Review, Theatre, Whats On

REVIEW: Bell Shakespeare Presents HAMLET

Exceptional

By Narelle Wood

Hamlet would have to be one of my favourite Shakespearean tragedies so I was intrigued to see how Bell Shakespeare reinvented the story of Denmark’s demise in this new production.

Hamlet

If you are not familiar with Hamlet’s story, it’s a classic tale of treason, incest, revenge and eventual madness. Throw in a few sightings of a royal ghost, the famous soliloquy ‘to be or not to be’, a sword fight and an extremely high body count, and you have the tragic but highly entertaining tale. The more contemporary setting of the play allowed for some clever use of technology for parts of the plot, but the costuming at times might have been well suited to the 1960’s. This means Bell Shakespeare once again accomplished what it is so good at: highlighting the timeless nature of Shakespeare. This could well have been set in any era and still the themes of betrayal, love, grief and regret are still relevant.

Under Damien Ryan’s direction, the cast found the humour and lewdness often missed in many performances of Shakespeare’s tragedies. As a result the performance was dynamic and captivating from start to finish. The casting was impressive, with many members playing more than one character, a lofty task given the very heavy dialogue in parts. Ophelia (Matilda Ridgway) was appropriately tormented, with Ridgway striking a nice balance between grief and insanity. Josh McConville’s portrayal of an angry, vengeful and grief-stricken Hamlet was extremely impressive. In fact McConville’s Hamlet was so complex that it is difficult to classify in any definitive way what type of Hamlet he played, except for one of his own making.

There was not one element in this production that did not work. The sets (designer Alicia Clements) were exquisite but simple. The lighting (Matt Cox) seemed to be a character all of its own, and the scarce use of soundtrack (Steve Francis) was only noticeable in that it added to the often eerie atmosphere.

If you are new to Shakespeare, or not sure whether you’re a fan, Bell Shakespeare’s Hamlet would be a good choice to start with. It was enthralling from first word until the last silence.

Venue: The Arts Centre Melbourne
Season: Until July 25th
Tickets: Prices range from $49 – $79
Bookings: artscentremelbourne.com.au/whats-on/theatre-drama/hamlet

Kids Theatre, Review, Whats On

REVIEW: CDP Theatre Presents THE GRUFFALO’S CHILD

Venture blithely into the deep dark wood

By Kim Edwards

The National Theatre was abuzz this week with excited pre-schoolers and little primary students eager to see one of their favourite picture books leap from page to stage. CDP Theatre’s touring production of The Gruffalo’s Child, based on the beloved rhyming tale by Julia Donaldson and Axel Scheffler, is a slick intelligent 55-minute performance that draws out the story and characters nicely into live action and features some exceptional young artists.

Chandel Brandimarti as The Gruffalo's Child

Chandel Brandimarti as the title character gives an assured and dynamic performance, balancing nicely between childish bravado and cutsey angst. Jessica Vickers holds the narrative together with demure charm as the Mouse who becomes a kind of high-energy Greek chorus, but it is Andreas Lohmeyer playing all the other characters who is given the most room to exercise his vigorous and impressive character talents: his self-parodying Snake and smarny Fox were especially entertaining.

The script is well-wrought, and the little meta-jokes were appreciated. The songs are fun and appropriate but forgettable (and the lyric about breaking necks was unpleasant!), the mobile forest set pieces are efficient and effective, and I respected the decision to have both open faces for the costumes (which prevented s scariness factor) and very simple evocative designs: the Mouse’s ears were buns of hair for example, and the Owl had some feathers sticking through his cardigan. If I was to criticise, it would be that some of these ‘theatrey’ touches were just a little too vague or confusing for the young audience, such as the Mouse enacting the footsteps, Lohmeyer having to openly discard his Gruffalo costume, or the final shadow appearing in the sky. I admire the ingenuity in dealing with these plot issues for a small touring cast, but some of the kids around were a bit bemused at times.

