Tag: The Butterfly Club

Cabaret, Performances, Review

The Butterfly Club Presents ARTS CAPTAIN

Excruciatingly funny

By Narelle Wood

Arts Captain details the triumphs and tribulations of over zealous Arts Captain Theodore Etherington in a show that can easily be described as The Office meets Glee.

Arts Captain.jpg

We first meet Theodore (Jayden Walker) just before the first school assembly of the year. Theodore’s plan is to literally make such a song and dance about his prefect position that no-one, including the new drama teacher will have any doubt over who’s really in charge. There is one small glitch in Theodore’s plan – he can’t sing and his dance moves are reminiscent of the uncoordinated kid at the back of the Rock Eisteddfod ensemble. It is very quickly established, at least for the audience, that Theodore is all glitter and glam and with not much of a gift for the musical theatre genre.

The story is a familiar one – ego temporarily crushed, dramatic unleashing of blame and venom upon anyone within spitting distance, and some salvation in the end. What makes this show work is the way Walker has carefully crafted the narrative, the ease with which he breaks the fourth wall and returns to character, and the nuanced (and overtly obvious) references to Broadway littered through out. As a teacher I appreciated the self-deprecating, self-awareness of what it’s like to teach a student of Theodore’s ilk. As far as musical selections go, I was impressed with the selection of songs and how they, mostly (by Walker’s own admission), fitted with the narrative. However, I will never quite be able to listen to I Dreamed a Dream again without conjuring up images of Walker’s tortured rendition.

There were only two things I struggled with. One, Walker was at times very quiet and it was hard to hear him above the ambient noise coming from outside the theatre space. And two, I wanted to hear if he could really sing; I’m sure there was an in-tune note there somewhere in his repertoire. Those two things aside, it was guffawingly brilliant in its cringe-worthiness.

Arts Captain is every bad high-school musical moment rolled into one and Theodore is so realistic that I found myself thinking “My God, I think I’ve taught this kid”. I hadn’t. Arts Captain is obnoxious and entertaining. If this is the calibre of show Walker is producing as he’s starting out, I can’t wait to see what he does as his career evolves.

Arts Captain was performed at The Butterfly Club, Carson Place, Melbourne at 7pm Sat 25th & Sun 26th February, 2017.

Cabaret

The Butterfly Club Presents SUBURBAN GOTHIC

Fearsomely funny and frighteningly familiar…

By Myron My

Cabaret doesn’t get more macabre and twisted than in Suburban Gothic. There is definitely “some spooky shit going down” in the show, but what makes it even more unnerving is that it is all apparently taking place just down the road from where you live – or even closer to home… 

suburban-gothic

What initially seem like charming and innocuous cabaret songs soon turn grim and morbid at the masterful musical hands of writers Karlis Zaid, Mark Jones and Karin Muiznieks. The songs and a torrid trio of stories cleverly expose the dark underbelly of the suburbs in wry and witty ways, with no topic taboo. 

Thus, a happy inner-city-dwelling couple head off to a friend’s house in Caroline Springs only to become frustrated and panicked upon getting lost in the ‘burbs, a “proud” father-of-the-bride gives a heartfelt wedding speech to his daughter and her “terrorist” husband Miguel, and two strangers at a park battle it out as to who is the prouder parent. 

Performers Aurora Kurth, Zaid, and Jones all have strong commanding voices on stage, well-crafted characterisation, and Kurth and Zaid’s duets are especially impressive. Jones accompanies these original songs on piano with his usual aplomb, and the numbers create an intended atmosphere of apprehension and uncertainty when arrangements of mostly upbeat “happy” music contrast unsettlingly with the grim and satisfyingly satirical tone of the lyrics.

Meanwhile, the settings of each song and scene are successfully constructed with minimal set pieces and a few quick wardrobe changes, allowing the audience to fully immerse themselves in the performance. This is all supported by Steven Gates’ simple but meaningful direction of the cast, and the neat and discrete lighting effects. 

It’s a complex mixture of feelings when Suburban Gothic ends. It’s a highly entertaining and ruthlessly funny and clever show, it’s also quite relentless in digging deeper and deeper into the things we usually would rather not think about or want to be confronted with. When the nervous laughter has subsided, we can of course take comfort, however, in knowing that it was just a show and these sorts of things don’t happen here. After all, as the trio say on stage, it’s all mostly satire. Mostly. 

