Tag: Belinda Jenkin

Preview: People Suck

Who sucks more?

By Sebastian Purcell

People Suck, a musical comedy, explores the many ways in which people are just the worst. The creative, passionate, vibrant, energetic and enthusiastic cast works seamlessly together to show you all the ways the world has gone downhill lately. Comparing who sucks more (Voldemort vs Marilyn Manson), or who in the office is more annoying, or who you just don’t like for no good reason; this witty musical provides a not-so-gentle reminder to be ever vigilant on the trek to becoming a better human being.

Written by award-winning Canadian team Megan Phillips and Peter Cavell, airs common grievances through their clever and topical lyrics. The cast is beautifully and dutifully supported on the piano by Geoffrey Scarlett, but I can’t help wondering what the show would feel like with a band or small orchestra for added oomph.

The cast works really well as an ensemble feeding off each other’s energy and is wonderfully directed by Sarahlouise Younger; particularly in the opening number, “Todays Lesson”, where early primary school students work out that the world is a little messed up. There are moments where the harmonies are a little off throughout the show, but to be able to pitch and harmonise against a single piano is no easy feat.

Individually everyone receives their moment to shine. Belinda Jenkin portrays a wonderfully and hilariously frustrated woman who wishes her men (and women) sucked more in the bedroom. Tim Lancaster switches roles, mannerisms, and vocal styles throughout the show but stands out in his fast-paced lament of how often people seemingly manage to butcher the English language. Georgie Potter throws in a terrific Cardi B impression and brings to life every one’s worst nightmare of a stranger talking to you on a train. Ashley Weidner is the first to take the show to a deep and emotional level with his performance of Eleven, reflecting on a school bully’s impact 20 years on, a reminder of how our actions can haunt those years down the track.

However, it is Ashley Taylor who brings the cast together, firstly as Primary School Teacher trying to impart important life lessons on her challenging class, and then in her breath taking and tear-jerking performance of ‘I Don’t Know What to Say’. Vocally and emotionally she pours her heart out and you could feel the impact across the audience.

The stage is light on – chairs and tables to set scenes – yet in each moment you know exactly where you are going, which is a credit to the lightning, stage, costume and production design team.

The show uses course language, adult themes and questions the role of religion in today’s science orientated world. It had me grinning from ear to ear and left me reflective of what small changes we all could make to make the world suck a little less each day.

People Suck plays at Theatre Works- St Kilda from 20 – 30 November 2019.

Bookings: (03) 9534 3388 or online at www.theatreworks.org.au/program/people-suck/

Photography by Sarahlouise Younger and Ashley Taylor

Vic Theatre Company Presents THE GATHERING

Plenty of charm and intrigue in new Australian musical

By Rebecca Waese

Vic Theatre Company’s The Gathering, directed by Chris Parker, is an original Australian musical about friendship, love and loss inspired by the spirit of the Millennial generation. A group of twenty-somethings reunite in a haunted house to see their friend Tom (Joel Granger) who has surfaced after five years. When Tom runs away again, the friends stand by one another, (think of an Australian Rent meets Scooby-doo and the gang), and Tom begins to emerge from the shadows of his mysterious past.

The Gathering (James Terry Photography).jpg

There is plenty to applaud in this production (with book, music and lyrics by Will Hannagan and Belinda Jenkin) and in this company of young performers who are promising, self-possessed and leave their hearts on the stage. Outstanding vocals are delivered by Luke (Daniel Assetta), playing the camp best friend of Tom’s foster sister Kelly, (Shannen Alyce Quan), who is another strong talent to watch. Quan shows power and vulnerability in “Sweet December Feelings” with subtle and nostalgic references to the particular qualities of an Australian summer. Daisy, (Hannah Sullivan McInervey), shines in her solo, “Hair So Long” and Sullivan McInvervy’s voice brings a refreshing and unexpected Missy Higgins-type quality to the ensemble.

The vocals, however, under the musical direction of Daniel Puckey, are far superior to some of the lyrics, and there are a few weak plot points in the show. A handful of too-obvious rhymes calls out for the guiding hand of an experienced dramaturg. Yet, the open spirit of the young company made me forgive some of the clangers and the performers did well to shroud them with humour and ironic deliveries. Luke’s memorable line to Kelly, “I apologize profusely/ by making you muesli,” struck a playful note as the friends negotiated their path to adulthood amidst the chaos that growing up and apart brings.

There is some enjoyable comic work by Mia (Olivia Charalambous), and a compelling dramatic moment when Tom asks why Luke didn’t help him when he needed it most. Heartbroken Joe (Daniel Cosgrove) was delightful when Daisy’s line, “we’re on a break”, lead to a sudden realisation.

The Gathering captures a sense of the moment today for young Australians out in the world, released from share-houses and uni and beginning to make their way as adults. The big company numbers are exuberant with “Never Ever” re-living the classic drinking game, “Haunted” lit by Iphone-wielding ghost-busters, and “A Different Kind of Love” bringing resolution to Tom and his friends as harmonies fill the space. There is a distinct sense of Australian place in this musical, which, despite some awkward lyrics and plot holes, speaks openheartedly and with comic self-awareness of this moment in time for the Millennial generation. Whether this is your tribe or you want to eavesdrop on their moment, The Gathering is uplifting and has much to offer.

