Performances, Review, Theatre

La Mama Presents CLEAVE

Tales twice-told

By Myron My

In 1908, conjoined twins Daisy and Violet Hilton were born in England. About 55 years later, Colleen Burke and her twin sister were born – five minutes apart separated by three years. Burke was born with two vaginas, and her sister was born severely disabled with Cerebral Palsy. Presented as part of La Mama Theatre’s Exploration season for presenting work in various stages of development, and under the dramaturgy of Doug McLeod, Burke’s Cleave explores the relationship that each set of twins had and – despite the decades between them – the similarities shared between their lives.

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Having only completed the story very recently, Burke performs a scripted reading of Cleave while placing a select number of props on the stage. There is a toy train set, a sculpture of two fused humans embracing, a photo of the Hilton twins, and a rolling pin. There are also a number of props revealed throughout the show, which – especially during a scripted reading – allow us to remain visually engaged with the performance.

At times, Burke breaks from script and describes to us how she envisions the following scene taking place, and it will be interesting to see how these various ideas are actually executed. As a skilled puppet-maker and puppeteer, Burke’s main goal is to play both the conjoined twins where she is one twin and the other is a puppet manipulated by her.

Burke’s research into the Hilton twins’ lives is detailed and the parallels between their experiences and those of Burke and her sister are well tied-in. There are moments however, when switches between the three stories could be more closely linked with the theme of the current anecdote being explored, as this would allow for not only a smoother transition into the next story but a more fluid and easy-to-follow narrative.

Cleave starts off strongly with the stories being presented as performances by the various characters within the lives of the four women, and the intended use of puppets. Towards the second half, it seems to turn more into Burke re-telling much of her life and that of the twins’, with little performance aspect to it. While the stories are engaging, that performative aspect from earlier greatly assists in entertaining the audience and taking the show to the next level. Furthermore, it may also prevent Burke from breaking “character” when recalling the more emotional moments of her own life.

While Cleave is very much a work in progress, Burke has managed to create a captivating story that deserves to get bigger and better and come to fruition on stage as a fully developed piece, and I look forward to seeing this work in its next phase.

Cleave was performed between 6 – 8 December at La Mama Theatre.

Image by Michael Camillieri

Cabaret, Review, Whats On

The Butterfly Club Presents THE ROAD TO STOCKHOLM

Riotous funny Euro-revision

By Narelle Wood

It is on my bucket list to go to Eurovision just once in my life. Until that happens, I’m very much content to see satirised cabaret versions, especially if they are the quality of The Road to Stockholm.

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This show has all the drama, glitz and glamour that Eurovision is known for, with some added bonuses such as some international intrigue, and some subtle, at least in comparison to the dance moves, political and social commentary. Boris (Matthew Hadgraft) is a Russian singer, recently separated from his very popular boy-band and hell-bent on becoming an international superstar. Lenka (Jessica Papst) is a Ukrainian YouTube star with a passion for Roxette, and Boris. Boris is so naïve, trusting and overconfident that it’s an endearing recipe for disaster. And Lenka’s desperation for everyone to like her makes her the perfect target for heartbreak. With the help of Boris’s manager, her hairdresser and Lenka’s best friend, this unlikely duo are set to become the first ever bi-country entrants into Eurovision.

There is so much to love about this show. The soundtrack is tragically fantastic with a number of Roxette songs, and featuring the likes of Madonna, Gina G, and a number of originals all sung with ‘authentic’ Russian and Ukrainian accents. Behind all the over choreographed and over danced dance moves, is a spy backstory and a disgruntled child performer out for revenge by taking advantage of Russian/Ukranian relationships, Russian prejudices and Eurovision fans. The result is a high body count and a Eurovision farce. The high drama works and both Hadgraft and Papst are brilliant. The humour is outrageous and self-deprecating and it’s full of great one-liners that are laugh-out-loud funny. While it is based on Eurovision, it doesn’t rely on it so you don’t need to be au fait with Eurovision to find this absurd storyline amusing. That being said, if you were playing the Eurovision drinking game during the show, you’d be very close to having your stomach pumped; the only things missing were wind machines and fire-works.

