Cabaret

REVIEW: Poppy Seed Festival Presents THE ONE

Spectacular performances in confronting play

By Myron My

For its 2015 festival debut, new-kid-on-the-block Poppy Seed Festival asked artists, individuals and theatre companies to submit proposals for a theatrical production. From all its entries, Poppy Seed Festival green lit four shows to be performed. The final show to open is Vicky Jones’ award-winning The One. Presented by Fire Curtain Co., it is a 65-minute analysis of one couple’s relationship and its use of love, power, and abuse over the course of one night.

The One

From the beginning we can sense that this is not a couple that is completely happy in this relationship as Jo (Kasia Kaczmarek) casually munches away on twisties while Harry (Ben Prendergast) watches porn on the TV when the two have sex. The arrival of Harry’s friend Kerry (Emily Tomlins), who believes her partner has just sexually assaulted her, gets the cogs turning for what will eventually be a fateful night for all three.

The One deals with a variety of dark themes, including sexual assault, rape, victim blaming, misogyny and abuse in all its forms within a relationship. While Jones’ writing is still sharp and witty, had she spent more time developing just a few of these issues, there’s a strong chance the play would have felt less rushed overall and have opened up better opportunities to focus on Harry and Jo’s motivations and convictions, subsequently establishing a stronger connection between these characters and the audience.

That said, Prendergast shines as Harry and his is probably one of the best performances I have seen this year. He portrays Harry’s malevolence quite naturally and so subtly that even when he is seemingly being loving and affectionate, the way he speaks, the way he stands and the way he stares makes you second-guess his intentions. This discreet Jekyll/Hyde interpretation encapsulates the profound grasp that Prendergast has of Harry’s character in knowing so convincingly just what makes him tick.

Similarly, Kaczmarek is intriguing to watch as Jo as we witness her struggle in surviving this relationship. Her conflict in knowing her true love, her one, is the same love that is actually suffocating her and killing her, is well portrayed. The final scene between the couple is extremely powerful and effective in conveying the idea of being caught in a cycle of abuse while being so desperate to escape from it. As the lights come down, you can’t help but feel a mixture of relief and fear about what comes next for these characters.

Venue: fortyfive downstairs, 45 Flinders Lane, Melbourne

Season: Until 13 December | Tue- Sat 8:00pm, Sun 6pm

Tickets: $30

Bookings: fortyfive downstairs

Events, Performances, Review

REVIEW: Hunted The Interactive Theatre Experience Presents SIDESHOW

Not for coulrophobics…

By Myron My

The circus has come to town, but in the case of Sideshow, this is not a family-friendly – or even a human-friendly – circus. There are powers of darkness, death, murder and spirits from the other world that are part of this troupe and in this immersive performance, it is down to the audience to stop this traveling carnival of horrors from causing doom.

Hunted Presents Sideshow.jpg

Sideshow is certainly fun, but I must be honest: there are a number of reasons it unfortunately does not work. Firstly, the experience just isn’t as scary as it proclaims to be and this is bound to be a huge disappointment for its audiences. Apart from our creepy clown friend, there aren’t any frights or tension, unless the constant repeat of people jumping out of the “darkness” and growling at you is where your fears stem from.

The story, while straightforward and entertaining enough, also tends to use too much exposition in its narrative and takes away the engagement or emotional investment the audience may otherwise have felt. Meanwhile, there are scenes or instructions given to us that don’t seem to have a clear purpose: at one point for example, we were told to wear some masks only to have them taken from us minutes later without explanation. There are sadly no twists or turns as the advertising states and there are no choices we have to make throughout Sideshow: we are spoon-fed the story and directed on what we must do. While admittedly this type of immersive theatre requires a strong structure, it also needs to be under the guise that we the participants do in fact control the story.

I feel the setting and ambiance of the circus environment also needs to be developed more fully, as dark-lit rooms and streamers hanging from walls a circus does not make. Some creepy carnival music playing throughout, for example, would have made a huge difference in building up the tension and creating some believability.

