Tag: Chapel Off Chapel

Comedy, Events, Festivals, Musical Theatre, Review, Whats On March 29, 2015March 29, 2015

REVIEW: Trifle Theatre company presents AVENUE Q

An unplifting transition into adulthood

By Myron My

Having seen the West End production six years ago (and remembering it strongly), I had high expectations for Trifle Theatre Company’s production of Avenue Q. Furthermore, I had some reservations as to whether it could match the magic of my original viewing, but within the first few minutes that doubt disappeared. We may only be in March but I can confidently say that this will be one of the best shows I see this year.

The story follows a recent college graduate, Princeton (played by Jordan Pollard), who is a little wet behind the ears and entering the “real world”. Moving to Avenue Q (the best he can afford) he gets acquainted with the locals, including Kate Monster (played by Sarah Golding), Trekkie Monster (played by the wonderful Andy McDougall), married human couple Christmas Eve and Brian (Leah Lim and Michael Linder) and Gary Coleman (in a interesting casting choice, played by Zuleika Khan).

What follows is two hours of sharp and witty comedy and laughs as each character works towards finding their way in life. Despite the sexually charged innuendo and racy songs such as “Everyone’s A Little Bit Racist” and “The Internet Is For Porn”, there is much heart in these stories and that often-confusing transition into adulthood. The whole cast, including the ensemble, work seamlessly with the puppets and manage to create some human emotion through their movements, actions and speech.

Lighting work by Jason Bovaird captures the mood of the characters and the environment brilliantly and the stage design by Jacob Battista authentically replicates a shabby, down-town New York city block. The six piece band however, led by Musical Director David Wisken, are truly amazing in their unseen performance in a separate room to the small stage.

Avenue Q pushes boundaries between clever and lewd and the only way it succeeds is because puppets can get away with a lot more on stage than any actor could. With a big dose of disbelief, it perfectly blends the innocence of a childhood with the scary realisations of adulthood and creates an uplifting and affirming story about change and transition. Director Stephen Wheat should be congratulated on not only creating a show that is on par with its predecessors but also allowing it to form its own individuality and uniqueness.

I am strongly encouraging people to go and see this production, but the whole season has already completely sold out. Guess it really does suck to be you.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran

Season: Until 11 April | Tue-Sun 8:00pm, Sat 2:00pm

Tickets: $43.50 Full | $38.50 Conc

Bookings: www.chapeloffchapel.com.au or 8290 7000

Review, Theatre, Whats On March 8, 2015

REVIEW: Jane Cafarella’s E-BABY

A tale of two women

By Myron My

For some people, giving birth and becoming a parent is the most beautiful experience in life. There are unfortunately women who are unable to carry a baby to term and so turn to surrogacy. In Jane Cafarella’s e–baby, inspired by interviews with infertile women and surrogates who share their stories online, we meet an accomplished lawyer who has been trying unsuccessfully for her own child for seven years. She finds a surrogate to carry her baby and we follow the relationship of these two women over the course of the pregnancy.

Both Carolyn Bock (Catherine) and Sarah Ranken (Nellie) do a solid job in portraying the often-tense relationship between these two women. Whilst it initially and naturally took a few scenes for them to appear comfortable with their characters on the preview night of e-baby, their performances feel realistic and honest. Bock finds the right balance in showing a woman who is excited about the prospect of being a mother but also depicting the desperation and shame that she would feel in fear of being seen as less of a woman. She does this both subtly and powerfully through the most miniscule of actions: a fleeting stare, a taut smile and a twitching, fidgety hand. I would have liked to see her more emotive however in the moments where Catherine appears at her weakest and most frustrated.

Ranken similarly finds her stride as the somewhat chaotic but laid-back surrogate, Nellie. The vlogs she posts online to her surrogate community are used as a confessional for the Christian mother of two to express her doubts and uncertainties about being a first-time surrogate. Ranken organically brings to surface Nellie’s naivety in not fully comprehending what she has agreed to, and the conflict this then provokes with her religious beliefs.

Cafarella’s script examines the ‘forced’ friendship between these women, and the profound difficulties that each face after signing such a contract become apparent. The few repetitive scenes can be forgiven due to Cafarella’s tackling of the subject so sensitively and expertly, which is no surprise considering she has been exploring and writing about surrogacy for over 25 years.