The Road to Stockholm is a genuinely good time; I laughed the whole way through. Whether you’re a Eurovision neophyte or dedicated fan, or even if you’re interested in what a sassy Ukrainian accent might sound like, this is definitely worth checking out. 

Venue: The Butterfly Club, Carson Place, Melbourne

Season: Until 11th December 7pm, Friday 6pm

Tickets: Full $32| Conc $28

Bookings: thebutterflyclub.com/show/the-road-to-stockholm

Cabaret, Review, Whats On

Emma Maye in GRUMBLE: SEX CLOWN SAVES THE WORLD

Full frontal at the forefront

By Narelle Wood

Grumble: Sex Clown Saves the World seemed like an intriguing premise for a show; the title alone peaked my curiosity. Unfortunately what unfolded over the next hour did not hold any where near the same appeal for me as the name.

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Emma Maye emerged on stage as Betty Grumble, made up to look more like a stereotypical drag queen than clown. This was the most thought-provoking it got, as I began to wonder exactly what constitutes a clown. The show consisted of a lot of shimming, slapping and shaking along with some explicit moves and some very full and very nude, full frontal nudity. To say that Maye left it all on the stage is an understatement. While the nudity might be considered part of an act that identifies itself as feminist, I thought the sexual antics were there for shock value rather than necessarily trying to make a statement, or at the very least a coherent statement. There were a number of political messages thrown out to the audience, including the evils of reality t.v. stars, mining magnates and of course the patriarchy. There certainly was no fresh perspective being offered.

For me, the combination of sex-clowning and world-saving didn’t work. The idea of sex clowning seemed to be nothing more than an excuse to turn the cabaret into adult entertainment. There was also very little saving of the world. There was a stereotypical and earnest message at the end that one person can make a difference, oh, and don’t forget to buy the merchandise on your way out.

To be fair, even though I really didn’t like this show, I seemed to be in the minority. There were some very good tone shifts and Maye certainly captivated her audience; a much younger and more alternative crowd than I represent. Maye can clearly sing but mostly favoured miming instead. She can also clearly dance, but for me naked high kicks are something I’m okay with only seeing once in my life. And I think that is another problem I have with the show; the 18+ rating in no way indicates how graphic this show is, and that feels dishonest.

I left feeling confused about the show’s purpose, a show that was only seemingly held together by the very annoying persona of Betty Grumble. In short, I won’t be rushing back, but if you fit the demographic and appreciate the exploration into disjunctive, graphic theatre then this may be, not necessarily entertaining, but an interesting adventure.

Venue: The Butterfly Club, Carson Place, Melbourne

Season: Until Sunday 11th, 8.30pm

Tickets: Full $32| Conc $28

Bookings: thebutterflyclub.com/show/grumble-sex-clown-saves-the-world

Cabaret, Theatre, Whats On

HOT BROWN HONEY: Return Melbourne Season

Superbly sassy, socially significant, and simply spectacular

By Jessica Cornish

Hot Brown Honey is vivacious, provocative and highly entertaining. The all-female powerhouse cast has created an engaging and daring 75-minute package that  encourages the members of its audience to reflect on their social roles in challenging gender and race stereotypes. The production successfully managed to strike a perfect balance of playfulness and fun whilst addressing serious and troubling aspects of our society.

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This raw production directed by Lisa Fa’alafi has immense potential to be an incredible piece of art, with only some further refinement needed to add complexity and sophistication to already good circus items, such as hoola hoop routines and an emotive aerial cloth number. The women cleverly weaved important quotes and messages about colonization, cultural appropriation, domestic violence and liberation throughout the performances enveloped by hilarious skits highlighting the all-too-familiar bogan-like behaviour often witnessed overseas in our neighboring city, Bali.

The music was well-chosen and arranged under the direction of the enigmatic Kim ‘Busty Beatz’ Bowers, although I sometimes felt the MC was a little out of breath. Overall the music was upbeat, bottom-heavy and just playful. I loved it all – plus the evening featured some impressive female beat-boxing.

The set was a dynamic beehive that was well-utilized with back light and a platform for the MC and others. Unfortunately, the lighting design seemed a bit under-developed and needs to be reviewed. There were often unused spotlights, performers were left dancing in the dark at times and weird beams of light fell across artists’ faces because of the follow-spot poorly blending with the stage lighting.

