Review, Theatre, Whats On

Red Stitch Presents THE RIVER

Deceptively simple fable runs deep

By Myron My

A Man, a Woman, a cabin and a lot of fish. This is the set up for Red Stitch’s latest production and the Australian premiere of Jez Butterworth’s The River. The story is quite straightforward, with The Man bringing The Woman to his cabin to go fishing, but the performances and technical aspects present allow for a deeper understanding of what it means to be loved and to be deceived.

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It’s been over a year since I saw Dion Mills in another fantastic Red Stitch production, Wet House, and with The River, Mills again shows his powerful ability not only to get inside his characters’ heads but to be able to so with apparent ease. Apart from his skill in masterfully gutting a fish, Mills’ The Man is a fine balance of masculinity, fragility and mystery and his naturalistic portrayal of him makes this character seem all the more tragic.

Ngaire Dawn Fair as The Woman is the perfect counterpart to this Man, adding a level of energy and liveliness to their relationship. Her discovery of the deceit is quietly heartbreaking as it plays out with subtlety and nuance. The Other Woman however (played  by Christina O’Neill), lacked the depth of these characters and, perhaps also by necessity, was missing the chemistry that Mills and Fair shared on stage.

John Kachoyan‘s elegant direction adds to the unease and melancholy of The River. While the entire story is set within the confines of the cabin, you can’t help but feel that the world outside is slowly drowning these people. There’s a sense of timelessness in the movements: nothing feels rushed or frenetic inside the cabin, and the only real moment of drama occurs while out by the river – although we only hear about this. The previously mentioned scene with The Man preparing the fish for dinner speaks volumes to the confidence that both Kachoyan and Mills have in keeping the audience transfixed over such simple stage action for such a period of time, and in ultimately making this one of the most memorable moments of the show.

My only gripe with an otherwise absorbing story is the lack of payoff I experienced, come the end of The River. Even with Christopher De Groot‘s compelling music and sound design and Clare Springett‘s adroit lighting adding highly emotional layers to Butterworth’s script, I left feeling dissatisfied, like something had been missed. I needed more to happen in this narrative: to feel something that would then linger deep inside me as I left the theatre, to be affected by what had happened to these people. The strong efforts of all involved in this production still make this production well worth seeing, but unfortunately for me, it’s in the play’s close that The River seems to get bogged down.

Venue: Red Stitch Actors Theatre, 2 Chapel St, St. Kilda.
Season: Until 28 May | Wed- Sat 8:00pm, Sat 3:00pm, Sun 6:30pm
Tickets: $45 Full | $28-35 Conc
Bookings: Red Stitch Actors Theatre

Review, Theatre, Whats On

Play Dead Theatre Presents TAPE

Close and claustrophobic thriller leaves nowhere to hide

By Amy Planner

Tape is a psychosomatic spectacle that pushes the boundaries of friendship and discovers there is always more than one truth when it comes to the past. Filled with about as much psychological drama as one hour can handle, Stephen Belber‘s one-act play throws you in the deep end and doesn’t apologise.

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Set in a cheap motel room in Michigan, Tape examines the dramatic reunion of three high-school friends as they cross paths and reminisce about the seemingly unfortunate past. Vince is the drug-pushing truth-seeker with a broken heart; Jon, the moral filmmaker with an ostensibly immoral history; and Amy, the high-powered attorney with no time for games – well, mostly. When these high-school chums are reunited, their memories of the past collide as they struggle with that ever-illusive truth.

Stephen Belber deserves such supremely high praise for his hauntingly real dialogue and uncanny knack for saying just enough. In a play that is so well-paced and fraught with such naturalistic dialogue, the actors were set a difficult task and they smashed it all the way down Errol Street.