There appears to have been great collaboration by production designer Matilda Woodroofe, lighting designer Siobhain Geaney, video designer Brian Cohen and sound designer Kahra Scott-James, as the various technical elements of e-baby come together well in building on the emotions of the characters, but never detract from the characters’ stories or leave us feeling overwhelmed. The poignant illumination of a pregnant woman on to the set’s wooden boxes was particularly effective in showing Catherine’s yearning for motherhood.

e-baby is a good character piece about two women who form an unlikely bond through the blurred lines of commercial surrogacy. The preview performance shows that there is a lot of heart and thought in this work from everyone involved, but the play stays resolutely away from sentimentality to bring to stage an affecting story that is all too real and sad for many people.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran

Season: Until 15 March | Wed-Sat 8:00pm, Sun 5:00pm, Tuesday 10 March and Saturday 14 March 2pm

Tickets: $40 Full | $35 Conc

Bookings: www.chapeloffchapel.com.au or 8290 7000

Musical Theatre, Review, Whats On February 21, 2015February 21, 2015

REVIEW: Stage Art Presents IN THE HEIGHTS

Exhilarating

By Bradley Storer

Melbourne music theatre company Stage Art score a major win this year with the Australian premiere of In the Heights, the musical which opened on Broadway in 2008 and introduced the world to the lives and vibrancy of the urban Latin community in New York City.

This fresh and modern approach to music theatre is cemented in the opening image, a spectacular hip -hop combination from Graffiti Pete (Peter Sette), as well as the musical’s titular opening number which combines extensive rap and lush Latino music and Salsa rhythms that, under the musical direction of Cameron Thomas, throbs with energy and passion. The incredibly talented ensemble handle Yvette Lee‘s complex and pyrotechnic choreography with astonishing ease, although the group numbers tended to blur together towards the end of Act One before roaring back to life in ‘The Club’ sequence.

The cast as a whole should be congratulated, delivering strong performances on nearly every front. Stephen Lopez as Usnavi, the emotional centre and sometimes narrator of the show, brings both charisma and an adorable awkwardness to the role, as well as amazing vocal dexterity and diction in Usnavi’s many rap-based streams of consciousness. As his love interest Vanessa, Bianca Baykara showed off thrilling vocal power and confident dancing, but seemed a little unsure of herself in the role at times. Anna Armenia as Nina had an inexhaustible belt and a sweet stage presence, and James Elmer as Benny made a comic masterpiece out of ‘Benny’s Dispatch’ as well as revealing a lovely pop tenor voice in the character’s more romantic moments with Nina.

Francesca Arena was stunning in the role of Abuela Claudia, the grandmotherly figure who embodies the strength and determination of the Washington Heights community – her tour-de-force story of her journey from her home country, ‘Pacienca y Fé’, was an Act One highlight, Arena unleashing roof-shaking vocals and a gospel-like intensity. Laura Marcucci owned the stage as Daniela, the ballsy local salon owner, in the gossipy ‘No Me Diga’ and as the rousing ring leader of ‘Carnival del Barrio’. Andrew Doyle was cheeky and heart-warming as the frenetic Sonny, Usnavi’s shop assistant.

Director James Cutler and the entire creative team should be incredibly proud of this show and bringing this wonderful story to our shores, which even on opening night had the audience almost leaping to their feet in pure exhilaration and joy.

Venue: Chapel off Chapel, 12 Little Chapel St, Prahran.
Date: 18 February – 8 March
Time: 7:30 Tuesday – Sunday, 2pm Matinee Saturday and Sunday
Tickets: A Reserve $59 Full, $55 Concession / B Reserve $49 Full, $45 Concession
Bookings: www.chapeloffchapel.com.au , Phone: 03 8290 7000, Email: chapel@stonnington.vic.gov.au , at the door.

Image by Belinda Strodder.

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.

Musical Theatre, Performances, Review October 20, 2014October 23, 2014

REVIEW: Australian Premiere of HAPPY PEOPLE IN CONCERT

Marvellous home-grown musical

By Bradley Storer

Australian music theatre composer Matthew Lee Robinson, after the acclaimed concert production of his musical Atlantis earlier this year, returned to Chapel Off Chapel with the presentation of his original work Happy People, a behind-the-scenes examination of the world of children’s entertainment.