I am a strong supporter of immersive and interactive theatre: in making the audience be an integral part of the show, rather than just an observer. The pay-off for both performer and audience is amazing when executed well. While Sideshow misses the mark in the horror and scare-factor and in creating a truly immersive experience, it is still an enjoyable show that will certainly create some fun and get a few laughs.

Venue: Revealed upon ticket purchase but close to CBD.

Season: Until 6 December

Tickets: $43 Full | $35 Conc

Bookings: Hunted: The Interactive Theatre Experience

Cabaret, Review, Whats On

REVIEW: Anne Gasko in WHEN I GROW UP

Charming, clever and well-crafted cabaret

By Narelle Wood

When I Grow Up is a truthfully whimsical trip down memory lane when adulthood seemed so simple and anything was possible. Anne Gasko, in her one-woman cabaret show, asks all the important questions about what growing up really means and if being an adult means giving up on the dream of owning a unicorn.

When I Grow Up.jpg

Through the combination of song and stand-up Gasko begins with her young and impressionable childhood where eating sprinkles for every meal was an acceptable dream and making friends was as simple as identifying one, potentially tenuous, similarity. Gasko contrasts this with the awkwardness and self-consciousness of making friends as an adult. This is just the beginning of stories of growing up and the harsh realities of grocery shopping, paying bills and growing boobs, and the effects of watching too much Disney on your relationships.

Gasko’s performance is both endearing and edgy; her comedy starts in seeming innocence but as the performance continues, it becomes increasingly more adult and a little bit angsty. The combination works, and much like growing up you come out the other side relatively unscathed at the humorous reminiscing. The song component of the cabaret are well selected, reworded, and just as well performed: Gasko’s rendition of “I Want to Hold Your Hand” was captivating. The only disappointment was that the show didn’t seem to go for long enough and I left wanting more. All of Gasko’s humour hit the mark and it was easy to identify with her observational comedy.

While Gasko does lament the difficulty of making friends with the cool crowd, everything about her performance oozes cool. This a short but sweet way to spend some time having a chuckle at the naivety of childhood and the difficult, but mostly awesome journey, into adulthood.

Venue: The Butterfly Club, Carson Place
Season: 7pm until 29th November
Tickets: Full $32 | Conc $28
Bookings: thebutterflyclub.com/show/when-i-grow-up

Circus, Events, Whats On

REVIEW: NICA Presents BORN IN SAWDUST

Wonderfully engaging

By Narelle Wood

This year’s National Institute of Circus Arts graduating artists perform Born in Sawdust, an insight into the world of circus performing and the trainers behind the performers.

NICA-Born-In-Sawdust

Inspired by former trainer Kostya Ibraguimov, and the stories and dedication of other trainers and mentors, Born in Sawdust follows one circus performer’s dream to one-day work for the famed Monte Carlo Circus. Director Gavin Robin showcases the vast and impressive talents of many of NICA’s graduating students, as artists use trapeze, tumbling, high wires, and some clowning around to add light and shade to this intriguing story.

The performance focuses on the characters portrayed by Adam O’Connor-McMahon, Elke Uhd and Simone Salle, as they form a family within the larger circus family. O’Connor-McMahon is charming; there is something completely endearing about his performance throughout the entire show, regardless of the skills (and there are many) that he is showcasing. While Uhd’s performance of strength and balance on the Cyr Wheel received “wows” from the audience members around me, I couldn’t help but smile at Salle’s joyous, and occasionally insolent, performance as the Fat Clown. The group ensemble work was also impressive, the drunken slapstick tumbling of the Bar Scene looked like the sort of party that everyone would want to be a part of.

