Musical Theatre, Review, Whats On

Blue Saint Productions Presents SONGS FOR A NEW WORLD

Cross oceans to hear this production

By Sally McKenzie

It’s hard to believe that Jason Robert Brown’s first major off-Broadway production, Songs For A New World, debuted over 20 years ago. Its music is timeless and remarkably beautiful. Each song portrays an individual’s journey as he or she is forced to make crucial life choices when things don’t go to plan.

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 Luke Joslin (Director) and Geoffrey Castles (Musical Director) have staged a most impressive version of this classic in the Loft performance space at Chapel off Chapel. Joslin effectively establishes a theme of an ocean journey to a ‘New World’ by setting the stage as the deck of a ship with a mast and tattered sail and ropes. The sounds of the ocean and waves rolling in played as patrons entered, and as they leave the space. Patches of graffiti are painted on the ship to provide extra evidence of people traveling through and making their own ‘mark’ on the world.

In song cycles such as this, with four actors performing multiple roles, it is difficult for the audience to become attached to any particular character as they pass through each song. In this musical it is much easier to be moved by the music itself – particularly the lush harmonies in the ensemble songs such as ‘Flying Home’ or ‘Hear my Song’, or the more well-known and loved opening song ‘A New World’. The musical direction in this production is outstanding. Castles is obviously a master of vocal direction. The blend of the cast’s voices is sublime and for me, the highlight of the show. Songs For A New World requires a virtuoso pianist – and Castles is also brilliant in this role. It was disappointing not to see his name listed as pianist in the band credits in the program. Another important feature missing from the program was a song list – a must in a sung-through show.

Anthony Chircop (on electric and acoustic bass) executes the part with great flair as does Tom Doublier on drums and percussion. The trio of musicians are positioned behind the mast and mostly visible, and this group is definitely the dream team in my book for a show like this. They take a much-deserved bow with the cast at the end of the show.

The show is well-cast all round. Linden Furnell’s (Man 2) warmth and ease of tone is well-suited to songs such as ‘She Cries’ and his duet ‘I’d Give It All For You’. I particularly enjoyed his portrayal  of the ukelele larrikin busker in ‘The River Won’t Flow’.  I was most impressed with John O’Hara. His voice is exceptional. His solo in ‘On The Deck of A Spanish Sailing Ship’ and in ‘Flying Home’ are the two vocal highlights in this production. O’Hara soars through his upper range and delivers every note and word with heartfelt emotion. He is truly captivating.

Teagan Wouters (Woman 1) gives a beautiful rendition of ‘I’m Not Afraid of Anything’ – always a difficult song to execute technically and to find the right balance of vulnerability and strength, and Wouters delivers this without over-singing the song. Natalie O’Donnell as Woman 2 has the job of performing the majority of the ‘character songs’ in the show (such as ‘Sarabaya Santa’, ‘Just One Step’) but I found her particularly endearing and engaging as she led the finale ‘Hear My Song’. It is one of the rare moments of the show when eye contact is made with the audience and I felt like I was part of the story instead of being an outside observer. Too many of the songs are focused ‘straight ahead’. In a show that can potentially become too much like a concert, it is important to find more ways of involving the audience and making them feel part of the journey.

Staging and blocking is, on the whole, simple but effective, as was the lighting and costuming. Sound design is fabulous and hard to fault– I loved the addition of maximum reverb to the band –particularly to the congas and double bass in songs such as ‘King of The World’. It was also added tastefully to the singing.

Songs For A New World runs from June 2nd-12th at Chapel off Chapel. This show is a musical masterpiece. Fans of the music will not be disappointed.

Bookings: http://chapeloffchapel.com.au/melbourne-comedy-theatre-art/melbourne-events/songs-for-a-new-world-2-12-june/

Image by Ben Fon

Cabaret, Performances, Review

Fifi La Boom! in SONGS AND SEXCAPADES

Left wanting more

By Myron My

Based on her online sex blog, Fifi La Boom! has come to Melbourne to beguile audiences with her show, Songs and Sexcapades. The cabaret/burlesque performer recalls various sexual (mis)adventures she has had while singing some of her favourite songs.