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: Until 29 January | Fri – Sun 8:30pm
Tickets: $32 Full | $28 Conc
Bookings: The Butterfly Club

Review, Theatre, Whats On

Out Cast Theatre Presents DISTINGUISHED GENTLEMEN (BUT REALLY JUST A COUPLE OF ***TS)

Sordid, outrageous, and unashamedly funny

By Myron My

The title says it all really. Presented by Out Cast Theatre for a limited return season, Distinguished Gentlemen (But Really Just A Couple of ***ts) is a riotous look at two dirty old Regency gentlemen who lust after a mysterious young stranger. The two scheme their way to not only one-up each other, but also to ensnare the stranger into their bedroom, however they’re not the only ones with a trick or two up their… sleeve.

Distinguished Gentlemen.jpg

Steven Dawson and Wayne Pearn as Sir George Barrington and Lord Henry Burridge are clearly having a lot of fun with their characters, who are well established with enough backstory and motivation to make them satisfying and almost believable, apart from the sheer absurdity of the story. Tosh Greenslade as Simon Latimer, the attractive young man, rounds out the trio and does well in maintaining Simon as the “straight” role and ensuring the narrative pushes forward. While I can see how a sense of mystery to his character is required, a few hints and teases here and there might have allowed him to be as well fleshed out a character as Sir Barrington and Lord Burridge were.

Dawson also serves as writer and director of Distinguished Gentlemen and while keeping with the language of the period, manages to squeeze in more sexual innuendos and puns than you could poke a stick at. The jokes might be lewd and the humour crude, but they are entertaining and for the most part, unexpected and refreshing. The story is a little rough around the edges and could do with some – er – tightening, but again, its outrageousness and salaciousness are what make this farcical piece of theatre a delight to watch as the three men go head-to-head (so to speak) to get what they desire.

At its core Distinguished Gentlemen (But Really Just A Couple of ***ts) is a sordid tale about power, lust and revenge but with a dollop of buffoonery and plenty of buggery. These distinguished gentlemen may be a couple of ***ts, but they are a couple of funny ***ts in a show that will definitely have you feeling a little hot under the collar – from laugher.

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: Until 15 January | 8.30pm 
Tickets: $32 Full | $28 Conc 
Bookings: The Butterfly Club

Cabaret, Review, Theatre, Whats On

Christopher Samuel Carroll in EARLY GRAVE, FASHIONABLY LATE

Erudite, eloquent and deliciously fast and funny

By Joana Simmons

 Wax your moustaches and tighten your bowties, the dandiest and most daring storyteller has made his way across shores, through jungles and fantastical places to grace The Butterfly Club for one week only. Early Grave, Fashionably Late is a rollicking, rousing, intellectual one-man show set in the Victorian era – a time of tweed and all things twee. Writer-performer Christopher Samuel Carroll is Bennet Cooper Sullivan; fearless explorer, raconteur a charming gentleman, a reluctant detective. He creates a wondrous world with the most colorfully-crafted language I have heard in a while: it’s almost word-porn.

Early Grave Fashionably Late.jpg

Opening with an epic adventure soundtrack and an equally epic moustache, Carroll’s experience as a physical performer is clearly defined. The wordy beginning is not for the slow-witted, so make sure you are on the ball and ready to roll with it as the words drip off his tongue like the smoothest cognac. The ever-so-charming Bennet Cooper Sullivan passes his business card to the ladies in the audience and tells us he is a man of the world, having been to lost civilizations and secret passages, and wound up in Dublin, 1889, where our story takes place. We are darted from word to world, memory to moment, guided by Carroll’s energetic and expressive storytelling and physicality. The plot thickens, amusing asides and witty one-liners leave us in laughter and keep us on the edge of our seats. Without giving too much away, there is blackmail, adultery, murder, lions, cigars and a hilariously mimed penny-farthing chase. Carroll’s finesse is like I’ve never seen and this show is truly classy comedy. Tongue-in-cheek moments abound, but it is so refreshing to see that the art form of wit and fabulous writing is still alive.

It takes a lot of skill to turn a bare stage into a wonderful world and hold an audience’s attention for just less than an hour. The lighting did a wonderful job in transporting us into dens, parks and underwater. I think sound could have taken the show to another dimension – Carroll’s language and physicality did a lot, but sounds like wind in the trees or the hustle of a Dublin cock-fight could make it a full sensory experience. Similarly, Bennet Cooper Sullivan looked delightfully dapper in a three-piece tweed suit; though some more finery such as pocket watch, a real journal instead of a mimed one and perhaps some more ‘things’ onstage, could help give the look of the show extra polish: plus, a handkerchief wouldn’t have gone astray on a scorching Tuesday like the one upon which the show opened.

