Tag: 2015 Melbourne Fringe Festival

Festivals, Musical Theatre, Performances, Whats On

REVIEW: La Mama Presents ALPHA

Word play and body art evoke and emote

By Myron My

In this day and age, queer identity is more important than ever. Or is it? In Sebastian Robinson and Tamara Natt’s 2015 Melbourne Fringe production Alpha, the two performers explore the idea of what modern-day queer identity looks like – and if it actually exists. Through poetry, movement, music and sound, the two create a world where the roles we choose to take on in life are revealed and questioned.

Alpha

Robinson and Natt appear on an empty stage, dressed in matching white shoes and black tracksuit outfits. They spend the next 50 minutes creating some beautiful visuals for us not only through their soft and fluid movements and exploration of the space but also through their words. From a Britney Spears song to an Auslan interpretation of a Delta Goodrem song to one of their original works of poetry, Alpha shows how words can do so much to an environment even when you are staring at a relatively empty stage.

Sound designer Milly O’Sullivan, is also on stage with the two performers, creating a live soundscape with her guitar that manages to quietly nestle its way into your mind. Whether it be accompanying the poetry being recited or the scene being acted out or the bodies moving on the stage, O’Sullivan’s sounds heighten every emotion and thought the audience are invited to experience.

At times however, I felt there was so much happening with Alpha and subsequently in my head, that it was difficult to fully grasp and appreciate all the ideas that were being presented. Perhaps this is the point that Robinson and Natt are trying to make with this work. Maybe there is no such thing as queer identity. Maybe the very concept is too big to grasp. There is no constant in the world so maybe we only need to be aware of our own personal identity to love and be loved. Either way, it’s worth your time seeing this show and coming to your own conclusions.

Venue: La Mama Theatre, 205 Faraday Street, Carlton

Season: Until 27 September | Thurs – Sat 10pm, Sun 6.30pm

Tickets: $25 Full | $15 Conc

Bookings: 
Melbourne Fringe Festival

Festivals, Theatre, Whats On

REVIEW: Adam J. Cass’ BOCK KILLS HER FATHER

Violence comes to light

By Myron My

My second play by writer Adam J. Cass during this 2015 Melbourne Fringe festival continues with his running critique of society and the treatment of its people. However, unlike the refugee theme of Fractured, Bock Kills Her Father contemplates the long-lasting effects a group of women must deal with after being at the mercy of one man.

Bock Kills Her Father

Penny Harpham‘s strong direction never allows the action on the small La Mama stage to become overwhelming or cramped, especially when there are five aggressive and angry characters on stage. The choreography for the fight scenes is executed well, with some very convincingly painful moments. There is only one time where the fight scenes disappoint and that is when Sarah (powerfully played by Annie Lumsden) is attacked. Due to the hardness of the adult women we had previously seen, it felt more like something young children would do to each other and as such, its intensity was lost.

Despite this, Cass has created a script that draws the audience into the pressure cooker of how a patriarchal society – and in this case, a cowering unseen man – still has the power to control these women’s lives. For the most part, the language is raw and authentic and I could not help but be reminded of Patricia Cornelius’s Shit, which played during MTC’s NEON season earlier this year. In fact, thematically Bock Kills Her Father could easily be appreciated as a natural prequel to Shit, in considering how the cycle of women being victims will continue to repeat itself if society does nothing.

These women however – the five actors on stage – do a great job in these physically and emotionally demanding roles. Emina Ashman, as the slightly unhinged D’Agostino, captures the attention of the audience in every scene she is in. Ashman’s portrayal is a perfect combination of endearing, annoying and incredibly frightening. Together with Marissa O’Reilly and Ruby Hughes (as Taylor and Chambers), the three women are all highly convincing in their characters and in their relationships with each other. I would have liked to see the Lead Actress* be pushed slightly more with difficult title character Bock, to ensure all her character’s choices seem genuine and not forced.

While Bock Kills Her Father isn’t the most polished of works, the grittiness and dirtiness of the world we find ourselves in makes this work in its favour. Nothing is ever going to be perfect for these women; they are unlikely to find inner peace and let go of their inner rage until those who have done them wrong are forced out of hiding and held accountable for what they have done. Bock Kills Her Father is an enthralling piece of Fringe theatre that has a lot to say about society’s treatment of women.