While the production couldn’t quite keep its lively audience constantly enthralled throughout the performance, there were regular and successful efforts to encourage audience interaction, and the final section of the show which invited the kids to finish the rhyming lines, included a fabulous slapstick chase sequence, and put a rather lovely twist in the Mouse’s closing act of kindness kept even my little toddler companion glued to the stage.

A charming and enjoyable morning all around – looking forward to more productions from this company.

Melbourne

National Theatre
14 – 19 July 2015
Bookings: www.ticketmaster.com.au or Phone 136 100

Bendigo

The Capital
22 July 2015
Bookings: www.thecapital.com.au or Phone 03 5434 6100

Shepparton

Riverlinks
23 July 2015
Bookings: www.riverlinksvenues.com.au or Phone 03 5832 9511

Wodonga

The Cube Wodonga
24 July 2015
Bookings: www.thecubewodonga.com.au or Phone 02 6022 9311

Image by Matthew Aberline

Musical Theatre, Performances, Review

REVIEW: Flourish Productions Presents THE SONGS OF ALAN MENKEN

From immortal Disney blockbusters to rare musical gems

By Adam Tonking

Alan Menken has a singular talent for writing beautiful songs about longing to be somewhere else. On a bleak winter afternoon, there was nowhere I’d rather have been than at Flourish Productions’ The Songs Of Alan Menken. And clearly I wasn’t alone. A packed Toff In Town necessitated more chairs being brought in to accommodate the enthusiastic crowd for this cleverly staged and brilliantly performed revue show.

The Songs of Alan Menken

The song choices were particularly inspired: some incredible showstoppers from little-known or unproduced works, some more obscure choices from the famous ones, and a sprinkling of favourites simply impossible to omit. A few more obvious choices were neatly packed into a cleverly arranged overture by accompanist Lucy O’Brien. With its simple and effective staging, slick transitions, and some snappy choreography, this show was the perfect package. Add the brilliant music of Menken, and all you need is the cast.

And what a cast. Six performers of such skill that not a moment was lost, not a song failed to hit the mark. Vanessa Menjivar opened proceedings taking the lead in “Zero To Hero,” before blowing us away in “Growing Boy,” handling the food-related innuendo with great style. “Watch What Happens,” a surprisingly complex and difficult song from Newsies, was artfully delivered by Emily Paddon-Brown. Jeff Van De Zandt’s passionate and emotive rendition of “Out There” almost brought me to tears, and Zuleika Khan’s flawless “Mother Knows Best” had them pouring down my face in awe. Khan wowed again in “Suddenly Seymour,” a gorgeously tender moment with an exquisite Liam O’Byrne as Seymour. And Josh Ellwood’s “Need To Know” was a perfect gem of a song. Although it didn’t show off the impressive notes that Ellwood would consistently deliver in the rest of the show, his storytelling was perfect.

Throw in a few group numbers, such as “I Wanna Be A Rockette,” which was so good I can’t believe I’ve never heard of it, and “Lady In The Long Black Dress,” a ridiculous comic song for the men, and the afternoon was perfect. A perfect homage to a composer so beloved for his work with Disney, and so much more to fall in love with. And with a performance of such calibre, I’ll definitely be attending any future shows from Flourish Productions.

Flourish Productions presented The Songs Of Alan Menken at The Toff In Town, Level 2/252 Swanston Street, Melbourne, on Sunday 12th July 2015 at 3pm and Monday 13th of July 2015 at 8pm.

www.flourishproductions.com.au

Review, Theatre, Whats On

REVIEW: MTC and Elbow Room Present WE GET IT

Looking for the women in theatre

By Myron My

In We Get It, sexism is no more. Everyone rejoice! We are now truly living in the age of equality. Hoorah! To celebrate, five women are competing for an opportunity to perform with a ‘real’ theatre company in a classic female literary role. They appear on stage gyrating to a medley of “sexy” songs and when the musical number is over, return to the stage brandishing self-identifying beauty pageant sashes. We have the “Token”, the “Ethnic Extra”, the “Funny Bitch”, the “Muslim Doctor” and the “Bogan/Migrant”.

