Performances, Review, Theatre

5Pound Theatre Presents JOURNEY OF A THOUSAND SMILES

A true story beautifully told

By Joana Simmons

“Faith is taking the first step, even when you don’t see the whole staircase.”– Martin Luther King Jr.

In Journey of a Thousand Smiles, Jessica Hackett takes thousands of steps of faith, bravery, compassion and wisdom. This show by Hackett and the 5pound Theatre Company presents the heart-rendering story of her walk from Melbourne to Canberra gathering signatures for a petition to give to the House of Representatives in the hopes that asylum seekers and refugees can finally be treated with dignity and respect. It’s a true tale told with beautiful raw emotion, cleverly crafted and interwoven with multimedia, music and charming audience involvement.

journey-of-a-thousand-smiles

Jessica Hackett turned her anger at the Australian Government for the way they treat asylum seekers into a positive thing, and her story, as told in the show is equally delightful in the content as it is in the delivery. She is an endearing stage presence, and uses her dry conversational humour to help the audience members meet each other. The sparkle in her eye and smile on her face lights up the room, and she steps into our hearts from the get go. On a stage adorned with gum leaves, clad in an Akubra, Kathmandu shirt and backpack, she takes us on her journey across 35 days, 710 kilometers, and the gathering of 17,000 signatures. Colin Craig plays a great role accompanying her on the guitar, which subtly adds tone and brings the energy up as the story builds. I was especially impressed with all the wonderful theatrical moments cleverly thrown in to help lighten the mood around what is a very heavy issue. Jessica’s physical comedy as she acted out the silent film was particularly fantastic.

She pushed us as we sat in the dark listening to voiceovers of real stories of the asylum seekers she had met talking about their escape from their countries. She made us comfortable then uncomfortable showing 5 ways to make a person feel welcome or unwelcome: big bold and beautiful statements strongly made in a clever way. She bought up her real tears and emotion worrying that her cause was not going to make a difference, that she wasn’t smart enough or brave enough and it was all for nothing. It’s memorable and inspirational. I wanted to yell out “No Jess, keep going, you are doing an amazing thing!” and the audience was on her side as there were tears and sighs and stillness. She made us smile and gave us hope telling us with a look of joy about the generosity she was shown by all the people in the small country towns.

Director Jason Cavanagh has artistically transformed this remarkable story into a remarkable and wonderful show. I must also mention the lighting was used in one of the best ways I have seen in that space, adding first-rate dimension.

While for me, ‘There’s Nothing Like a Cabaret’ and I’m a stickler for comedy, choreography and costumes, this is one show that stands out from the rest in its own special way. Told by a very extraordinary person, who met some wonderful people and did a very powerful thing, it shows how theatre and art is a strong platform to initiate change. I am so happy I managed to catch A Journey of a Thousand Smiles at the end of its season; check out http://www.thewelcomepetition.com/ for more information and please see it next time it comes around.

Journey of a Thousand Smiles played at The Butterfly Club from 18-22nd January 2017

Review, Theatre, Whats On

Midsumma Festival 2017: THE HAPPY PRINCE

Wilde’s famous fairytale beautifully reinvented

By Myron My

Oscar Wilde‘s short story, The Happy Prince, tells the tale of a golden statue of a prince that overlooks a city. Along with a flying swallow that he encounters, the Happy Prince sacrifices itself in vain in order to help the people who are suffering from poverty. As part of Midsumma Festival, queer theatre company Little Ones Theatre have taken Wilde’s tale and adapted it through a queer lens. The contemporary homo-erotic story now explores the desperation and futility that two women experience in order to remain with the one they love.

The Happy Prince.jpg

Dressed in a gold-sequinned dress with gold nail-polish and a smear of gold face-paint, Janine Watson wondrously captures the innocence (and ignorance) of the Happy Prince. As the sacrifices become bigger, her determination becomes more evident in bringing happiness and good to the people, regardless of how fleeting or thankful the act might be.