Venue: La Mama Theatre, 205 Faraday Street, Carlton

Season: Until 27 September | Wed 6.30pm, Thurs-Sat 7:30pm, Sun 4:00pm

Tickets: $25 Full | $15 Conc

Bookings: 
Melbourne Fringe Festival

* The lead actress requested that her name be removed from the article

Dance, Performances, Whats On

REVIEW: Devize Co Presents PLUNGE

It begins with a single touch…

By Myron My

Having seen Plunge when it was in its early stages of development last year during La Mama’s Explorations season (then known as Blending), I was very interested to see how the work had progressed. Being performed at the 2015 Melbourne Fringe, the work explores the infinite number of outcomes that can result from a single touch. Some are good and some are bad and some are absolutely crushing.

Plunge

Choreographer and director Darren Vizer continues to push his two performers, dancer Joel Fenton and actor Jean Goodwin, to their extremes relentlessly. They share a good chemistry and have clearly worked hard at driving through the more challenging moments of Plunge and allowing the piece to evolve.

Fenton’s dance sequences clearly demonstrate how his body has been taken over by his emotional state and he uses the whole space to bound, leap, and throw himself around the stage. The music and sounds used to further convey these feelings are well chosen, especially the rapid beating of the heart in the second story.

Goodwin’s monologue on loving and owning her body is a powerful statement about the constant threat women face just for being women. Her command of the statements she makes and the pace with which they are delivered are full of angry confidence. She wants to be heard and she wants to make sure we hear her. It’s a speech that should resonate with each and every single woman out there as well as to every single man who has female family members, friends or partners.

What drew me to Plunge initially was the challenge of having a performer, who is predominately a dancer, acting – and vice versa. This idea has been further developed, especially with providing Goodwin a solo dance moment. However, while her commitment to the piece is evident, I ultimately had difficulty understanding the purpose of what was trying to be conveyed by this inclusion. Similarly, I would have liked to see Fenton be slightly more aggressive in the final story to really drive home Goodwin’s response.

Plunge took on its new name as the performers were no longer blending their two art forms but immersing themselves in it. Similarly, one could also say that it’s about what happens when we take the plunge into romance without quite knowing what the outcome will be. Despite its minor shortcomings, this is still a highly intelligent and insightful piece not only exploring relationships, but also the way the society in which we live operates.

Venue: Fringe Hub, Arts House, 521 Queensberry St, North Melbourne, 3051

Season: Until 24 September | Tues-Sat 10.30pm, Sun 9.30pm

Tickets:$25 Full | $15 Conc, Cheap Tuesday

Bookings: Melbourne Fringe Festival

Festivals, Performances, Whats On

REVIEW: KIN Collaborative Inc. Presents POP|PRESS

Cult classic in the making

By Bradley Storer

Like murder? Mystery? One Direction? If you said yes to any/all of these, then Pop|Press at Melbourne Fringe 2015 is definitely the show for you!

POP PRESS

Filled to the brim with pop-culture allusions, the comically convoluted story mashes together a charismatic boy band member leaving to go solo, the disappearance and possible murder of an Australian female rapper and the machinations of a morally ambiguous corporation into a mysterious Illuminati-like conspiracy, tied together by the narration of an investigative journalist’s podcast.

William Hannigan brings a low-key, smouldering magnetism to the role of Heath Row, the defector from major boy band Se7en Moments of Malibu, aided by a wondrous pop voice that channels the aching emotionalism and twangy falsetto of every modern tween male pop idol. His compositions for the show truly do hit the ear as modern pop hits, with melodies that make you bop in your seat but with lyrics that niggle at the brain.

Another highlight is Michelle Brasier as rapper Igloo Fantasia, an Iggy Azalea rip-off combined with a gutsy Gaga-esque belt. Her rendition of feminist revenge anthem ‘Manspread’ is still caught in my head! Behind both these leads is an incredibly versatile ensemble, who skilfully double as the various other characters as well as back-up dancers and singers.

When the scene changes aren’t accompanied by the serial-spoofing narration, transitions can be a little clumsy, and as the story picks up pace and tensions mount the songs can start to feel a little superfluous. One particular number, a ballad mourning the death of a goldfish – although hilariously and thrillingly belted out by Brasier – seems to come out of nowhere and doesn’t seem to contribute significantly to the story.

These small quibbles aside, Pop|Press is a delight for lovers of pop (both musical and mainstream) culture, with a score that will leave you humming the tunes long after you’ve left the venue.