We Get It

These five women (Amy Ingram, Tamiah Bantum, Kasia Kaczmarek, Maurial Spearim and Sonya Suares) explore the ideas of theatre showing diversity through casting and roles and also the question of treating women as equals. Perhaps it’s because I have chosen to associate myself with strong women in my life, and have been conscious of where my white male privilege has taken me and the freedoms it has provided that I felt frustrated watching We Get It. I am aware of what my role is in supporting gender equality and I also believe that message needs to be constantly repeated and spread to as many people as possible, however I struggled to connect in this instance: not because of what was being said, but how it was being said.

I found myself being talked at for much of the show rather than being informed or educated. Furthermore, there were a number of scenes that seemed to go on for that bit too long and could have benefited from an edit. The beginning of the show also seemed clunky and flat, which is a shame as the intention behind it had the potential to make a strong impact and set the tone for the rest of the production.

What I thought was a great inclusion was the use of The Diary Room, which the contestants treated as a type of public private confessional. This device gave the best insight into these women’s lives, where truth and honesty were present in what is expected of them when auditioning for roles and rehearsals.

Considering the five “contestants” collaborated with Marcel Dorney and Rachel Perks in writing this piece and to an extent, based on their personal experiences, it is no surprise just how impressive they all are in their roles, with Bantum’s strong stage presence making her particularly captivating to watch. Directors Dorney and Emily Tomlins have worked very closely and developed a trust with these women to create the opportunity for them to explore the issues they face as actors and women.

Set design by Matt Adey was well-thought out and considering everything that happened on stage, the use of the space and props never had you feeling overwhelmed with what was happening. However, there were a few technical issues the night I attended, particularly with mic and sound levels.

Whilst I completely and utterly agree with the messages being conveyed here, I believe there have been stronger shows put on recently that still have a strong feminist approach but present their ideas in a more accessible way. That said, We Get It, presented as part of the 2015 NEON Festival of Independent Theatre, still created a conversation with the people I attended on the night about the changes that we, as males, can make to support gender equality and that is probably the most important thing for such a production to have achieved.

Venue: Melbourne Theatre Company, 140 Southbank Boulevard, Southbank

Season: Until 19 July | Tues-Sat 7:30pm, Sunday 4:00pm
Tickets: $25 all tickets
Bookings: Melbourne Theatre Company

Comedy, Kids Theatre, Review

REVIEW: The Listies Will Make You LOL!

Lively kids theatre with plenty of cheek

By Margaret Wieringa

It says it all in the title. Who are The Listies? Richard Higgins and Matt Kelly are a couple of young men who act like they’ve never grown up – and thank goodness! What’s a LOL? Really? If you don’t know text talk for Laugh Out Loud, I’ve no idea how you’ll cope with Matt’s Face Texting, even though the technology required for that is minimal (but, as with most technology, the kids get it faster than the parents).

The Listies

The Darebin Arts Centre was a large venue for such an intimate show, but they made it work through good use of microphones (albeit with slightly dodgy headsets) and racing from one end of the theatre to the other. It didn’t matter whether you were sitting front row or way up the back, you got a good chance to get a pair of dirty undies in the face.

The kids in the audience were roaring with laughter throughout – I heard several children from different families around me saying to their parents “It’s sooooo funny!” But don’t think you’ll be bored, parents, guardians, aunts and uncles. There’s even a hint of political satire… well, just a hint.

The Listies kept the extremely enthusiastic audience right in the palms of their hands throughout with a series of extended sketches with a fair whack of improvisation. Even classics like the knock knock joke get a whole new treatment, and I bet there will be a whole lot of car journeys that will be a lot more fun when playing ‘Hey, Cow!’