Adam Hetherington held Jon to the stern and initially unwavering brutality that he deserved and then fell so far into the character that his eventual unravelling was strikingly lifelike. Michael Mack, producer and lead actor as Vince, was fantastically unsettling – that’s a good thing, I promise. He transitioned seamlessly from the witty-tongued best bud in to a hyper-anxious cokehead with a point to prove. As Amy, Hester Van Der Vyver was a understated comparison at first but grew in to a subtle, almost psychotic player in this emotionally destructive warzone.

This small cast reached in to the most deep-seated corners of their psyches and what came out of it was a truly enthralling performance with so much depth, it barely seemed like a play: rather, an eavesdrop on a vivid intimate conversation.

The only brief lapsing moment came during the fight scene; slightly clumsy wrestling  proved a little too lumbering for the intimate space. However, there was a well-timed hint of comedic relief with a sort of pillow fight in the middle. But the actors and director, Jennifer Sarah Dean, should still be commended on the literal hard-hitting moments that were far too real to not leave a mark.

On entering the intimate, converted hotel room, the set seemed a little dated; however, as the play indicated, the realisation of cheap urban accommodation meant it couldn’t have been more fitting or well put together by set designer Aline Brugel.

Tape’s heaving hour of dramatic warfare doesn’t spare a moment and will have you encapsulated in its intimate intensity for every second; it is a truly unique and powerful production with talent oozing from the walls.

SHOW DETAILS

Venue: The Court House Hotel, 86-90 Errol Street, North Melbourne

Season: April 27th – May 7th. Wed-Thurs 7.30pm, Fri-Sat 8.00pm

Tickets: $25 Adult, $22 Concession

Bookings: www.playdead.com.au

Review, Theatre, Whats On

Vass Productions Presents BAD JEWS

Full of Chutzpah

By Deborah Langley

On its return season to Melbourne, I recently had the pleasure of attending opening night of the Vass Theatre Group‘s production of Bad Jews by Joshua Harmon. This relatively new play has been a smash hit in London’s West End, New York’s Broadway and indeed across America, both selling out and extending much like the product here in Australia.

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The play may be new, but it draws on very traditional theatrical methodology, throwing together some eccentric and memorable characters in a high-pressured situation in order to present some deeply-felt and complex ideas about religion and cultural heritage.

A beloved grandfather has died and three cousins (and one girlfriend) are spending the night after the funeral together in a cramped Manhattan apartment to sit ‘shiva’ with the family the next day. Close quarters, family dynamics and interesting personality clashes brings up viciously hilarious quarrels about family, faith and the legacy of the tribe as a treasured family heirloom with religious significance is up for grabs.

But who has rights to Grandfather’s prizes procession? The bossy, overbearing and fanatically religious Daphna – performed by Maria Angelico who delivers with all the annoyingly loud speed of thought that traditionally characterises New York Jews. Her wealthy cousin Liam (Simon Corfield) and girlfriend Melody (Anna Burgess) who really want to be the voice of reason but don’t stand a chance with the crazy energy of Daphna? Or Jonah (Matt Whitty) who doesn’t want to get involved?

This incredibly talented cast bring the characters to life with all the complexities that they require. Burgess’s operatic solo of Summertime has to be a standout comedy moment for me but all performers encapsulate their characters perfectly. Although I do wonder if some of the Jewish nuances were missing, as the work sometimes felt very tense, and perhaps some of the comedy was lost without these very subtle cultural timings.

Overall this is a brilliant production that crosses cultural lines, with so many similarities to be drawn between Jewish families and any close-knit clan. So if you can get past the very specific Jewish references (most of which are eventually explained) make sure you check it out before this well-deserved second season is over!

 Dates: 27 April – 14 May

 Times: Tue-Sat 8:00pm, Matinees: Sat 3:00pm, Sunday 1 May and Sunday 8 May 5:00pm

Venue: Alex Theatre, St Kilda

Bookings: http://premier.ticketek.com.au/shows/show.aspx?sh=BADJEWS16

Review, Theatre, Whats On

Nothing But Roaring Presents THE MERRY WIVES OF WINDSOR

Fast, fresh and funny – just as farce should be

By Narelle Wood

The Merry Wives of Windsor is Shakespeare, (almost) as it should be; there are minimal sets and theatre-in-the-round style seating – the only differences are modern costumes, a roof on the theatre, female actors and a One Direction reference or two.

