Cabaret

Melbourne Fringe 2016: COSMONAUT

Magazine sex tips fuel storytelling blast (off)

By Myron My

What becomes of the broken-hearted? In US comedian Ryan Good‘s experience, it becomes a journey of self-discovery through masturbation. This subsequently lead to a comedy show about the ten worst sex tips ever provided by Cosmopolitan magazine and the birth of his highly-acclaimed show COSMOnaut.

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While some of the “tips” are pretty tame, there are some that are downright weird and I’m confessedly not sure they how are even remotely sexual but I guess, to each their own. However, this show isn’t a theatrical list-icle, but a witty commentary on relationships, feminism and the pressure in society to be attractive and successful. I feel a bit more clarity for the story Good is trying to tell would work wonders for this show, as this purpose can get lost with the numerous stories and points being raised.

However, Good is highly endearing and personable on stage and his natural goofiness is a major draw-card to COSMOnaut. His storytelling and singing – there’s a lovely little song to the perineum – is shared at the perfect pace and the build-up to the final tip is about as close to foreplay as you can get in a comedy show.

The success of the show does fall partly with the audience member who agrees to come on stage with Good and on the night I attended, Good struck gold because Dave is brilliant. The banter the two share and Dave’s open attitude allows Good to fully explore the themes and ideas raised in COSMOnaut and results in one of the most romantic wedding vows ever. You would almost suspect that Dave is a plant organised by Good with his quick thinking and responses, but it’s just fantastic luck.

Relationships and life can be tough and messy and with so much pressure coming from the media, it can also be very confusing. COSMOnaut is 60 minutes of cheeky entertaining laughs that urges you to question what you see and read around you and act up if you don’t agree.

Venue: Fringe Hub – Arts House, 521 Queensberry Street, North Melbourne, 3051
Season: until 1 October | Tues – Sat 8pm, Sun 7pm
Length: 60 minutes
Tickets: $25 Full | $20 Conc/Cheap Tuesday | $22 Groups 6+
Bookings: MelbourneFringe Festival

Circus, Whats On

Melbourne Fringe 2016: UNDERTONE

Musical interaction meets circus innovation

By Myron My

Produced by Black Carnation Productions, Undertone is a circus show that – while presenting some impressive tricks and laughs – also explores the relationship between the body and sound. With a live electronic score, it pushes the boundaries of what circus can be, creating a different show at every performance.

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There is a strong physical demand throughout Undertone, that the four performers make seem effortless as they jump through the air, climb on each other and fling their bodies across and under tables. Due to the concentration and focus of these tricks, the performers have also included a good dose of clowning throughout. Under the direction of Avan Whaite, this allows them to break the tension so the audience can breathe calmly, and for their personalities to come through and invite us to create a bond with them.

There are a few mishaps with certain tricks on the night I attended, and it seems at times that while the set-up is there, the follow-through isn’t always a success. However, what does work, and really takes my breath away is the work on the Chinese pole, which is used in various ways, with some acts I have not seen before in circus. Due to the design of the Melba Spiegeltent, you get to see the show from a more intimate viewpoint and acts like the balancing act on rolling tubes become extremely nail-biting, as you see just how near to the edge they roll.

Adding to the “danger” element of Undertone, the electronic soundtrack for the show created by musical director Zoltan Fesco uses live triggering from the performance itself for the audio delights we hear. In doing so, Fesco and the performers are constantly unaware of what could happen next and this unique soundscaping allows for numerous moments of surprise for the audience, the performers and the composer himself.

Undertone may not have the strongest individual acts, but it is one of the more innovative circus shows I’ve seen. With the growing number of circus coming through Melbourne, it’s always great to have your expectations of this art form challenged, and that is where Black Carnation Productions more than excel.