Catherine Davies brings a poignant level of cynicism to the Swallow but also a passion and yearning for a connection. With her hair quiffed up, wearing rollerskates and chewing gum, she is reminiscent of a defiant and impatient youth constantly on the go. The passion between the two performers is palpable from the very first moment they share the stage together and neither Watson or Davies let go of that for the entire show.

This short story doesn’t offer much in terms of length and plot development, whereupon director Stephen Nicolazzo has created erotically charged and deeply tender moments of no dialogue between the Happy Prince and the swallow, exploring their emotional state of mind on a deeper level. There is a sense of time standing still during the show and we are given the opportunity to take in everything that is being said and everything that is being performed without being rushed.

Katie Sfetkidis‘ intelligent combination of cold and warm lighting design throughout the show highlights the moments of passion and love and the ultimate demise of said love as does the sleek clean set design by Eugyeene Teh. The grey material that runs along the wall and floor of the stage allows the gold and sparkle of the Happy Prince’s costume to constantly attract our attention and admiration.

The Happy Prince is the poetically tragic tale of a love that cannot be. Through its queer retelling, Little Ones Theatre have expertly crafted a powerfully affecting and layered story of deep affection and sacrifice that will linger in your mind long after the final scene.

Venue: La Mama Theatre, 205 Faraday St, Carlton
Season: until 29 January | Wed 6.30pm, Thu – Sat 7.30pm, Sun 4pm
Tickets: $25 Full | $15 Conc
Bookings: Midsumma Festival

Image by Pia Johnson

Theatre, Whats On

Company 13 Presents MACDETH

Clever Shakespeare for cunning kids

By Rebecca Waese

Company 13’s Macdeth at the Arts Centre Melbourne is a cracking updated kid-friendly classic with a keen awareness of physical comedy and a respect for the tastiest morsels of Shakespeare’s prose that fire up the formative neurons of young brains. Director James Pratt and a strong core company of four accomplished actors have devised a high-intensity, playful and powerful tale of how Macbeth and Lady Macbeth grow greedy enough to kill King Duncan and a few other innocent characters who get in the way of Macbeth and his throne.

Macdeth.jpg

King Duncan (John Forman) is a lovable buffoon and makes deliciously embarrassing errors such as reading his doctor’s note about his bottom cream instead of his royal proclamation. Aurora Kurth is excellent as Banquo, Macbeth’s fit and hearty best friend, and in her role as a servant who constantly interrupts key soliloquies and leaves the audience quite desperate to hear the words Macbeth and Lady Macbeth are trying so hard to say. What a terrific device this turns out to be to encourage the audience to tune in to the most memorable speeches.

Just gross enough to make the kids squeal, the play brings the violent tale to life with clowning prowess, false teeth falling in the cauldron and fake blood explosions of silly string spewing all over the stage. There are many levels, however, to the production. It isn’t all fart jokes and echo gags although these are done exceptionally well. Music underscores the action from bass-playing assassins to the eerie sound of a whirly tube as the witches predict the future. The sparse set is innovative and versatile with a vertical bed for the Macbeths and a backdrop of illuminated stars. Duncan’s murder is executed with cold-blooded deliberation after the four actors march, trance-like, with disharmonic vocals under red lights toward the scene of the crime. Macbeth, brilliantly played by Christian Bagin, with a goofy German accent and the simple desire to please his wife and be adored by all, asks, “What have we done?” and brings a startling moment of recognition to his murderous actions. Lady Macbeth, played convincingly by Fiona Roake, descends from clarity and purpose into madness. Comedy is left behind, briefly, as the young audience contemplates the consequences of ambition and greed.

Not dumbed down by any means but full of gags and self-reflective mayhem, Macdeth bridges a gap for kids who might glaze over under reams of iambic pentameter but respond to the passion, humour and intelligent complexities Shakespeare uncovers in human nature. This is a great first taste of Shakespeare and an enjoyable version for the initiated. Macdeth is ‘full of sound and fury’ but it signifies far more than nothing; it is a fine feat and well worth seeing.

Recommended for ages 8+.

