Cabaret, Events, Review

REVIEW: Melbourne Cabaret Festival Opening Gala 2015

Glorious beginnings for another promising festival

By Bradley Storer

This year’s Melbourne Cabaret Festival Opening Gala, keeping with the festival theme of ‘Keeping it Fresh’, took place at St Kilda’s new Alex Theatre, with excerpts from fresh new festival acts from all over Australia.

Melbourne Cabaret Festival

Dolly Diamond provided a lovely opening to the show, passing through the audience offering roses while singing a charming medley of tunes from ‘Oliver!’, accompanied by Cameron Thomas, and introduced our host for the evening – musical theatre performer and former Australian Idol finalist Rob Mills. Mills, admitting it to be his first gig as an MC, was a charming and competent host throughout the evening, even having to strike the stage and bring out props with enthusiasm and energy.

Annie Lee shed her usual garb as the eldest of the acclaimed Kransky Sisters to deliver both a touch of glamour and gawky physical comedy to the little-known poetry of the Weimar era in excerpts from her show ‘Lighthouse Berlin’. The Strange Bedfellows, Jacqui Dark and Kanen Breen, stormed the stage to deliver contemporary Weimar-style cabaret with jaw-dropping vocal power and charisma, traversing such territory as a German-language version of ‘Tainted Love’, a new number based around the misdeeds of Rolf Harris all the way to Amanda Palmer’s gutsy anthem for humanity ‘Sing’.

Winner of the Your Theatrics International Cabaret Competition, Noni McCallum, took to the stage next and proved beyond doubt the reason for her win – a ballsy belt with a dry, self-deprecating wit, McCullum narrated the humours of dating past age 30 before ending with the simultaneously hilariously and surprisingly touching ‘Ikea Song’. A capella groups Ginger and Tonic and Suade showcased their trademark exquisite harmonies combined with witty and risqué songwriting, providing viewpoints on the modern dating scene from both feminine and masculine perspectives. Closing the night were the Queens of the City, a drag group whose members entertained the audience with sassy banter, Cher-impersonation and stunning contemporary pop vocals.

The wide variety on show at the Gala aptly displays the variety and breadth of talent, both local and international, that Melbourne Cabaret Festival draws year after year and which bodes well for the festival’s future in years to come.

Date: June 18th, 2015
Venue: The Alex Theatre, 1/135 Fitzroy St, St Kilda
Review, Theatre, Whats On

REVIEW: Caryl Churchill’s LOVE AND INFORMATION

You’ve never seen anything like this

By Margaret Wieringa

The set gives the audience nothing to begin with– stark white, with white rectangular plinths arranged around the space. Then, as the audience are still settling in, a couple of people appear, the house lights drop suddenly and the rollercoaster is on.

Love and Information Photo Credit Pia Johnson

Every production of Love and Information will almost certainly be different to every other production ever staged because of the mysterious and challenging nature of the script. Caryl Churchill has written seventy-six scenes for the script, some of which are compulsory, some optional, and each production must have at least fifty-one of these scenes included. There is a set structure, yet within that structure there is flexibility both in the order of the scenes and the characters who speak the parts. Confused yet?

I love it when writers fool around with form – even should it not work, it is interesting to push what the audience expect and how messages can be delivered. But the unusual structure of Love and Information makes for a truly wonderful show.

The performance consists of a jigsaw of scenes of varying lengths and emotions. Some are long and drawn out, pulling the audience in; others are barely a thought, perhaps only a line or two. Between each, the performers run on and off stage, bringing along the props as required. It must be very organised chaos out the back with the number of props and costume changes that take place.

Initially, I thought that the loud music and extremely bright, colourful lighting that separated the scenes was going to get tedious pretty quickly. I learned pretty quickly to trust the work of director Kip Williams to create change within the similarities.