Venue: The Melba Spiegelent, 35 Johnston St, Collingwood, 3066
Season: Until 25 September | Sat – Sun 8.30pm, Sun 3:00pm
Length: 60 minutes
Tickets: $29 Full | $24 Conc | $22 Group 6+
Bookings: Melbourne Fringe Festival 

Festivals, Theatre, Whats On

Melbourne Fringe 2016: BOMBSHELLS

Impressive performances of women on the verge

By Margaret Wieringa

Down a few side streets in Brunswick in an art space called Wick Studios, ROARE Productions are staging the classic Australian play Bombshells by Joanna Murray-Smith for this year’s Melbourne Fringe Festival. The work is a series of six monologues from women pushed to the edge, and Kaarin Fairfax has directed this group of six young performers to find interesting and different interpretations of the collection of characters

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The show starts strongly with Ruby Swann playing Meryl Louise Davenport, the young mum struggling through the constant, frenetic monologue, judging herself and comparing herself to everyone around her. It’s such a bittersweet, tragic and yet very hilarious piece and Swann balanced the humour and pathos beautifully – in a magnificent white jumpsuit, and literally at the end of her rope.

Next, Ruby Duncan was Tiggy Entwhistle, a recently separated woman who is discussing how succulents changed her life. Duncan’s performance was extremely still and monotonic throughout, which was both a strength and a weakness- it gave the writing a far deeper sense of pain, but at times, missed the humour. Certainly, it was a strong performance from Duncan in an unexpected interpretation of the piece.

The first act finished on Anjelica Angwin’s school talent performance as Mary O’Donnell. We’ve all known these young, extremely self-confident teens who are ready to take on the world of the stage. Perhaps we may have even been her… Angwin captured the arrogance and outrage of the teen performer beautifully. And her dance number was delightful.

Returning from interval we meet Theresa McTerry, portrayed by Emily Riley. Starting on stage dancing in her underwear and drinking champagne, we watch Riley go through a wide variety of emotions as she ends up in a magnificently large wedding dress marrying Ted. As the character became more and more overwhelmed by the day, Riley’s performance became bigger and louder and funnier and more tragic, as needed.

Angie Glavas played Winsome Webster, the button-down widow who has seemingly settled into a pattern that will last the rest of her life. It’s always difficult to have actors play characters so distant in age from themselves, and while it was impossible to ignore that I was watching a young performer, she had a weight to her voice, a pacing and a pitch that conveyed an older character. Glavas was able to do real credit to the humour of the writing with her performance – giving a sense of upright respectability with the occasional naughty wink.

The show ends with a showstopper – travelling Vegas-style singer Zoe Struthers played by Olivia Ramsay. I found this monologue felt somewhat out of place, as all previous five are relatively normal, everyday characters but Struthers is extreme – and Ramsay played it to absolute extreme, with smeared make-up and cartoon-like facial expressions. Possibly some of the potential tragedy of this character may have been lost through the melodrama of the performance, but it also was hindered by some technical issues. Unfortunately during the performance there were several technical cues missed which did slow the flow somewhat, but I am sure that they will be sorted as the season progresses.

There are a lot of choices at Fringe time, but if you are interested in checking out the work of some raw young talent, get yourself to Wick Studios for Bombshells.

Bombshells is playing in Studio A at Wick Studios, 23-25 Leslie St, Brunswick

Monday-Sunday at 7:30 and Sat-Sun Matinees 1:30 September 22-27

Tickets are available through melbournefringe.com.au

Preview $20, Full $25, Conc. $25 Cheap Tuesday $15

Cabaret

Melbourne Fringe 2016: THE LONELIEST NUMBER

One strong-woman’s strong one-woman show

By Joana Simmons

Hannah Cryle is one impressive woman. She has gutsily broken away from her established career as an ensemble performer and created a solo show debut, The Loneliest Number. Packed with full-power rock numbers and a bunch of nifty tricks, she successfully proves she can do an ensemble show alone.

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Opening with “Don’t Stop Believing” establishes a fantastic anthem for her and the ethos of the show. Her commitment to air instruments is as big and bold as her hair and fluro costume. Hannah is the circus strong-woman; she can ‘base a 3 high’- that is where she stands on the ground with a person standing on top of her shoulders, and another person on top of their shoulders. She tells us how all the cool things she can do require other people to make them truly impressive. Still, we quickly see she is a strong woman in all senses of the phrase and can do plenty of cool things on her own- hula hoops, super skipping and hilarious facial expressions are a few worth noting. Her earnest character is lovable, and she delivers her amusing anecdotes with great timing and skill. The late-night audience members show their support in whoops and laughs, and prove to be the best back up dancers anyone could have asked for. Some small stand-out quirky moments with her beautiful underlying message of respect make it a memorable theatrical experience.