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It’s not a play that I’m familiar with, but it follows all the main plot points of a classic Shakespearean farce that makes it instantly recognisable. The farce is based on making a mockery of John Falstaff (Tom Considine) who declares that he shall seduce not one but two of the wives of Windsor. The wives of Windsor, Mistress Ford (Carole Patullo) and Mistress Page (Helen Hopkins), upon hearing this decide that revenge through humiliation will be a befitting antidote for Falstaff’s lustful and presumptuous ways. As is the case in most Shakespearean plays, the minor characters wield havoc as they manipulate and betray each of their masters, and this results in the one not-so-merry husband of Windsor (Master Ford played by James Wardlaw) planning an entrapment of his own to prove his wife unfaithful. Meanwhile several suitors vie for Anne Page’s (Jing-Xuan Chan) hand in marriage, which adds to the intrigue as lies are told and deceit unfolds.

There is so much going on in this play, with twists in plot and a number of soliloquys and asides, that the minimalist approach of basic set and lighting is a welcomed relief. For the most part the Shakespearean language fluidly rolled off the casts’ tongues, as would be expected of actors of this calibre, but it also means that the dialogue is unapologetically fast. There is also an unexpected challenge in deciphering the Bard’s prose; Shakespearean language mixed with a Hugh Evans’ well-articulated Welsh accent made sure I was definitely concentrating on what was being said.

The actors all played multiple characters, with small costume changes signalling the character changes, and they all effortlessly morph from idiot suitor to jock-houseboy, from simple houseboy to jealous husband or whatever other transformations are required. The actors, under Rob Conkie’s direction, also make impressive use of the space; not once, even with the actors’ directing their attention to the other seating areas, did I feel excluded from the performance. The farcical nature of the plot was often reflected in the physical performances of the characters, gesticulating, groping or gyrating for humorous effect.

It’s hard to shy away from Shakespeare in a year that marks the 400th anniversary of his death. There will be a lot of Shakespeare on offer but The Merry Wives of Windsor is an amusing tale and this production makes for a very merry evening indeed.

Venue: Fortyfive Downstairs, 45 Flinders Lane Melbourne

Season: Until Sunday 1st May, Tuesday-Saturday 7.30pm, Sunday 5pm

Tickets: Full $38| Conc $28

Bookings: www.fortyfivedownstairs.com

Performances, Review, Theatre

Hungry Wolf Theatre Presents ORPHANS

Fraternal bonds are set to break

By Myron My

The bond between brothers, or any siblings for that matter, is a bond for life. After all, as the adage goes, you can choose your friends but you can’t choose your family. Lyle Kessler’s Orphans, two brothers share the pain of having a mother who has died and a father that has abandoned them. While both of them choose to deal with the pain and protect themselves and each other in different ways, emotions gradually reach boiling point where something has got to give.

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In Hungry Wolf Theatre‘s current production, Mark Davis as younger brother Phillip continues to impress me with his ability in bringing his varied characters to life. It’s testament to his skill and talent that Davis is physically and emotionally the complete opposite to the character I last saw him in: Q44‘s brilliant production of Sam Shepard’s Fool For Love last year. The machismo and hot-bloodedness of Eddie is nowhere to be seen in Phillip, an innocent, sheltered individual who falls somewhere on the high-functioning Autism disorder spectrum. It is almost like the performer has ceased to exist as each movement, each stare, each thought process is overtaken by Phillip and for a show that goes for over two hours, it is a challenging feat that Davis smashes through.