Overall, this show was completely fascinating, empowering and voiced an important message for each Australian to consider. The performance forces you to reflect on the role you play within broader society, our positions of vulnerability or privilege, and how we are perpetuating or fighting everyday stereotypes.

Hats off to the wonderful and talented women of Hot Brown Honey: Kim ‘Busty Beatz’ Bowers, Lisa Fa’alafi, Materharere Hope ‘Hope One’ Haami, Alexis West, Ofa Fotu and Crystal Stacey. Their voices deserve to be – and should be – heard.

6 – 11 December, 2016
Thursday 8 December, 7.30pm
Friday 9 December, 7.30pm
Saturday 10 December, 7.30pm
Saturday 10 December, 10.30pm
Sunday 11 December, 7.30pm

VENUE

Melbourne Arts Centre

BOOKING

https://www.artscentremelbourne.com.au/whats-on/2016/comedy-cabaret/hot-brown-honey

Review, Theatre, Whats On

Twelve Angry Presents BACHELORETTE

Satisfyingly dark and disturbing

By Caitlin McGrane

Bachelorette by Leslye Headland is a razor-sharp tragi-comedy that exemplifies what I have been saying for years – we need more unlikeable female characters on stage and screen. The 2012 film of the same name is a classic in my house, although its final act never quite seemed able to live up to the saltiness promised in the set up. This latest version from Twelve Angry more than fulfils those promises.

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Twelve Angry is a Melbourne-based independent theatre company with the specific aim of championing the creative voices of women. In this production, director Matilda Dixon-Smith has created something so dark and twisted, yet utterly brilliant, in its illumination of how society treats women. Bachelorette is fucked up – none of the characters are likeable and, unlike the film version, they are irredeemable in this stage show; I promise this is a good thing.

The play opens as Gena (Rebekah Robertson) and Katie (Lucie Gavanon) enter a hotel room heavily stockpiled with booze and cocaine. They mope about, complain about their lives and discuss the upcoming nuptials of their “friend” Becky (Sara Tabitha Catchpole). The repeated references to Becky’s weight (she is almost exclusively referred to as ‘Pigface’) demonstrates how women are often valued only in relation to their fuckability – none of her high school friends can believe she is the first one to get married. Gena and Katie are kind of fine as characters, but I felt the show only really got interesting when Regan (Holly Brindley) showed up. Regan amps up the chaos and brings back the repugnant Jeff (Joshua Monaghan) and the pitiful Joe (Conor Misson).

Carnage reigns supreme in Headland’s script, and set designer Gabby Lewis (supported in the construction by Nick Sanders, Eva Stacey and Hanna O’Keeffe) has cleverly mirrored the depravity in the play in the set as the place actually starts to fall apart.  Costume designer Hannah Crone and wardrobe assistant Bec Hill’s carefully chosen outfits fit the characters well. Lighting design (Siobhain Geaney) and sound design (Jess Keeffe) was fine, but could probably do with some more subtlety to help enhance the performance. There was a notable and awkward lack of sound in the opening scene, which might easily be rectified.

It’s always a delight to see productions that support women in creative fields (in fact it’s ways good to see women supported in any field), but Bachelorette does something unusual in showing how nastiness and aggression aren’t the exclusive preserve of men, and unlikeable female characters reinforce the idea that women don’t need to be likeable – we’re not here to help you deal with your feelings and/or guilt. Katie, Regan, Gena and Becky are unashamed of their shortcomings, drug and alcohol abuse and disordered eating, but rather than glorify these traits, the play shows how truly tragic it is that we expect women to shut up and deal with this stuff – our problems aren’t any easier just because they’re unseen. In fact that might be the most tragic thing of all.

Twelve Angry presents BACHELORETTE

6-11 December 8.00 PM \ The Stables, Meat Market, North Melbourne

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Bookings: chook.as/twelve-angry/bachelorette

Festivals, Theatre, Whats On

Poppy Seed Festival Presents F.

Making text about sex

By Myron My

It’s probably rarer now for parents to need to sit down and speak to their children about the birds and the bees. Books such as “Where Did I Come From?” now seem obsolete, and by the time teenagers are learning anything to do with sex education in school, they already seem to know it all. Presented by Riot Stage as part of the Poppy Seed Festival, F. attempts to explore how a group of teenagers come to terms with sex and sexuality as most people of the last decade have – through technology.

