Festivals, Theatre, Whats On January 24, 2015

REVIEW: Midsumma Festival’s SILVERTOP ASH

Raising the profound issues

By Myron My

Upon walking out of the theatre after having seen Wayne Tunk’s Silvertop Ash, I was left feeling quite conflicted as to my thoughts on this production. I want to like it and say it is powerful and important theatre because of its focus on gay youth suicide, which absolutely needs more coverage and attention but at the same time, there were some intrinsic problems with the show that stop me from feeling so.

Most of my issues with Silvertop Ash arose from the script. The dialogue with the characters often felt forced, and it seemed that everyone was nothing but a mere cog in the machine to tell the story that Tunks wants to tell rather than the characters being allowed to tell their own story. The play was written in 2007 and perhaps now, eight years later, audiences have progressed in terms of what we expect from these types of narratives.

The shocks and twists that were included could unfortunately be anticipated well before they occurred, and the stock character are familiar from a multitude of film, TV shows and stage productions to the point where they stop being real and vital: the macho father who is disgusted his son would rather read Austen than watch a car race for example, and the homophobic bully who harbors a secret of his own.

However, there are some good performances in the play, especially by James Coley as our protagonist Hamish, and Perri Cummings as Penny, Hamish’s mother. The scenes they share are poignant, heartfelt and often imbued with subtle humour. Despite not being overly convinced by Geoff Wallis’s portrayal as Hamish’s father, in the final few scenes he is in he came through with the goods and took my breath away with how powerful his performance then was.

Designer Hannah Gott has done a great job of using and filling the large space the show was performed in and yet was able to maintain the intimate setting required for the characters to function together. The backdrop projection of the town was a brilliant touch that built on the environment and remained there as a constant reminder of where we were.

Silvertop Ash is an all-too-tragic story of bullying and suicide amongst gay youths. Discussion needs to be maintained and promoted in order to have any effect in overcoming the rising statistics of youth suicide – and the show must be congratulated for doing that. However, as a piece of theatre, I ultimately wanted more from the writing and more from the performances.

Silvertop Ash is being performed as part of the 2015 Midsumma Festival.

Venue: Gasworks Arts Park, 21 Graham St, Albert Park
Season: Until 31 January | Tues – Sat 8:00pm
Tickets: $25 /$21 Conc
Bookings: midsumma.org.au

Circus, Events, Whats On January 23, 2015January 23, 2015

REVIEW: Cirque Du Soleil’s TOTEM

A visual and aural delight

By Kim Edwards

There is a grandeur in a Cirque Du Soleil production that is rarely encountered elsewhere. Everything in this renowned international theatrical company is conducted on a magnificent and monumental scale, and their latest Melbourne offering Totem upholds their reputation. The iconic blue-and-yellow circus tent dwarfed the gathering crowds on opening night this week, both inside and out, and the evening was an elaborate and grandiose procession of world-class talent.

Totem draws on themes of evolution, primitivism and cultural difference and development in bringing together a series of diverse and often death-defying circus acts. This thread is rather tenuous: a few performances felt thematically clumsy while still being excellent in themselves, although others were wonderfully profound and effective in exploring the idea of totems and human, environmental and artistic progress. I particularly loved the animals at play in the opening bars routine, the quaint and gentle clowning of Philippe Thibaudeau‘s Fisherman, the ‘Amerindian’ hoop dancing of Eric Hernandez and Shandien Larance, and the playful body-paint space suits of the Russian Bars troupe.

Kym Barrett‘s costuming and Carl Fillion‘s set designs are utterly glorious, with the attention to detail, the exciting use of colour, texture, light and projections, and the dynamic stage itself, with the skeletal shell centrepiece/chandelier, and the arching, curling gantry bridge. I was disappointed in the first act that I could hardly see the musicians led by Charles Dennard Jr. in their upstage bed of reeds, and was delighted when their wonderful work was more foregrounded after intermission: the scientific apparatus that became musical instruments was sensational.