The cast are fabulous, so in tune with each other, tight on the changeovers and bringing a wide variety of characters. It is such a marvellous ensemble that each cast member is able to shine, though special mention must be made of Alison Whyte’s ability to stay extremely still in several scenes.

Love and Information is not a traditional story, but an exploration of emotion and relationships. It is hilarious, moving, beautiful, light, heavy and exciting. Go see it. Absolutely.

Venue: Malthouse Theatre, Sturt St Southbank
Dates: Jun 12 – Jul 4
Tickets: $35 – 60 via malthousetheatre.com.au/

Image by Pia Johnson

Review, Theatre, Whats On

REVIEW: Q44 Theatre Presents FOOL FOR LOVE

Outstanding new production of a classic

By Myron My

The tale of two lovers in a tumultuous relationship has been told time and time again, to the point it can be difficult to tell such a story in a way that will draw your audience in and leave them wanting more. It can also be daunting to do well when using Sam Shepard’s well-known play, Fool For Love. However, in Red Theatricals‘ new production, they manage to do all this and a whole lot more.

Fool For LovePresented by Q44 Theatre Company, it’s an exhilarating ride watching this dark tale unfold and this is mostly due to the performances of its two leads, Mark Davis and Rebecca Fortuna who are, quite frankly, phenomenal. They have truly captured their characters and the chemistry is electric in their scenes together.

Davis’ transformation into Eddie the cowboy stunt man is one of the best male performances I have seen so far this year: with the assured way he walks, the charming and sexy way he looks, to the masculine way he slings a lasso and cleans his gun, Davis make this character highly complex and intriguing. Through the course of the play’s evening, we come to understand that Eddie is always going to get what he wants no matter what, even when he’s not sure what that is; he is simultaneously our hero and our antagonist.

Similarly, Fortuna’s depiction of the strong yet fragile May is genuine and honest. Purely from the look in her eyes, you can sense her character is stuck in a situation she does not know how to get out of, and that it will eventually end up killing her, either metaphorically or literally. Fortuna allows her whole body and performance to be painfully taken over by May as events culminate on this tragic evening.

They are ably supported by Sam Allen as the ghost-like Old Man, who sits side of stage in his rocking chair, drinking his alcohol. Even though he’s not in the action, we can sense his presence and the hold he has over these two lovers. William Prescott rounds out the cast as Martin, the man that May feels like she needs to be with but may not be who she wants to be with. Prescott plays Martin well as the polar opposite of Eddie, and you could even go so far as to say he is an Edgar to Eddie’s Heathcliff.

While I question one or two directing decisions, Gabriella Rose-Carter effectively creates much action on stage while keeping in the claustrophobic confines of a small, seedy hotel room. Rose-Carter has managed to bring out raw and passionate performances from all the actors in this production, which is rare to see these days.

32 years after it was written, Fool For Love still packs a punch, with its themes of love, family and patriarchal society still relevant today. Red Theatricals not only do justice to the play but also manage to put its own unique touches to it. This powerful production is already a firm highlight of 2015 and should not be missed.

Venue: Q44 Theatre, 550 Swan St, Richmond.
Season: Until 28 June | Wed- Sat 7:30pm, Sun 6:30pm
Tickets: $35 Full | $27 Conc
Bookings: Q44 Theatre

Review, Theatre, Whats On

REVIEW: Annie Ferguson’s LITTLE DAUGHTERS

Stories of silence, speaking out and survival

By Myron My

There’s a strong sense of unease as I take my seat for Little Daughters. Having to walk through the seven motionless actors on the stage to get to my seat is quite eerie and almost intimidating. They are all dressed in black and with the stage bare and cloaked in black too, there is a dark mood that covers the room. The six men on stage stare intently at the sole woman: their eyes pierce through her skin as if they were daggers.