Because of Hannah’s versatility there is a lot of props and ‘stuff’ in this show. She energetically changes from one to another and keeps her friendly chatter going the whole time but some of the transitions were clunky and she was offstage a lot. At ‘half time’ she cleverly gave us something to do, which bought the intimate audience together, and perhaps a few more of these peppered throughout the changes could make them smoother.  I loved how she took her time to catch her breath when she was speaking, but her face and character could be more extreme: a general rule when accompanied by epic rock ballads is: “more is more.”

Hannah Cryle tells us she is “a bit strong, a bit brave” and inspires us to be too. I say she is a lot strong and a lot brave and has a special gift to share. She encourages us to support #ladiesperformingsolo, there’s a ton of them this Fringe who are all doing brave, funny, important things like she is. As a first solo show, it’s a terrific start, and in my opinion, what Melbourne Fringe is all about. I mean, when else can you dance to “Don’t Stop Me Now” by Queen under a big top in Collingwood on a Wednesday night?

Hannah Cryle – The Loneliest Number

Venue: Melba Spiegletent, 35 Johnston St, Collingwood

Season: 21st September-2nd October

Tickets: https://melbournefringe.com.au/program?event/the_loneliest_number/62c18b4a-cbcd-4723-a19d-6a5c7c4b51a2/

Whats On

Melbourne Fringe 2016: BLAAQ CATT

Profound, powerful, significant theatre

By Myron My

Returning for an encore season during the Melbourne Fringe Festival, BlaaQ Catt is a show that you simply cannot afford to miss. Produced, written and performed by Maurial Spearim, it is a powerful performance and story about how far modern Australia has got to go to make right the wrongs it has committed against the original inhabitants of this land.

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Spearim plays Ruby, a First Nations woman, who takes us through the history of her people, predominantly around the white invasion of their land up until the present day. Referring to events such as the Waterloo Creek Massacre conflict between mounted police and indigenous Australians in January 1838 as well as other significant Indigenous historic moments including their recognition in having the right to vote and the Mabo case, Spearim paints a picture that many refuse to acknowledge or accept.

While there is much factual information and confronting scenes, Spearim balances the tone and mood of the play by incorporating moments of light humour, such as when Ruby is asked by a classmate how to say TV in “aboriginal”. Spearim also performs a number of traditional songs, dances and storytelling through the Gamilaraay language, reminding us of her ancestors – past and present – and allows us to attempt to understand what she has lost.

Spearim has a strong presence on stage and no matter what she is doing, we cannot take our eyes off her. The complexity and range of emotions she displays throughout, switching from one to another, are a testament to the performance skills she possesses.

An evocative symbolic set design by Leon Salom includes a cut-down tree lying on the ground, a representation of Ruby’s culture cut down and dying. Next to it, rising from the ground is a white, large imposing skyscraper indicating the white settlers’ decimation and continual domination of the land. The sound design by Mark Coles Smith and Andre Vanderwert‘s projections work well together to support the set design and further strengthen the affecting ambience of the performance.

BlaaQ Catt demands that we not only acknowledge Australia’s violent history and ongoing racism, but that we do something about it. We are shamed, we are culpable and we are responsible for what has happened and continues to happen. This is an engaging and powerful piece of work that speaks volumes on the state of this country and our treatment of its people.

Venue: La Mama Courthouse, 349 Drummond St, Carlton

Season: until 2 October | Thur, Sat 8.30pm, Wed, Fri 6.30pm, Sun 4pm
Length: 60 minutes
Tickets: $25 Full | $15 Conc 

Bookings: Melbourne Fringe Festival

Cabaret, Comedy, Festivals

Melbourne Fringe 2016: ANDRE TONIGHT!

