Circus, Performances, Review

REVIEW: Drago’s Amazing Bona Fide Freak Show

A one-man carnival

By Myron My

I knew next to nothing about Drago’s Amazing Bona Fide Freak Show before attending the show, but I was intrigued by its title and minimal show synopsis. Fortunately, Drago’s (Ilan Abrahams) declaration at the beginning of the show that he is here to entertain us and we are here for enjoyment really proves true.

Drago's Freak Show

Abrahams has really honed in on showman Drago’s character and personality. The physicality displayed seemed very natural and habitual, and along with his miming, Abrahams has great story-telling abilities and ensures that he always has our attention.

The tatty circus tent designed by Hamish Fletcher and the outfit worn by Abrahams and created by Amaya Vecellio are both well thought out and carefully detailed, down to the dirt marks and holes, further embracing the travelling circus atmosphere.

The lighting played a very important and effective part in Drago’s Amazing Bona Fide Freak Show. A variety of lighting techniques are used including a circus spotlight, torchlights and candlelight, with each eliciting a different emotion or mood from us. Even amongst the low light moments, the shadows bouncing off the walls and flickering within the tent added to the freak show vibe being created.

Despite my enjoyment, I did walk out of the show feeling unsure as to the purpose of the piece. What is it that Abrahams wants us to feel? The stories were enjoyable as were the songs but I felt like there was a message that got lost along the way. I was also puzzled as to the meaning of the special guest and the “big reveal”. I expected a stronger impact especially with all the anticipation for their arrival.

The elements that do work in Drago’s Amazing Bona Fide Freak Show work very well and ensure that it is an hour of definite enjoyment, even if the ultimate meaning of the work does get a little confused.

Drago’s Amazing Bona Fide Freak Show was performed at La Mama as part of its Explorations season which supports works in development.

Opera, Performances, Review

REVIEW: Victorian Opera Presents THE BIG SING

With voices raised

By Narelle Wood

For one night only Victorian Opera, community choirs from around regional and metropolitan Victoria, VOYCE (Victorian Opera Youth Chorus Ensemble), students from the Master of Music Opera Performance program and Orchestra Victoria came together for the very aptly named The Big Sing.

In the magnificent surrounds of Hamer Hall we were treated to performances of Verdi, Mozart, Bizet, as well as Gilbert and Sullivan and Maestro Mills’ own arrangements of Australian folk songs “Click go the Shears” and “Waltzing Matilda”. The program provided a great variety of musical moods, from the joyful drinking song “Brindisi” from La Traviata to Purcell’s haunting “When I am Laid in Earth” from Dido and Aeneas.

The Big Sing

It was, however, the ethereal performance of “With Drooping Wings” also from Dido and Aeneas and sung by VOYCE that was a highlight, demonstrating the depth of talent that Victorian Opera has to work with.

Michael Petruccelli and Matthew Tng were very entertaining (they seemed to be thoroughly enjoying themselves) and I could have listened to Kate Amos and Cristina Russo sing all night. But for anyone unsure whether opera is for them, nights such as these are a perfect introduction. Selection of music aside, Maestro Mills provides a history and context to the pieces in a passionate, sometimes brutally honest, but always entertaining style.

While in an opera performance the opera singers will always be the stars, listening to, and on this very fortunate occasion watching, Orchestra Victoria is an incredible experience. This time we were treated to some introductions to the various instruments, and personalities, of the orchestra, which added a relaxed and very personable feel to the evening.

I did find the request to join in the singing of “Waltzing Matilda” a little confronting and was a little too self-conscious to join voices with likes of Elizabeth Lewis and Nathan Lay. Hopefully The Big Sing will be back next year as I certainly thought it was a big hit, and who knows – maybe next year I’ll be game enough to sing along.

Victorian Opera’s The Big Sing took place at Hamer Hall on 13th Oct 2014.

Dance, Festivals, Review

REVIEW: Gregory Lorenzutti’s MECHANICAL EYE

Dance for the camera

By Myron My

These days, with cameras on all our mobile devices, there does not seem to be a single aspect of our lives that is not documented. In Mechanical Eye, a new contemporary dance piece choreographed by Gregory Lorenzutti, the ideas of constant performance and the creation of identity through photography are dramatically explored.

Mechanical Eye

The five dancers – Harrison Hall, Maud Léger, Sarah Fiddaman, Ashley Marie Mclellan and Lorenzutti himself – had already begun dancing as we entered the room, which made you question when we ever stop performing. Where is the line between performance and being authentic? The added presence of a polaroid camera along the back wall of the space, not only reminded me of this message throughout, but also allowed the notion of the fleetingness of moments in life to loom large.

With the dancers dressed in light, loose fitting clothing in various shades of white, and with their lithe movements in the clean, empty mezzanine at Chapel Off Chapel, there was a profound sense of ethereality to Mechanical Eye.