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Unfortunately the execution is not always successful, as the production’s central concern with how technology is used with sex is at times completely ignored, or does not explore issues raised to any great depths. Thus, one of the main story lines – where two friends enter into a sexual relationship – is surprisingly developed without featuring the use of any social media or technology whatsoever, apart from one scene where the male character refers to the three voicemails he left her. In contrast, a female character’s revelation that an ex-partner has put a naked photo of her on the internet is initially met with mediocre disgust by her friends but is then immediately dropped and never mentioned again – nor do we see any impact this event has upon the character.

Despite being developed from online survey content and real-life narratives, the stories explored in this production never seem to come from a place of authenticity or honesty, and feel like they have been chosen or created in an ambitious attempt to cover every possible topic regarding teenagers and sex: masturbation, vaginas, homosexuality, suicide, porn, masculinity, and so on, and so on. Within this plethora of material, I felt the characters portrayed lacked motivation, and there appeared to be a need for more guidance in the young cast’s valiant attempts to show these teens as real people.

Katrina Cornwell‘s direction creates some strong visuals, especially during the musical interludes where all the characters appear on stage at various times before disappearing backstage again. The interesting solipsistic idea that all these characters’ emotions and thoughts belong to one person is best explored here and in the final moments of the show, where sentences begin to flow into one another as two microphones are shared between the cast of twelve.

With a tighter narrative structure and further thoughtful examinations of its characters’ desires and drives, F. could certainly be a piece of theatre with something important to say. But at this stage, investigating the role of the internet when it comes to learning about sex and life is not a new concept, and sadly, F. – in this current production – fails to add anything new to the mix.

Venue: Trades Hall, 54 Victoria St, Carlton
Season: until 11 December | Wed – Sat 8pm, Sat 2pm, Sun 4pm
Tickets: $35 Full | $25 Concession
Bookings: Poppy Seed Festival

 Image by Sarah Walker
Cabaret, Musical Theatre, Review, Whats On

Vic Theatre Company Presents THE GATHERING

Plenty of charm and intrigue in new Australian musical

By Rebecca Waese

Vic Theatre Company’s The Gathering, directed by Chris Parker, is an original Australian musical about friendship, love and loss inspired by the spirit of the Millennial generation. A group of twenty-somethings reunite in a haunted house to see their friend Tom (Joel Granger) who has surfaced after five years. When Tom runs away again, the friends stand by one another, (think of an Australian Rent meets Scooby-doo and the gang), and Tom begins to emerge from the shadows of his mysterious past.

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There is plenty to applaud in this production (with book, music and lyrics by Will Hannagan and Belinda Jenkin) and in this company of young performers who are promising, self-possessed and leave their hearts on the stage. Outstanding vocals are delivered by Luke (Daniel Assetta), playing the camp best friend of Tom’s foster sister Kelly, (Shannen Alyce Quan), who is another strong talent to watch. Quan shows power and vulnerability in “Sweet December Feelings” with subtle and nostalgic references to the particular qualities of an Australian summer. Daisy, (Hannah Sullivan McInervey), shines in her solo, “Hair So Long” and Sullivan McInvervy’s voice brings a refreshing and unexpected Missy Higgins-type quality to the ensemble.

The vocals, however, under the musical direction of Daniel Puckey, are far superior to some of the lyrics, and there are a few weak plot points in the show. A handful of too-obvious rhymes calls out for the guiding hand of an experienced dramaturg. Yet, the open spirit of the young company made me forgive some of the clangers and the performers did well to shroud them with humour and ironic deliveries. Luke’s memorable line to Kelly, “I apologize profusely/ by making you muesli,” struck a playful note as the friends negotiated their path to adulthood amidst the chaos that growing up and apart brings.

There is some enjoyable comic work by Mia (Olivia Charalambous), and a compelling dramatic moment when Tom asks why Luke didn’t help him when he needed it most. Heartbroken Joe (Daniel Cosgrove) was delightful when Daisy’s line, “we’re on a break”, lead to a sudden realisation.