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Despite the initial allure of this premise, sadly, that’s all that Songs and Sexcapades seems to be though; Fifi telling us stories and singing, with not much else. The songs felt lacking in originality and zest with Fifi simply singing over the track and throwing in a quick line here or there to link back to her story. There is no engagement with the song itself and apart from the final number, it never feels like Fifi carries the tune, nor does she project her voice out to the audience.

The stories covered are, like the songs, entertaining but again nothing new. They feel like familiar tales that have been told time and time again. Fifi’s storytelling style is fun but when the narrative has nothing but content that has been heard before, it is difficult to retain the attention of your audience, particularly when you are performing on a bare stage without a single prop or set piece.

Having some simple items or visual cues would have been highly favourable for this show, especially as for almost the entire hour, Fifi remains standing behind the microphone. Some stage direction could potentially also have aided the show in providing something by which the audience can be engaged or stimulated. The single burlesque routine felt rushed and didn’t seem to consist of much of the pleasing teasing or flamboyant performance that is generally required for a successful act.

With the amount of sex-themed shows of all varieties being performed, it would seem there needs to be more to this show than just Fifi La Boom! behind a microphone. While on paper Songs and Sexcapades appears to be a fun show, I feel more creative input was required to make it fulfill its potential as a unique and entertaining experience.

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: Until 29 May| Sun 8.30pm
Tickets: $32 Full | $28 Conc
Bookings: The Butterfly Club

Cabaret, Theatre, Whats On

Paul Capsis in RESIDENT ALIEN

Superb sojourn in the life of a legend

By Joana Simmons

“If I have any talent at all, it is not for doing but for being.”

Resident Alien, presented by Cameron Lukey, is a thought-provoking look at English writer and raconteur Quentin Crisp. The seasoned and critically-acclaimed Paul Capsis embodies this textured effeminate character and has the audience swept up as he recounts stories and moments from his fascinating life.

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Quentin Crisp was a self-described flamboyant homosexual.  He’s a man who defied convention by criticising Gay liberation and Diana, Princess of Wales. At a time when homosexuality was illegal, Crisp remained true to himself and expressed himself by dying his long hair lavender, wearing nail polish, and dressing in an often androgynous style. Despite the ridicule and violence often directed toward him, Crisp carried on, meeting hostility with wit. When he tried to join the army with the outbreak of World War he was rejected by the medical board, who determined that he was suffering from sexual perversion.  Instead, Crisp remained in London and entertained the American GIs, whose friendliness inculcated a love for Americans and he moved to Manhattan in 1981, when he was 72 years old. Crisp continued to tour, write, and lecture; including instructions on how to live life with style and the importance of manners.

The play by Tim Fountain picks up in Quentin’s dusty single-room Manhattan apartment, littered with books and dirty plates, where Crisp speaks to the audience as he prepares to be visited by Mr Brown and Mr Black.  His monologue moves naturally and conversationally through a plethora of opinions and anecdotes, from the mundane to the ones that strike a chord in your heart and get your brain spinning. Paul Capsis is outstanding in this role. Each single look and mannerism is captivating and his skillful delivery of the wordy and lengthy script is astonishing.

Director Gary Abrahams has helped construct a theatre piece that gives you more than something to sink your teeth into- it’s a piece of theatre that needs to sink in. To be able to stage one man’s story and views and have it make us reflect on our own whilst still being entertaining is true craftsmanship. Romaine Harper’s costume and set design gives immediate depth and background to this interesting person as the Fortyfivedownstairs performance space is transformed into Crisp’s apartment, cleverly lit by lighting designer Rob Sowinski and all accompanied by Daniel Nixon’s sound design.  You can tell the production is high-calibre and many hours have been spent on tying everything into one professional and glamorous bow.

Sometimes we go to the theatre to laugh, sometimes we go to cry, sometimes we go to forget about our own lives and live in a different world for a moment in time. Resident Alien gives us all these things. It’s remarkable, it’s memorable and it’s still got me reflecting now. If you go to the theatre and you enjoyed yourself, that’s great. If you go to the theatre and it makes you question yourself, that’s art.  Congratulations to all the creatives involved for producing such a high-class production.