Despite all five dancers being incredibly in tune with their bodies and the movements, Mclellan was a standout, as she seemed to be completely enveloped by the work, almost as if the choreography had taken her over. Similarly, Fiddaman and Léger showed great finesse in their slow motion pair-work.

The notion of lives being controlled by our capturing every moment on film, and to an extent, the exposure on social media, were perfectly encapsulated during the final moments of the piece. The dancers began running around in circles, clutching at each other, twisting and turning as they gradually sped up and then broke apart to a simple but highly effective and affective close.

Lorenzutti’s Mechanical Eye is a beautiful piece of contemporary work that looks at identity constructed through photography and dance, and ponders the ramifications of what it means to visually document our every moment and action.

Mechanical Eye was performed at Chapel Off Chapel as part of the 2014 Melbourne Fringe Festival.

Events, Festivals, Performances, Review

REVIEW: Magic Steven’s TRY TO LOVE EVERYONE

Unusual and absorbing

By Caitlin McGrane

As the Melbourne Fringe Festival drew to a close on Sunday night, the audience at The Toff in Town was treated to Magic Steven’s final show in a three-performance run over the two-and-a-half-week festival. Steven aimed to teach us how to love everyone, but it seemed to be that the most important lesson was how to love oneself.

Steven’s basic set up on stage meant that his words, delivered in a dead-pan almost uninflected tone, rolled around the whole space, filling every gap. The show covered Steven’s life since the end of the Comedy Festival in April, and is split into three parts: autumn, early winter and late winter.

Try to Love Everyone

I’ve never really been to many spoken word events before, but I found Steven’s gently lilting story to be strangely engaging. Often the theatrics of a performance can distract from the words, but this show made them stand out and become the stars. It was like having a conversation with a guy at a party, in the best possible way, because it was entirely without the contrivances that can make poetry or comedy performances seem unnatural or forced. The structure was even and the pacing excellent, I also enjoyed how each third managed to slip in a reference to Steven’s time in India.

In autumn Steven decided to take in as many couchsurfers as possible, in order to try to spread platonic love to strangers. Early winter follows his lacklustre search for a girlfriend, and we learn that simply waiting for someone to approach you after a show might (remarkably) not be the best option. Late winter was my favourite, when we were asked to question the conventional wisdom that ‘in order for someone to love you, you must first love yourself.’

While it’s a shame there are no more shows left in this run, I would encourage you to seek Magic Steven out the next time he puts on a show; his style is different, but ultimately very rewarding.

Magic Steven: Try to Love Everyone was performed at The Toff in Town as part of the 2014 Melbourne Fringe Festival.

Circus, Festivals, Review

REVIEW: Point & Flex Circus Presents 3 STEPS AHEAD

Out in front of the rest

By Myron My

Circus has been around for a long time – in fact, since the late 1700s in its ‘modern’ form –  and with the same acts being performed world wide, it runs the risk of becoming repetitive. However, the show 3 Steps Ahead, created by Point & Flex Circus’ Taylor Dawson and Marina Gellmann, , has enough point of difference to ensure we remain entertained.

3 Steps Ahead
Using circus, sideshow, physical theatre and humour, Dawson and Gellmann compete against each other in a series of challenges, some of which require the audience to choose whether or not to help one of them win it. In between these, we are also entertained with more traditional forms of circus acts such as hoops, contortionism, juggling and even some nose drawing!

There is always a risk of things not going to plan when it comes to circus shows. A hula hoop might not go where it’s supposed to, a foot might not land where it should or a ball is thrown a little too high to get the right timing. There were a number of these mishaps in 3 Steps Ahead but Dawson and Gellmann retained their composure and the recoveries were always swift.

What sets 3 Steps Ahead apart from other circus performances is that the audience has a say the action and in what the order of those acts will be. So even though we will see all the same ones each show, the performers are never sure which act they will be doing next and the comfort of routine is thrown out the window.

Music was used successfully throughout, building on the suspense of “will they/won’t they” (make it) and the lighting work was incredibly sharp and precise. Just like the performers’ routine, these two aspects depended on what order the acts were decided upon and there was no noticeable moments where it felt like an error had been made.

Despite both being 18 years old, between them Dawson and Gellmann have almost 30 years experience in circus so it’s no surprise that Point & Flex’s show won Best Emerging Circus Performer at the Melbourne Fringe Festival Awards over the weekend.

3 Steps Ahead was performed at Gasworks Arts Park as part of the 2014 Melbourne Fringe Festival.

Events, Performances, Theatre, Whats On

REVIEW: Sesame Street Presents ELMO’S WORLD TOUR

Frankly good fun!