Little Daughters

It is never explicitly stated what happens to this woman (Annie Lumsden) but we get enough information to know that she is the victim of a sexual assault. The six men portray a doctor, boyfriend, friends and possible assailant. The one thing they all have in common though is their demand at controlling and handling the situation. While the men discuss the woman’s assault among them, they consistently talk at her when addressing the issue. The idea that she perhaps needs to forget about it and move on is thrown around, and there is an echo of doubt and frustration coming from them all, in particular the over-the-top portrayal of her doctor (Martin Can De Wouw), who is comically frightening in his assessment and treatment of Lumsden’s character.

Director Zachary Ruane delivers some great moments in his direction of Little Daughters: in particular, when having the men not only exit the stage at one point, but exit the room all together. Initially it’s down to Lumsden and Raymond Martini on stage. Again, while nothing is confirmed, you get the strong impression that his character is her assailant. It’s an ambiguously confronting moment that Ruane handles with great skill.

Ultimately it is once Martini leaves the room that Lumsden’s character can finally open up and speak freely about her experience and emotions. Sadly though, she can only feel like being honest when she is alone, when she is no longer being talked at or patronised or threatened by the men in her life. It’s a strange monologue but it shows the thought process and ideas that formulate in the mind of a survivor of sexual violence.

The reason it all feels so real and exposed is because playwright Annie Ferguson has based Little Daughters – her first full-length play – on her own personal experience with sexual violence. It’s an extremely brave piece that has been in formation for a number of years, that now generates the right amount of tension and exposition to slowly envelop us. Even though Lumsden’s character’s story is based on Ferguson’s experience, it could be anyone’s story, and we are all inside that story and we all need to start listening to survivors of sexual violence to bring that story to an end.

Venue: La Mama Theatre, 205 Faraday Street, Carlton
Season: Until 21 June | Wed 6:30pm, Thurs-Sat 7:30pm, Sun 4pm
Tickets: $25 Full | $15 Conc
Bookings: La Mama Theatre

Cabaret, Performances, Review

REVIEW: Anni and Maude Davey Present RETRO FUTURISMUS

Fabulous fashion but short on thrill

By Myron My

There wouldn’t be – or shouldn’t be – anyone with an interest in the arts who is unaware of Maude and Anni Davey. Working in theatre, burlesque and circus for decades, the twins have certainly left a name for themselves. In Retro Futurismus, they join creative forces with Anna Lumb and Gabi Barton to present an evening of vaudeville entertainment with a sharp referential nod to retro science-fiction film-noir pop culture. Sound like a whole lot to take in? Well it is.

Retro Futurismus

Aesthetically, this show is brilliant. The costumes are all eye-catching, and time and time again I caught myself admiring at how much effort would have gone into creating them. In terms of the performances themselves though, I was left feeling somewhat disappointed with most of the twenty or so acts seeming to lack a climax or crescendo to excitement.

Having said that, performance artist Leah Shelton stole the evening with her TV and movie homages, ranging from Hitchcock’s well-known moments of suspense to a particular heartbreaking scene from Bambi. Using the original audio (sound effects included), Shelton created her own interpretations of these iconic moments. Her miming was completely in sync with the audio and her Twin Peaks-inspired Chinese-pole dance was enthralling to watch. Sadly she is only a guest performer for the first week, as other artists are then invited to participate.

The sultry tones of singer Stella Angelico were also very enjoyable to hear but yet again, she is only on for the first week. What is on every night is Maude’s brilliant musical performance in the second half of the show, which was also the musical highlight of the evening, creating some tender and emotive responses from the audience. Similarly, the succeeding act by Anni was a touching, poignant moment which fuelled introspective thoughts.

I’ve seen some of these performers do amazing things on stage and was incredibly excited to be seeing them again, but I walked out of Retro Futurismus thinking that for all the bang and pop and retro aesthetics, it needed some more substantial ‘wow’ moments to really draw me in. Hopefully the future guest artists will be able to match or even exceed the brilliance displayed by Shelton and Angelico.