The Listies have just about finished up their recent tour around the country (though there is one more show coming up at the Lorne Festival on August 29), but keep your eye on their website. If you have small children in your life, treat them to some Listies fun!

http://www.thelisties.com/

Review, Theatre, Whats On

REVIEW: Jane Miller’s CUCKOO

Unsettling funny

By Narelle Wood

Cuckoo, written by Jane Miller and presented by 15 Minutes from Anywhere, is a dark comedy that delivers on both promises of darkness and humour. It’s an ordinary night, Mel and Leo are having an ordinary conversation until a knock at the door reveals the unexpected: the return of their long ago lost son J. Over the next 90 minutes the plot teeters on tragedy as it explores the effects of such monumental events on those involved.

Cuckoo

Miller’s script is something quite unique. Most of the dialogue seems like benign chatter, with characters often talking to themselves, and over the top of each. However this is actually a cleverly disguised ploy for plot exposition as each seemingly random utterance reveals small details about the characters, their relationships and how those relationships are shifting. Under Alice Bishop’s direction these layers of conversations are perfectly timed and interspersed with just the right amount of pause.

The lighting and character movement are also used to establish story and character dynamic. Lighting changes are used to denote flashbacks that only give glimpses into the past, never really revealing too much. And while the characters are always moving, it never appears too busy, but rather adds to the understanding of where this story is and perhaps where it is going.

The ensemble cast of Natalie Carr (Mel), Matthew Molony (Leo), David Kambouris (Dan) and Samuel Russo (J) are exceptional and just one more element that makes this play work so well. The chemistry between the cast heightens the uncomfortable feeling that something is not right and that perhaps one or more of the characters is being manipulative, but you’re never quite sure who or what they are up to. Russo’s portrayal of J is both infantile and calculating, which borders on the sociopathic and is completely intriguing.

The subject matter of Cuckoo could have been harrowing and potentially offensive. But instead what it accomplishes is an honest, unsettling and thoroughly humorous account of life in the face of tragedy. Everything about this play works, and I walked out slightly disturbed but thoroughly entertained.

Venue: fortyfivedownstairs, 45 flinders lane
Season: 8th to 26th July
Tickets: Full $36 | Conc $28
Bookings: fortyfivedownstairs.com ph: 96629966

Image by Lachlan Woods

Review, Theatre, Whats On

REVIEW: Monash Shakespeare Company’s TITUS

Ferocity unleashed

By Amy Planner

Violence has many forms and this production holds no punches in exploring the history of humanity and our gravitational attraction to that violence. Written and directed by James Jackson, Monash Shakespeare Company presents Titus, a non-conventional and radical reworking of Shakespeare’s Titus Andronicus.

Titus

Broken down in to three distinct acts, Titus explores the Shakespearean tragedy in a vastly postmodernist way. The focus in its many forms is violence; Act I presents The Symbolic in an almost wordless adaptation, Act II delves in to The Objective with a script-ridden dialogue surge, and Act III tackles The Subjective in a physical exercise of rather ferocious proportions.

In true post-modernist form,  Titus does away with answers and instead raises many deep-seeded and philosophical questions about humanity, honour, love, family and violence.

The small cast (Elizabeth Brennan, Emily Stokes, Lindsay Templeton, Meaghan Laurie and Tom Molyneaux) offered a range of talents and although some performers were stronger than others, there were a number of memorable moments. The lighting was stark but appropriate and the use of sound and music created an eerie ambiance.

Designed by Nathan Burmeister, he unique staging comprised of a beach-worth of sand, a brick or two and metres of Dexter-esque plastic lining the spray painted walls. The distinctive take on Shakespeare was matched only by the interesting use of space. Unfortunately, the meekly tiered seating did leave those behind the front row gasping for news on the activity happening down front, but were left out of the loop.

Being ready for the metaphysical interpretation did not prepare for the blitzkrieg of symbolism, figurative actions, metaphorical moments and deluge of questions thrown at the audience in rapid succession. Perhaps a more defined focus on one or two theatrical elements would have allowed the unsuspecting audience to follow the hasty plot and really grab a hold of some of those big subjects.

If you play shy to a bucket-load of blood, have a phobia of sand or hold on to haunting memories of the dreaded Beep Test then perhaps Titus isn’t for you. But if you are in need of a little philosophical punch to the face through a never-before-seen Shakespearean awakening, then Titus should be right up your postmodernist alley.