By Kim Edwards

This was the first time my reviewing buddy was a two-year old, but she was prepared to be a harsh critic. Admittedly, I was also prepared to be a little bored and a little underwhelmed by any efforts to get the beloved Sesame Street characters on stage in any kind of appealing way… and so, was pleasantly surprised. Elmo’s World Tour is very charming: a sleek, well-paced production where the cute characters are personable and plausibly familiar, the family entertainment factor is a clear priority, and the storyline is taut and neatly developed.

A world globe gift from Grover inspires Elmo to want to go traveling, and with the help of Abbycadabby to conjure up alphabet letters, he and the Sesame Street gang visit countries starting with those magical letters. Of course, with Abby only using her second-best wand, and Cookie Monster eating his letter C, the trip doesn’t always go smoothly, but of course everything works out in all the best ways.

Elmo's World Tour 2014

I enjoyed the educational element that connected the story firmly to the TV show, including the multicultural theme that introduced the very excited pre-school audience to greetings in other languages, and music and dance styles reminiscent of the countries visited. I also loved that, along with these new songs, the plot managed to work in lots of the best vintage Sesame Street tunes and include a few key cameos from Ernie and Bert, and the Count. Less successful is the awkward Australian component and new character, but Lady Baa Baa’s inclusion is thankfully brief.

The anonymous performers do a simply wonderful job: the dance energy, physical characterisation and puppeteering are all excellent. Full-body costume work is always thankless, but the actors give no sign of being tired, hot or jaded after doing three performances a day and (I suspect at times) playing multiple characters. The costumes themselves look very authentic (no easy feat for muppets made full-size), and the set and props are practical for a touring show, but handsome and nicely manipulated.

The mood in the Regent Theatre was cheerful and supportive, with the sound not too loud, the house lights left dimmed, and a general empathy for parents and little fans who needed to exit, stand, fidget or snack during the show. My little critic and I thoroughly enjoyed ourselves, though I would recommend if paying extra for the Elmo meet-and-greet afterwards, you ensure your child isn’t likely to baulk at the (actual) enormity of their hero in person. There were a number of ‘wailing with Santa’-style incidents, but Elmo and his assistant were very sweet and patient, and the faces of devoted fans throwing their arms around their idol was a delight in itself.

The final 2014 performances of Elmo’s World Tour take place at The Clock Tower, Moonee Ponds, this Monday October 6. Tickets start from $22.40 at http://lifeliketouring.com/sesamestreetpresents/

Cabaret, Festivals, Performances, Review

REVIEW: Fringe Festival’s MONSTER

Welcome to the darkness

By Myron My

Monster

With its low lighting and large spacious rooms where you can only just see to the other end of it if you squint and focus, Revolt is the perfect venue for Monster, a horror-cabaret that looks at perceptions that the transgender community constantly battle.

Created by Daniel Gough and Danielle Starkey, we are welcomed into the dark and into the home of Madam (also performed by Gough) as she regales us with stories of her life. What starts as light-hearted enough slowly but then suddenly becomes dark and intense as Madam gives us an insight into life as a transgender person.

The lighting and set design support this darkening mood, building on the intimacy of a topic like transgender and also creating a claustrophobic mood in Madam’s attic apartment. The three “rooms” on set, the lounge, bathroom and bedroom, are where people are traditionally most honest with themselves and cannot escape their truth and it is quite fitting that the bathroom is where the most emotive and haunting moments take place in Monster.

Gough tackles the complexities of a transgender person with impressive results. You almost forget that Gough is reciting lines and performing on stage as Madam, especially with his consistency on playing out her mannerisms and nervous habits. He builds a strong emotional connection with the audience and the boldness and courage present in the final moments feel like a combination of loathing and loving self-acceptance for Madam.

Monster is a brilliantly horrific piece of theatre that looks at transgender people and the conflicts and issues they face but doesn’t accuse or threaten: instead, it leaves you questioning and looking to your own moral compass for answers on who the actual “monster” is.

Monster was performed at Revolt as part of the 2014 Melbourne Fringe Festival.

Comedy, Review, Theatre

REVIEW: HIT Productions Presents THE 39 STEPS

Cast of four fuel this fabulous farce

By Lyn Collet

Adapted by Patrick Barlow from an original concept by Simon Corble and Nobby Dimon, this beloved British romp is based on the 1935 Hitchcock spy thriller movie and novel by John Buchan. The London’s West End production is currently the longest running comedy. The 39 Steps begins with Richard Hannay, an innocent man, learning too much about a dangerous spy ring and being pursued across Scotland before returning to London to foil the villain’s dastardly plans.

The 39 Steps

This return season touring production features over a hundred characters played by four very versatile and competent actors – Mike Smith (who plays the hero Hannay), whilst Anna Burgess, Sam Haft and Michael Lindner are kept busy cleverly portraying the rest of the hilarious ensemble.