But it wasn’t just the story and the skills of these circus artists that made this performance so interesting. Born in Sawdust also makes use of digital projections, provided by students, under the guidance of coordinator Lisa Robins, from Swinburne University of Technology’s Advanced Diploma of Screen and Media. Live performers, live shadows and digitally projected shadows intermingle to provide the most captivating silhouettes and narrative device.

Despite the incredible strength and skill of circus artists, I often feel anxious when watching circus performances, but that was not the case this time. Born in Sawdust took me along on the journey through the sacrifices, injuries, hard work and jubilation of following a dream to join the circus. It is an enchanting circus tale told with just the right mix of heartbreak and humour.

Venue: NICA National Circus Centre, 39-59 Green St, Prahran
Season: Until 28th November, Wed-Sat 7.30pm, Sat matinee 1.30pm
Tickets: Full $36| Conc $29
Bookings: www.nica.com.au

Cabaret, Circus, Comedy, Whats On

REVIEW: BRIEFS

Erotic, erratic and glorious entertainment

By Myron My

For those who have an immense fear of audience participation, this show could possibly be your worst nightmare. But for those after some sexy excitement and fun, then look no further because Briefs has got you covered – or uncovered as the case may be.

Briefs

Formed in Brisbane, this all-male boylesque group has spent the last year travelling around Europe performing sell-out shows to rave reviews. Melbourne finally gets its turn to revel in the skill and beauty on stage in a stunning show that is not to be missed.

All the performers – Shivannah, Captain Kidd, Dallas Dellaforce, Thomas Worrell, Evil Hate Monkey, Lachy Shelley and Louis Biggs – possess a strong sexual confidence among them, which is imperative when your acts revolve around you wearing minimal clothing (and sometimes nothing at all). They also happen to be highly talented individuals and while the show is heavily structured and choreographed, there is a naturalness to their performances that allows for spontaneity and surprises for both themselves and us. There is moreover a brilliant mix of variety in the acts and they are so well paced that the ride we are on never stops being enjoyable.

Worrell’s aerial hoop and silks routines are simply breathtaking to watch. There is an erotically-charged energy to him as he ties himself in knots and contorts his body into some impressive poses while swinging from the hoop. Biggs’ circus acts and his cheeky smile are the epitome of naughty fun and the personas he takes on are executed extremely well. His mischievous high-school student act remains a highlight of the evening.

Evil Hate Monkey’s banana is a touch of comedy genius and had everyone in fits of laughter. Even with the common equation of banana as penis, there is a freshness and daringness to this act. Las Vegas King of Burlesque 2011 Captain Kidd and his famous birdbath act is a sight to behold and the less said about it the better; but it is an incredible finale to an incredible evening.

It’s been a while since Briefs has graced a Melbourne stage and you would be utterly mad if you missed the opportunity to see this seductive burlesque-cabaret-circus glitter explosion!

Venue: Athenaeun Theatre, 188 Collins St, Melbourne.

Season: Until 5 December | Tues – Sat 7:30pm

Tickets: $52.81 Full | $47.71 Conc

Bookings: Ticketek

Performances, Review, Theatre

REVIEW: La Mama Presents BEERS AND TREES

Promising new work ponders who needs to save the world

By Myron My

Performed as part of La Mama Theatre’s 2015 Explorations season and developed with the assistance of Theatre 451, Beers and Trees by Allee Richards is a humorous yet thoughtful look at not only what makes a person strive for good, but what makes a ‘good’ activist and just how important this activity is. We all want to change the world and make it better for everyone, but we also want to be happy and fulfilled by our own needs and desires. It’s a fine balancing act to get it just right and the question of where this balance lies is what the five characters presented here attempt to answer.

Beers and Trees

Adrian Del-Re is the standout performer in the cast, with his portrayal of Brad being highly natural, nuanced and convincing. The delivery really highlights the comfort that Del-Re has found with this character, and his scenes with Julia Hanna (Ruby) are the most entertaining of the show. Playwright Richards has succeeded admirably in finding clear voices for these two characters, and really fleshing them out.