My personal (and crowd) favourite was the unicyclists’ performance, but as with so many of these acts, the unexpected and often spectacular twists to what you anticipate will be a familiar circus trick are a joy to discover, and I don’t want to spoil the surprises here. However, the costumes and props that evoked votive offerings and elegant tea ceremonies were beautifully apt, and the concept and the performers themselves were astounding.

For me, Totem was not as a profoundly emotional experience as other Cirque Du Soleil creations I’ve encountered, but it is as always highly entertaining, and beautifully wrought and executed. Although tickets are pricey, with a large and extraordinary cast, a remarkable venue, and stunning technical and production values, it is money is well-spent.

Totem is playing at Flemington Racecourse until March 29, 2015. Tickets: https://www.cirquedusoleil.com/en/shows/totem/tickets/melbourne/maps-infos.aspx

Cabaret January 23, 2015January 27, 2015

REVIEW: Vic Theatre Company Presents LOVING REPEATING

Sleek, beautiful and musically sumptuous

By Bradley Storer

The emerging group Vic Theatre Company takes their maiden voyage with the rapturous Loving Repeating, a musical based on the life and times of formidable poet and intellectual Gertrude Stein with music by Broadway legend Stephen Flaherty and text derived from the letters and poems of Stein herself.

The performance is structured as part lecture, part flashback – we are guided by the elderly Stein (Deidre Rubenstein) reflecting back on the events which shaped her the course of her life and career as an artist, on selections of her poetry and intellectual writings. The titular opening song is a glorious lyrical outpouring based on Stein’s observations of her fellow students at college, the ensemble beautifully led by Caitlin Berry as the youthful Stein with gorgeous choreography from Michael Ralph, setting a high bar for the rest of the show.

The main focus of Loving Repeating is the relationship between Stein and her lover Alice B. Toklas, a relationship which lasted until Stein’s death. The five actors who between them play the two roles at different ages are wonderful. Berry as the young Gertrude displays a fiery disposition and fierce sensuality, with Jennifer Peers showing the softening of this youthful ferocity into a mature, enveloping warmth. Gillian Cosgriff brings an angelic glow and understated passion to the young Alice B. Toklas, expanding into a confident and forthright sexuality in the performance of Nicole Melloy as her middle-aged self. Rubenstein as the elderly Stein wields poetic language with authority and surgical precision, challenging the audience intellectually at the same time she draws us in with a twinkle in her eye and a sense of self-deprecating humor.

Loving Repeating feels less like a traditional musical theatre show than a staged song cycle or a sung-through chamber opera. Langley brings some creative staging to the show aided immensely by the brilliant choreography of Ralph, encompassing lyrical abstract movement, tango and vaudevillian flair. The ensemble as a whole are ideal in the seamless whole they created in their numbers, and as they almost never leave the stage their stamina in this 90-minute show be commended.

The problem is that Stein’s writings do not necessarily add up to a cohesive narrative – it is at points easy to become lost in Stein’s circular and repetitive language which, although making an impact on the page, can be impenetrable for an audience member with no knowledge of Stein’s history. The show is set up as series of vignettes but it is hard to find an underlying meaning or connection in the text as they transition from one section to the next.

Overall though, this is an impressive debut performance from Vic Theatre Company, with a sense of quality and artistry to match even professional shows on far bigger stages – there are moments of such shocking and surprising beauty to be found in Loving Repeating that they alone are worth the price of admission.

Dates: 21 January – 8 February

Venue: Chapel off Chapel, 12 Little Chapel St.

Times: Tuesday to Saturday, 8.00pm; Saturday 3pm & 8pm; Sunday 8pm (1 Feb) and 3pm (8 Feb)

Tickets: $49.00 full, $43.00 concession (+ transaction fee), SPECIAL PRICE for Tuesday 3 February – all tickets $40 (+ transaction fee)

Booking: www.chapeloffchapel.com.au, Phone: 03 8290 7000, Email: chapel@stonnington.vic.gov.au