Macdeth 
Fairfax Studio – Arts Centre Melbourne, 100 St. Kilda Road, Melbourne
Season: 19 – 21 January 2017 (11.00am & 2.00pm)
Information and Bookings: www.artscentremelbourne.com.au

Rebecca Waese is a Lecturer in Creative Arts and English at La Trobe University.

Cabaret, Festivals, Musical Theatre

Midsumma 2017: A NIGHT AT THE MUSICALS

Merrily murdering music theatre for Midsumma

By Myron My

Who doesn’t love the glitz, glamour and grandness of a musical showtune? Presented as part of this year’s Midsumma Festival, A Night at the Musicals starring Le Gateau Chocolat and Jonny Woo showcases the vocal talents of these two world-famous artists, as they take us through a select number of songs from some of the finest musicals that have existed – but with an added shake of camp and a shimmy of cheek.

A Night at the Musicals.jpg

We are advised at the very beginning that this is a performance where musical theatre goes to die. The two have a highly energised presence and through rather tenuous links of somewhat aimless banter, introduce us to each song. Dressed in some shiny and often dazzling outfits, they take clever advantage of their differences in physical appearance and singing style, as each is given the opportunity to shine (and outshine the other) through their chosen repertoire.

As per the show’s cheeky premise, there are times where Gateau and Jonny hum or mumble their way through the “powerful” parts of the song, or will interject a quick comment while the other is singing, thus attempting to “murder” the song. In context these devices worked well, but within the actual performance it sometimes pulled me out of the moment and I confess I would almost have preferred to just have them sing the songs for me to enjoy, and leave those comic opportunities for between numbers.

However there are still a number of real vocal highlights from the evening, including their captivating duet “I Know Him So Well” from Chess; and while I am not a Disney fan, the performance of my favourite-ever Disney song, the titular title from Beauty and the Beast was orchestrated brilliantly with the right level of cheekiness and arrogance.

I admit A Night at the Musicals might not have got me jumping off my seat ready to belt out some show-tunes but it was certainly a fun and entertaining show from Le Gateau Chocolat and Jonny Woo who will perform a variety of musical show-stoppers for you with great panache and plenty of charm.

Venue: Arts Centre Melbourne, 100 St Kilda Rd, Southbank
Season: Until 22 January | Thurs – Sat 8pm, Sun 5pm
Tickets: $44.90 A-Reserve |Premium $49

Bookings: Midsumma Festival

Review, Theatre, Whats On

Out Cast Theatre Presents DISTINGUISHED GENTLEMEN (BUT REALLY JUST A COUPLE OF ***TS)

Sordid, outrageous, and unashamedly funny

By Myron My

The title says it all really. Presented by Out Cast Theatre for a limited return season, Distinguished Gentlemen (But Really Just A Couple of ***ts) is a riotous look at two dirty old Regency gentlemen who lust after a mysterious young stranger. The two scheme their way to not only one-up each other, but also to ensnare the stranger into their bedroom, however they’re not the only ones with a trick or two up their… sleeve.

Distinguished Gentlemen.jpg

Steven Dawson and Wayne Pearn as Sir George Barrington and Lord Henry Burridge are clearly having a lot of fun with their characters, who are well established with enough backstory and motivation to make them satisfying and almost believable, apart from the sheer absurdity of the story. Tosh Greenslade as Simon Latimer, the attractive young man, rounds out the trio and does well in maintaining Simon as the “straight” role and ensuring the narrative pushes forward. While I can see how a sense of mystery to his character is required, a few hints and teases here and there might have allowed him to be as well fleshed out a character as Sir Barrington and Lord Burridge were.

Dawson also serves as writer and director of Distinguished Gentlemen and while keeping with the language of the period, manages to squeeze in more sexual innuendos and puns than you could poke a stick at. The jokes might be lewd and the humour crude, but they are entertaining and for the most part, unexpected and refreshing. The story is a little rough around the edges and could do with some – er – tightening, but again, its outrageousness and salaciousness are what make this farcical piece of theatre a delight to watch as the three men go head-to-head (so to speak) to get what they desire.