Venue: fortyfivedownstairs, 45 Flinders Lane, Melbourne

Season:
Nov 30 Dec, 2, 6, 8, 11, 7.30pm
Nov 26, 4pm, Dec 3,10, 8.30pm
Nov 27, Dec 4, 3pm

Tickets: $38 – $42

Bookings: 03 9662 9966 or online

Image by James Terry Photography

Rebecca Waese is a Lecturer in Creative Arts and English at La Trobe University.

REVIEW: A VERY GAGA VARIETY FUNDRAISING NIGHT

Variety night an exciting preview for new musical

By Scarlett Harris

Last night at their new location on Carson Place in the city, The Butterfly Club hosted a Lady Gaga variety show in an effort to raise funds for the latest creative endeavour of Kin Collaborative’s Melbourne Uni student arm. Kin CoLaboratory’s MUD Festival entry, Gaga & Assange, promises to be a romp of epic pure-pop proportions.

Gaga and Julian Assange both rose to dizzying heights of infamy around the same time: she with her anthem of tolerance, “Born This Way”, and he with the release of U.S. diplomatic cables and apparent “honey-trapping” rape charges.

Gaga & Assange

Gaga & Assange plays on this theme of sex, introducing the two via a sex-tape- and STD-fuelled romp—a “Bad Romance”, if you will—and going on to dissect the egos and dogmas of two of pop culture’s most recognisable names and faces.

But as for last night, it was a riotous tribute to all things Mother Monster, with renditions of “Paparazzi” by Gaga & Assange creator, Will Hannagan; Gaga’s Tony Bennett effort, “The Lady is a Tramp”, with G&A director and MC for the night, Jeremy Russo; and “Bad Romance”, “Alejandro” and “Americano” by Melbourne bluegrass band The Scrimshaw Four.

Alex Frank and Alexia Brinseley had the audience in stitches for “Edge of Glory”, “Hair” and “You & I” (arguably the performances of the night), while Belinda Jenkin remixed “Dance in the Dark” and “Just Dance” into ballads, and James Worsnop and Nicola Guzzardi parodied “Telephone”. The Collaborative topped off the night with a mashup of two original songs from Gaga & Assange, staged by their very own Gaga, Laura Raiti.

After the success of this fundraising event, I’m looking forward to seeing whether the musical deals with our readiness to let certain things about its titular “characters” (because isn’t that what they are—especially Gaga—to an extent?) fly, like Gaga’s alleged cosmetic surgery and Assange’s abovementioned sexual assault, in order to embrace their wider messages of acceptance and freedom of information, respectively. All with a side of Europop club anthems to boot.

A Very Gaga Variety Fundraising Night was performed at The Butterfly Club on Wednesday July 17, 2013

Review: HOUSEWARMING – A New Musical

Home is where the heart is

By Bradley Storer

Housewarming, a new musical composed and written by William Hannagan-McKinna and Belinda Jenkin, opens on its lead character Tommy (Daniel Benge) on the threshold of a new adventure: the perilous plunge into share-housing.

Like the similar work which precedes it on Theatreworks double-bill, Give My Regards to Broady, Housewarming deals with universal themes of growing up and the struggle to move beyond the past.

Accompanying Tommy on the journey to independence is a mismatched group of fellow post-adolescents.

There’s Mia (Rachel Rai), the sheltered mummy’s girl with borderline OCD; Kelly (Elle Richards), the spoiled and self-aggrandizing rich girl; Luke (Drew Collet), the hard-drinking uni dropout; the dreadlocked Jo (Dave Barclay) and his ethereal, reiki-toting ex-girlfriend Daisy (played by Jenkin herself).

While these outlines may seem almost stereotypical in their construction, one of the joys of the evening is watching these skilled actors fill out and develop their characters beyond generic characteristics.

As the plot proceeds, unexpected twists reveal hidden depths to each character and their relationships with their housemates delving into unforeseen territory.

The ensemble are all strong performers and singers, and each are given a moment to shine with excellently composed moments of self-revelation and remembrance – highlights are Kelly’s ensemble-supported diva number ‘I Insist’, Daisy’s delicately heart-breaking ‘I Grew My Hair So Long’ and Tommy’s explosive solo ‘I Am Bruised’.

In comparison to the wacky comic mania of Broady, Housewarming approaches the same topic with seriousness and compassion while still retaining a light-hearted touch.

Aided by a committed and talented ensemble, Housewarming is a fantastic evening at the theatre, ranging from heart-warming to wrenching to youthfully optimistic all in the same show.

Housewarming: A New Musical is in a double-billing this month with Give My Regards to Broady!

Dates: 28 Nov – Dec 10 at Theatre Works, St Kilda

Times: Nov 30 to Dec 3 at 8:45pm / Dec 5-10 at 7:00pm