Theatre News

Enjoy a saucy evening in a dimly lit Parisian bar as the aging, exotic and irresistible Bijou weaves her tale. Chrissie Shaw, 72 year old award winning theatre veteran, brings her gem of a cabaret to The Butterfly Club, giving audiences a a rare glimpse into the private and sensual world of an aging woman on the fringes of society.

It’s Paris, 1933. Bijou enters the Bar du Papillon ready to regale the other regulars with her scandalous tales and lurid palm readings. Her glory days are long gone, but she basks in their glow. This bubble is burst as she catches sight of an unflattering photo of herself on the wall. Who is this ‘Nightmare from Baudelaire’, in tatty fur and fake pearls? Insulted, she launches into a wild recounting of her life, a tale of seduction, secrets, reinvention and triumph.

Once Queen of the Demi-Monde, Madame Bijou is one of the night people captured in Brassai’s revealing photographs of depression-era Paris. Chrissie Shaw first glimpsed a photo of her at the National Gallery of Victoria, six years ago. She was hooked. She says “since then I have taken an engrossing journey through the streets and tunnels of Paris, its years of turmoil and triumph, a lot of French literature as well as much internet surfing”.

Bijou is a sumptuous feast of Satie, Weill, Lenoir, Hollaender, Bruant, Saint-Saens, Debussy and a tasty tale of love, lust and loss. Chrissie Shaw is joined by leading accompanist Alan Hicks as the long-suffering bar pianist and occasional reciter of symbolist poetry.

Show Details: Bijou

Dates: 23^rd – 27^th November

Time: 7 pm

Cost: $25-32

Venue: The Butterfly Club, 5 Carson Place, Melbourne

Tickets: thebutterflyclub.com

Suffering from Festival withdraws? Don’t despair, this November Theatre Works presents exciting new works from Melbourne’s most daring independent theatre makers.

ANIMAL by inFlux | 17 – 27 NOVEMBER
Two sisters prepare themselves for society, one punch at a time. ANIMAL is a dark horror, a minute tale of epic proportions. Developed by theatre makers Susie Dee, Kate Sherman and Nicci Wilks, ANIMAL asks the question: how do women respond to a world that celebrates the brutishness of men? >> Watch the trailer

Theatre Works
14 Acland Street St Kilda 3182

To all members of our TAT family, readers and contributors, who celebrate Diwali..

We wish you Safety, Good Health, Happiness, Prosperity and Good Fortune.

May they all be with you in the coming year.

HAPPY DIWALI!

Suffering from Festival withdraws? Don’t despair, this November Theatre Works presents exciting new works from Melbourne’s most daring independent theatre makers.

ANTI-HAMLET by Mark Wilson | 03 – 13 NOVEMBER Presented by the New Working Group ANTI-HAMLET is the final work in Mark Wilson’s trilogy of radical excavations of Shakespeare’s iconic plays. A raucous and ruthless expose of Australia’s cultural and political identity crisis. Starring: Marco Chiappi, Natascha Flowers, Natasha Herbert, Brian Lipson, Marcus McKenzie, Charles Purcell and Mark Wilson.
Theatre Works 14 Acland Street St Kilda 3182

zPetraSexual Promo Main 1MB (Photo credit Alison Hoelzer)

By popular demand, Petrasexual is back this November at The Butterfly Club.

A cabaret that evokes discussion about sex, in a venue at the end of a Melbourne laneway with its cocktail bar full of conversation-starting kitsch. The pairing of venue and performance is a perfect adventure for those on a first date, or wanting a memorable night out with friends. And for those visiting Melbourne for the Spring Racing Carnival, it’s also a great opportunity to get a taste of what the Melbourne arts scene has to offer.

Petrasexual, part of The Butterfly Club 2016 Curated Spring Season, examines a society which often has a narrow definition of sexuality, gender and ‘acceptable behaviour’. Through a hilarious and emotive narrative, Petra reflects on her own less-than-romantic experiences that led to an understanding that everyone’s got their something. At times raw and emotive, it’s also a clever and funny perspective on society that leaves you with a sense of empowerment and pride in your sexuality.

With soulful piano by Adam Rudegeair (The Bowie Project, Lake Minnetonka), who has provided musical direction in both seasons, Petrasexual now welcomes Ben Christensen (Frankie Wants Out, The Bird Conference) to the trio on double bass.