Venue: fortyfivedownstairs, 45 Flinders Lane, Melbourne
Season: Until 28 June | Wed- Sat 7:30pm, Sun 6:30pm
Tickets: $38 Full | $30 Conc
Bookings: fortyfivedownstairs or 9662 9966

Image by Ponch Hawkes

Performances, Review, Whats On

REVIEW: Rick Price in THE JOHN DENVER STORY

Not to be missed if you’re a fan

By Lyn Collett

This concert starring Rick Price and The Colorado Quartet is the return season of Take Me Home Country Roads: The John Denver Story which has recently been touring the east coast of Australia. Australian singer/songwriter Price tells his story superbly, singing many of Denver’s popular hits whilst narrating the story of the famous entertainer’s life.

The John Denver Story

Price – a self-taught artist and a multi-instrumentalist – does Denver proud whilst being ably supported by The Colorado Quartet, all of whom are very talented in their own right, with Ed Bates on pedal steel,Tim Matthew on bass, Roger Bergodaz on drums and Greg Field on violin and mandolin

The music has you singing along, clapping, tapping your feet and enjoying the humorous asides as well as feeling the emotion of John Denver’s incredible talent but personally sad life story. Stage setting and lighting both subtly added colour, light and shade to the impact of the various songs, but the first act was slightly marred by sound issues which left vocals unbalanced and obscured lyrics. Fortunately this was mostly resolved by the second half of the show, and ensured Rick Price’s final vocal tribute to Denver, “Sunshine on my Shoulder”, is beautifully done and incredibly moving.

This concert is produced by Room 8 – founded by Moira Bennett and Simon Myers and has been written by Australian theatrical producer Jim McPherson.

The John Denver Story will be playing at the Athenaeum Theatre, June 9 – 13 before finishing its season in Perth.
Bookings: 13 28 49  or ticketek.com.au

Review, Theatre, Whats On

REVIEW: Red Stitch Presents LOVE, LOVE, LOVE

Fine performances in difficult play

By Myron My

In June 1967, The Beatles appeared on Our World, the world’s first live television satellite link-up that was watched by roughly 400 million people across the world. While this major event was happening, playwright Mike Bartlett has envisioned a much smaller life-changing moment also occurring. In Love, Love, Love, presented by Red Stitch and directed by Denny Lawrence, two free-spirited nineteen year-olds meet for the first time in a small London flat. Sparks are immediate, and we visit their relationship again in 1990, and then in 2011.

Directed by Denny Lawrence , CAST : ELLA CALDWELL, PAUL ASHCROFT : JORDAN FRASER TRUMBLE , RORY KELLY & JEM NICHOLAS
Directed by Denny Lawrence ,
CAST : ELLA CALDWELL, PAUL ASHCROFT : JORDAN FRASER TRUMBLE , RORY KELLY & JEM NICHOLAS

The chance encounter between Kenneth and Sandra (Paul Ashcroft and Ella Caldwell) in the first act is full of excitement and energy and there is a genuine spark between the two actors. With the addition of Jordan Fraser-Trumble as Kenneth’s more conservative older brother, the script develops at a solid pace. However, the following two acts struggled to retain my interest as much as the first. There was nothing engaging or new about what I was watching and it culminated in a pseudo-ending with white middle-class people complaining about how hard life is. It reached the point where the characters themselves become far less likeable, especially Sandra who ends up resembling a B-grade character from Absolutely Fabulous.

For their part though, Caldwell and Ashcroft put in solid performances and watching them interact on stage together was a highlight of the whole production. It’s a shame these impressive actors weren’t given something more substantial into which they could sink their teeth. Rory Kelly and Jem Nicholas do well with their roles as Kenneth and Sandra’s children, Jamie and Rosie, despite how terribly they are written. I was also quite impressed with Fraser-Trumble, and would have liked to see him and his character return later in the story.

