Cabaret, Performances, Review

The Butterfly Club Presents THE GOSPEL ACCORDING TO MATTHEW

All praise for the songs

By Jessica Cornish

With its creator standing upstage, arms spread wide and hands busy below the waist, The Gospel According to Matthew began. This fifty-minute cabaret production encapsulated the world through the eyes of Matthew Semple, with his inner thoughts and views splashed across the stage in form of song and story-telling.

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The music-theatre-born-and-bred Semple performed his self-professed ‘shitty cabaret’ to his cosy audience, happily huddled into the intimate performance space of The Butterfly Club. This young performer had a pleasing amount of confidence and a strong stage presence; he performed with the polished hallmarks and training of a musical-theatre babe with clear diction, a strong tone and a nice dash of vibrato.

Despite the thoroughly scripted and rehearsed narrative, Semple was also comfortable enough to partake in some impromptu banter with his audience, which provoked some of the funnier moments of the night.

Unfortunately I felt the performance overall lacked a strong and clear overarching theme to its detriment, and throughout the show there were a number of one-off and throwaway jokes that for me often missed the mark. Substituting the satire and wit for cheap shots and crude humour- small dick jokes and making fun of paraolympians for example – certainly wasn’t my favourite comic styling. There was also not much character development of the main man himself: Semple touched on being recently single and ending a long-term relationship for example, however this wasn’t really explored in any detail, and considering the show’s title, it would have been interesting to hear more personal stories and self-reflection.

My favourite moments of the night were easily when Matthew at his piano took the limelight. His songs were well-constructed and entertaining, and focused more adroitly and wittily on numerous social issues currently trending in Australia such as our dubious offshore detention centres and questionable conservative MPs like Dutton and Hanson, which made for both enjoyable and thought-provoking musical numbers. Perhaps some more of these upbeat playful songs added into the mix would better support and inform the less successful moments of story-telling.

In conclusion, Matthew preaches to his crowd to ‘shout your truth’ and go forth: therefore, in truth I believe this cabaret show has the potential to grow and flourish, and hope the narrative can thus become sharper and snappier and as appealing as the music as time goes on.

The Gospel According to Matthew played at The Butterfly Club, 5 Carson Place Melbourne in March 2017.

Opera, Performances, Review

Lyric Opera Presents THE JAPANESE PRINCESS

Delightful

By Joanna Simmons

Lyric Opera presents the first in its’ trio for the 2017 season, and Camille Saint Saens’ The Japanese Princess is a wonderful choice of work. Having never been performed in Australia; this one-act comic opera is accessible and excellent. The story is simple so the main feature is the music; played beautifully by the Lyric Chamber orchestra and sung by the experienced cast of three. It’s a treat for the ears, and with dialogue in English and subtitles for all the French Songs it defies any old notions that opera is dusty fat ladies warbling in foreign tongues for hours.

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We follow the story of Kornelis, an art student who becomes infatuated with all things Japanese, and much to his fiancée (and cousin in the libretto) Lena’s dismay, becomes obsessed with the portrait of a mysterious Japanese Princess, Ming (not a Japanese name.) Ming makes Lena question herself, her relationship and Kornelis’ sanity. The voluptuous orchestra ornately guides the story with a nod to the orient with songs with colourful language and robust emotions.

Lena, played by Kimberly Coleman (and alternated with Kate Macfarlane) was naturalistic and strong.  She plays up the comedy where needed and connects with the other players and the music. Robert Macfarlane as Cornelius’s (alternated with Hew Wagner) dulcet tenor tones were right on the money. I wish his acting was as strong, as there were a lot of comedic moments that could have been more detailed with facial expression and timing, and other moments that felt forced. Arisa Yura as Ming, is subtlely woven into the story and is captivating to watch. She dances skillfully with a fan, her delicate hands well placed; yet then does some turns and steps that break character and genre, which feels disjointed alongside the music and set.

The intricate set designed by Christina Logan Bell that feels like the inside of a Japanese fan or tea house, complete with tatami mats, is beautiful and memorable. It, combined with the well-plotted lighting by Lucy Birkinshaw, transports us to this wonderous other world. Lucy Wilkins’ costume design fits well with the set and the era, adding colour and beauty with Ming’s kimono, and a neutral- everyday feel to Cornelius and Lena. Director Miki Oikawa has tastefully bought this production out to be one that is accessible in our modern day, in partnership with artistic director and conductor Pat Miller, whose passion and knowledge is evident, and should be highly commended.