Danny Zivaljevic as the older, more volatile brother, Treat, has a strong presence on stage and physically captures the anger that is boiling inside the character. It’s an anger that we recognise if Treat doesn’t control soon enough, will eventually be his undoing. I confess I would have liked to see Zivaljevic try and work more with the subtleties and the nuances of these anger issues that would have allowed Treat to feel like a better-rounded character. Meanwhile, Sebastian Gunner is much at ease with Harold, finding the perfect balance between his comedic, threatening and sensitive nature.

The committed performances from the actors are unfortunately let down by a script that for me lacks true suspense or tension and doesn’t seem to lead anywhere – nor does it explore the characters’ relationships to the depth that I feel would be more rewarding for the audience. However,  Peter Blackburn’s strong direction here and use of the space builds a claustrophobic and still somewhat suspenseful environment within the confines of the brothers’ living room.

Despite the script not being as engaging as I would have liked it to be, the captivating performances alone are worth seeing in this production of Orphans by Hungry Wolf Theatre.

Venue: Gasworks Arts Park, 21 Graham St, Albert Park, 3206
Season: Until 23 April | 3pm and 7.30pm
Tickets: $30 Full | $20 Conc

Bookings: Gasworks Arts Park

Musical Theatre, Review, Whats On

Pursued by Bear Presents TICK TICK BOOM

Engrossing and innovative musical theatre

By Sally McKenzie

Tick Tick Boom is a cleverly-written one act musical which beautifully illustrates the struggles of the composer Jonathon Larson (who also composed Rent) to ‘make his break’ in the world of musical theatre.  In this new production presented by Pursued By Bear, I was captivated from beginning to end. I doubt you will find a better portrayal of this autobiographical piece by Larson.

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Upon entrance to ‘The Loft’ performance space at Chapel Off Chapel, we are immediately immersed in the ‘chaos’ of Larson’s musical mind as we walk on a floor covered in pages of sheet music, and are surrounded by a clutter of suitcases and neglected musical instruments randomly stacked against walls.

In the middle of this there is a floor-boarded stage, slightly raised with a piano as the centre piece. Three wooden chairs are the only other set pieces on this stark performance space. A dozen hanging exposed light bulbs also frame the space, helping to bring a distinct realism to the set.

The role of Jonathon Larson is played by Luigi Lucente. He is simply brilliant. The audience immediately empathizes with the heightened anxiety of his character and – through the passing of time (which is likened to the strict timing of the metronome) – are captivated with his journey as an artist.  Lucente is compelling as he delivers his soliloquies to the audience. Through superb timing and natural alliance with the character,  he is able to bring out the comedy in an otherwise ‘serious’ plot.  Moreover, Lucente is perfectly cast as he also is an impressive musician/pianist and rock vocalist. His playing of the piano is interwoven superbly into the music of the show. His performance of ‘Why’ was particularly moving, and the ‘out of tune’ piano was a perfect vessel for his emotions.

Angela Scundi gives a solid performance of the role of Jon’s girlfriend Susan, and effectively doubles as other characters throughout the show.  Her rendition of ‘Come To Your Senses’ was very well-received by the audience. Quin Kelly depicted the more conservative character of Michael, which was an apt juxtaposition to the spirited nature of ‘Jon’. Although his voice didn’t quite seem suited to the more contemporary style of the show, but he brought a lovely energy to the ensemble-style cast. Mitch Roberts and Rebecca Heatherington provided extra vocal harmonies for songs and portrayed their cameo roles with conviction. Their presence in the Sondheim parody ‘Sunday’ was particularly engaging.

Paul Watson’s direction is stunning and completely fitting for the venue. The multiple uses of the piano as a set piece and the ‘domestic’ lighting doubling as the perfect tools to create the needed intimacy of such a personal story are just two examples of his stylish creative choices. His ability to convey the different tensions in the space with the positioning of actors alone is impressive.

The musical direction by Jess Barlow is well-executed. Vocal harmonies are tight and the band is well-balanced with the vocalists. There was the occasional imbalance of vocal harmonies (the men sometimes overpowering the women), but this did not deter from the enjoyment of such a fabulous score.