Relatively new to the independent theatre scene, Luke Costabile delivers a solid performance as Wes who, despite his activist ways, is just as confused as everyone else. The script falters a little in the development of Violet and Isaac (Caitlin Lavery and A.J Steele) however. While the two performers do well dealing with their characters, I found much of their dialogue didn’t seem to drive the point that was trying to be made, and the conversations ending up being more of a tool for Violet and Isaac to antagonise each other.

The direction by Lisa Inman and Tref Gare is consistent throughout, with meaningful actions and body language opening the possibility for much interpretation. With regards to plot however, Beers and Trees starts out strongly, but towards the final stretch it does become a little confusing and too wordy. The climax is missing a strong build-up and the abrupt ending goes against the mood the rest of the show seems to have so carefully focused on.

I am eager to see how Beer and Trees progresses in its next incarnation. With a few small changes in the storyline and some characters, there is potential for this to be a stronger and even more engaging production all round.

Beers and Trees was performed at La Mama Theatre between 6 – 8 November 2015.

Image by Ed Gorwell

Review, Theatre, Whats On

REVIEW: MTC Presents BUYER AND CELLAR

Here’s what Barbra keeps in her basement…

By Caitlin McGrane

As the house lights dimmed inside the Fairfax Theatre at the Arts Centre, I leaned over to my mother and whispered, ‘I don’t know anything about Barbra Streisand.’ This remains true, but I am now certainly informed about her basement. As Alex (Ash Flanders) recounts his fictional employment in Barbra Streisand’s basement shopping mall it was thrilling to revel in the affection that playwright Jonathan Tolins clearly has for the superstar singer. The play was warm, heartfelt and gregarious in all the right ways.

Buyer and Cellar

The play opens with Ash giving a brief introduction to the audience about the book that inspired the play (My Passion for Design by Barbra Streisand) and about how Streisand built a shopping mall in the basement of her Malibu home. Ash then becomes Alex and tells the wickedly funny story of how he moved from Disneyland to Streisand, and how Alex’s relationship with his boyfriend Barry is affected by the new job. It’s a true one-man show, and Flanders did a spectacular job of moving seamlessly between the characters with their idiosyncratic accents and mannerisms. As I stated before, I don’t know anything about Barbra Streisand, but Flanders’ impression of her softly lilting voice and affected mannerisms were outrageously funny.

For the most part the play had me in stitches, however, there were several LA references that went completely over my head and it seemed, much of the rest of audience’s as well. This has nothing to do with the delivery, just that the play was written about a particular place with which a local audience is not necessarily familiar. The saturation of American culture certainly helped contextualise the jokes, but specific references to freeways were always going to go over most of our heads. (I would love to see if something similar could be written about Melbourne; maybe Geoffrey Rush has a Pirates of the Caribbean set up in his garage, I don’t know.)

There is clearly so much passion and fondness for Streisand in the script; director Gary Abrahams has ensured the barbs (pardon the pun) are handled just right – carefully toeing that difficult line between gently mocking and barbarous (I’m sorry I can’t stop). Adam Gardnir simply and effectively designed the sets and costumes; while Rachel Burke’s lighting design was beautiful. For a play about such a massively successful musician, there wasn’t much music, however The Sweats’ composition and sound design carefully adorned and enhanced the performance. Finally, Flanders’ numerous accents were so accurate, that it would be deeply remiss not to mention voice and dialogue coach Suzanne Heywood who has clearly done a marvellous job.

It can make me wary when it looks like the cast and crew of a production have had lots of fun assembling and crafting their work, but in this case it was really joyous to see. Buyer and Cellar demonstrates how reverence can work well alongside gentle teasing, especially if the butt of your jokes is a multimillionaire who really does have a shopping mall in her basement.