The part I loved the most about this show was the beginning, where Miller turned around from facing the orchestra and invited us to ensure that our phones weren’t going to disturb the performance, but encouraged us to use them, to share with people what we are doing, and push opera to become something that is spoken about, shared, liked, snapchatted, hashtagged and all. In our world of watching videos for 30 seconds before getting distracted, it can be difficult to produce theatre to challenge our palates whilst tickling them too. This show is engaging and enchanting, simple and satisfying for the ears and eyes.

Lyric Opera’s The Japanese Princess played at Chapel Off Chapel, 11-18 March, 2017

Image by Sarah Walker

Dance, Festivals, Review

AsiaTopa Presents DANCING WITH DEATH

Confronting and experimental

By Leeor Adar

As part of AsiaTopa, renowned Thai choreographer Pichet Klunchun presents Australian audiences with what he calls a dance representing a state of “limbo”.

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Based on the teachings of nineteenth-century Buddhist monk Luang Pu Dulaya, “Dun” Atulo, the meaning of “limbo”, is unpacked as all creatures sharing the same “citta”, a form of consciousness. Klunchun and his performers create a collective, and often arduous dance that signifies unpredictable shifts in power, whether within the individual or in wider society.

We really don’t get what we bargain for as an audience. Admittedly, a great number of those attending the performance are unfamiliar with Klunchun’s work, the creation of a revered and formidable dancer who contemporises traditional Thai dance. At first masked and colourful dancers parade about the stage and we think: of course, traditional. Moments later, a lone figure emerges in white, movements so precise and slow that they utterly contradict the colour and wildness of the more traditional movements. The lone figure moves in a manner that recalls Japan’s own Butoh, but Klunchun is about to take us on an entirely different journey as we soon discover.

Filed onto the performance space of the State Theatre, a stage is created upon a stage. A curved and sloping giant circle, which recalls a skateboard-rink lit in a brilliant yellow is our focus. The lone figure soon climbs onto this rink, only to be followed by others, also in white, also sharing in the lone figure’s limbo. The collective movements of the dancers is hauntingly soothing at first, and the monotony of the action hypnotises. Sound designer Hiroshi Iguchi masterfully creates a soundtrack that matches the dancers in their energy – a blend of modern, ardent and repetitive sound blasts through the audience.

As the pace quickens, we, like the dancers are simply exhausted. There are noticeable shifts in the dynamic of the dancers, representing desire for closeness, conflict and desperation. Our original lone figure continues to wander in the abyss, and the other dancers leap from the limbo rink into a celebration of contemporary dance with new additions. This is a joyous moment, but the lone figure continues to wander, and Klunchun’s world eclipses on this figure.

As an audience we did not know when to clap, or what to do. Klunchun succeeded in presenting an entirely new mode of dance theatre for this audience, but it was ultimately draining and unsettling. Unfortunately the result of this is alienation; perhaps that is what Klunchun intended in the hopes of showing our own tendency to “shun the unknown and change”, falling into a “vicious cycle” of lost opportunities in relating.

Dancing With Death was performed from the 2-4 March at the Arts Centre, Melbourne. You can learn more about Klunchun’s work here: http://pkdancecompany.com/

Opera, Review, Whats On

Victorian Opera Presents THE SLEEPING BEAUTY

A classic reawakens

By Rachel Holkner

The Sleeping Beauty by Charles Perrault is one of the classic fairy tales, and one of my least favourites with its thin plot and troublesome resolution. I was not familiar at all with Respighi‘s opera before seeing this production, but I enjoyed it immensely. The story is fast-moving and compelling, and the music delightful. It was originally written in 1922 for an Italian puppetry company and it has been brought into the twenty-first century quite cleverly by Victorian Opera‘s artistic director Richard Mills and director Nancy Black.

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A cast of singers dressed in contemporary attire recount the story as it is acted out by talented puppeteers manipulating some remarkable puppets designed and built by Joe Blanck. They moved about an uncluttered stage with a gothic atmosphere, gorgeously lit by Philip Lethlean throughout.

Solely responsible for the movement and action, the puppeteers threw themselves, and occasionally each other, around the stage. In particular the humour and physicality of the Prince (performed by Vincent Crowley, sung by Carlos E. Bárcenas), with his Dirty-Dancing-era Patrick Swayze bearing, was spectacular. In gradually losing his puppetry aspects until nothing more than a pocket square remained, this became one of the strongest moments of the show as The Prince shed the trappings of privileged life to succeed in his arduous journey of discovery.