Venue: fortyfivedownstairs, 45 Flinders Lane, CBD

Season:Until June 12 2016

Bookings: http://www.fortyfivedownstairs.com/wp2016/event/resident-alien/2016-05-25/

Image by Sarah Walker

Circus, Performances, Review

Dislocate Presents IF THESE WALLS COULD TALK…?

First there’s good circus, then great circus – and then this

By Myron My

When you move into a house, you can’t help but be filled with the excitement of new beginnings as you begin to unpack boxes and find new places for your belongings, but what about the people who lived there before us? Not only the ones that have just left, but the ones that lived there ten years ago and twenty years ago? What memories have they left behind? Presented by Dislocate, If These Walls Could Talk…? shows the stories of these past inhabitants over six decades, through circus, performance and imagination.

If These Walls Could Talk

The four performers – Geoff Dunstan, Kate Fryer, DJ Garner and Luke Taylor – have the difficult task of not only performing circus acts that will entertain the audience but also convincingly remaining in character and showing their emotional journey in short periods of time. The first story, set in the 60s, show a loving elderly couple (Fryer and Dunstan) who decide together to take their own lives. As they reminisce over their younger years together, the acrobatics they perform are seen as visual representation of the emotions they are feeling. The closing moment is beautifully executed as the stage fades to black on the couple for one last time. And so the stories continue, showing the various inhabitants’ dealings with life, death and moving on.

The last story evokes a powerful mixture of emotions as we see a man (Dunstan) attempting various methods of suicide only to have them thwarted by some otherworldly force. When he attempts to jump out the window, the window slams shut on his face. When he attempts to hang himself by the door, the door gives way and releases the rope. Despite the clear theme of suicide, there is a delicate and thoughtful blend of humour throughout this piece, and the show as a whole. The finale is wonderfully wrought with the past residents spinning around the man on a trapeze as photographs fall from the ceiling of all the people who have lived there before.

The set changeover between the decades is comically done and highly creative, as the ensemble put their clowning skills to excellent use. The set, composition and costumes by Michael Baxter, Chris Lewis and Harriet Oxley respectively are perfectly themed to the eras. I particularly loved the 70s disco tunes of a gay relationship and the 80s pink jumpsuit donned by Fryer. Eduard Ingles’ lighting design is also utilised effectively, most memorably in the 80s domestic violence afterlife sequence.

Good circus is obvious when the tricks are good, the audience is interested and there are a few gasps, but great circus is when there is a story we can follow and we become emotionally invested in the characters we see. If These Walls Could Talk…? goes beyond even that, and creates a poignant reminder that while we should embrace life and all there is to it, we should not forget the ones that have come before us.

If These Walls Could Talk…? was performed at Gasworks Arts Park on 20-21 June 2016.

Cabaret, Musical Theatre, Review, Whats On

Australia Tour 2016 of SINGING IN THE RAIN

A perfect storm of local talent

By Jessica Cornish

The beloved 1950s American musical comedy Singing In The Rain has seamlessly transitioned from the silver screen to Melbourne’s Her Majesty’s Theatre for 2016. Exploring the 1920’s Hollywood film industry’s shift from silent films to the talkies and the challenges a studio faces when one of their biggest draw cards have the voice and personality of a shrill creature from another world, the Gene Kelly hit now features a host of new local stars.

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With direction by Jonathan Church, choreography by Andrew Wright and musical direction by Adrian Kirk, this creative team have created a well-polished, colourful and picturesque Australian production of the great American classic. A strong ensemble with excellent diction, slick dance moves and a good energy contributed to the overall high-quality performances throughout the night.

Leading romantics were played by the well-seasoned Adam Garcia and Gretel Scarlett. Garcia fit the part well and seemed to naturally channel the 1920s heartthrob with suave charm, while appealing leading lady Ms Scarlett gave consistently strong vocal performances. Comedic relief was provided by the talented Erika Heynatz, who brilliantly portrayed the incredibly narcissistic and obnoxious beauty Lena Lamont. And last but not least, the 2008 So You Think You Can Dance competition winner Jack Chambers was a standout performer of the evening, consistently demonstrating vast stamina and charisma to make him the perfect sidekick as Cosmo Brown.