Image by James Terry

Festivals, Review, Theatre, Whats On January 23, 2015

REVIEW: Midsumma Festival’s THE FASTEST CLOCK IN THE UNIVERSE

An intriguing time piece

By Caitlin McGrane

An intriguing presentation as part of the 2015 Midsumma Festival, the drama is uneasy and disquieting in The Fastest Clock in the Universe by Phillip Ridley. The play opens as Cougar Glass (Robert Ricks) lounges luxuriously in only his briefs under a sun lamp; his friend/man-servant/lover (?)/lackey Captain Tock (Ian Rose) appears as the portentous messenger to remind Cougar about his birthday party. The unsettling narrative continues apace as Cougar has invited only one person to his birthday, a boy of 15 named Foxtrot Darling (William Freeman). The obvious comparison is to The Picture of Dorian Gray, and the first act is certainly reminiscent of the young man who cannot bear to accept responsibility, while remaining perpetually 19. When Cougar’s age is alluded to it is only Cheetah Bee (Brenda Palmer), the landlady who lives downstairs, who can soothe him. Inside the tiny apartment, as the wind screams outside, Foxtrot arrives with an uninvited guest.

Each individual performance was excellent, but Scout Boxall really stole the show as the hilarious yet bonkers Sherbert Gravel in the second act. Ricks’ increasingly deranged Cougar almost became part of the furniture while she dominated the stage with her handbag, and Foxtrot, in tow. Rose’s Captain ratcheted up the tension; his glee mirroring Cougar’s insanity. It was clear the play was set in London, so I found Palmer’s Australian accent slightly out-of-place.

While the first act was dynamic, interesting and dark, the second act failed to live up to expectations. It is difficult to pin down exactly what didn’t work, but it felt like scenes ran on for too long, and after a particularly affective split-stage scene, the mood of the play shifted into absurdity as Foxtrot and Sherbert remained in a desperately uncomfortable situation. Was that the intention? One cannot be sure, but by the time Cheetah Bee delivered her final monologue, it was clear that something had gone awry. A moment that should have been poignant became somewhat clichéd.

However, overall this production is gripping and edgy; Director Robert Chuter has managed to create something both wildly funny and thrillingly tense. Robert Smith (Set Designer, Graphic Designer and Producer) has done wonders with the small space; the set is imbued with a sense of unwilling decay. There is similarly excellent work from Tom Backhaus (Sound Designer) whose soundtrack is almost reminiscent of Blade Runner. It may need some creases ironed out, but The Fastest Clock in the Universe certainly gives audiences pause.

The Fastest Clock in the Universe is showing until 31 January 2015 in The Loft at Chapel off Chapel. Tickets are $38 Full, $32 Concession, $30 Group 5+ (+ transaction fee) and available from http://chapeloffchapel.com.au/melbourne-comedy-theatre-art/melbourne-events/midsumma-festival/the-fastest-clock-in-the-universe-21-31-jan/.
Be advised: The Fastest Clock in the Universe does contain some nudity and scenes of violence against women.

Cabaret January 20, 2015January 20, 2015

REVIEW: La Mama Presents SOFTLY POUTING WHILE WALKING INTO BREEZES

One character – many voices

By Myron My

We have all loved and lost but sometimes it is difficult to move on from that loss. Presented at La Mama as part of the 2015 Midsumma Festival, Jake Stewart’s Softly Pouting While Walking Into Breezes looks at how, long after it has long ended, one relationship can still affect us – or in this case Ben, who is portrayed by a number of actors at different times of his life.

Stewart manages to capture some genuinely honest moments in his writing, such as Alistair Trapnell and Sam Nix’s “pillow talk” and Chris Edwards’ nervous approach to Alasdair Huggett’s guitar-playing charmer. The rest of the script however is a mixed bag that is more miss than hit. Some scenes felt repetitive with the shy guy/confident guy moments, there were musical interludes that seemed out of place, and incidents that made little or no sense in the overall story arc.

There are some standout performances, including Ariadne Sgouros who brings a gentle authenticity to her scenes and Edwards, who nails the awkwardness and shyness in Ben. However, I was not fully convinced by the idea of having different actors playing Ben in this case, as I never felt a strong differentiation between one Ben and another Ben.