A large part of the production effort went into the lavish and eye-catching puppets. Although the inspiration for their design is said to have come from Danish illustrator Kay Nielsen, there are clear layers of influence from other Golden-Age fairytale illustrators such as Arthur Rackham and Ida Rentoul Outhwaite. There is some disjoint as a consequence, with the Blue Fairy being by far the weakest design in both shape and movement, yet one of the most prominent on stage. The smaller puppets such as the cat and spindle were far better developed, their movements lending Disney-esque moments of humour to the performance.

In bringing the story into the present – it is modern times apparently when the Princess is awoken –  there was the opportunity for the creative team to bring in some pop-culture references. This had a two-fold effect for me. Firstly I was annoyed that in trying to escape some of the less pleasant aspects today’s world they suddenly appeared on stage before me, and yet it gave a telling opportunity to reflect on that aforementioned “troublesome resolution”. The expectations for and treatment of young women today are at complete odds with the 1620s culture of the source tale. You could not conclude a story nowadays with a happy-ever-after via an non-consensual kiss. (Or more, should you choose to read further back than Perrault). Without giving anything away, on reflection, the recasting of Mister Dollar was very clever indeed.

The vocal performances of the entire cast were simply outstanding. Of especial note were the work of Elizabeth Barrow as the Blue Fairy and Raphael Wong as the King. One small wardrobe choice which did constantly irritate however was The King’s relaxed interpretation of the costumer’s memo as ‘casual wear’ instead of the neat casual the rest of the cast wore. I would hardly expect a King to ever be dressed in cargo pants and a hoodie.

The live score by Orchestra Victoria, conducted by Phoebe Briggs, was the finishing touch on this highly enjoyable evening. It would be a wonderful introduction to the world of opera, particularly for families.

Dates: 11-18 March 2017

Venue: Arts Centre Melbourne, Playhouse

Tickets: https://www.artscentremelbourne.com.au/whats-on/2017/opera/the-sleeping-beauty

Image by Charlie Kinross

Events, Performances, Review

Christina Bianco’s DIVA MOMENTS

Phenomenal.

By Adam Tonking

Diva Moments by award-winning performer and world-class impressionist Christina Bianco is an  exploration of dozens of the world’s greatest divas performing for you live through the magic of Bianco’s singular talent. If you think the idea of a series of impersonations sounds like a shallow gimmick, you are so very mistaken, because anchoring all of this is the incomparable Bianco.

Christina Bianco

Her talent as an impressionist is mind-blowing. She employs no props to assist her, using only the physical and more importantly vocal idiosyncrasies (of everyone from Marlene Dietrich to Shirley Bassey to Celine Dion to Adele) to bring them alive on stage, frequently exaggerating their quirks for comic effect, and that alone would have made for a fun and impressive evening. But she employs the art of impression is so many different ways that the act never gets old.

Accompanied at the piano by the amazing Michael Lavine, she performed “Wind Beneath My Wings,” first as Bette, but then switching through different singers to see how they may have treated it. She performed what she called her “Mega Mix,” where she sings snatches of famous songs as the amazing women who made them famous – a particular favourite was Dolly then Whitney, singing (of course) “I Will Always Love You.” She read from a book from one of her favourite divas in a variety of voices from Kathy Griffin to Keira Knightley in one of her most hilarious moments. And as a nod to her Australian fans, she performed songs made famous by Australian artists in a segment called “Unlikely Interpretations.” You haven’t heard “Land Down Under” until you’ve heard it performed by Ms Streisand, and Christina Aguilera’s take on Natalie Imbruglia’s “Torn” worked surprisingly well. She even attempted a few impressions of Australian divas, proving what a generous performer she is, and while she called her Olivia Newton-John a “work in progress,” I thought she nailed it.

But besides the many incredible women she channelled onstage, the greatest was Bianco herself. She chatted constantly between songs, telling hilarious stories about herself and the lives of the divas with impeccable comic timing, but still in a way that seemed like she was having the time of her life and we were all part of it. And most of all, she performed a few amazing, left-of-centre songs, as herself.

What can I say? More than her spine-tingling Piaf or her ridiculously spot-on Celine Dion, when she took to the stage as herself, it was better than all of her impressive impressions. She is a compelling storyteller, and her ability to colour her voice – and with such rapid ease – adds a multitude of rich layers to the songs she performed. “Wherever He Ain’t” and “What Did I Have That I Don’t Have” have never been performed with greater emotional expression. And her operatic “duet” between herself and “Kristin Chenoweth” was breathtaking in its breadth.