The Gathering captures a sense of the moment today for young Australians out in the world, released from share-houses and uni and beginning to make their way as adults. The big company numbers are exuberant with “Never Ever” re-living the classic drinking game, “Haunted” lit by Iphone-wielding ghost-busters, and “A Different Kind of Love” bringing resolution to Tom and his friends as harmonies fill the space. There is a distinct sense of Australian place in this musical, which, despite some awkward lyrics and plot holes, speaks openheartedly and with comic self-awareness of this moment in time for the Millennial generation. Whether this is your tribe or you want to eavesdrop on their moment, The Gathering is uplifting and has much to offer.

Venue: fortyfivedownstairs, 45 Flinders Lane, Melbourne

Season:
Nov 30 Dec, 2, 6, 8, 11, 7.30pm
Nov 26, 4pm, Dec 3,10, 8.30pm
Nov 27, Dec 4, 3pm

Tickets: $38 – $42

Bookings: 03 9662 9966 or online

Image by James Terry Photography

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

Musical Theatre, Review, Whats On

Vic Theatre Company Presents THE LAST FIVE YEARS

A performance to fall in love with

By Bradley Storer

A woman enters her apartment after a long day of work, placing her bag on the table and letting her hair down before spotting a letter left on her bed, along with a set of keys. With this heart-breakingly simple image, the complex narrative of Jason Robert Brown’s off-Broadway classic The Last Five Years begins to unwind in this production by Vic Theatre Company.

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The Last Five Years is a musical that presents many challenges – along with balancing the audience’s sympathy for two people shown at their respective worsts, the concept of each character’s story unfurling in opposite directions (his forwards, hers backwards) means there is normally no direct interaction between the two characters, eliminating the chemistry needed to make the central love story work. Director Chris Parker has chosen to have both characters present in relevant scenes, which is effective in some scenes (‘See I’m Smiling’ and ‘If I Didn’t Believe In You’ in particular) but less so in others where the apparent silence of one character for the entire time doesn’t always work. Brown’s wonderful score however remains entrancing throughout, beautifully played by the band under Daniel Puckey, with the simple but intricate set by Daniel Harvey unfolding in a multitude of ways to enhance the action.

Verity Hunt-Ballard is nothing short of brilliant in the role of Cathy. She wrenches the heart in her opening song, ‘Still Hurting’, manages to make the character sympathetic and delivers pure musical comedy gold in her ‘A Summer in Ohio’ and ‘Climbing Uphill’ – even in the scenes where she doesn’t speak, Hunt-Ballard conveys powerful emotion with just a look and a cheeky smile. Her performance alone is more than worth the price of admission.

Josh Piterman as the charismatic wunderkind writer Jamie ably handles the early parts of his character’s journey, his whirlwind romance with Cathy blossoming alongside his literary career, and sensitively performs the emotionally ambivalent ‘If I Didn’t Believe in You’ before losing his footing towards the end. The character’s final songs don’t have quite the impact they could (despite a nice symbolic touch involving a memento from earlier in the piece), and the last few moments of the show lose their full weight.

A problem with the musical itself is that it never seems to fully suggest what conclusion or meaning we should draw from watching Cathy and Jamie’s relationship disintegrate – but the final image of Cathy, her face lit up by the elation of newfound love as she retreats into darkness, remains haunting nevertheless.

Venue: 45downstairs, 45 Flinders Lane, Melbourne VIC 3000

Dates & Times: Nov 25, 27, 29, Dec 1, 4, 7, 9, 7.30pm / Nov 26, 8.30pm / Dec 11, 3pm / Dec 3, 10 4pm

Prices: Preview $43, Full $50, Concession $45, Group 8+ $43, Double Bill $80 (with The Gathering)

Tickets: www.fortyfivedownstairs.com , (03) 9662 9966

Image by James Terry Photography

Musical Theatre, Review, Whats On

RL Productions Presents REEFER MADNESS

Satirical cult show challenges modern audiences

By Myron My

Reefer Madness was originally a 1939 film intending to dissuade youth from smoking cannabis and highlighting the risks linked to this “pastime”. In 1999, Kevin Murphy and Dan Studney opened their musical version of the show in Los Angeles and 17 years later it is being presented by RL Productions, and the entire time watching, I’m sorry to confess I just kept wondering – why?