Dates: Friday 18th September – Friday 25th September
Venue: The Ballroom, Lithuanian Club, 44 Errol St, North Melbourne.
Time: 10:30pm (9:30 Sundays)
Price: Full $22.50, Conc. $18, Group (6+) $20, Cheap Tuesday $18
Bookings: www.melbournefringe.com.au, 03 9660 9666, at the door.

Festivals, Theatre, Whats On

REVIEW: Rama Nicholas is MARY WEATHER’S MONSTERS

Monstrously funny and surprisingly profound

By Myron My

Rama Nicholas returns to Melbourne Fringe 2015 in fighting spirit with Mary Weather’s Monsters. Set in 1890 in London, we are introduced to monster-hunter and Lord Protector of London, Mary Weather. She has caught every single monster known to man: giant spiders, werewolves and swamp monsters to name but a few. However, she now she faces her greatest challenge yet, a challenge that will have her questioning her beliefs of what is a good and what is evil.

Mary Weather's Monsters

Nicholas plays all 11 characters in the show and her instant transformation from one to the other is testament to her consummate skill. Each person/monster in her story has a distinct voice and appearance and not once does she waver in her dedication to each character.

There are not many performers I’ve seen who can convincingly transport their audience to another world without a single prop or stage piece. Nicholas has only her talent of storytelling at her disposal and she does not disappoint. The story is told in a very arch and cheeky manner and Nicholas knows when to gloss over things and when to go into greater detail. Subsequently, the audience never quite knows what is going to happen next but there is enough trust to know that she is going to give us a very good time.

Mary Weather’s Monsters can be seen as an allegory for acceptance and standing up for those who are not able to do so for themselves. It’s about being true to yourself and challenging something when you are not convinced by it. Alternatively, it can also be seen as a fun homage to the monster genre and a damn funny show. Either way, you won’t be leaving the show disappointed.

Nicholas’ character work is masterful, and her ability to tell a concise, intriguing and enjoyable story will ensure that the shows she creates will always be winners. Despite it being early days into the Fringe festival, if Mary Weather’s Monsters is not on your must-see list, then you’re just doing Fringe wrong.

Venue: Fringe Hub, Arts House, 521 Queensberry St, North Melbourne, 3051

Season: Until 3 October | Tues-Sat 8pm, Sun 7pm

Tickets:$25 Full | $22 Conc | $18 Cheap Tuesday

Bookings: Melbourne Fringe Festival

Festivals, Theatre, Whats On

REVIEW: James Tresise and Sean M Whelan in ALL THE ANIMALS WE ATE

Getting in touch with our animal spirits

By Myron My

Last year, James Tresise’s mother passed away. During that same time, Sean M. Whelan’s pet spoodle passed away after thirteen years. In All The Animals We Ate presented at this year’s Melbourne Fringe Festival, the two come together to grieve and mourn the passing of someone they love and to celebrate their life. Death may be the end of one thing but it not need be the end of everything.

All the Animals We Ate

There is a lot of heart in this show; it’s hard not to feel the sadness as Whelan recalls the moment he found out his beloved dog Cady had died. Despite the show being predominantly about the loss of animals, we are invited to link these experiences to any sense of personal loss we’ve had, let it be animal or human. This empathy is created in part through the animal impersonations the two performers take on throughout, emphasising their connections to human beings.

Technically, the show comes together in a very subtle but effective way. The music is nostalgic and creates a sense of yearning and supports the visuals that are being projected on the wall. If Whelan’s words alone are not enough to imagine the environment and emotions being described, the music and projections more than do that, transporting us away from the performance space and into their stories.

At times however, the story itself gets a little lost with everything they are trying to say. There are moments of dialogue that don’t seem to have a real clear purpose, such as the digression about dinosaurs, or that seemed awkward and out of place, such as the urination on the lemon tree anecdote.

There are some beautiful moments where the connection between being an animal and being a human is touchingly affirmed. With a little more clarity and structure established in the story Tresise and Whelan wish to tell, All The Animals We Ate can be a beautiful homage not only to Cady but also to everyone that anyone has ever lost.