Tick Tick Boom is playing in The Loft at Chapel Off Chapel until May 2nd. Tickets can be booked online at http://chapeloffchapel.com.au/ticket-sales/

Comedy, Festivals, Review

MICF 2016: Zoe McDonald in GOOD MORNING MOFO

Promising characters invite solid laughs

By Myron My

Zoe McDonald’s one-woman, multiple-character comedy show Good Morning Mofo begins before it even begins. As we enter the “studio”, Channel 8 intern, Jenny, “who’s not getting paid but really happy to be here” anxiously seats everyone and ensures all health and safety issues are recognised and everyone is comfortable. After a brief audience warm-up, Channel 8’s morning show Brunch begins with host, Chloe Davis, introducing us to Women’s Week, where the whole week of episodes  will be devoted to issues that are important to women. A whole week!

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The sly and satirical ‘hot’ topics include how bad invisible panty lines are, and how to lessen the harsh reality of laugh-lines on your face. McDonald introduces us to a variety of women both in front and behind the camera of Brunch, including weather reporter Rochelle, Pamela from wardrobe and Anita from make-up.

McDonald does stellar work with her slick impersonations and the voice and demeanour of Chloe Davis in particular feel very real, as if she actually belongs in a TV show that is the love child of 60 Minutes and Frontline. This is where the humour in the show really finds its stride and feels less forced than at other times. The subtle anxieties that Davis feels about her career and future employment opportunities could even have been explored further though as they seemed to bubble on the surface of something much more poignant.

It is clear and worthwhile what McDonald is trying to say about the representation and treatment of women in the news and entertainment industry: however, by having so many characters appear throughout the one-hour show, the script feels a little disjointed and the connections we seek with the characters don’t always manifest.

I felt the $10,000 cash-prize phone call segments between Davis and “bogan” winner Jessica Murphy could easily have been removed without impacting the show in a negative way. The scenes with the talent agent brought to the surface the issues older women face in a seemingly younger woman’s world, but the extreme way in which she was portrayed made her feel less genuine and sympathetic as a person and more of an overt caricature.

Good Morning Mofo does well in providing the laughs to the audience as it portrays a variety of interesting women all trying to make it in the cutthroat television industry and struggling to be treated as equals regardless of gender, age or appearance. With some refinement over whose story McDonald is working to explore, these important concerns will become stronger, clearer and resonate even more with the audience.

Good Morning Mofo was performed at the Malthouse Theatre as part of the Melbourne International Comedy Festival between 23 March – 17 April.

Cabaret, Comedy, Festivals

MICF 2016: Shirley Gnome is REAL MATURE

Frankly adult fun!

By Joana Simmons

After ripping up Adelaide and Perth Fringes, Shirley Gnome: Real Mature, was specially invited by this year’s Melbourne International Comedy Festival to charm our pants off with her songs and stories about things you do with your pants off. Her show is mostly about sex – but honest and hilarious rather than obscene. Combining her sheer musical talent on the vocals and acoustic guitar with her relatable rappore, make Gnome mistake, it’s one hot package.

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“Real Mature” is an appropriate title for a realistic modern-gal’s view on some relatively adult topics. Beneath the bedsheets her clever songs stroke themes of empowerment, political satire, and pop parody. This cheeky Canadian thinks the things, feels the feely feels, and puts them out there in the show sprinkled with glitter, charisma and some bootscootin’ country singing. Let me say Adele’s “Someone Like You” will never sound the same to me again.

It’s restoring seeing a woman stand up for the pure pleasure that the horizontal hokey-tokie can be, with all its’ body hair, un-photoshopped noises and nuances, and Shirley’s chatter between songs was amusing and natural. She’s banging good at doin’ it. Performing I mean. And probably “it” too. Spice up your weekend with some afternoon delight and get to The Butterfly Club with a show at 5.30 for two more nights.