Highlight musical numbers included the classic vaudeville-themed song-and-tapdance number “Fit as a Fiddle”, the lyrical tongue-twister “Moses Supposes”, melodically catchy “Make ’em Laugh” and of course, “Singing in the Rain”. The staging of the highly anticipated theme song did not disappoint, replicating the iconic after-hour streets of Hollywood with a literal and spectacular down-pouring of rain soaking the stage and its inhabitants. I particularly enjoyed watching the cast members joyfully splashing in puddles and kicking water onto nearby audience members armed with plastic ponchos.

Singing in the Rain is a classic musical that captures all that is good about the world of traditional musical theatre and has been successfully presented to Australian audiences in a colourful, eye-catching and crisp-sounding production that will be residing in Melbourne until July.

Venue: Her Majesty’s Theatre, Melbourne

Price: Ranging from $71.00- $117.00.

Melbourne Season: Tuesday to Sunday until July 5.

Tickets: http://www.daintygroup.com/tour/singin-in-the-rain-aus/

Image by Jeff Busby

Musical Theatre, Review, Whats On

The London Palladium Production of THE SOUND OF MUSIC

Plenty of charm and delightful performances

By Caitlin McGrane

When I was growing up, there was a dodgy VHS copy of The Sound of Music on constant rotation; my sister and I would watch it endlessly and my primary school even did a choral concert of all the songs. Suffice to say we were big fans. The London Palladium version of the Rodgers and Hammerstein classic currently showing at The Regent Theatre on Collins Street delighted the audience on opening night with its innovative take on the original musical. It is no small undertaking to adapt such a timeless and well-loved family favourite, but director Jeremy Sams, along with the cast, production crew and creatives behind this incarnation have certainly attempted to breathe new life into the story.

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As we all probably know, the musical tells the story of the von Trapp family singers – a young Austrian trainee nun, Maria (Amy Lehpalmer) is sent to nanny the seven Von Trapp children whose lonely widower father Captain Georg von Trapp (Cameron Daddo) runs his house like one of his navy ships. Lehpalmer and Daddo both inhabited their roles well, however, it would have been good to see some on-stage chemistry between the two prior to the surprising declaration that they were in love. When their feelings for each other were revealed I couldn’t help but feel like it was expressed in blunt, rushed exposition; it would have been nice if they could have taken a little more time to show us their blossoming romance. That said, Lehpalmer really made the role of Maria her own by drawing enough on Julie Andrews’ lovable doofus for recognition, but not so much as to become tiresome or repetitive. Daddo made an excellent and empathetic Captain von Trapp, although his voice sounded slightly weak from where I was sitting.

Without the seven von Trapp children however, Lehpalmer and Daddo would have been totally lost. Liesl (Stefanie Jones), Friedrich (Alexander Glenk), Louisa (Darcy McGrath), Kurt (Beaumont Farrell), Brigitta (Karina Thompson), Marta (Ruby Moore) and Gretl (Heidi Sprague) were an absolute delight to watch. They were all consummate professional performers who impressed with their vocal range, naturalism and command of the stage. Given that each child will be played by several actors, the ensemble that performed on opening night really did do a terrific job – they harmonised well and with such impossible smoothness that I’d happily watch them all over again performing their ‘Goodnight’ song.

Under the musical direction of Luke Hunter, the songs were well performed and, despite my love for the film version, having a live orchestra really brought all the songs to life for me, because it made for a truly immersive experience. The magnificent Marina Prior was great as Baroness Schraeder, although she was slightly more sympathetic than her cinematic counterpart. Uncle Max (David James) was great fun but almost seemed to be in different play, which was bizarre but not unwelcome. Mother Abbess (Jacqueline Dark) was absolutely astonishing and her sweeping operatic voice ensured that each time she appeared we were guaranteed an aural treat. Rolf was inhabited perfectly by Du Toit Brendenkamp who conjured fantastic pathos. In the stage version, the von Trapp house help Frau Schmidt (Lorraine Bayly) and Franz (John Hannan) have far too much to do and keep appearing to explain the plot to the audience, which was unbelievably tiresome. On the whole though, the rest of the cast did well supporting the nine main members of the von Trapp family.