I am astonished by the amount of work that Carroll has invested to give the characters so much depth and deliver such a wordy script at such a high intensity and maintained throughout the show. I do feel there could have been more time for pauses and breath however, for us the audience to digest (as most monologues are certainly meaty) and for Carroll to give more dynamic and variety in his delivery. That being said, the story structure itself was flawless.

Any fans of Oscar Wilde, Sherlock Holmes, or even Stephen Fry will delight and gush at this show. Writers, readers and story-believers: those who are sick of the song-story-song-story-joke-song-story one-person shows must get along to this fresh and fascinating creation spit-spot. There’s a show in Canberra on Dec 20th, and Early Grave, Fashionably Late on in Melbourne till Saturday. Book now.

Dates: 13 – 17 December

Time: 8:30pm

Cost: $25-32

Venue: The Butterfly Club, 5 Carson Place, Melbourne

Tickets: thebutterflyclub.com

Cabaret, Review, Whats On

The Butterfly Club Presents THE ROAD TO STOCKHOLM

Riotous funny Euro-revision

By Narelle Wood

It is on my bucket list to go to Eurovision just once in my life. Until that happens, I’m very much content to see satirised cabaret versions, especially if they are the quality of The Road to Stockholm.

The Road to Stockholm.jpg

This show has all the drama, glitz and glamour that Eurovision is known for, with some added bonuses such as some international intrigue, and some subtle, at least in comparison to the dance moves, political and social commentary. Boris (Matthew Hadgraft) is a Russian singer, recently separated from his very popular boy-band and hell-bent on becoming an international superstar. Lenka (Jessica Papst) is a Ukrainian YouTube star with a passion for Roxette, and Boris. Boris is so naïve, trusting and overconfident that it’s an endearing recipe for disaster. And Lenka’s desperation for everyone to like her makes her the perfect target for heartbreak. With the help of Boris’s manager, her hairdresser and Lenka’s best friend, this unlikely duo are set to become the first ever bi-country entrants into Eurovision.

There is so much to love about this show. The soundtrack is tragically fantastic with a number of Roxette songs, and featuring the likes of Madonna, Gina G, and a number of originals all sung with ‘authentic’ Russian and Ukrainian accents. Behind all the over choreographed and over danced dance moves, is a spy backstory and a disgruntled child performer out for revenge by taking advantage of Russian/Ukranian relationships, Russian prejudices and Eurovision fans. The result is a high body count and a Eurovision farce. The high drama works and both Hadgraft and Papst are brilliant. The humour is outrageous and self-deprecating and it’s full of great one-liners that are laugh-out-loud funny. While it is based on Eurovision, it doesn’t rely on it so you don’t need to be au fait with Eurovision to find this absurd storyline amusing. That being said, if you were playing the Eurovision drinking game during the show, you’d be very close to having your stomach pumped; the only things missing were wind machines and fire-works.

The Road to Stockholm is a genuinely good time; I laughed the whole way through. Whether you’re a Eurovision neophyte or dedicated fan, or even if you’re interested in what a sassy Ukrainian accent might sound like, this is definitely worth checking out. 

Venue: The Butterfly Club, Carson Place, Melbourne

Season: Until 11th December 7pm, Friday 6pm

Tickets: Full $32| Conc $28

Bookings: thebutterflyclub.com/show/the-road-to-stockholm

Cabaret, Review, Whats On

Emma Maye in GRUMBLE: SEX CLOWN SAVES THE WORLD

Full frontal at the forefront

By Narelle Wood

Grumble: Sex Clown Saves the World seemed like an intriguing premise for a show; the title alone peaked my curiosity. Unfortunately what unfolded over the next hour did not hold any where near the same appeal for me as the name.

Grumble.jpg

Emma Maye emerged on stage as Betty Grumble, made up to look more like a stereotypical drag queen than clown. This was the most thought-provoking it got, as I began to wonder exactly what constitutes a clown. The show consisted of a lot of shimming, slapping and shaking along with some explicit moves and some very full and very nude, full frontal nudity. To say that Maye left it all on the stage is an understatement. While the nudity might be considered part of an act that identifies itself as feminist, I thought the sexual antics were there for shock value rather than necessarily trying to make a statement, or at the very least a coherent statement. There were a number of political messages thrown out to the audience, including the evils of reality t.v. stars, mining magnates and of course the patriarchy. There certainly was no fresh perspective being offered.