Titus by Monash Shakespeare Company
Season: 9-12 and 14-18 July 2015 7.30pm (2pm show on 11th July)
Venue: Second Story Studios, 3/159 Sackville Street Collingwood
Tickets: $21 Full, $17 Concession, $15 MSC Member
Booking: trybooking.com/HYJQ

Image by Sarah Walker and Debbie Yew

Performances, Review, Whats On

REVIEW: Becky Lou in SHAKE

Sexy, funny, resolute and resounding

By Myron My

Fittingly having her Melbourne premiere of Shake at iconic venue The Butterfly Club, Becky Lou lives up to her show’s title. Twirling tassels, bouncing breasts and jiggling buttocks; there is a lot of shaking going on. However, there is more to this show than just sexy and entertaining burlesque routines, as they are interspersed with Becky Lou’s musings on significant moments in her life that have led to her career as a burlesque performer.

Shake

Shake is a well-crafted show that allows Becky Lou to expose herself in more than just the literal sense. Beginning with memories of her four-year-old self dancing topless in a supermarket to Madonna’s Like A Virgin, each story that Becky Lou shares has a purpose. It’s not for entertainment value, it’s not to shock us, but it’s to strengthen the relationship women have with their bodies.

Women are being constantly told to cover up yet to “show us ya tits”, are made to feel imperfect yet subjected to continuous sexual harassment. What Becky Lou does with Shake is invite women to reclaim their bodies, to own their bodies and be proud of them. In this regard, Shake reminded me of a similarly beautiful and thought-provoking show in Maude Davey’s My Life In The Nude.

Like so many burlesque performers, these women should not be congratulated or fawned over for being “brave” about performing nude. They should be admired for being strong women who love their bodies and for taking power away from the male gaze. Becky Lou shares stories from her life in a non-confrontational way so that she does not create a divide with the audience. With a fine balance of comedy timing and frustration and derision towards a patriarchal society, we are all equally disgusted when she informs us of the policeman who wolf-whistled at her when she was just fourteen.

The burlesque routines in Shake highlight the skill and creativity that had Becky Lou crowned Miss Burlesque Victoria in 2013, among numerous other titles. She captures the sexiness and the mischief of the art form but each number is unique in style, costume and the character that she takes. The most memorable ones of the evening were her opening and closing numbers, the latter bringing her story full circle and the former showing us exactly why she is a force to be reckoned with in the world of burlesque.

Shake is more than just a show to titillate or excite us. There is heart and truth in the stories that Becky Lou shares with us, and in the message that she wants to get across. At one point, she confesses that she is most nervous about using her voice in the show because it’s not something she usually does in burlesque. She needn’t be nervous at all though, because we are enthralled by every word she says just as much as every item of clothing she removes.

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: Until 12 July | Thur-Sat 9:00pm, Sunday 8:00pm
Tickets: $32 Full | $28 Conc
Bookings: The Butterfly Club
Review, Theatre, Whats On

REVIEW: Joe Lui in LETTERS HOME

Sharing the contents of letters unsent

By Christine Young

Letters Home is playing at Theatre Works at the same time as Saltwater: both plays are presented by performance-makers, Joe Lui and Jamie Lewis respectively, who hail from Singapore and have made Australia home. They are vastly different theatre pieces in many respects but share themes of self-discovery and vulnerability.

Letters Home

Joe Lui has been a writer, director and sound designer in Perth for several years. Letters Home is his first outing in front of an audience. Lui wouldn’t describe himself, or actors in general, as brave. He says bravery belongs to nurses. But maybe he won’t mind if I call him gutsy. And audacious. Letters Home is warts-and-all storytelling, and it takes gumption to lay yourself bare to 24-odd strangers then hope like hell they’ll appreciate you.