Buyer and Cellar is showing at the Fairfax Theatre at the Arts Centre until 12 December. Tickets from: http://www.mtc.com.au/plays-and-tickets/mainstage-2015/buyer-and-cellar/

Musical Theatre, Performances, Review

REVIEW: Life Like Company Presents CITY OF ANGELS

Cy Coleman’s classic beautifully and stylishly revisited

By Myron My

Life Like Company‘s 2015 production has been the much-loved, Tony-Award-winning musical comedy thriller, City of Angels. Paying homage to the 1940s era of film noir while also taking a swipe at the Hollywood film industry, it is a heavily engaging and engrossing meta-story of betrayal, love, passion and murder.

Dress rehearsal photo from the Life Like Company production of City of Angels. Photography by Ben Fon - http://fon.com.au
Dress rehearsal photo from the Life Like Company production of City of Angels. Photography by Ben Fon – http://fon.com.au

Despite being first performed 26 years ago, the book by Larry Gelbart still come across as fresh and relevant. It may admittedly be a little politically incorrect and chauvinistic for current times (despite being mediated through characters we’re invited to critique) but the cheeky wit and cleverness of the script and the direction of Martin Croft ensure you still enjoy watching the relationships being depicted on stage. Led by Musical Director Kellie Dickerson, the live band superbly bring to life the upbeat challenging jazz score by Cy Coleman, and the cast certainly do justice to David Zippel’s sharp lyrics in their performances.

For those unfamiliar with the work, City of Angels offers two stories simultaneously told on stage. In one, mystery writer Stine (Anton Berezin), is attempting to perfect his latest film noir script while at the mercy of Hollywood film mogul, Buddy Fidler (Troy Sussman). In contrast, the second story (depicted entirely in black and white costumes and set pieces) has the audience entering Stine’s fiction where private investigator Stone (Kane Alexander) is hired by Alaura Kingsley (Anne Wood) to locate her missing stepdaughter and from there on, the plot thickens and the lines between reality and fantasy start blurring.

The whole cast is exemplary in their portrayals of their characters, including elegant body language and accents, with many playing dual roles as they cross over between stories. Berezin and Alexander are highly entertaining to watch as each character faces his own personal struggles, as well as having to deal with each other. Their famous duet, “You’re Nothing Without Me” is a powerhouse number and stays with you long after the curtain drops.

Amanda Harrison as Donna and Oolie, while not having much stage time, is a consummate scene-stealer and her spectacular renditions of “You Can Always Count On Me” and “What You Don’t Know About Women” (with Chelsea Plumley) are highlights of the evening. Wood is a superb choice as the sultry femme fatale Alaura and her chemistry with Alexander has you hanging off their every word and action.

City of Angels has much love and respect for the film noir genre while poking fun at its tropes. This particular production is a sharp and highly amusing show with some stunning performances from its cast. The only thing criminal about Life Like Company‘s latest theatrical creation is that it is on for only four nights, as many more people should be given the opportunity to experience its bite and brilliance.

City of Angels was performed at the Arts Centre between 5 – 8 November 2015.

Review, Theatre, Whats On

REVIEW: Platform and Straightjacket Productions Presents SOMEONE LIKE THOMAS BANKS

What we dare and defy defines us

By Myron My

Meet Thomas Banks: he is 24, gay and single – but hopefully not for too long. He also lives with cerebral palsy. Beginning as a short piece in 2010 that has since been developed to this full-length and predominantly one-man show, Someone Like Thomas Banks focuses on Bank’s own experiences with online dating, hook-ups, and not only discovering his own voice and identity but holding on to it.

Someone Like Thomas Banks

Banks uses a variety of cleverly executed multimedia tools to share his story, such as projected text, a Lightwriter, animation, social media and pre-filmed segments. The projections of closing doors throughout the show speak volumes as to the rejection that Banks faces in his want for love. At another point, an audience member reads out Banks’ experience of being bullied as a student on the school bus. As this is happening (and in relation to the story), Banks augments the narrative by walking around the stage dropping coins on the floor, clearly showing his resilience and determined nature.