Lighting (Mark Henderson), set and costumes (Robert Jones) were all terrifically well executed, and I think in a production of this scale it would probably be a bad sign if I had noticed them too much. Choreography by Arlene Phillips was tremendous – there was a balletic quality to the movement that more or less kept the pace up throughout the show.

The only area where I felt the production fell down was some of the script’s outdated attempts at comedy. Now I’m not necessarily representative of all adults, but when I’m attending The Sound of Music I don’t require ‘adult’ jokes to keep me entertained. Despite this production being based upon the 2006 London revival, there were a couple of one-liners about the Nazis that didn’t quite land because they now feel pretty unnecessary and just not funny. In addition, and I’m becoming quite tired of saying this, but it is not acceptable in my opinion to use sex work as a punchline. Particularly in what is being advertised as a ‘family friendly’ show because it perpetuates the idea that sex workers are worthy of derision. When Franz says that Frau Schmidt ‘could have made a lot of money’ in the Navy the whole Regent Theatre audience audibly gasped and barely anyone laughed. It is deeply dehumanising, as well as profoundly unfunny, and I feel these kinds of outdated lines needed to be removed.

In the end though, despite all my reservations I came away with a huge smile on my face. The wonderful naffness of the script, in conjunction with really energetic and committed performances from the main cast combined to give the audience some really great light entertainment. By no means groundbreaking or profound – but not all theatre need be – this was a perfectly satisfactory way to spend an evening with my mum.

The Sound of Music is now showing at the Regent Theatre. Melbourne show details are below, or head to the tour website for more information about other cities.

MELBOURNE

Venue: Regent Theatre, Melbourne

Season: From 13 May 2016

Performance Times: Tues–Sat 7.30pm, Wed 1.00pm, Sat 2.00pm, Sun 12noon and 5.30pm

Price: Tickets from $79.90*

Bookings: soundofmusictour.com.au or phone 1300 111 011

Performances, Review, Theatre

ATYP Presents SUGARLAND

Powerfully believable

By Myron My

Sugarland, the latest production by the Australian Theatre for Young People, is a play that revolves around the experiences of a group of teenagers living in Katherine, Northern Territory. With an upcoming singing competition as its focus, it’s a gritty and honest look at the challenges and difficulties teenagers in rural Australia often face, including homelessness, domestic violence, drugs and suicide.

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The young cast played by Narek Arman, Xanthe Paige, Calen Tassone, Jonas Thomson and Dubs Yunupingu, have a deep understanding of the characters and their motivations, and develop them carefully into complex human beings. Under the watchful direction of Fraser Corfield and David Page, the five actors explore who these people are as the characters figure out where they belong in this mixed-up world. The choreography of the boxing fight between Jimmy and Aaron (Tassone and Arman) in particular is impressively directed, with both actors clearly in the moment and allowing their characters to take control of the situation.

Written by Rachael Coopes with Wayne Blair, the script and story remain plausibly natural and authentic: we believe this is the language that children are using, this is the way that children are feeling, and this is the way that children are behaving and finding a release from the difficulties they are facing. The choking scene between Jimmy and Erica (Paige) is one of the most intense and possibly disturbing scenes I have seen in theatre for quite some time. Meanwhile, Aaron’s singing of his sister’s Iraqi song, with Arman’s voice breaking right at the very end of it, is a great example of how the writing and performances portray what the characters are going through without needing to say much at all.While there are a few scenes that lack the required dramatic tension, such as Nina’s (Yunupingu) performance in the singing contest and her solution to getting her own house coming quite out of the blue, Sugarland still manages to be very effective in revealing the emotions of these teenagers as something genuine.

Jacob Nash‘s set design of red dirt and concrete-like tables and chairs are a strong reminder of the land these children inhabit, but also of the harsh, cold reality of the situations they face. The sound design by Guy Webster and the tour lighting design by Karen Norris further heighten the desperation and frustration that these characters are feeling throughout the play.