For me, the combination of sex-clowning and world-saving didn’t work. The idea of sex clowning seemed to be nothing more than an excuse to turn the cabaret into adult entertainment. There was also very little saving of the world. There was a stereotypical and earnest message at the end that one person can make a difference, oh, and don’t forget to buy the merchandise on your way out.

To be fair, even though I really didn’t like this show, I seemed to be in the minority. There were some very good tone shifts and Maye certainly captivated her audience; a much younger and more alternative crowd than I represent. Maye can clearly sing but mostly favoured miming instead. She can also clearly dance, but for me naked high kicks are something I’m okay with only seeing once in my life. And I think that is another problem I have with the show; the 18+ rating in no way indicates how graphic this show is, and that feels dishonest.

I left feeling confused about the show’s purpose, a show that was only seemingly held together by the very annoying persona of Betty Grumble. In short, I won’t be rushing back, but if you fit the demographic and appreciate the exploration into disjunctive, graphic theatre then this may be, not necessarily entertaining, but an interesting adventure.

Venue: The Butterfly Club, Carson Place, Melbourne

Season: Until Sunday 11th, 8.30pm

Tickets: Full $32| Conc $28

Bookings: thebutterflyclub.com/show/grumble-sex-clown-saves-the-world

Festivals, Review, Theatre

Poppy Seed Festival Presents WHAT’S YOURS IS MINE

Ambitious attempt to traverse an Australian cultural landscape

By Myron My

“Give me a home among the gum trees, with lots of plum trees…” How the Australian dream has changed since 1974. But has it been for better of for worse? Presented as part of the Poppy Seed Festival, Hotel Now’s What’s Yours Is Mine explores Australian values and ownership of a land that was never ours to own, with an elaborate touch of campness.

Whats Yours is Mine.jpg

The show begins at a reunion for Olympic Games volunteers where three friends – Milly, Ollie and Syd – reconnect and decide to go on a road trip together; Milly has just quit her job, Ollie has a car and Syd just wants to get away from everything. Cue road-trip montage and offbeat adventures as the three friends travel through the country.

The performances from Hayden Burke, Simone French and Tom Halls are full of energy and commitment, and having seen French and Halls in Hotel Now‘s 2016 Melbourne Fringe Festival show, Nothing Special, I found the two continue to share some great chemistry on stage. The direction by Yvonne Virsik is insightful and provoking in the way she chooses to represent and display the ideas raised in show.

What worked brilliantly in Nothing Special was the focus on an aspect of modern culture that was explored to the extreme. Sadly, I feel this doesn’t work as well in What’s Yours Is Mine, as this look at Australian culture is far too broad in scope, and what we end up seeing is a whole lot of ideas, but a disjointed story that is difficult to connect with.

There is a scene where the three characters describe all the “ingredients” needed in explaining what makes ‘Australian culture’, and I couldn’t help wishing the creators had taken their own advice here and been more refined and less haphazard with what they chose to explore and how they choose to do it. As it stands, What’s Yours Is Mine is a pretty performance to look at on the outside, but on the inside I’m afraid it felt a bit of a mess.

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: Until 4 December | 8.30pm
Tickets: $35 Full | $25 Conc
Bookings: The Butterfly Club

Cabaret, Review, Whats On

Chrissie Shaw in BIJOU: A Cabaret of Secrets and Seduction

Musically delightful

By Myron My

We’ve all made choices in our lives or been in situations that we’ve lamented over. In Bijou: A Cabaret of Secrets and Seduction, we are taken back to 1933 and into Bar du Papillon, where Bijou shares her memories of secrets, sorrow and love through story-telling and song. 

Bijou.jpg

Chrissie Shaw has selected a variety of songs and music authentic to the era and her voice perfectly encapsulates the emotions experienced with each song, from anger to sadness to joy. While I don’t understand a word of French, when Shaw breaks into her vocals throughout the show, her body language, facial expressions and tone still allow the meaning behind the song to be conveyed. Accompanying Shaw on piano is the highly talented Alan Hicks, who plays – and sings – with aplomb and is very much at ease in his interactions with the audience.

However, Bijou’s recollections of important moments of her past that feature in her story-telling unfortunately failed to leave a similarly strong impression on me. I was often left unsure what the story was or unable to see how this fit into the bigger picture. I found it very difficult to find empathy for Bijou and the humour didn’t always hit the right mark with the audience.