The titular group, ‘Happy People’, are a Hi-5/Wiggles-style collective of children’s entertainers who, after ten years working together, are falling apart. Bobby (Bobby Fox) and Sunny (Sun Park), formerly married and recently divorced, are conflicted over residual bitterness and Bobby’s self destructive tendencies. Flamboyant Jewish boy Benny (Tom Sharah) seeks to re-invent himself as a member of a boy band pop star. Jeff (Bert Labonté), the elephant-suited mascot of the group, wants nothing more than to move to his recently-bought new home and settle down with the fifth member of the group, Sally (Gretel Scarlett) – a bright bouncy blonde with the sugary sweetness and rigidity of a Stepford housewife.

The show as a whole is fantastic – Robinson, doing double duty as composer and librettist, crafts hilarious sendups of songs that seemed almost ripped from a real-life children’s TV show, as well as some emotional ballads and duets that throb with the complexities and heartaches of adulthood, alongside well-crafted scenes that had the audience in tears from laughter.

In the cast, there are no weak points – even from behind music stands and carrying books, they delivered fully committed and individuated performances. Scarlett as the manically cheerful Sally shows off some fantastic comedic chops, as well as her stunning voice of both range and power. Sharah as Benny comes close to stealing the show with every line, and his song ‘Boyband’ is a comedic and physical tour de force of every 90’s boyband stereotype. Robyn Arthur in the small but crucial role of the band’s manager Poppy brought a solid and earthy maturity to the part, as well as a rafter-shaking belt in the touching penultimate song ‘Young’.

Happy People stands as a strong work from an established Australian composer, and is great evidence of the vibrancy and originality of the emerging Australian musical scene.

The premiere of Happy People in Concert took place at Chapel off Chapel, 12 Little Chapel St, Prahran on the 18 – 19th October, 2014.

Dance, Festivals, Review October 7, 2014

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.

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.

Musical Theatre, Review, Whats On September 28, 2014

REVIEW: Ghost Light and Moving Light Productions’ CARRIE: THE MUSICAL

Things will get bloody…

By Margaret Wieringa

Initially, the tale known by most as a horror film from the seventies seems like an odd choice for a musical. But, at the heart of Stephen King’s novel Carrie is the story of a girl who is oppressed by her mother and tormented by her peers until she breaks. The twist, as most people know, is that she has telekinetic powers, and wreaks a brutal revenge of those who have hurt her. Carrie: The Musical deals a story so epic it could have been an opera.

The show begins with a musical number that shows off the talents of the strong supporting cast. The busy and eye-catching choreography by Lisa Minett draws the audience into the world of the musical as well as the angst of high school. When Emily Milledge enters, she brings all of the awkward misfit elements of Carrie and even when the beautiful swan emerges, she retains a hint of the fearful girl within. The duets between Carrie and her mother, played by Chelsea Gibb, are intense and passionate. It really is a cast of strong female performers, with Chernae Howlett also capturing the deep nastiness of Chris Hargensen as she manipulates those around her, and sets out to ruin Carrie’s life.

The stand-out performance, however, came from Hollie James as Sue Snell. Easily able to hold the stage on her own, she showed all the poignant sweetness and kindness the character required. Her duet with Jack O’Riley playing Billy Ross at the start of the second act was delightful.

Clearly, it was going to be a challenge to have objects flying around and the utter destruction of a whole town shown on stage – especially the small stage at Chapel Off Chapel. However, director Terence O’Connell and his excellent production crew really make a little go a long way. While the explosive scene at the prom is quite short, the combination of the sound and lighting with clever choreography gave it the intensity to be extremely effective. The solid musical accompaniment of the band helmed by David Piper allowed the cast to shine throughout, especially during this dramatic finale.

Carrie: The Musical is the debut production for Ghost Light, a company that aims to present premieres of musicals locally, as well as creating new musical and physical theatre. They have certainly started with a bang, and will be worth keeping an eye on.

Venue: Chapel Off Chapel,
Season: 25 September – 12 October, Wednesday – Saturday 8pm, Saturday matinee 4th and 11th October 2pm, Wednesday matinee 8th October 1pm, Sunday 6pm
Tickets: $49.50 Full, $39.50 Concession and groups of 10+
Bookings: http://chapeloffchapel.com.au/

Events, Musical Theatre, Review, Whats On September 14, 2014September 14, 2014

REVIEW: Australian Premiere of HIGH FIDELITY The Musical

Spin the record

By Narelle Wood

High Fidelity the musical, the latest production by Pursued by Bear, is a fun look at the ups and downs of relationships, making mix tapes and coping with becoming the-most-pathetic-man-in-the-world.