There is no immediate happy ending in Sugarland – maybe there is no happy ending at all – but it does finish on a note of hopefulness and positivity. If we want change to occur, we all need to want that change, and fight for it together. As one character states, “it’s about seeing past the bullshit and doing the right thing”. There really is no other way.

Sugarland was performed by the Australian Theatre for Young People at Arts Centre Melbourne between 19 -21 May 2016.

Review, Theatre, Whats On

Belvoir Presents THE GLASS MENAGERIE

Beautiful reimagining of a classic

By Bradley Storer

The Glass Menagerie, the first great success of legendary American playwright Tennessee Williams, is a curious thing – not entirely a traditional naturalistic play nor an abstract lyrical Symbolist piece, it lives in the blurry division between fantasy, reality and memory. Director Eamon Flack emphasizes this essential ambiguity from the outset, as narrator Tom Wingfield (Luke Mullins) enters casually through the audience and seemingly begins to construct the play both physically and textually before our very eyes in his opening monologue.

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The multifaceted set designed by Michael Hankin, the tiny Wingfield family apartment that unfolds in continually surprising ways, is surrounded by cameras (with video design by Sean Bacon) that project images onto near by screens as the play unfurls, creating delectable moments of intimacy with the characters and thrilling moments of theatrical ingenuity at the same time it theatricalizes and distances these moments as though we are seeing scenes from an old Hollywood picture – further suggesting the way Tom has shaped and crafted his memories until the line between his nostalgic remembrance and the reality has disappeared completely.

Mullins as Wingfield is remarkable, combining the soul of a poet with a bitter and sardonic twist of humour that one senses is the result of a sensitive spirit yearning for the freedom his home life denies him. Pamela Rabe as his mother Amanda, one of the great Southern belles of the Williams canon, gives a truly titanic performance, moving from a shrewd no-nonsense woman beaten down by the harsh realities of her life to the winsome love-struck girl of her youth with ease in the space of a single scene, creating a portrait of a woman burdened by both her massive maternal love and the seething resentment underneath. Rose Riley as Laura, Tom’s shy and disabled sister, brings a surprising and refreshing tom-boyishness to the role, and when her closed-off but scintillating face is projected in big screen, it is easy to see why Laura is the heart (and the central mystery) of this nostalgic play.

The first act is close to perfection, but the second act where the lives of the Wingfelds is interrupted by the visit of a gentleman caller (a jovial Harry Greenwood) seems to get a bit lost, and the final moments of the play fail to bring together the wide-ranging resources used throughout into a  satisfying conclusion. But when this production succeeds, which it often does, those moments are truly magical.

Venue: Malthouse Theatre, Merlyn Theatre, 113 Sturt St

Dates: 18th May – 5th June

Times: Tuesday 6:30pm, Wednesday – Saturday 7:30pm, Saturday 1pm, Sunday 5pm

Bookings: www.malthousetheatre.com.au, (03) 9685 5111, boxoffice@malthousetheatre.com.au

Prices: Adult $65, Concession $50, Senior $60, Tertiary Student and Under 30’s $35

Image by Pia Johnson, Malthouse and Belvoir

Review, Theatre, Whats On

MTC Presents STRAIGHT WHITE MEN

Four blokes and one family Christmas

By Myron My

Upon entering Fairfax Studio at the Arts Centre Melbourne, you can’t help but notice Candy Bowers as the Stagehand-in-Charge sitting up in her booth, playing some hip hop music, including Khia’s racy “My Neck, My Back”. As the music plays, she regularly glances over the audience while flicking through a newspaper, the back page emblazoned with “Black Lives Matter”. Considering we are about to see Young Jean Lee’s Straight White Men, a play about a family of the four eponymous men getting together for Christmas celebrations, the ruthless satire is punching us in the face, especially as she makes her way down to the stage and introduces us to the make-believe world.