The skill to manage so many different vocal qualities, the athleticism required to perform with such engaging non-stop energy, and importantly, the vocal stamina to sing big song after big song, from the lowest alto to the highest soprano, is truly a phenomenon to behold. And poses the question; how many of Bianco’s homages could have done the same? She is truly a diva unto her self.

Christina Bianco played at Alex Theatre, 135 Fitzroy Street, St Kilda; unfortunately only 8-9 March 2017 and then Sydney at the Hayes Theatre, 19 Greenknowe Avenue, Potts Point
Sunday 12th March 2017 – 3.00pm & 7.00pm (sold out) www.hayestheatre.com.au.

But I insist you immediately check out her videos on YouTube and pray for her return.

Image by Darren Bell

Musical Theatre, Review, Whats On

StageArt Presents THE FULL MONTY

Yes, they do

By Tania Herbert

StageArt‘s production of the Broadway version of The Full Monty with book with Terrence McNally and score by David Yasbek opened to a full house and enthusiastic audience, and a vibrant cast and impressive production team certainly gave it their all.

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That said, there is a reason that The Full Monty doesn’t get regularly produced in Australia – unfortunately the show is, overall, fairly awful. The same storyline as the wonderful 1997 British film is more or less followed, however by Americianising the storyline and approach, nothing is gained but so very much is lost. Lacking depth, sensitivity, and self-insight, it’s inherently a limited script which doesn’t even get close to doing justice to the range of social and emotional issues that the original film touched upon.

That said, this cast certainly performed the heck out of it– managing to bring likeability to a series of fairly unlikable American stereotypes. Scott Mackenzie took on the lead of Jerry and did an admirable job of pulling the story along, and sidekick Dave, played by Giancarlo Salamanca, sang beautifully. However, the somewhat dragging first act was well and truly saved by the character roles-  Wem Etuknwa as ‘Horse’, Barbara Hughes as Jeanette and Ana Mitsikas as Vicki all enter the show quite late, but really added the comic element and brought about a much needed lift.

It said something that the musical’s showstopper was the filler number Jeanette’s Showbiz Number– although the better-paced second act not only brought a lot more laughs, but really built a sense of anticipation of the finale as the other big and highly enjoyable showstopper moment (and in case you’re wondering- yes, they do).

The music is neither memorable nor particularly interesting, with the exception of the exquisite funeral song You Walk With Me, touchingly performed here by Montgomery Wilson with Adam Perryman. Despite this, the musical direction (by Nathan Firmin) was superb, utilising the very vocally strong ensemble to the fullest.

The staging under the direction of Drew Downing was interesting and contemporary- a minimalist construction site set brought in lots of movement and levels, and the onstage band added a bit of a rock-musical feel.

The Full Monty is, unfortunately, not a great musical,- but StageArt’s production was still a highly enjoyable evening with a rocking cast, slick production and plenty of talent on show (pun intended).

The Full Monty is presented by StageArt and is playing at The National Theatre from March 3 until March 19.

Tickets: $49-$74 from www.stageart.com.au

Image by Belinda Strodder

Review, Theatre, Whats On

Tim Finn’s THE LADIES IN BLACK

Get some colour – and music – in your life

By Jessica Cornish

The other night I attended the opening night of Ladies in Black at the Regent Theatre. As I sweltered away under the hot Melbourne sun watching the celebs dash out of their cars on to the red carpet, I was unsure how the night would unfold. Directed by Simon Phillips, Ladies in Black isn’t your run-of-the-mill drama drenched production laced with consistent emotive blows to the heart. Instead it captures a point in time when shops were closed on a Sunday, girls didn’t attend university, and Australia was experiencing an influx of ‘crazy continentals’ who fled the Second World War.

We follow leading lady Lisa (Sarah Morrison) as she gains a summer job at a high end Sydney department store in the 1950’s. Here she connects with her female colleagues and we explore the every-day domesticity of their lives and their genuine love and passion for style and fashion.

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Based on Madeleine St John’s novel, and composed by Aussie rock icon Tim Finn with book by Carolyn Burns, this charming new musical was certainly well received the night I attended, with cheeky songs like ‘He’s A Bastard’ and ‘I Just Kissed a Continental’ proving definite crowd-pleasers. Don’t worry – it’s not at all as bitter or racist as this sounds, and sassy protagonist Fay (Ellen Simpson) is quickly hooked on the lips and heart of her new Hungarian flame (Bobby Fox) lips and heart despite his unusual food and accent.