At its core Distinguished Gentlemen (But Really Just A Couple of ***ts) is a sordid tale about power, lust and revenge but with a dollop of buffoonery and plenty of buggery. These distinguished gentlemen may be a couple of ***ts, but they are a couple of funny ***ts in a show that will definitely have you feeling a little hot under the collar – from laugher.

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: Until 15 January | 8.30pm 
Tickets: $32 Full | $28 Conc 
Bookings: The Butterfly Club

Dance, Review, Whats On

Dance Partner Productions Presents BURN THE FLOOR

Exhilarating

By Leeor Adar

Burn the Floor is so hot you are mesmerised by the sweat and power of the dancers until the very last number.

Burn the Floor.jpg

Producer Harley Medcalf with ballroom veterans Peta Roby and Jason Gilkison, as director and choreographers respectively, have revitalised ballroom dance in a spectacular splash of contemporary style, colour and energy. I’ve had the privilege of viewing a number of dance companies, but this one really hit the ground in a way that brought audiences to their feet for multiple standing ovations. Decades into the Burn the Floor concept, this production continues to overwhelm and excite audiences worldwide.

You can expect high-calibre dancers from every corner of the globe bringing excellent technique in unique, sexy and high-energy scenarios.

We start in an eighteenth-century ballroom that is ferociously interrupted by one of the most high-energy Goth-glam numbers I could ever envisage. Costume designers Bret Hooper and Sharon Brown turned this PVC masterpiece into a significant shift in tone for the show. Nancy Xu wowed as she shifted her body fluidly in a structured skirt that could easily be mistaken for a hindrance.

Right from the get-go this production is breaking away from the chains of the past and using the very same chains to reconstruct and astonish its audience. It’s daring and racy, and as I watch with surprise my middle-aged mother grin with delight, I know we’re all in for a good night.

The musical numbers in Act One are an ode to the classics in music and feel. We visit the Latin Quarter and later take a trip to the world of swing. These swing numbers featuring iconic music such as ‘It Don’t Mean A Thing’, and Elvis-era inspired dance moves, are where the male dancers really shine – and they clearly love every minute. Italy’s Gustavo Viglio captivated in the swing numbers, but the male dancers overall were really outstanding here.

Act Two rocketed us into the world of Carmen. The classic story of forbidden desire played out in a darkly erotic setting – a ballroom variation of ‘Stairway to Heaven’ played by the band made up of percussionist Alysa Portelli, and guitarists Andrew Marunowski and Jose Madrid led the dancers. The loud and excitable move to “Schools Out” saw the troupe don school uniform, and the acrobatic style and energy of our performers really shone. A standout, Jemma Armstrong, furiously played the cat-and-mouse games of the classroom. Overall, the dancers really delivered such volumes of energy I was breathless merely by watching. This breathlessness continued up until the final numbers, including crowd pleaser, ‘Ballroom Blitz’, at which point the audience was clapping and cheering.

Throughout Act Two were performances by pairings. Whilst some of these were fluid and breathtaking – namely the performance of ‘Angels’, where England’s Lauren Oakley’s physicality was nothing short of exquisite – I felt many of the performances as segments lacked flow.

The Acts were also interspersed with live musical performances by the Italian Mikee Introna and Australian Sharnielle Hartley. Introna brought excellent comic relief at the beginning and close of the show, and his voice overall was impressive. Hartley’s performance was enthusiastic, but the ballads performed without the dance detracted from the intensity and sophistication of the dancers’ work.