Paired with a bespoke cocktail inspired by the show and crafted by The Butterfly Club’s incredible team, Petrasexual is a smart, sexy and sensational night out for one, two, three or more … there’s no judgement here.

Show contains brief, partial nudity, and a little bit of blue language.

Presented by

The Butterfly Club

5 Carson Place (Off Little Collins St), Melbourne

Time: 8:30pm

Date: 2-6 November (Wed-Sun)

Tickets: www.thebutterflyclub.com/show/petrasexual

Phone: 03 9663 8107

These are scary times. Donald Trump might actually become president, nobody under 30 can afford a house and if you don’t have a booty like Nicki Minaj you’re actually going to have to work instead of twerk. If “the age of entitlement” is indeed over, then Carla Conlin is ready to throw it a cabaret-style farewell party to end all parties.

Wearing the modern day armour of a fabulous gown and wielding a glass of champagne, Carla explores what it takes to make us happy. This heroine of Gen Y lays her life on the line as she seeks the truth behind the facebook posts and the idea of the happily ever after.

Drawing on Frank Sinatra, Disney and the NY cabaret scene for musical inspiration, Carla cleverly uses lyrics to explore the theme. Taking a mix of new and well-known songs, she up-cycles and repurposes them to tell some hilarious cautionary tales that will leave you laughing with recognition or squirming in sympathy.

Equal measures biting social commentary and wild pop-soaked cabaret party, Where’s My Pony tears up the inter-generational social contract and throws in in the air like confetti. It suggests that if we are all going to die in debt, we may as well max out our credit cards on excellent champagne, shared with friends, against a background of excellent music.

Carla teams up again with Matthew Carey (The Sound of Music, Grease) as musical Director, having written and performed sell out shows at successive Adelaide Fringe and Adelaide Cabaret Fringe festivals, including a sold out season of Where’s my Pony.

Show Details: Where’s My Pony?

Dates: 23^rd – 27^th November

Time: 7 pm

Cost: $25-32

Venue: The Butterfly Club, 5 Carson Place, Melbourne

Tickets: thebutterflyclub.com

Have you ever felt that you lived in a fishbowl? Your every action observed and your every move tracked? Do you think that politicians and well-known figures are also put on display by the media and our twitter-obsessed world? How do you survive in this world…and how far will you go to ensure your safety?

Three fish swim peacefully in an aquarium, playing card games (Go Fish!) and cleaning the tank. There is a little tension provided by one hard-working bottom-feeder and one salty (a saltwater fish in a freshwater tank) but really life is pretty good. When a fourth fish creeps into the tank, he initially sits back, attempts to fit into the pecking order (even tries to play the game) but it doesn’t take long for the status quo to change.

There is something strange happening to the tank. It seems that they have been abandoned – the temperature rises, food is only distributed intermittently, and despite their best efforts, the tank is getting dirtier. It seems these changes are all it takes as each fish’s true colours come out. They begin to turn on each other as their vulnerabilities are exposed.

TANK is cleverly rendered. The characters exhibit mildly fish-like qualities, like not being able to breathe without saltwater, but it is largely through language and the set that indicate the environment. It taps into our conscious on every level – our relationship with the environment (including climate change and denial,) power-plays and politics, familial relations and even just the way we all must get along (or not.)

The four person cast, Nick Maclaine, Izzy McDonald, Geordie Crawley, and Tristan McInnes form a solid ensemble with an obvious camaraderie. Some of the actors are a little one-note, however this works well for the play and their characters are short-lived, making it more endurable. TANK is a close look at society and how we can either bury our heads in the sand or take a leap of faith.

When: 11th – 29th October 2016 (8:30pm)

Where: The Blue Room Theatre, Perth

Tickets: $18 – $28

Info: Matinee 6pm 29th October; Q&A after show Wednesday 19th October

Link: http://blueroom.org.au/events/tank/

About Laura Money

Is an avid theatre goer, reader, art gallery guide and museum enthusiast. She enjoys all aspects of theatre, from the deep and meaningful to the whimsical and kitsch. As lover of all things in the world of humanities, she is very proud of the vibrant art scene in Perth. It truly is an exciting place to be!