Spectacularly funny surprise hit

By Myron My

It’s unfortunate when you attend a show only to be told that the show has to be cancelled because the band has called in sick, but that is what happens with Melbourne Fringe Festival’s Andre Tonight! – or so we are led to believe. However, an audience member drunkenly volunteers her services and once she plays some music for our host, Andre DiVenuto, he decides the show must go on – and so it does.

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Created by Chris Ryan and Mark Winter and performed by music theatre star Ryan, Andre Tonight! is an hour of laughs that just don’t seem to end. Ryan encapsulates the late-night variety show, and the European 20-something from Epping (my hometown) perfectly. I’m not sure where Ryan grew up, but he has certainly done his homework as the language, mannerism and style – including the hideous comb-over – scream Epping.

But Ryan is not simply mocking this northern suburbs boy (or the suburbs in general), as he brings much depth to the wannabe celebrity, at one point having the character almost breaking down for disobeying his parents and choosing to follow his own dreams instead. Similarly, audience member/band member Meg has her own issues to deal with popping anxiety pills like they were tic-tacs and getting incessant phone calls from her ex-partner. Despite the antagonistic behaviour towards each other, there is an immediate bond between the two characters, and it is highly entertaining to see it play out over the course of the show.

There is also an added bonus for this show, with the creators managing to get a surprise guest to appear. While it’s best to not know in advance who this person is, it is a pretty remarkable coup that Ryan has orchestrated, resulting in many pleasantly surprised faces in the audience.

It would be fair to say that Andre Tonight! has become the sleeper hit of this year’s Melbourne Fringe Festival – and deservedly so. Ryan has created something quite special with Andre DiVenuto, and if the feedback from this show is anything to go by, there is a good chance Andre will actually achieve his dream of hosting his own chat show on Foxtel very soon.

Venue: Fringe Hub – Arts House, 521 Queensberry Street, North Melbourne, 3051

Season: until 1 October | Tues – Sat 10.15pm, Sun 9.15pm

Length: 60 minutes

Tickets: $20 Full | $18 Conc

Bookings: Melbourne Fringe Festival

Circus, Festivals, Kids Theatre

Melbourne Fringe 2016: BIG TOPS AND TINY TOTS

Dynamic and endearing school holiday entertainment

By Kim Edwards

Luth Wolfe can do magic. And I don’t just mean her nice slight-of-hand and neat balancing tricks – I mean, this woman can keep several dozen highly excited preschoolers and preps under her spell for nearly an hour. From the moment her energised and eager audience entered the drafty Emerald City performance space at the North Melbourne Meat Market performance venue, Wolfe made herself the centre of their attention with easy charm and cute banter. Only one small critic initially preferred to sit with mum in the seating behind while his peers made themselves at home on the stage, and even he changed his mind before long and also came to sit open-mouthed and engrossed at Wolfe’s feet.

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Big Tops and Tiny Tots is a slick, witty and well-constructed circus show aimed at kids aged 3 -6 that has been touring preschools and kindergartens before settling in for a 2016 Melbourne Fringe season. Wolfe talks to and with her young audience skillfully, making eye contact, getting down to their level, and keeping their attention constantly focused as she invites responses, reactions and interactions. Her chatting and clowning put the kids quickly at their ease: they were on side and laughing just with her initial play at trying to put on her hat. The performance delivers a well-balanced (pun intended) showcase of circus skills, including juggling, magic, comedy, unicycling, hula-hooping, mime and plate-spinning, and each act is nicely set up in showing the kids how to appreciate the trick, and escalating the skills demonstrated.

I also admired the subtle didactic elements Wolfe works in, explaining abilities, playing the fool to allow the kids to correct her, introducing boundaries and safety rules, and – particularly in a screen-time world – teaching the next generation of live-theatre patrons how to be an audience, all in fun and funny ways.

There is lots to love about this show: Wolfe is a talented performer and comedian, and her experience and enthusiasm are palpable. My one significant criticism – and I’m ambivalent about it – would be the flat-rate price. As a theatre-maker, I believe passionately in supporting artists and that kids’ performers often have to work even harder to engage their audience, but as a mum, I know no concession or discount makes it difficult for bigger families to enjoy such outings.