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While I understand the tongue-in-cheek humour and the satirical nature of the cult show, I simply cannot find any laughs in rape or domestic violence narratives. I will admit that I am not familiar with the film and unsure to what extent it makes these references, but stating women will be raped if they are stoned and watching a female character being physically and verbally assaulted by a male – and played for laughs – is not on. Yes, you can argue that it was in the musical’s book (from 1999), but these issues are so problematic for today’s audience that I felt this production needs to consider and address this in some way.

It is said that Murphy and Studney wrote the first song for Reefer Madness in under five hours, and for me, it shows. The lyrics are simple and obvious, and many of the songs themselves feel more like filler than actually showing us something more of the characters or situation. So “The Brownie Song”, “Romeo & Juliet “and “Lonely Pew” failed to engage me in any way, but that said, under the able musical direction of David Wisken, there are some great songs in there as well, including “The Orgy” and “Listen To Jesus, Jimmy”, in which the performance by Ed Deganos is just brilliant. The choreography by Yvette Lee is also quite noteworthy here and the use of the ensemble in all the musical pieces is well thought-out.

There are some scenes in Reefer Madness that are genuinely entertaining, such as when Jimmy takes his first hit and the penultimate scene in the reefer den. The intelligent direction by Stephen Wheat and lighting design by Jason Bovaird (in particular during the latter scene) was quite effective in creating some emotion from the drama and chaos that was being acted out.

The entire cast is full of energy and committed to their roles, but with all the characters being very one-dimensional I found myself struggling to care for them. Rosa McCarty however, as Mae, has some great moments on stage and manages to bring life to a character that could easily have become another cliché. James Cutler is also great as The Lecturer, bringing laughs to some very dry material with some comedic good timing and body language.

In 1999 Reefer Madness may have had its cult fans and garnered some favourable critical reviews, but for me, in 2016 – and in Australia – this is just a dated and troubled musical that has no redeeming history or context here. There are certainly some laughs to be had, but I was ultimately left mystified as to the reasons for choosing to put on such a show.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran
Season: 4 December | 7:30pm Tue- Sat, 6pm Sun
 Tickets: $49 Full | $55 Conc
Bookings: Chapel Off Chapel

Festivals, Review, Theatre

Poppy Seed Festival Presents WHAT’S YOURS IS MINE

Ambitious attempt to traverse an Australian cultural landscape

By Myron My

“Give me a home among the gum trees, with lots of plum trees…” How the Australian dream has changed since 1974. But has it been for better of for worse? Presented as part of the Poppy Seed Festival, Hotel Now’s What’s Yours Is Mine explores Australian values and ownership of a land that was never ours to own, with an elaborate touch of campness.

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The show begins at a reunion for Olympic Games volunteers where three friends – Milly, Ollie and Syd – reconnect and decide to go on a road trip together; Milly has just quit her job, Ollie has a car and Syd just wants to get away from everything. Cue road-trip montage and offbeat adventures as the three friends travel through the country.

The performances from Hayden Burke, Simone French and Tom Halls are full of energy and commitment, and having seen French and Halls in Hotel Now‘s 2016 Melbourne Fringe Festival show, Nothing Special, I found the two continue to share some great chemistry on stage. The direction by Yvonne Virsik is insightful and provoking in the way she chooses to represent and display the ideas raised in show.

What worked brilliantly in Nothing Special was the focus on an aspect of modern culture that was explored to the extreme. Sadly, I feel this doesn’t work as well in What’s Yours Is Mine, as this look at Australian culture is far too broad in scope, and what we end up seeing is a whole lot of ideas, but a disjointed story that is difficult to connect with.

There is a scene where the three characters describe all the “ingredients” needed in explaining what makes ‘Australian culture’, and I couldn’t help wishing the creators had taken their own advice here and been more refined and less haphazard with what they chose to explore and how they choose to do it. As it stands, What’s Yours Is Mine is a pretty performance to look at on the outside, but on the inside I’m afraid it felt a bit of a mess.

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: Until 4 December | 8.30pm
Tickets: $35 Full | $25 Conc
Bookings: The Butterfly Club