As an audience member, one of the most frustrating things I find in shows are blackouts. They break the momentum and it takes a lot of work for the actors to draw me back into their world. In Softly Pouting While Walking Into Breezes, I have found something even more frustrating; the actors calling out “blackout” and “lights up” between scenes, almost as if we would not be able to figure out a new scene has begun without this bit of information.

Whilst interesting in theory, Softly Pouting While Walking Into Breezes needs to slow down and focus more on the story it wants to tell and how it wants to tell it, because it currently feels like it’s shooting off in way too many directions. It’s not an easy narrative to tell in this style but I feel it can be done well with some more fine-tuning.

Venue: La Mama Theatre, 205 Faraday Street, Carlton

Season: Until 1 February | Wed 6.30pm, Thurs-Sat 7:30pm, Sun 4:00pm

Tickets: $25 Full | $15 Conc

Bookings:  http://lamama.com.au  or 9347 6948

Events, Performances, Whats On January 19, 2015January 19, 2015

REVIEW: The Australian Shakespeare Company Presents ALICE IN NEVER NEVERLAND

Fun and fantasy among the flora

By Kim Edwards

Nineteenth-century fiction is a passion of mine so I had some misgivings about this merry mash-up of children’s classics directed by Glenn Elston, but there is plenty to like in this bright and bustling show. Alice in Never Neverland sees Alice (Madeleine Somers) take a wrong turn from Wonderland and unexpectedly meet Peter Pan (Ryan Ireland) in the always-delightful setting of the Ripponlea Estate gardens. Ireland is both dynamic and endearing, while Somers balances sweetness with a wicked sense of comic timing and an unexpected flair for slapstick, and their joint charm highlights how well these two fictional characters actually work together. Plenty of familiar features from both famous novels come into play during the 90-minute performance: outstanding moments include the hilarious choreography as Pan catches up with his lost Shadow (deftly performed by Matti Middleditch), the Mad Hatter’s sterling showmanship (Dennis Manahan) especially when upstaged by six-year olds, and the reveal of the rather ingenious final set-piece as Captain Hook (Owen Little, who was equally fabulous as the Crocodile) meets his match with sword fights and cannon balls lobbed by the eager kids.

There are strong efforts to keep the lively audience engaged throughout, including this final battle, joining search parties to check the nearby paths, characters venturing out among the picnic blankets and encouraging participation, and the lovely meet-and-greet offered afterwards – the multitude of kids are clearly having a ball, and all the cast are beautiful interacting with them. I also loved the clever costuming, and admired the slick and practical use of props and the space.

However, while respecting the need to change characters and balance out stage time between the six busy artists, it is disappointing there is no strong storyline holding the performance together. The show is more a series of vignettes, but even then the flow of ideas, dialogue and songs within scenes is often disjointed. I didn’t understand the ‘Wallaroos’ thing at all, the clever connection of the White Rabbit’s watch and the Crocodile’s clock came to naught, the ‘find Peter’s Shadow’ plot was forgotten by the script but not the audience (which made for some awkward interruptions), the regular “I feel like a song” device felt sloppy, and Darcy Dann and Middleditch had the difficult task of navigating racial issues with the inclusion of Tiger Lily and Big Chief and their ‘tribal’ songs…

But there – I’m a grumpy ol’ reviewer, and Alice in Never Neverland remains a very fun, funny and definitely entertaining family event. $90 for four includes entry to the gardens (an adventure unto itself) – bring blankets and picnic baskets, sunscreen and hats, and costumes are encouraged!

Alice in Never Neverland is playing Tue-Fri at 10.30am and 6pm and Sat at 10.30am (also 6pm Jan 10th) at the Ripponlea House and Gardens (192 Hotham St, Elsternwick) until Jan 24 2015.

Cabaret, Review, Whats On January 17, 2015January 19, 2015

REVIEW: Britni Leslie’s BOURBON ST TO BROADWAY

Y’all should hear her

By Narelle Wood

It was clear from the very beginning that the Southern belle Britni Leslie is a force to be reckoned with. With a Southern girl-next-door charm and a booming Broadway voice, there is something reminiscent of Kristin Chenoweth about her.