Shirley Gnome: Real Mature

Dates: April 15 – 17

Time: 5:30pm

Cost: $25-32

Venue: The Butterfly Club, 5 Carson Place, Melbourne

Tickets: thebutterflyclub.com

Comedy, Festivals, Whats On

MICF 2016: Corey White in THE CANE TOAD EFFECT

Bringing remarkable laughs from dark places

By Christine Young

There’s a winsome innocence and softness in the expression on Corey White’s face in the promotional photo for The Cane Toad Effect. White’s innocence and trust were torn away from him multiple times as a child but he hasn’t lost his sense of humour or his soft edge. He is fresh-faced and positive for someone who has every reason to be bitter and jaded.

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The premise of The Cane Toad Effect is that, like the introduction of cane toads to far north Queensland, there have been unintended consequences of his upbringing. White talks about his childhood with a Dad who’s a violent criminal; a Mum who’s addicted to heroin; and being abused while living with a foster family. That’s not even the half of it.
Sounds like a real laugh-a-minute, doesn’t it? It actually is.

White maintains a steady balance between the shades of dark and light in his material. He gets it. People are there to laugh and he manages to find the humorous side in situations that are otherwise inherently sad and awful.

White has created a well thought-out and structured show that plays for laughs but also has some sombre moments. There was one moment where I had tears in my eyes and then seconds later I was giggling again.

There is great skill in being able to tell stories with just the right amount of pathos and humour. White’s honesty is refreshing and gives his stories depth and substance.
Sometimes the humour is quite dark. However, in such a dense show, there were only a couple of punchlines that were received with silence.

White’s show offers an important insight into the state of state care and the ongoing physical and mental consequences of childhood neglect and trauma.

And amazingly  it still delivers lots of laughs.

Where: Forum Theatre (downstairs), Corner of Russell and Flinders Streets, Melbourne

When: Until Sat. 16 April at 7pm; final show at 6pm on Sunday 17 April

Tickets: $20-$30 www.comedyfestival.com.au or Ticketmaster 1300 660 013

Comedy, Festivals, Theatre, Whats On

MICF 2016: Lockwood Productions Presents I (HONESTLY) LOVE YOU

Loveable love story plays well for laughs

By Joana Simmons

“The naked truth is always better than the best-dressed lie.” – Ann Landers

Or is it? What if the naked truth is all you have? I (Honestly) Love You has played at Edinburgh Fringe and New York Fringe and is here to tickle the National Theatre stage and make audiences giggle and squirm with satisfaction with its not-so-conventional but oh-so-comedic tale of what happens when two people with a rare psychological condition that prohibits them from telling the truth fall madly in love.

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We are introduced to the story and told love can be “everything and nothing at the same time.” In front of a calendar backdrop with certain relationship milestones on particular dates the story ensues with sharp witty dialogue and some interesting audience interaction. If reality TV has taught us anything, it’s that it’s not necessarily what happens in reality that is exciting, but relationships- and a relationship built on complete honesty (“yes, your butt does look big in that” “I hate cricket”) is both heart-warming and hilarious.

The show has Melbourne actors Jimmy James Eaton and George Gayler in the lead roles and supported by Talei Howell- Price and Damon Lockwood– also playwright and director. Howell-Price and Lockwood do a stellar job of playing multiple supporting roles, sometimes within the same scene, which are exquisitely defined, physically and vocally. Easton’s comic timing and larger-than-life facial expressions make his eruptions of truth gut-busting and cringe-worthy in all the best ways, and Gayler gives an authentic and (obviously) honest portrayal of a woman who meets a guy she just wants to make it work with, and is an tasteful match to her onstage love.

This is the first show I’ve seen with so much thought and attention to detail put into the stage and costume design, and Cherie Hewson, the creator responsible, can’t go with out commendation. This clever, well-seasoned production will gently pluck your heart strings, question your morals and put the laugh in love. It’s great! (Honestly).

Venue: The National Theatre, St Kilda

Dates: 13 – 16 April 2016

Time: 7.30pm

Tickets: $25

Bookings: http://www.nationaltheatre.org.au