Burn the Floor is nonetheless a dynamic crowd-pleaser, and you can catch this relentlessly exciting production until Sunday 15 January at the State Theatre: https://www.artscentremelbourne.com.au/whats-on/2017/dance/burn-the-floor

Cabaret, Review, Theatre, Whats On

Clock and Spiel Productions Presents THE SCREWTAPE LETTERS

Better the devil you know

By Philip Edwards

C.S.Lewis is well known today for his series of seven novels for children Chronicles of Narnia, especially since some of the books have been made into very successful movies. But before that. he came to fame with his classic satirical masterpiece The Screwtape Letters, first published in February 1942.

the-screwtape-letters

Hailey McQueen (director, producer and writer) has brilliantly adapted the “Letters” to the stage in what is a most entertaining and engaging production. As a longtime lover of all of C.S.Lewis’ works, I was both greatly looking forward to this play and wondering how a series of letters could be made into a full-scale production. I was not disappointed. McQueen has not only presented the wonderful insights into human nature that Lewis is famous for, but she has managed to inject humour and fun into what could have been rather dry if handled differently. From the very outset the audience was captivated and enthusiastic.

The show opens with the demon Screwtape (Yannick Lawry) assisted by Toadpipe a lesser devil (George Zhao), addressing a gathering of junior tempters in Hell at the annual dinner of the Tempter’s Training College for Young Devils. This is part of a speech taken from “Screwtape Proposes a Toast”, Lewis’ 1959 sequel to the Letters which first appeared as an essay in the Saturday Evening Post.This was a clever move by McQueen as it serves to introduce the role of Screwtape as a master Tempter whose job is to guide his nephew, Wormwood, in his task of tempting a young man who is in danger of becoming a Christian.

From then on Screwtape dictates letters, addressed to Wormwood, via Toadpipe which are then sent by some fiendish mailing system (wonderful sound and lighting effects), whereupon a reply is received which prompts another letter. The process appears quite simple, but the added humorous antics of the somewhat dimwitted Toadpipe ensure that there is never a dull moment.

Lawry and Zhao are the only actors on stage, and they are both there for the entire 80-90 minutes of the performance without a break. Lawry delivers the text of the letters with great skill and fluency. His performance is flawless and I was awed by the dedication that was required to memorise practically the whole book.  Occasionally Screwtape allows Toadpipe (Zhao) to present a section of his letter to Wormwood, sometimes as a blackboard lecture,which has the whole audience laughing at full volume. Screwtape’s frustration with Toadpipe and his antics results in some quite violent treatment of the poor creature which are staged beautifully (at one point Toadpipe’s head is jammed in a stool) and provide a dynamic relief to the dictation phases of the presentation.  Toadpipe is clearly bored by his miserable existence and does a variety of crazy stunts to break the monotony of his life of servitude. Zhao excels in this role and is a delight to the whole audience.

The theatre was packed with people of all ages from twenty-something to eighty-something and we were completely engaged the whole time.   The whole production team is to be congratulated on a memorable and captivating show that has brought the brilliant wit and insights of C.S.Lewis to the stage and to even greater accessibility for a modern generation.

The music, sound and light effects when each letter is delivered are wonderful.  Adam Jones (music and sound design) and Ben Anshaw (lighting design) are to be commended, for what they did fitted the mood perfectly.  I particularly liked the little tune that tied the production together: it had the right balance of quirkiness and lightheartedness that kept the show from being a heavy “lecture”-type of production that could easily have occurred when presenting a series of letters.

If I have any complaint it would be that the season is not long enough.  I recommend that you do all that you can to get to see it before it ends this weekend.  Forget the Christmas shopping.  This is more important.

(If you do miss it in Melbourne it is moving to Canberra next week.  That’s not too far to drive!)

The Screwtape Letters is now on at The Loft Theatre, Chapel Off Chapel, 12 Little Chapel St, Prahran until Saturday 17th December 2016.  Bookings: Ph. 03 8290 7000.  More information at: www.chapeloffchapel.com.au

Cabaret, Circus, Performances, Whats On

Arts Centre Melbourne Presents BRIEFS

In short? – revealing in all the right ways…

By Myron My

Having seen Briefs last year in an upstairs room of the Athenaeum, I was more than eager to see them again for their short return Melbourne season. The six talented performers covering (or uncovering) burlesque, circus, drag and everything else in between, were a highlight of my theatre experiences last year and after seeing their show on Tuesday night, remains a highlight for this year as well.