That said, Big Tops and Tiny Tots is a great little live show for the mere price of a movie ticket, your kids will love it, and they might even have the chance for a starring role as well.

Most importantly though, this was the critique of my esteemed reviewing colleague:

My favourite thing was the hula hoops. She also did funny things with her hat, and on a big wheel. She made me laugh! (Miss Four)

See?

Magic, I tell you.

 

VENUE: Emerald City – Meat Market

5 Blackwood St, Melbourne

DATES: September 17 – 18th  & 20 – 25th

TIME: 1.30pm

TICKETS: Visit melbournefringe.com.au

All tickets: $14.99

Image by Jayrow Photography

N. B. Bear in mind the venue is chilly, the coffee van isn’t open until after the show, and there was some fire-exit access concerns expressed about taking in prams, so arm yourselves with warm clothes, drink bottles, and other carry options for younger siblings.

 

Comedy, Festivals, Whats On

Melbourne Fringe 2016: THE THICK OF IT

Smashingly awesome

By Myron My

Emily Taylor is one of those performers you can watch on stage for hours. Her skillful storytelling and authentic characters are captivating, to say the least, and ensure her performances will leave you feeling more connected to yourself and questioning what you value in life in ways you wouldn’t expect. Performed as part of the Melbourne Fringe Festival, The Thick Of It is Taylor’s newest show and it is one not to be missed.

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We begin with Taylor – acting as more herself than one of her overt “characters” – having recently moved into a new apartment on her own and being excited over the prospects this brings. She has choices and options now: she can watch Netflix all day or go play with puppies, so many choices indeed.

It is then Taylor begins to slowly introduce the other inhabitants of The Thick Of It and her nuanced story-telling skills begin to surface. Taylor has fewer characters than previous shows, which allows us to learn more about them and gain a deeper insight into what makes them tick. These include Miles; an elderly man who wishes his neighbour would stop leaving home-cooked meals for him outside his front door, and Kyra; an obnoxiously loud, successful realtor who thinks she’s the life of the party (when she’s just obnoxiously loud).

Through these stories, a running theme gradually emerges: loneliness. All these people are experiencing loneliness in its various guises. They are all looking for – or yearning for – that connection to another. At one point, with Taylor playing the “straight” character from the opening moments, you almost see parts of the other characters coming through for just the briefest of moments. Whether this is intentional or something imagined, it reminds me that we are all the same, that despite our outward difference, we ultimately all want the same thing in life and that is to love and to be loved.

Comedy doesn’t always have to be shtick and gags: it can also be intelligent, moving, and make you think, and Taylor is highly adept at creating such sophisticated shows. The stories may not be nicely wrapped up in the end, but then neither is real life. In one regard, it’s nicer to leave The Thick Of It with our own endings for these characters we’ve come to know and appreciate: hopefully ones where everything turns out for the better.

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: until 25 September| Thurs – Sun 8.30pm
Length: 60 minutes
Tickets: $32 Full | $28 Conc |  $25 Groups 6+
Bookings: Melbourne Fringe Festival

Cabaret, Festivals, Whats On

Melbourne Fringe 2016: NOT ANOTHER INDIE CABARET

Stunning voice, sly wit, and blithely Bohemian

By Joana Simmons

Indie. Urban Dictionary defines it as “an obscure form of rock which you only learn about from someone slightly more hip than yourself”. Wikipedia says it “is a shortform of “independence” or “independent” and it may refer to social action, collections of individuals creating media for change”. In Jessamae St James’ new work Not Another Indie Cabaret, through her sweet harmonics, live-looping and full-power vocals she has the sold-out opening night audience with her the whole way through her self-deprecating reflection, celebration of wine and what it makes you do on ebay, and shout out to times when she is being an actual adult.