Venue: Fringe Hub, Arts House, 521 Queensberry St, North Melbourne, 3051

Season: Until 24 September | Tues-Sat 6.30pm, Sun 5.30pm

Tickets:$25 Full | $20 Conc | Cheap Tuesday

Bookings: Melbourne Fringe Festival

Cabaret, Festivals, Whats On

REVIEW: Alice Tovey in MALICE

Singing it how it is

By Myron My

Alice Tovey has a lot to say about many things. Mainly it’s about things that frustrate her and anger her. Things like racism, anti-vaccine supporters and organised religion. In her 2015 Melbourne Fringe cabaret show Malice, Tovey sings her way through these contentious issues with wit, charm, and no care if she is going to offend you or not.

Alice Tovey in MALICE

While she performs a number of brilliant songs, the highlight of the evening would have to be her loving tribute to “Today” show host Karl Stefanovic, in which Tovey shares her suffering from Stefano-sickness. “Disciple of Satan” is also a great song that is infused with Tovey’s sharp wit and humour.

Accompanying Tovey on piano is composer Ned Dixon, who plays with great energy and is a solid musical support to Tovey’s voice. The two have co-written these original songs, and between them there is a huge amount of talent.

Between their songs, Tovey shares some anecdotal stories with us while also making pointed remarks about the society in which we live, such as her commentary upon being told by a man that the feminist goal of equality is like the RSPCA only caring about sheep… The stories are well-constructed and adroitly told, and along with Tovey’s easy humour, I could easily have sat there and listened to her recall these experiences for far longer.

However, it’s not all jokes and jibes in this 60-minute show, as shown when Tovey dedicates a song to a friend’s recent diagnosis with an eating disorder. It’s a touching moment that is sung from the heart and a reminder that we all need to be kinder to ourselves.

Great songs, clever lyrics and humourous and heart-felt stories are in abundance with Malice. Tovey’s naturally charming stage presence is a crowd-pleaser and rightfully so. Despite the seriousness or dryness of the topics Tovey takes on, you are guaranteed to walk out of Malice with a smile on your face.

Venue: Fringe Hub, The Lithuanian Club, 44 Errol St, North Melbourne, 3051

Season: Until 3 October | Tues-Sat 10.15pm, Sun 9.15pm

Tickets:$23 Full | $18 Conc | Cheap Tuesday

Bookings: Melbourne Fringe Festival

Circus, Festivals, Whats On

REVIEW: PERHAPS THERE IS HOPE YET

Circus at its most polished and poignant

By Myron My

Having recently seen Rockie Stone perform in Finucane and Smith’s Glory Box and being blown away by her sets, I was very much looking forward to seeing her in this year’s Melbourne Fringe show, Perhaps There Is Hope Yet, and it did not disappoint. Along with fellow circus performer Vincent van Berkel and with music by Sam Keevers, it is a wonderfully constructed show that is inspired by climate change and the slow disintegration of our environment.

Perhaps There Is Hope Yet

The stage is littered with a number of glass bottles, a makeshift seesaw and a kinetic sculpture by Callan Morgan that while only acknowledged a few times, has a strong visual presence throughout the show. Initially reminding me of a traditional windmill and later, due to its movements, that of a wind turbine, it keeps the idea of retaining a sustainable environment for the future churning.

Meanwhile, Stone and van Berkel’s adagio routine is simply breathtaking and some of the formations created not only show the strength they possess but also the sheer amount of trust they have with each other. There is no fear or hesitations in anything they do. Similarly van Berkel’s balance crane routine is just as engaging to watch. His movements are smooth and fluid and there is a beautiful sense of calm to his act. While this is happening, Stone is side of stage, dancing erratically to her Walkman and at one point moving into the audience; a contrast of scenes, mood and environment.

Perhaps There is Hope Yet is a meticulously thought-out show and there is no step and no movement that does not have a reason or purpose for existing. The finale is a definite showstopper and there were minimal movements and breathing from the audience in fear of creating a butterfly effect that could spell disaster for Stone.

Stone and van Berkel know how to put on a show and Perhaps There is Hope Yet is what circus should be. There are no gimmicks or anything to hide behind. Stone and van Berkel not only keep themselves exposed to our scrutiny but also expose the cracks in our environment. A show that needs to be seen.

Venue: Fringe Hub, Arts House, 521 Queensberry St, North Melbourne, 3051

Season: until 3 October | Tues-Sun 9pm

Tickets:$25 Full | $20 Conc, Cheap Tuesday

Bookings: Melbourne Fringe Festival

Impro, Musical Theatre, Review

REVIEW: Impromptunes Presents PUPPETS! THE MUSICAL

This puppet show for grown-ups will have you in stitches!