It in her autobiographical show, Leslie takes us from on a journey of her theatrical accomplishments, starting with her debut in her front yard to Broadway to her Melbourne shows at The Butterfly Club. Each milestone in her career is celebrated with a show-stopping Broadway tune with the some slight lyrical tweaks so the songs perfectly fit the occasion.

But it is not all song; there is story as well. Leslie’s story of a struggling actress is at times risqué, occasionally a little forlorn, but always brutally honest and wickedly funny. Accompanying Leslie’s tales is Tim Verdon on the piano and occasional vocals. Verdon’s piano-playing is the perfect embellishment for Leslie’s vocal stylings, performing classic Broadway hits from Thoroughly Modern Millie, Annie, Chorus Line and Smash.

Bourbon St to Broadway is a unique insight into the life of trying to succeed on the stage and a warning to Melbourne that there is a new leading lady in town. Leslie’s cabaret is definitely one to catch if you like Broadway tunes, for this a show that will have you tapping your toes long after it’s finished.

Venue: The Butterfly Club
Season: Friday 16th – Saturday 17th, 7pm, Sunday 18th, 6pm
Tickets: $32 Full | $25 Conc
Bookings: www.thebutterflyclub.com

Comedy, Events, Whats On January 12, 2015January 19, 2015

REVIEW: The Australian Shakespeare Company Presents CARIBBEAN PIRATES AT THE POLLY WOODSIDE

Here be pirates!

By Kim Edwards

The weather may have looked a little threatening, but not so the rambunctious and rapscallion band of pirates that have taken over a Melbourne icon this month. Carribean Pirates at the Polly Woodside is a fun family event for these school holidays, as a lovable crew of boisterous bucchaneers steal a treasure map, stage a mutiny, sing sea shanties and defeat the villain both on shore and onboard the historical sailing ship.

The opening of the show and warm-up audience interaction with Scurvy Dave (Andrew Kronert), Empty Drawer (Caspar Conrick) and Major Key (Jon Peck) was utterly sensational: the banter and comic chemistry between the three performers was superb, and their musical abilities and hilarious ad-libs throughout the show won my heart entirely. Glenn Elston‘s script has plenty of familiar piratical devices at play: I particularly liked the pantomine inclusion of Larry the cabin boy/Sally (the engaging Lucy Gransbury). the faithful ‘he’s behind you!’ jokes, and a few prop surprises late in the show. However, the storyline is convoluted and seemed to miss a lot of opportunities for clear set-ups, running jokes and more significant audience participation that would have kept the ‘new recruits’ more fully involved throughout.

The cast are high-energy and strongly committed to making the most of all they, have under the strong direction of Doru Surcel who is also the swashbuckling and evil Captain Cutthroat: Christina Marks works valiantly with the rather unsatisfying character of the Gypsy Pirate, the sword-fight choreography is excellent, and the impro demands of the location and excited young viewers were met with aplomb (the fist-shaking quips at the barrage of low-flying helicopters were an especial highlight.)

Overall, the unusual setting is delightful, there’s slapstick provided for the kids and real wit for the adults, and when the plot begins to drag or the exposition thickens, the cast are quick to rev their audience back up again as soon as the opportunity arises. Comfy shoes, hats and sunscreen, and coats are necessary bring-along booty for any outdoor theatre in Melbourne. A group ticket for four is $90, but the show is a good 90 minutes long, the wonderful performers are working hard to entertain on multiple levels, and your little pirates will even go home with a few golden pebbles as souvenir treasure.

DATES: Tue 13 – Fri 16 Jan 2015 at 6pm

Sat 17 Jan 2015 at 10am & 6pm

Mon 19 – Thur 22 Jan 2015 at 10am

Fri 23 & Sat 24 Jan 2015 at 10am & 6pm

WHERE: 21 South Wharf Promenade, South Wharf
(on the Yarra in front of the Melbourne Exhibition Centre)

TICKETS: 038676 7511, www.shakespeareaustralia.com.au or Ticketmaster 136100

Events, Performances, Review December 19, 2014December 19, 2014

REVIEW: La Mama Presents FLASHBLAKS

Newest voices in indigenous theatre

By Myron My

With their recent residency at La Mama Theatre, Ilbijerri Theatre Company, Australia’s longest-running Aboriginal and Torres Strait Islander theatrical company, performed a staged reading of a new piece of work by Jacob Boehme and directed by Isaac Drandic.