While the direction by Susan Pilbeam is engaging and active, the constant walking and performing up and down the aisle in the space  – which caused audience members in the front rows to constantly turn around – started to wear thin. Bijou’s intention in thus interacting with the audience may have been to build a stronger relationship and affinity with us, but ultimately it came across as rehearsed rather than genuine.

Sadly, my experience watching Bijou: A Cabaret of Secrets and Seduction left me feeling rather disappointed no real secrets had been divulged and very much unseduced by the life of Bijou. While the songs and music are entertaining and enjoyable, it seemed to me the heart of this performance is yet to be found.

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: Until 27 November | 7pm 
Tickets: $32 Full | $28 Conc 
Bookings: The Butterfly Club

Cabaret, Review, Whats On

Benn Bennett in OCCASIONAL SUBURBAN WITCH

Delightfully and darkly bewitching

By Bradley Storer

The ‘witchy woman’ of the Western suburbs gathering ingredients for her potions under the scrutiny of her perplexed neighbours – song-writer Benn Bennett uses this opening image as our gateway to explore ideas of modern witchcraft in relation to the role of women in society.

Occasional Suburban Witch.jpg

Bennett is a charming and charismatic host for the evening as he guides us through the combination of original songs and occasional cover to celebrate femininity and the wisdom of women. His topics range from the previously mentioned ‘suburban witch’, his inability to ever be a ‘nonna’ to dream-like love songs involving orange trees (it makes sense in context).

Sarah Ward provides backing vocals for Bennett as well as taking lead during several songs, her huge range shown off in a Balkan gypsy-esque vocalese that segues into a dramatic rendition of the Stevie Nicks classic ‘Rhiannon’. Ward comes close to stealing the entire show with her hilarious background moments of physical comedy, making it hard to take your eye off her even when silent. Bec Matthews in addition to providing backing vocals is virtuosic in her drumming ability, using brooms all the way to kitchen implements to create percussive backings for Bennett’s music.

For those with a taste for the occult mixed with a dash of feminism, Occasional Suburban Witch is a dark delight that begs to be devoured!

Venue: The Butterfly Club, Carson Place (off Lt Collins St)

Time: 7pm

Dates: 16th – 20th November

Bookings: www.thebutterflyclub.com or at the door.

Price: Full $32, Concession $28, Members $26, Group (6+) $25

Cabaret, Festivals, Performances

Melbourne Fringe 2016: AWESOME OCEAN PARTY

Quaint, quirky and awash with gentle charm

By Myron My

We’ve all been invited to a party – an ocean party for our half-human half-octopus friend. Created and performed by Giema Contini, Awesome Ocean Party is a 60-minute cabaret-comedy-performance piece that explores loneliness and acceptance through the eyes (and three hearts) of this hybrid creature.

Awesome Ocean Party.jpg

Contini has great physicality on stage and fully conveys the awkwardness of her character that later reveals to us that it is her birthday whereupon the human side to her begins to surface. Her interactions with the audience are sweet and genuine and convey her longing to belong and be accepted.

While the original performance of the show was staged in an empty swimming pool, for this remount Contini has chosen to perform in The Butterfly Club. With its own quirky feel and some specific set pieces, you willingly believe that you are in some underwater/beach environment. The fish tank in the centre of the stage is a constant reminder of where she has come from and the seashell sandpit is utilised well as a place for her to feel safe and happy.

The highlight of Awesome Ocean Party is the biographical picture-story book Contini reads to the audience, from her birth to the death of her parents and then finding hope and strength. It’s a touching story and the illustrations in the book and the descriptive passages create some stunning visuals for us. The music composed by Nathan Stoneham and played by Ned Dixon support the story – and the performance as a whole – in creating a feeling of belonging and being connected.

Contini has a great voice and the timing and pacing of her songs is well structured to keep the momentum (and a bit of awkwardness) going. Songs like “Under The Sea” from The Little Mermaid and Andrew Gold’s “Thank You For Being A Friend” (which most people would recognise as The Golden Girls theme) express her sea-dwelling and land-dwelling aspirations and desires while also exploring the differences of her life.

There is a whimsical aspect to Awesome Ocean Party that makes you warm to Contini and the show almost immediately. It is uplifting and entertaining while encouraging you to remain true to yourself and your convictions, and believe that everything will turn out the way it should.

Awesome Ocean Party was performed as part of the Melbourne Fringe Festival from 20 – 25 September, 2016.