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Jessamae begins by live-looping an epic opening number which involves playing four instruments and satirical lyrics detailing all the clichés you see in cabaret. Does she even indie? Clearly. See, she is on a mission not to perform ‘just’ another indie cabaret. She wants to exceed expectations, and boy, does she ever. From the moment she opens her mouth, I am swept up in her voice and her sparkly stage presence. The satirical storytelling and original songs accompanied by obscure instruments (enter omnichord and trumpet kazoo) have us applauding and laughing in equal measure. The transitions between singing and speaking are slick, and she dives in and out of song in a way that makes me wonder if it’s going to be different every night, it’s that natural. Her skill range is mega: relaxed witty banter, poems that have great set-up and even better pay-off and a cluster of fantastic props she made herself. There are many great moments in this show- my favourites being the spoken word piece about being gluten-free (soooo indie, or s’indie; as the cool kids say apparently) and the song about singing mezzo soprano- I mean, it wouldn’t be a cabaret without one.

Being Fringe, tech and set up time is minimal, and the minor glitch that the show did have with Mavis, her loop machine, was handled so professionally I wasn’t actually sure whether it was all part of the performance. The limited amount of lights in The Butterfly Club’s intimate downstairs theatre were used very well to help set the various tones, though at one point I found it a little difficult to see the artist. The sound was seamless – with backing tracks magically weaving into her live accompaniment. Director Steven Gates (Tripod) ought to be very chuffed as it all came together in a tight glittery bow.

We are lucky to have so much talent and variety bubbling in the Melbourne Fringe Cabaret cauldron. If you are lucky, you will get a ticket to this one- it’s a refreshing look and delicious night out. Jessamae St James’ authentic artistry combined with her killer voice means this show is definitely not ‘just’ another Indie Cabaret.

Event Details
The Butterfly Club presents NOT ANOTHER INDIE CABARET 
VENUE: The Butterfly Club
Carson Place, Off Little Collins Street, Melbourne

DATES: Tuesday 20 – Sunday 25 September, 2016 The Butterfly Club
TIME: 8.30pm (50 minutes)
TICKETS: Tickets $25 – $32
BOOKINGS: www.thebutterflyclub.com

Image by Rachel Mia

Festivals, Theatre, Whats On

Melbourne Fringe 2016: AND THEN THERE WERE NOT AS MANY

A murder-mystery parody for every body

By Myron My

For fans of Agatha Christie or Cluedo, And Then There Were Not As Many is the Melbourne Fringe Festival show for you. Using as many as possible of the murder-mystery tropes at its disposal, the show revolves around a group of strangers invited to a secluded, large, dark manor for a party that they will be dying to leave.

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And Then There Were Not As Many does not take itself seriously at all; in fact, I would put it under the “It’s so bad, it’s good” category. Actors stumble through lines and break character quite a few times but it’s clear they are having a good time on stage and enjoying playing their characters and with each other, so we in turn enjoy watching them crack a smile when they should be shocked.

Written by – and starring – Melbourne comedian Duff, the narrative is very loose and if you focus too much on it, you see more plot holes in the story than in the bullet holes in the body of the murder victim. The humour is very cringe-worthy but again, the actors make it work because they are relishing their lines and the opportunity to have fun with them.

Ben Volchok does a great job as the deadpan butler and Nicky Barry as the socialite with a few secrets (and dead husbands) up her sleeve is a crack up. Rounding out the cast is Sofie Prints, Frank Hampster, Adam Jacobs and Darren Lever, the former playing the bumbling film noir-esque Detective who attempts to solve the murders with the help of his shiny badge.

In a story that manages to reference killer lions, crazy lamas, dead bears and gassed badgers, as well as a handful of murders, And Then There Were Not As Many bring you genuine laughter for some parts and eye-rolling laughter for the others. While this is definitely not everyone’s cup of tea for performance or comedy, it was an overall enjoyable experience.

(NB: Due to the show running 15 minutes later than the schedule time, I was unfortunately forced to miss the denoument to make my next review commitment.)

Venue: Highlander Bar, 11A Highlander Lane, Melbourne
Season: until 24 September | 7.15pm
Length: 60 minutes
Tickets: $23 Full | $18 Conc
Bookings: Melbourne Fringe Festival