Flashblaks looked at a variety of themes revolving around identity, whether it be cultural, sexual, individual or social. Boehme used three generations of women from one Indigenous family to tell this story and despite these generational gaps, the issues and struggles end in corresponding for each woman.

The youngest of the three women, Sarah (Monica McDonald) finds her own personal culture struggle through the fact that her father is white-Irish and her mother is Indigenous. Sarah’s sexuality is also explored and her facebook chats with Craig (Christian Taylor) provided the right level of lightheartedness and comedy to counteract the more dramatic stories of Flashblaks.

As we were sitting and listening to the story unfold without any costumes, props or direction, the strength of Boehme’s writing was obvious, whereupon the story flowed with much ease as it weaved in and out of the lives of its characters. My only issue regarding the script was the inclusion of a side story between the characters played by Taylor and Melodie Reynold-Diarra, which seemed out of place with the rest of the pace and tone of Flashblaks.

Boehme has given all characters clear and distinct voices, and the talented cast (including Ian Michael and Nikki Ashby) works with the language to successfully portray believable characters. There was some brilliant reading of scenes from McDonald and Tammy Anderson as Sarah’s mother and I look forward to seeing their interactions play out fully on stage. The delivery and facial expressions in particularly from McDonald were genuine and her comedic timing was subtle yet very effective.

Flashblaks is an intelligent and well thought-out piece of theatre, and this reading showcased some dedicated performances. While a profound examination of indigenous and female experience, Boehme’s exploration of identity and the consideration of how much of our present is due to our past are themes that everyone can relate to regardless of race, sexuality and gender. Whilst no answers are drawn or any resolutions found, Boehme opens up dialogue and invites discussion on these important topics and it will be very interesting to see how this piece progresses into a fully staged production.

Flashblaks was performed at La Mama Theatre from 12-14 December.

Cabaret Review, Events, Performances, Whats On December 18, 2014

REVIEW: Yana Alana is BETWEEN THE CRACKS

Once in a blue moon

By Bradley Storer

Yana Alana, the internationally renowned self-proclaimed ‘cabaret provocateur’, returns to fortyfivedownstairs for a second season of her Helpmann Award-winning show Between the Cracks. The title of the show proves to be literal as well as metaphorical, as the cabaret diva (the alter-ego of performer Sarah Ward) emerges into the spotlight clothed in a coat of blue body paint, a dishevelled Marie Antoinette-worthy wig and nothing else.

Yana Alana is a narcissistic, self-absorbed and utterly irresistible creation, her feline grin and razor-sharp tongue making her seem (even completely naked) the most confident person in the world. Her vocals are perfection, ranging from a high classical soprano to a ballsy and bluesy belt in her lower range. Her accompanist, Louise Goh, provides the silent straight man to the flamboyant Yana, getting some of the biggest laughs of the night without moving a muscle.

The show itself, seemingly centred on the eternally self-involved Yana’s attempts at self-improvement, deliberately (and hilariously) pushes at the boundaries of acceptability, with songs on topics ranging from anal sex to the inability of celebrities and political figures to say the word ‘sorry’. Scattered throughout are chapters from Yana’s self-help book (whose name is unprintable here) and her witty and winning self-penned poetry. The journey to the show’s surprisingly touching ending, while making sense on an emotional level, is hard to trace intellectually, which makes one wonder if the show has a point or purpose at all – although with a star as charismatic as this, it hardly matters.

Don’t miss out on the return season of this ferociously talented, endlessly provocative and unquestionably hilarious cabaret performer!

Venue: fortyfivedownstairs, 45 Flinders Lane, Melbourne VIC 3000
Time: 7:30pm Tuesday- Saturday, 3pm Sunday
Dates: 16 – 21st December
Tickets: Table Seating $45, Full $42, Conc $35
Bookings: Online at www.fortyfivedownstairs.com, Phone: (03) 9662 9966