I am still amazed at the visual transformations of the stage space in Red Stitch shows. I can’t recall a season where it has been anything but inspiring, and the same can be said about Love, Love, Love. The costumes by Sophie Woodward and set design by Jacob Battista are appealing and well-presented, although the second act takes place in 1990 but still had a strong 80s feel to it visually.

The direction started off strong and felt very alive and in the moment but by the time we got to the final act, it seemed to become unimaginative and almost lazy. The actors appeared to be stuck trying to keep the momentum gathering, while the storyline became mundane and predictable. A potential plot with Jamie was incredulously ignored and I was baffled as to why we ended up dealing with the chosen issues.

Despite the positive start to Love, Love Love, from the second act onwards the hard work begins to slowly unravel. Even with the great performances by the two leads, it is one of the less memorable works put to stage by Red Stitch.

Venue: Red Stitch Actors Theatre, 2 Chapel St, St. Kilda.
Season: Until 4 July | Wed- Sat 8:00pm, Sat 3:00pm, Sun 6:30pm
Tickets: $37 Full | $20-27 Conc
Bookings: Red Stitch Actors Theatre

Image by Jodie Hutchinson

Cabaret, Cabaret Review, Performances

REVIEW: Alexandra Keddie in I SEE ME; AND MERYL STREEP

Ambition, audacity and well-crafted comedy

By Myron My

Everyone has had an actor, singer, athlete or celebrity of some sort that they idolised and dreamed of becoming. As people get older they generally grow out of the fantasy, but not 17-year old Alexandra Keddie. She maintains she wants to be Hollywood actor, Meryl Streep – or at least be just like her. Welcome to her new cabaret I See Me; and Meryl Streep.

I See Me; and Meryl Streep

The stage immediately reminded me of when I was a teenager (and my own bedroom was adorned with posters, and memorabilia from Buffy the Vampire Slayer). On display, Keddie appears to have copies of every single film Streep has ever made, photos and posters, cushions and clothing with her face printed on them, and a signed framed image of her too. The finishing touch is the “Mountain to Meryl” chart, where she has a picture of Meryl’s face at the top of a mountain and her own at the bottom. Each time Keddie’s character perfects a new skill or accent in her cabaret quest, she climbs up the mountain, inching closer to her idol.

At one point in her tale, Keddie takes us through “The Many Voices of Meryl” and this is by far the highlight of the show. She is not only performing in a complex variety of accents, but she is performing them as Streep would, and it is truly uncanny how much she sounds like the three-time Oscar winner. When she reenacts her Margaret Thatcher and Miranda Priestley, you could close your eyes and swear you were listening to The Iron Lady and The Devil Wears Prada. The simple costume choices used for each role are also highly effective.

When not being brilliant in her mimicry of Streep, Keddie convincingly toes the fine line between portraying an innocent fan and an obsessed fanatic. Sure, the glint in her eyes and the way she speaks when talking about Streep may sometimes scream ‘stalker!’, but at the same time, the desperation in her voice and the desire to be successful add the nuances of an upcoming artist who has simply found someone who truly inspires her. There were a couple of moments though, where I felt unsure as to what Keddie was trying to say, more so with the inclusion of material about John Cazale. Up until that point I had not known who this person was or that he was such an influence on Streep, and unfortunately I felt the link between them wasn’t made very clear.

Keddie is either legitimately a huge fan of Streep herself or has spent much time researching her in order to be able to weave anecdotal stories of Streep and her Hollywood career together so seamlessly overall  in I See Me; and Meryl Streep. This is an extremely clever and humorous show not only delving into the world of fandom but also offering some insight into the life of a young woman who has a dream to be ‘someone’. And after all, what is so wrong with that?

The premiere season of I See Me; and Meryl Streep was performed at The Butterfly Club, 3 – 7 June 2015.