Briefs.jpg

Led by the charismatic and engaging bearded lady Shivannah (alter ego of ringmaster Fez Fa’anana), the performances are nothing short of mesmerizing, but also laugh-out-loud hilarious and with plenty of skin on display – it is called Briefs for a reason, after all.

While some acts are the same as last year (which is to be expected for a return season), they are still incredibly entertaining to watch. With no lulls throughout, it is extremely difficult to choose a favourite performance , however Thomas Worrell‘s erotically-charged silks routine to Jarryd James’ “Do You Remember”, Evil Hate Monkey‘s uproarious banana skits, and the breathtaking finale by Captain Kidd (Mark Winmill) that just needs to be seen again and again, stick firmly in mind. The group acts also bring huge energy into the room, including a well-choreographed performance to Crooker’s “Royal T” showcasing the talents of drag queen (and brilliant costume designer for Briefs) Dallas Dellaforce, along with Shivannah, Worrell and Captain Kidd.

As Shivannah explains at one point, Briefs is a little bit political, a little bit idiotic and a little bit disco but it is also a celebration of being different and embracing that diversity. The entire show raises questions as to what masculinity and femininity mean and can mean, and creates an environment that is very much a joyous blurring of gender and sex.

It’s been nine years since Briefs came together and if this return season is anything to go by, this artist-driven collective is going from strength to strength. With a thumping soundtrack, slick production values and inventive acts, you had better book your tickets sooner rather than later because Briefs is only on for a brief time.

Venue: Arts Centre Melbourne
Season: until 18 December | 7:30pm, Fri – Sat additional show at 10.30pm
Tickets: $65 Premium | $60 A Reserve
Bookings: Arts Centre Melbourne

Cabaret, Review, Theatre, Whats On

Christopher Samuel Carroll in EARLY GRAVE, FASHIONABLY LATE

Erudite, eloquent and deliciously fast and funny

By Joana Simmons

 Wax your moustaches and tighten your bowties, the dandiest and most daring storyteller has made his way across shores, through jungles and fantastical places to grace The Butterfly Club for one week only. Early Grave, Fashionably Late is a rollicking, rousing, intellectual one-man show set in the Victorian era – a time of tweed and all things twee. Writer-performer Christopher Samuel Carroll is Bennet Cooper Sullivan; fearless explorer, raconteur a charming gentleman, a reluctant detective. He creates a wondrous world with the most colorfully-crafted language I have heard in a while: it’s almost word-porn.

Early Grave Fashionably Late.jpg

Opening with an epic adventure soundtrack and an equally epic moustache, Carroll’s experience as a physical performer is clearly defined. The wordy beginning is not for the slow-witted, so make sure you are on the ball and ready to roll with it as the words drip off his tongue like the smoothest cognac. The ever-so-charming Bennet Cooper Sullivan passes his business card to the ladies in the audience and tells us he is a man of the world, having been to lost civilizations and secret passages, and wound up in Dublin, 1889, where our story takes place. We are darted from word to world, memory to moment, guided by Carroll’s energetic and expressive storytelling and physicality. The plot thickens, amusing asides and witty one-liners leave us in laughter and keep us on the edge of our seats. Without giving too much away, there is blackmail, adultery, murder, lions, cigars and a hilariously mimed penny-farthing chase. Carroll’s finesse is like I’ve never seen and this show is truly classy comedy. Tongue-in-cheek moments abound, but it is so refreshing to see that the art form of wit and fabulous writing is still alive.

It takes a lot of skill to turn a bare stage into a wonderful world and hold an audience’s attention for just less than an hour. The lighting did a wonderful job in transporting us into dens, parks and underwater. I think sound could have taken the show to another dimension – Carroll’s language and physicality did a lot, but sounds like wind in the trees or the hustle of a Dublin cock-fight could make it a full sensory experience. Similarly, Bennet Cooper Sullivan looked delightfully dapper in a three-piece tweed suit; though some more finery such as pocket watch, a real journal instead of a mimed one and perhaps some more ‘things’ onstage, could help give the look of the show extra polish: plus, a handkerchief wouldn’t have gone astray on a scorching Tuesday like the one upon which the show opened.