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The “brotherly” chemistry between Hamish Michael, Luke Ryan and Gareth Reeves, as siblings Drew, Jake and Matt respectively, is undeniable. Their scenes together have a believable authenticity and you do feel like they have known each other for their entire lives. Michael in particular is a highlight as the youngest sibling, trying to help his family while trying not to be seen as the baby of said family. Ryan also impresses with his alpha-male banker who would prefer that the status quo under which he is comfortably living is not ruffled. Reeves as the oldest sibling offers an accomplished performance as a white man struggling to find his place in society and to not be seen as living off his privilege. Despite the other characters being louder and more animated than Reeves’, he manages to have a quiet but strong presence on stage. John Gaden as patriarch Ed, brings a nurturing and fragile depth to the man who only wants the best for his children.

The set and costume design is another impressive feat by Eugyeene Teh. While this is a little more conservative than what I’ve previously seen in his work (and this is due to the script itself), he captures the mood perfectly and once again is able to make the environment just as much of a character in the story as the four men on stage. Along with Lisa Mibus‘ intelligent lighting and David Heinrich‘s sleek sound design, all the elements come together seamlessly for Straight White Men.

While I enjoyed the show, especially the stellar performances from the cast, I feel Lee’s script ultimately lacked a deeper exploration of what these men are actually arguing about and the privilege they have, to really leave a mark. There are some extremely funny scenes and some that capture realistic sibling relationships, but the overall story seems to become preoccupied with this humour at the expense of the more powerful issues. It is clear Lee knows what she wants to say but possibly not how she wants to say it.

Straight White Men is an enjoyable performance, but this play ends up more a family Christmas dramedy than an intended piece of satire that will have people – mainly straight white men – questioning their privilege and perceiving how lucky they are.

Venue: Fairfax Studio, Arts Centre Melbourne, 100 St Kilda Road, Melbourne, 3004
Season: Until 18 June | Mon – Tues 6.30pm, Wed 1pm, Wed-Fri 8pm, Sat 4pm and 8.30pm
Tickets: $39 – 77
Bookings: MTC

Cabaret, Review, Whats On

Michaela Burger and Greg Wain are EXPOSING EDITH

Be enraptured

By Jessica Cornish

Exposing Edith has returned for a short season at the beautiful Melba Spiegeltent. This captivating 70-minute cabaret blends a mixture of impersonation and interpretation through 14 songs and monologues to explore the life and lovers of Edith Piaf.

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The work stars Michaela Burger as Piaf accompanied by Greg Wain on acoustic guitar, and this duo have created a beautiful theatre piece.

Burger’s vocals were outstanding. Her warm vibrato and vintage French pop sound filled the tent of mirrors as she sang a mixture of French and English songs. And with a little smoke and those mirrors you could even be forgiven for mistaking Ms Burger for the real deal as there is a striking resemblance between the performer and Piaf, with her dark braided hair and petite stature.

Wain was the perfect addition to accompany Ms Burger: he had a gentle stage presence and seamlessly incorporated some interesting chord colourings and strum patterns into the songs throughout the evening. The music was an utter joy to listen to throughout the night, and the pair even added their own flair to the traditional songs in cleverly playing around with the texture of sounds by incorporating loop pedals, echo and delay in to the performance.

Of course “La Vie En Rose” and “Non, Je Ne Regrette Rien” were powerful moments within the show and instantly recognisable to all audience members. However, don’t presume every song will be an Edith classic: for example, the performers open the show with a one-minute musical creation attempting to summarise large chunks of the performer’s life.

The lighting rig and set were minimalistic, and props were only a microphone, chair and a black feather boa. The performance space thus beautifully mirrored traditional performances from Edith herself, where one would find a vast stage with only the 4-foot-something French icon encased in a spotlight.

Exposing Edith is an excellent starting point for a new generation of music lovers to be exposed to the incredible life and songs of Edith Piaf, although potentially a little underwhelming to those more die-hard fans who already have a solid knowledge of the lady. However, the songstress’ story is cleverly told from the revealing perspectives of both the character and Ms Burger, and the music? It’s just stunning.

Dates:
Wednesday, 18 May – 7:00pm
Thursday, 19 May – 7:00pm
Friday, 20 May – 7:00pm
Saturday, 21 May – 7:00pm

Bookings:
Adult: $35
Concession: $30
Web: trybooking.com

Venue:
Circus Oz Home
35 Johnston Street
Collingwood , Victoria , 3066