Set in ‘the last real record store on earth’, the musical follows Rob (Russell Leonard), the record store’s owner, through his break-up with girlfriend Laura (Simone Van Vugt). In amongst the heartbreak, Rob finds himself slapped by female friend Liz (Lisa Woodbrook), haunted by girlfriends past, and having to work with his two quirky staff members Dick (Liam O’Bryne) and Barry (Scott Mackenzie), not to mention dealing with Laura’s new love interest, Ian (Jason Bentley).

In typical Nick Hornsby-style, High Fidelity has lots of quips and sarcasm, and director David Ward has guided his cast to deliver their lines with superb comedic timing. Not only do the leads provide laughs in their dialogue but there are also some brilliant comedic moments subtly delivered by the chorus; at times it was difficult to know where to look, there was just so many character idiosyncrasies to take in. Comedy aside, there are some amazing singing performances, most notably Van Vugt, Mackenzie, Woodbrook and Anisha Sanaratine as Marie La Salle

There were some small opening night issues with what appeared to be some first-performance nerves at the start of the show, and some technical issues with the microphones and some lighting cues. The biggest problem was the choreography; with such a small stage and a fairly large cast there were times when there was too much going on and the dancing seemed to be there unnecessarily. That being said, when the choreography had a purpose it was brilliant, for instance at the start of the show and when Ian visits Rob: these moments ended up being amongst my favourite parts.

This is the Australian premier of High Fidelity and the program acknowledges the risk that Pursued by Bear has taken with this production, but the risk has definitely paid off. Between the music, the funny moments and the storyline, this is not just a must see, but a must see twice.

Venue: Chapel off Chapel,
Season: 11 – 21 September, Thursday – Saturday 7.30pm, Sunday 5pm
Tickets: $37.50 Full | $32.50 Conc
Bookings: http://chapeloffchapel.com.au/ticket-sales/

Events, Performances, Theatre, Whats On May 30, 2014May 30, 2014

REVIEW: Fly on the Wall Theatre Presents TELENY

Taking it slow…

By Margaret Wieringa

When a young and sexually inexperienced man in 1920s Paris meets a talented pianist, the world and everything he believes in is turned upside-down. Believed to have been written by Oscar Wilde and his circle, Teleny pulls no punches when it comes to graphic and shocking sexual stories.

A grand piano dominates the stage, set among the stunning chandeliers and chaise longues. It is used innovatively throughout the performance, but none more so than in the beautifully choreographed sex scene between the two lovers. Actors Tom Byers and Dushan Phillips use every muscle in their bodies to create stunning visual images of love and lust, captured in the light and shadow of excellent lighting design.

The challenge to these two actors was not just the physical lovemaking scenes, but conveying the aloof and sarcastic nature of the pretty young things of Wilde’s world. At times, the emotion of the scene was lost in the words and tone, but once the characters lose themselves to love, the words came more naturally.

The second half of the performance opens with the salon scene – an orgy of delights, with naked men performing poetry (well, bawdy limericks), storytelling and a hilarious commedia dell ‘arte number, and ends in a violent act that director Robert Chuter has somehow managed to keep tasteful.

Unfortunately, for me, all of the good things about the play were severely outweighed by the self-indulgent length. When, after two-and-a-half hours the lights came on and we were informed that there would be a twenty-minute interval, there were various sounds of surprise from the audience. There were a considerable number of people who did not return after the interval, and I suspect it was the length more than the content. The performance would have benefitted from some severe editing to ensure that the story that was being told was kept, but that it didn’t drag on and on. Throughout the show, various non-naturalistic techniques were used to tell a lot in a very snappy manner, and perhaps more of this could have been incorporated.

Venue: Chapel off Chapel, 12 Little Chapel Street, Prahran
Dates: May 29 – June 15, Wednesday-Saturday 8pm, Sunday 6:30pm
Price: $37.50 Full, $34.50 Concession (+ Transaction Fee)
Tickets: www.chapeloffchapel.com.au or call (03) 8290 7000

PLEASE NOTE: THIS PERFORMANCE IS SUITABLE FOR MATURE AUDIENCES 18+ CONTAINS NUDITY, SIMULATED EXPLICIT SEX SCENES, DRUG USE, COARSE LANGUAGE AND SMOKE EFFECTS