Having previously seen the famous West End production, a few of the memorable comedic moments were missed in this re-staged version, but director Terence O’Connell has made this a fast moving, very funny show with simple, but very effective sets and props by Jacob Battista and with lighting by designer Jason Bovaird.

Costume designer Kim Bishop has produced just the right outfits for the very quick changes needed for the very humorous characters and settings, while choreographer Alana Scanlan has created some very well-rehearsed choreography with great physical and comic timing.

This is indeed a “jolly good show”, and it is unfortunate that there are only 4 final Melbourne performances on this tour.

The 39 Steps will be playing at the Athenaeum Theatre – Thursday 2 October at 7.30 pm, Friday 3 October at 7.30 pm and Saturday 4 October 2 pm and 7.30 pm.

Bookings: 03 9650 1500

Ticketek: 132 849 / www.ticketek.com.au

Festivals, Review, Theatre, Whats On

REVIEW: The CuttingRoom Floor’s ALL THE SINGLE LAD(IE)S

Two intertwined tales of gender-bending

By Myron My

There are two stories that take place in All The Single Lad(ie)s, The Cutting Rooms Floor’s production for 2014 Melbourne Fringe Festival. One is drag show hosted by Tammy Packs (Braiden Dunn), who gives us some valuable life lessons and the other is set in a clothing store run by O (Verity Softly). The narrative of O looks at an incident at her store when a young man, V (Jack Walker), attempts to rob her at gun point. Things escalate from there and between every ‘chapter’ of this story, Tammy returns to the stage to dish out some advice whilst singing a few choice Beyoncé tracks that link back to the story.

All the Single Lad(ie)s

The expectations and power of gender are explored in a way which does not make judgments or accusations but instead, leaves you to your own devices to provoke thoughts and discussion. Looking at such themes, it is not surprising that Beyoncé’s music is used, herself as an artist being a highly successful, powerful and influential woman.

The writing by Zoe Hollyoak is strong during the Tammy scenes, but I felt the story of O and V needed some refining. I failed to be convinced at how events transpired, and the narrative flow did not feel organic. Moreover, I would have appreciated knowing the motivations of the characters in order to be able to make sense of their choices. However, there was some good acting by the two actors, especially during the more confronting and sexually charged scenes.

Meanwhile, Dunn seems completely at ease as the host(ess) with the most-ess, Tammy, especially with some of the audience interaction that occurs. His version of “If I Were A Boy” is quite touching and shows a softer side to the show and his character.

Scott Corbett’s direction makes great use of the stage, especially during the confronting final moments of the show which pack a powerful punch.

In both worlds in All The Single Lad(ie)s gender lines are reversed, blurred and smashed to a climatic ending. There are admirable and committed performances throughout, but I feel these performers could all have excelled with a slightly less-forced storyline.

Venue: Revolt, 12 Elizabeth St, Kensington

Season: Until 4 October | 8:00pm

Tickets: $20 Full | $15 Conc

Bookings: http://www.melbournefringe.com.au

Dance, Festivals, Review, Whats On

REVIEW: Speakeasy Presents POTENTIAL

Scintilatingly strange

By Caitlin McGrane

Billed as a ‘dance of the heart’, Janine Proost’s Potential will go down in my memory as one of the stranger theatrical performances I have ever experienced, and I mean that as a compliment. The audience is lead in through the doors of Studio One at the Northcote Town Hall to find our four performers (Janine Proost, Natalie Abbott, Rebecca Jensen and Amelia McQueen) lying splayed on the ground covered in a blanket of playdoh. The four women are wearing gold lycra outfits, and invite the audience to take some of the playdoh heaped onto their chests…

Potential

What follows is 60 minutes of dance and yoga that will leave you pleasingly puzzled. It was clear that the inspiration came from the body, but that it came from the heart wasn’t always obvious to me. There was certainly a lot of feminine imagery (a vignette of a mid-birth playdoh baby springs to mind), which is always interesting. I loved how the energy of the performance mirrored that of a yoga class: starting with slow movements, breathing, simple postures and building to a crescendo of occasionally painful movements across the stage that were at times quite difficult to watch. There is a lot of quiet in the performance, and it beautifully counterpoised the manic cacophony of noise that made up part of the third act.

Special and particular mention must go to Matt Adey whose lighting design was spectacular and very evocative. The harsh stage lights illuminated the faces of the performers in ways that caused them to be at once beautiful and pained (the kind of facial expression one can only get from an hour of yoga).

For my first Melbourne Fringe Festival show this year, it was quite an experience. I’m very excited to see what Proost comes up with next and will be first in line to see it.

Potential is on every night until Sunday 5 October at 7:30pm at the Northcote Town Hall. Tickets are $26 at http://www.melbournefringe.com.au/fringe-festival/show/potential/