Banks depicts a number of relationships to show the various sides of his personality. Scenes with his psychologist provide the opportunity for Banks to share intimate moments of his life, while the conversations with his mother show his vulnerability and loving nature. Despite the story being a little repetitious during the first half of the show, its use of different media and contexts prevents the audience from ever feeling the pace is slowing down.

Bank’s personable nature and outgoing manner shine throughout, especially when he greets each of the audience “volunteers” with a hug and a selfie. However, when he delves into darker territory, and sometimes unexpectedly so, our instinct is to dwell on that and wonder how he overcame such adversity. Banks chooses not to focus on these stories any longer than necessary though, and moves on to better things, as if to emphasise bad things do and will continue happen, but these moments only define us if we let them.

Someone Like Thomas Banks is not about a gay man living with a disability looking for love. It is a story about a someone like all of us, looking for love, looking to connect with other people. It is a well-crafted and appealing reminder to enjoy the life we have, to take chances, and have fun with everything we do. We should all be fortunate enough to have the outlook in life of someone like Thomas Banks.

Venue: fortyfive downstairs, 45 Flinders Lane, Melbourne

Season: Until 8 November | Wed- Sat 8:00pm, Fri 10am, Sat-Sun 5pm

Tickets: $40 Full | $20 Conc

Bookings: fortyfive downstairs

Image by Gemma Osmond

Review, Theatre, Whats On

REVIEW: Little Ones Theatre Presents DRACULA

Bloody and beguiling

By Myron My

Little Ones Theatre is back with bite in their nearly all-female, silent production of Stoker’s classic 1897 gothic horror story Dracula. It is a brilliant homage to previous cinematic adaptations of the novel, with nods to Bela Legosi, Gary Oldman and Catherine Deneuve, while also including the company’s trademark exploration of sexuality and queerness.

Dracula - Amanda McGregor and Zoe Boeson -photo by Sarah Walker

The seductive Dracula is ‘brought to life’ by Alexandra Aldrich and Catherine Davies, with Davies playing a more youthful transformation of the bloodsucker. As one expected with films made during the silent era, on-screen performances need to be more emphatic and expressive, and on stage, Aldrich and Davies (like the rest of the cast) do not falter. Under the strong direction of Stephen Nicolazzo, their movements and actions are large and telling while still maintaining a menacing air of mystery around Dracula.

Janine Watson as Jonathan Harker, Mina Murray’s fiancé, who in turn is the obsession of Dracula, convincingly shows the emotional turmoil her character goes through, beginning with his initial hapless meeting with the Count. The only male cast member, Kevin Kiernan Molloy certainly nails it (so to speak) as vampire hunter Van Helsing. Molloy portrays him with much bravado and machismo as here to save the day, but ultimately it is he who poses a threat to those around him; intriguing in this case, he is shown to be the destabilising force.

All the various stage elements of this production seamlessly come together and work extremely well in supporting each other. Katie Sfetkidis‘ dramatic lighting design is a highlight with some memorable moments created from its play with darkness and shadows. Along with Daniel Nixon‘s original score, the emotion of both music and light heighten the tension as the story builds to its climatic conclusion. The sparkling all-black stage design by Eugyeene Teh paired with Tessa Leigh Wolffenbuttel Pitt’s and Teh’s mostly black-and-white costume designs pay further homage to the silent film era.

The Little Ones Theatre‘s winning streak of creating unique theatrical experiences therefore continues here with this production of Dracula. While we may be familiar with the gothic and erotic nature behind the famous story, the striking camp and queer elements the company explores ensures that this retelling retains a high level of surprises and entertainment for audiences.

Venue: Theatreworks, 14 Acland St, St Kilda

Season: Until 14 November | Wed- Sat 8:00pm

Tickets: $35 Full | $25 Conc

Bookings: Theatreworks

Image by Sarah Walker