent. However, at times I wanted less shifting set pieces and comedy, and a moodier set to compliment the content.

The piece shifts in and out of characters and time, where prison inmate Roger ‘Rog’, becomes an unlikely pen pal to a miserable, molested housewife, Samantha ‘Sam’, who seeks to find some form of escapism despite her stoic frailty. The roles swap, as do the costumes, and with time, as one adjusts to a life within prison, the other feels even more imprisoned in her existing life. This juxtaposition is a solid way of dealing with the power of connection that can be established between people who write letters to one another. Famously, many prison inmates have found solace, and even relationships with those who write letters to them, so strong is the bond.

Despite strong performances, To Lonely, with Love felt like a work in progress. Conceptually, it is a fantastic piece. I hope in time it will gather strength and continue to explore its execution.

To Lonely, with Love was performed at La Mama from 21 – 25 March 2018. More information is found on La Mama’s webpage.

Musical Theatre

StageArt Presents Bare

StageArt lifts the musical Bare to soaring new heights
By Owen James 

StageArt’s latest offering of rarely produced theatre for Melbourne is bold and relevant. Bare explores sexuality and identity in an oppressive world, and while the almost twenty-year-old material is becoming a little dated, given the recent social and political climate both in Australia and worldwide, Bare comes as a timely and pertinent reminder to listen and accept.

There is no better venue for Bare than Chapel Off Chapel. Director Dean Drieberg’s set uses the glorious stained glass window of the church-turned-theatre as the permanent backdrop for the action. This, combined with a large, looming cross suspended above the stage, makes the characters seem microscopic against what’s above.

As Damon Intrabartolo and Jon Hartmere’s book puts turbulent teenage emotions in the pressure-cooker setting of a Catholic boarding school, Drieberg has ensured every moment of these characters’ lives is as realistic as possible. Kirra Sibel’s choreography melts seamlessly into Drieberg’s vision, adding clarity and fluidity to this depiction of teenage frustration. And right from the opening song, the cast proves they can keep up with every fast-paced move thrown at them. Special mention to the most inventive use of chairs I’ve ever seen onstage during ‘Wonderland’.

Photographs: Belinda Strodder

It is the choreography and the music of this show that gives the confused and raging hormones of these characters an outlet to scream at their oppressive and irrelevant world. Caleb Garfinkel (Musical Director) has ensured every harmony is brought to life with killer perfection, leading a band that rocks the Chapel through this pulsating, lively score.

Adam Di Martino delivers stunningly perfect vocals as Peter, with never a note out of place. He plays the innocence and vulnerability of Peter beautifully, but for me, fell slightly short of reaching a believable emotional climax towards the end of the second act. Thankfully, Martino’s passionate and soaring high notes are more than enough to provoke tears.

Finn Alexander makes us fall in love with him again and again as Jason. Adored by cast and audience alike, Alexander never puts a foot wrong in his vital role and his charm wins us over (as well as Peter and Ivy) from the opening scene.

Hannah McInerney delivers a moving performance in the very underwritten character of Ivy, and Hannah Grodin as the ignored and overlooked Nadia breaks both smiles and hearts. However, painting both Ivy and Nadia as unredeemed females relying on others for their happiness is problematic and shows the age of the material.

Ivy is yet another female character punished for impulsive actions. Emotionally ignored by characters absorbed in their own problems, she is left alone with burdens beyond her years. McInerney brings Ivy to life with a moving, emotional performance and delightfully smooth vocals. Grodin’s moments of wonderfully rude teenage jealousy are truly hilarious, and she belts out ‘Quiet Night At Home’ with ease.

We do get a strong female character from Vanessa Menjivar as the delightfully sassy Sister Chantelle. Her two numbers, ‘911 Emergency’ and ‘God Don’t Make No Trash’ are each filled with a stirring burst of energy. We want to see much more of Mandi Lodge as Claire, as her brief appearances are affecting and exceptional.

There is not a weak link to be found in this ensemble – as sarcastic, mindlessly doting and judgemental as real adolescents –  they collectively embrace the various stereotypes found in high school and make them unique and believable.

Lighting by Maddy Seach and Jason Bovaird, and sound by Marcello Lo Ricco are faultless, effortlessly transforming the small stage into an oppressive church, school hallway, claustrophobic dormitory and dingy rave.

Having seen Bare three times now, I have come to accept that the original material is at times clunky and melodramatic, briefly dipping into moments reminiscent of The Bold and the Beautiful. However, StageArt’s production lifts the material to soaring new heights, and is definitely worth the ticket. Bare is a must-see for fans of musicals like Spring Awakening, Dear Evan Hansen or RENT, and for any fans of Bare already – this is the best you will ever see this show performed.

Bare plays at Chapel Off Chapel until 15 April.  Tickets can be purchased online and by calling the box office on 03 8290 7000.