I am astonished by the amount of work that Carroll has invested to give the characters so much depth and deliver such a wordy script at such a high intensity and maintained throughout the show. I do feel there could have been more time for pauses and breath however, for us the audience to digest (as most monologues are certainly meaty) and for Carroll to give more dynamic and variety in his delivery. That being said, the story structure itself was flawless.

Any fans of Oscar Wilde, Sherlock Holmes, or even Stephen Fry will delight and gush at this show. Writers, readers and story-believers: those who are sick of the song-story-song-story-joke-song-story one-person shows must get along to this fresh and fascinating creation spit-spot. There’s a show in Canberra on Dec 20th, and Early Grave, Fashionably Late on in Melbourne till Saturday. Book now.

Dates: 13 – 17 December

Time: 8:30pm

Cost: $25-32

Venue: The Butterfly Club, 5 Carson Place, Melbourne

Tickets: thebutterflyclub.com

Events, Review, Theatre

Boutique Theatre Presents MERRY CHRISTMAS, BITCHES!

Festive family gathering with grim but witty twists

By Joana Simmons

Tis’ the season to be jolly. Or so they say, as for many of us, Christmas can be a time of togetherness, tinsel, traffic, terrible gifts and tension. Boutique Theatre‘s production of Merry Christmas, Bitches! written by Samantha Hill captivatingly reveals all the sides of the silly season, as told by various female members of the McDoonie family on a sweltering Christmas day between the prawn cocktails and rum and cokes.

merry-christmas-bitches

The Tuxedo Cat’s upstairs space was filled with presents of all sizes stacked amongst baubles, stars and reindeers. Breanna (Samantha Hill) held the audience in her hand as she set the scene with her colloquial monologue detailing the family dynamic, tense from Christmases gone by, which wasn’t to be bought up this year because ‘you don’t start shit at Christmas’… but they have discovered a dead body under the shed in the backyard and it’s all a bit weird. The one-liners are comical and the content is well thought-out. The writing throughout this show is extremely clever and maturely takes us down all kinds of deep paths, with great social, political, gender and satirical commentary sparkling through.

We meet Joanna (Ana Mitsikas) the divorcee, somewhat neurotic vegetarian, and outsider. Her individual story is as interesting as the last; it’s not so much about what has happened, but the details about the relationships that get us invested in each character’s story. Caitlin Mathieson’s portrayal of year 12 graduate Greyson was authentic and strong. In her Christmas pud earrings and kitschy green t-shirt, Sylvia (Emma Jo Makay) is the aunty who tries so hard to make everything perfect and doesn’t quite get it and pulls our heart strings as she cries for the 5th time that day – her first Christmas without her Dad. The matriarch, Bev (Jen Watkins) had fantastic and charming – or as Bev would probably say – “grouse” physicality. Truths come to light, some dark, some relatable, some shocking. The audience is captivated. It’s contrasted with eight year old Snow-White dressing scooter-riding Emma-Leigh (Lauren Mass) who is hilarious and dynamic.

There’s many wonderful things that hit home in this show. The structure is strong, with characters I can definitely compare to my family and who were played well. At 90mins with no interval, I did feel it was too long, as the whole time it was only one person speaking at a time. Director Michaela Bedel has done a stellar job keeping the pace through this massive melting-pot of stories, while the show was seamlessly stage-managed by Dylan Morgan. The set of presents by Nick Casey and Alicia Aulsebrook was bought to life by lighting designer Grace Marshall; before the show started I glanced around and couldn’t see a complex lighting rig but what she did with what she had was very effective.

I made it to this show only at the end of the run. I’m incredibly glad I did. It is a show for anyone who has had a not-so-festive family gathering, for anyone who doesn’t quite feel like they fit in the family mould, or feel the need to carry on with all the baubles and bull-shit. I heartily hope it comes around again next year, for Merry Christmas, Bitches! was witty, wise, and well worth watching.

Merry Christmas, Bitches! was performed at The Tuxedo Cat from 7th – 11th December, 2016.