Lui is also warrior-like, not just because of his warrior play-acting, but also because he has overcome great adversity.
Lui’s unsent letters to his parents are about why he decided to stay in Australia after completing his degree at Murdoch University in Perth. In part, going to Perth was a way to temporarily put off three years’ compulsory military service. That was seven years ago. Lui’s decision to stay in Australia means he will never return to Singapore or see his parents again.

There is so much more to Lui’s story than escaping the rigidity of life in Singapore. He paints a stark, sometimes harrowing, picture of his childhood in Singapore through poignant, touching verbal letters to his parents on stage left, and in monologues addressed directly to the audience. The picture is also coloured with streaks of joy, hope and pluck. Lui speaks effusively about Australia, theatre and his two passions –art and sex – with humour, pathos and light self-deprecation.

However, he still feels the remnants of an abusive childhood which hint towards depression and anxiety. He simultaneously loves his parents and rages against them.

Letters Home is an insightful glimpse into Singapore society weaved into stories and letters that reveal Lui’s transition into manhood and identity. Overall, he gives a strong performance but there were moments where Lui seemed to falter which I put down to beginner’s nerves rather than lack of ability. There were many times when he nailed a casual conversational style of banter which belies a man to be both reckoned with and delight in.

Venue: Theatre Works, 14 Acland St, St Kilda
Dates: Until July 12, 2015
Tickets: $30 Full / $25 Conc (plus booking fee) Saltwater / Letters Home Double Bill – purchase a ticket to both shows for only $50 full price or $40 concession.
Bookings: www.theatreworks.org.au

WARNING: Contains smoke effects, strong language and adult themes including suicide. If you or someone you know are in crisis, you can speak with someone right now.
The Lifeline Support Helpline is available 24 hours a day: phone 13 11 14.

Image by Simon Pynt

Performances, Review, Whats On

REVIEW: Jamie Lewis in SALTWATER

Serving up a charming and cultural delight

By Christine Young

Saltwater is an innovative one-woman show from Jamie Lewis who gives the audience a taste of Singaporean cuisine and culture. In 2012, Lewis’s The Stream/ The Boat/The Shore/The Bridge/, created with Dan Koop & Co., received a Green Room Award for Outstanding Production – Creative Agency for Audiences.

Saltwater

This is not surprising.

Saltwater is a gentle and thoughtful theatre experience like no other. Fifteen audience members, guests really, are invited to prepare and eat a traditional Eurasian meal with Lewis. Master Chef this ain’t, so don’t worry, guests are only asked to perform a simple task. In fact, the Saltwater concept and purpose are a refreshing antithesis to the hectic, competitive nature of reality TV cooking shows.

Saltwater is designed to engage all of our senses for a truly visceral encounter. This is a chance to stop, look and listen and enjoy being in the present moment. Lewis creates a relaxed atmosphere, from the background music to subtle decorations, and due to her relaxed style of speaking. Nothing seems particularly contrived. Most of it is, of course. But that’s a mark of outstanding theatre: making the planned look and feel natural.

Lewis encourages guests to talk about their relationship with cooking and culture, though you aren’t forced to speak or interact. It’s not group therapy. Observing and letting everything flow over you is perfectly fine. Conversations lead into invisible segues for autobiographical monologues from Lewis. She covers the experience of growing up in Singapore, under the shadow of her mother’s cooking and kitchen, which expands into contemplation of her parents’ courting days and 35-year marriage.

Lewis also talks about her three-year marriage to an Australian lad, starting with the safe territory of dinner parties, then moving into how newly weds negotiate marriage through love, death, triumphs and differences. These are not simply put down to cultural differences. Lewis recognises that our relationships are informed by all of our relationship experiences from the day we take a breath.

I felt privileged to be part of Saltwater. Lewis is a gracious, friendly and frank host who gives you a peek inside her private world in a way that makes you feel right at home.

Venue: Theatre Works, 14 Acland St, St Kilda
Dates: Until July 12, 2015
Tickets: $30 Full / $25 Conc (plus booking fee) Saltwater / Letters Home Double Bill – purchase a ticket to both shows for only $50 full price or $40 concession.
Booking: www.theatreworks.org.au

Image by Sarah Walker