Review, Theatre, Whats On

REVIEW: Moreland Theatre Company Presents THE BACCHAE

Classic Greek tragedy dramatically reimagined

By Michael Olsen

Moreland Theatre Company’s The Bacchae by Euripides concerns the arrival in the city of Thebes of the god Dionysus (in human form), and the inevitable clash that arises between this god of merriment and chaos and the patrician leader of the city, Pentheus. While Dionysus represents the emotional wellspring of life and offers an escape from life’s hardships through drunken revelry on Mt Citharon (which lies outside the city), Pentheus stands for order and control, and this dichotomy is enhanced by having Dionysus in this instance played by a woman (Kate Barford in a challenging role which she pulled off magnificently.)

The Bacchae

Director Sam Browne has taken an updated text of the play (translated by Ian Johnston and adapted by John Kelly and Matt O’Reilly) and has clearly presented the gripping conflict not only between Dionysus and Pentheus, but also the contradictions within Dionysus herself (god of merriment vs avenging god). Whilst the formality of the play distances us somewhat from the characters, the conclusion is devastating and an uneasy catharsis is reached. The heart of the production which Browne handles so well is to present the fatal imbalance that can occur when the masculine and feminine sides of our personality are in conflict, and the horrors that a vengeful god can unleash.

Karl Sarsfield stood out as the commanding and unbending Pentheus, while Angelique Malcolm as his mother, Agave, transfixed with the play’s climactic moment when she slowly realises what she’s done in a moment of utter madness. Special mention should be made of Victoria Haslam‘s costume design for the Bacchae, which helped to energise and bring vivid colour to the production.

After more than 2000 years The Bacchae speaks to us of the results of disobedience, unbending rationality, and the terrors of unbridled passion. Is Dionysus right to take the revenge she takes? Who knows. Euripides seems to be saying for better or worse: “That’s life.”

The Bacchae runs till the 13th of June at 8pm at the Metanoia Theatre at The Mechanics Institute
270 Sydney Road, Brunswick.

Tickets: Book online or cash at the door. For more details go to www.moreland.org.au

Image by Teresa Noble

Cabaret, Cabaret Review, Whats On

REVIEW: StageArt Presents A SUPER BRADY CABARET

TV’s favourite family hit the stage

By Narelle Wood

It’s a story we’re all familiar with; a woman with three girls, a man with three boys and a happy household where no problem is ever too big to solve. But A Super Brady Cabaret explores more than the wholesome, teeth-flashing, perky family, it also delves into the darker side of the Brady Bunch.

A Super Brady Cabaret

The show opens with a familiar tune and the ‘on air’ antics that ensue are all the smiley, over-enthused fun and cheese you would expect from the Brady Bunch. Then the ‘on air’ light blinks off and the ‘real’ relationship between each of the cast members comes to life.

Lauren Edwards (Carol), Paul Congdon (Mike) and their six children (Kathleen Amarant, Thomas Bradford, Sophie Weiss, Giancarlo Salamanca, Nicola Guzzardi, Dylan Licastro) are perfectly casted. Under the direction of Drew Downing, this cast form is a flawless ensemble; it was impossible to pick a favourite amongst Marcia’s overt sexuality, Bobby’s watermelon smile, Cindy’s lisp or Jan’s whining. Instead, the highlights of the show come from the onstage chemistry between cast members and their well-timed interactions, as well as some witty and unexpected moments in the script.

The storyline is tight and the songs are well suited to the era of the tv show, featuring hits such as “Islands In The Stream”, “Happy Together:, and “Keep On” made famous by the original Brady Bunch. For all the frivolity of the cabaret there are also some poignant questions that the show deals with, such as what happens to each member of the bunch when the Bradys are no longer?

It’s hard to leave A Super Brady Cabaret without feeling warm and fuzzy, with every moment having either made me smile or laugh out loud. A Super Brady Cabaret is a feel-good way to finish off your day.

Venue: Chapel off Chapel
Season: Wednesday – Saturday, 6.30pm, until 13th June
Tickets: $39 Full | $31 Conc
Bookings: chapeloffchapel.com.au

Image by Belinda Strodder