The cast gave strong vocal performances and executed proficiently the simple but effective choreography  of Andrew Hallsworth, appropriate for the diverse female cast of broad ages and body shapes. Plus it’s always refreshing to hear Aussie accents in song, and to have local references to towns such as good old Wagga Wagga. Sarah Morrison (Lisa) in particular was appealingly believable, and had impressive vocal skills that worked a treat for her character and the show’s style.

Set design by Gabriela Tylesova was simple but slightly underwhelming, incorporating an upstage scrim and series of perspex pillars throughout the production, which for me unfortunately seemed to lack the imagination and playfulness needed to compliment the story. Lighting design by David Walters was similarly simple but certainly got the job done. In constrast were Tylesova’s glorious costumes, capturing elaborate 1950’s cocktail gowns and society dresses that shone in glamorous contrast to the sombre blacks of the sales ladies’ attire.

Ladies in Black is  a theatrical snapshot of a group of wonderful women living in a time where Australia was (and surely still is) trying to define itself, and this musical uniquely ties up the lives of all its protagonists into a bundle of happiness. And you know what? – sometimes it’s nice to leave a show feeling content with the world and people in it.

Venue: The Regent Theatre

Season: 25 Feb- 18th of March

Tickets: $65-$111

Booking: Ticketmaster.com or call 1300 111 011

Image by Lisa Tomasetti

Review, Theatre, Whats On

The Butterfly Club Presents THE DIVINATION AGENCY

Foreseeing a promising future for this show

By Tania Herbert

The show premise here concerns two women who form ‘The Divination Agency’, running a quasi-scam providing clients with predictions of their future by calling on the dictionary for premonitions. The slightly awkwardly executed set-up, however, opened up a much more interesting issue – the line between charlatan and true clairvoyant.

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Bernadette Trench-Thiedeman takes us on a journey through her mysterious history- of a Sri Lankan father filled with stories of joy despite a background of fighting through World War II, and of the undeniable psychic link she holds with a beloved grandmother.

The creativity of the piece was evident not only through the beautiful storytelling, but through the varied mediums used, with puppets, a shadow box, projections and an original score (composed by Clair Deak) to illustrate the continual contrast between fantasy and harsh reality.

The performance of Bernadette was truly lovely – her naturalistic acting, and clear emotional relationship with the material held for every moment of the performance, and there was a real sense of connectedness between audience, performer, and the material.

However, the show was largely performed ‘vignette-style’, in brief or even fleeting scenes moving from one presentation style to the next. Much as the The Butterfly Club holds the perfect ambiance for such a piece, it was impossible to maintain the flow with such continual scene cuts in such an intimate space, and the pace of the production just couldn’t keep up with the pace of the narrative.

Huge kudos to the tech who flawlessly executed an astounding number of cues, and to Kat Taylor as the ‘offsider’ who, whilst unable to meet the charm of her fellow performer, was well up to the demanding task of moving from actor to puppeteer, to stage hand and back to actor without a flaw.

The puppets were beautiful, the shadow box lovely, and there were some really moving visuals in juxtaposing war images with war-time swing music. There were also some deep themes there- ideas of cross-generational trauma, of reincarnation, and of the complexities of accepting ones own spirituality. There was definitely something very real happening on the stage, albeit in a performance piece in need of a lot of tightening up. As my review companion remarked after – “I had a lot of thoughts”, and really, what can be more satisfying that that in the alternative theatre scene?

The Divination Agency is playing at The Butterfly Club 2-5 March, 7pm.

Tickets: $25-32

Bookings: https://thebutterflyclub.com/show/the-divination-agency

 

Cabaret, Performances, Review

The Butterfly Club Presents ARTS CAPTAIN

Excruciatingly funny

By Narelle Wood

Arts Captain details the triumphs and tribulations of over zealous Arts Captain Theodore Etherington in a show that can easily be described as The Office meets Glee.

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We first meet Theodore (Jayden Walker) just before the first school assembly of the year. Theodore’s plan is to literally make such a song and dance about his prefect position that no-one, including the new drama teacher will have any doubt over who’s really in charge. There is one small glitch in Theodore’s plan – he can’t sing and his dance moves are reminiscent of the uncoordinated kid at the back of the Rock Eisteddfod ensemble. It is very quickly established, at least for the audience, that Theodore is all glitter and glam and with not much of a gift for the musical theatre genre.