By Claire de Freitas

The idea of being entertained by cheeky singing puppets is not an entirely new concept (who can forget the Tony Award-winning puppet musical Avenue Q?) but the Impromptunes have taken the puppet musicals to a whole new level. There’s no script, there’s no score, there’s not even set characters. In this year’s Melbourne Fringe Festival, the Impromptunes are presenting Puppets! The Musical – a completely improvised musical with puppets!

Puppets! The Musical

Although the audience was small the night I attended, the troupe of five talented performers had energy in bucketloads. From the moment they came bouncing onto the stage, puppets in tow, I knew they were committed to their craft and we were in for a good night.

To prove that the musical is completely improvised each night, the audience was asked to provide its name. We were given three beats to think of a title and then asked to shout out our ideas in unison. The winning title this evening was ‘The Dangerous Egg.’

Without even taking a moment to brainstorm, the cast began to construct a song and talented pianist David Peake began to accompany them. As the song continued, the cast selected puppet friends from the back of the stage and began to create characters.

For many people (myself included) the idea of improvising a musical is pretty terrifying. I have so much respect for how swiftly and wittily the cast created the characters, scenes and songs, all the while operating puppets and syncing the words with the puppets’ mouths PERFECTLY!

As is often the case with improvisational shows, the story got pretty crazy very quickly. In short, ‘The Dangerous Egg’ ended-up being about a young man named Jeremy who joins the Navy to escape his dull farm life and is put on a mission to rescue the last remaining dinosaur egg from the Nazis. Yep, told you it got pretty crazy.

It’s a well-known rule of improvisational theatre that performers need to always say “yes” to each others’ offers and the Impromptunes in Puppets! The Musical are experts in this. It was amazing to watch how the performers communicated ideas with each other without speaking about them and followed each others’ leads.

If you want to see something funny and fresh for Melbourne Fringe Festival 2015, you don’t want to miss Puppets! The Musical.

Venue: The Butterfly Club, Carson Place, Melbourne.
Season: Until 4th October | Wednesday – Sunday 7:00pm
Tickets: $28 Full | $25 Concession
Bookings: The Butterfly Club or Melbourne Fringe

Festivals, Theatre, Whats On

REVIEW: Adam J. A. Cass’ FRACTURED

Dark visions powerfully portrayed

By Myron My

We are now living in a dystopian world of the named and the unnamed, where safety and comfort are a thing of the past and children are now brought up in a society where the only games they remember are guessing how many bombs are going to go off in the night. Adam J. A. Cass’ Fractured explores this frightening vision through five “broken” souls.

Fractured

Danelle Wynne is the standout of the cast as Astrid, the almost feral child who is too afraid and suspicious of anyone to let her guard down. Her animal-like qualities and habits show how deeply she has been affected by her experiences and form a strong contrast to the rest of the people around her, such as Suzi Loo played by Nicole Morgan. Morgan is also strong in her character portrayal and her concluding scenes were completely and utterly engrossing. Rounding out the impressive cast are Natalie-Lynne Pillar, Josh Vasilev and Amy Firth.

I particularly enjoyed the lighting design with this show and the shadows that were beautifully created within the space. The scene of Rhodes (Firth) dragging in the screaming Astrid by the hair was particularly effective in utilising this, and thus heightening the powerful sense of unease early on in the show.

Peta Hanrahan‘s direction gives the actors (and their characters) plenty of opportunity to move and express themselves whilst not being too overwhelming for each other and the audience. Considering Cass wrote this work specifically for the performance space at Club Voltaire, the space is perfectly utilised and the stage design, while minimal, captures the overall mood of the show well.

However, there are a few scenes that confused me as to their purpose, especially in its attempts to be – as mentioned in the synopsis – immersive theatre. At one stage, members of the audience are handed sleeping pills only to have no real reason for this to occur, and the interaction is neither elaborated upon or discussed again.

Fractured explores the idea of having the courage to go on but also the need for compassion and humanity for people we don’t know but still need to care about and protect. The strongest, most effective moment of the performance for me happens before the show even started, and when you go to see it (as you should), you will understand what I am referring to. What endures then, is a profound sense of the responsibility we have to fellow humans who are less fortunate than us purely because of luck.

Venue: Club Voltaire, 14 Raglan St, North Melbourne, 3051

Season: Until 20 September | 7.30pm

Tickets: $25 Full | $20 Conc

Bookings: Melbourne Fringe Festival