The story is a familiar one – ego temporarily crushed, dramatic unleashing of blame and venom upon anyone within spitting distance, and some salvation in the end. What makes this show work is the way Walker has carefully crafted the narrative, the ease with which he breaks the fourth wall and returns to character, and the nuanced (and overtly obvious) references to Broadway littered through out. As a teacher I appreciated the self-deprecating, self-awareness of what it’s like to teach a student of Theodore’s ilk. As far as musical selections go, I was impressed with the selection of songs and how they, mostly (by Walker’s own admission), fitted with the narrative. However, I will never quite be able to listen to I Dreamed a Dream again without conjuring up images of Walker’s tortured rendition.

There were only two things I struggled with. One, Walker was at times very quiet and it was hard to hear him above the ambient noise coming from outside the theatre space. And two, I wanted to hear if he could really sing; I’m sure there was an in-tune note there somewhere in his repertoire. Those two things aside, it was guffawingly brilliant in its cringe-worthiness.

Arts Captain is every bad high-school musical moment rolled into one and Theodore is so realistic that I found myself thinking “My God, I think I’ve taught this kid”. I hadn’t. Arts Captain is obnoxious and entertaining. If this is the calibre of show Walker is producing as he’s starting out, I can’t wait to see what he does as his career evolves.

Arts Captain was performed at The Butterfly Club, Carson Place, Melbourne at 7pm Sat 25th & Sun 26th February, 2017.

Review, Theatre, Whats On

Melbourne Premiere of THE PLAY THAT GOES WRONG

Raucous and riotous hilarity guaranteed

By Myron My

Before The Murder at Haversham Manor begins, the newly-elected president of Cornley Polytechnic Drama Society, Chris Bean (Nick Simpson-Deeks), appears on stage to welcome the audience. Bean is also the director of the play and assures us that this will be the most impressive performance ever put on by this thespian group. However, when this 1920’s themed whodunnit is a play within a play called The Play That Goes Wrong, well…it’s fair to say that nothing goes according to plan, but the show must go on. And so it does, with many laughs along the way.

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While The Murder at Haversham Manor plays out like an Agatha Christie-style plot, The Play That Goes Wrong reveals what happens on the Drama Society stage’s as the actors contend with missing items, breaking props, forgotten lines and unconscious colleagues. While comparisons to the classic Noises Off are undeniable, there is still a freshness to the performance with the fun and laughs remaining constant, even if there are a handful of times when jokes become slightly repetitive or are milked too much.

The entire cast embrace their characters, who in turn embrace their characters, and ultimately deliver near-perfect comedy timing. They are more than up to the challenge when it comes to meeting the physical demands of the production with high energy and dedication, while under the brilliant eye of Australian cast director Sean Turner. Darcy Brown (who plays Max Bennett who in turn plays Cecil Haversham and Arthur the Gardener), is particularly joyful to watch, especially when he’s giving his charades-like performance as he speaks his lines. Brooke Satchwell as Sandra, plays the grieving fiancée Florence Colleymoore – as does Tammy Weller, who also plays the stage manager Annie Twilloil. Both are energetic with Satchwell (or is that Sandra) playing the intentional melodramatics of Florence perfectly and Tammy as Twilloil’s transformation from shy stage manager to determined and ferocious actor is a joy to watch. If all this isn’t confusing enough, then you’re already ahead of the pack!

I initially attempted to hear every word that was being said, but with the riotous laughter that filled the Comedy Theatre, it was not always possible. Fortunately, it’s not simply the story that matters here. While Henry Lewis, Jonathan Sayer and Henry Shields have written a fun and surprisingly intelligent double narrative (for what we are watching), it is the visual aesthetics of Nigel Hook‘s impressive set design brimming with surprises and “danger” at every turn that reels you in.

While there is not much good that can be said about The Murder at Haversham Manor, it’s a completely different story for The Play That Goes Wrong. It’s a stylishly comic production that exists simply for laughs, and nothing but laughs; and from beginning to end – especially in the uproarious second act – there are plenty to be had. While everything that can go wrong goes wrong in the play within the play, this production itself itself hits all the right marks.

Venue: The Comedy Theatre, 240 Exhibition Street, Melbourne
Season: In Melbourne until 26 March, before an Australian-wide tour
Tickets: From $99.90
Bookings: The Play That Goes Wrong