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

What better way to spend a balmy Melbourne evening than to head into the lovely St Kilda for some theatre. When I heard that Adam Sandler’s The Wedding Singer had been adapted into a musical I couldn’t help but get excited and start singing ‘You spin me right round baby, right round.’ The movie brings back so many fun memories for me and I was intrigued to see how the live musical would be transformed. I am happy to say that it did not disappoint!

The Wedding Singer is currently playing at Theatre Works in the eccentric suburb of St Kilda. The musical, which is a variation of the movie is presented by Playback Productions, produced by Connor Absolum and is led by director by Monica Cioccia.

The production, which runs for 2 hours (including interval) takes us back to a time of satin bridesmaid dresses, puffy shoulders, crimped hair dos, and, legwarmers.

Set in 1985 the story follows rock-star wedding singer Robbie Hart as he dances and sings upon the stage, he’s the wedding singer everyone wants to have and he loves weddings! That is until, his fiancé, Linda, leaves him at the altar. Robbie is simply heart broken and can no longer find happiness in others weddings. He then befriends Julia, a waitress at the reception centre, who is about to be married to Glen, a Miami Vice wannabe and all round jerk-off! As Robbie and Julia become fast friends and soon it leads to more, but can Robbie get the happy ending that he deserves, or will it be too late!

The storyline does take a slight twist when compared to the movie version, but the cleverly worded lyrics to the new songs are hilarious and work very well with this story. I was completely engaged throughout and felt for Robbie as he fell into his spiral of despair.

About Sarah K.Gill

Sarah is an avid lover of books of most genres, including Sci-Fi and thriller. She also enjoys reading fantasy and memoir. She loves to write, both fiction and non-fiction and living in the lovely Williamstown in Melbourne always offer quiet places for her to read or to be inspired. Sarah has a Certificate IV in Professional Writing and Editing. Alongside her full-time job in insurance and working for TAT she is working on a few of her own novels and short story collections including her first memoir. Sarah is currently studying Bachelor of Professional and Creative Writing at Deakin University which will completed by mid 2019. She loves to travel and loves sharing her experiences with others and is always planning her next destination!

Profile: View Sarah 's profile here

Email: sarah.gill@www.theaustraliatimes.com.au

Playback Productions proudly presents

The Wedding Singer,

it’s 1985 and rock–‐‑star wannabe Robbie Hart is New Jersey’s favourite wedding singer. He’s the life of the party, until his own fiancée leaves him at the altar. Shot through the heart, Robbie makes every wedding as disastrous as his own.

Enter Julia, a winsome waitress who wins his affection. As luck would have it, Julia is about to be married to a Wall Street shark, and unless Robbie can pull off The performance of a decade, the girl of his dreams will be gone forever.

Show Information

Murderous fun with toe-tapping Motown and Australian 80s rock nostalgia hits!

Straight from seasons at the Perth FRINGE WORLD Festival and Adelaide Fringe Festival, this riotous cabaret is set to make its Melbourne debut. Don’t miss this hilarious musical comedy filled with your favourite Motown and 80s Australian Rock songs that will have you dancing the night away!

Backseat Diamond follows Mary, a long-time back up singer for a Motown girl group called “The Diamonds”, who has always harboured dreams of stardom. Unfortunately, her fellow band members have been struck with a sudden bout of food poisoning, and she heroically takes the stage to save the show (though one suspects not entirely by accident). Her worn out and fed up security guard Chris also gets swept up along the way, as they explore life from just out of the spotlight.

A night filled sequins, terrible musical puns and toe-tapping tunes, this cabaret is “fun, camp” and “loaded with talent” (Out in Perth). With a roster of classic songs (“Ain’t No Mountain High Enough”, “Son of a Preacher Man”, “Respect” and more), this is a hysterical and outrageous evening “anchored by a leading lady with talent to spare whose criminal intent is easy to cheer for” (The West Australian).

Image courtesy of Jess Love

Jess Love’s solo show Notorious Strumpet and Dangerous Girl debuting at Melbourne Fringe 2016 is a unique blend of Love’s world class circus and theatrical skills. Perhaps the most admirable part of the show is how Love abjectly exposes herself in her deepest vulnerable states onstage, in front of an audience which she has won over before they have even left the Meat Market bar.

She bravely indulges in making the audience feel raw, empathetic, invaded and uncomfortable – a testament to the emotional journey into which we are taken in her world of substance abuse and addiction. High level circus skills are used as a tool of expression rather than egotism, showcasing hoops, skipping, trapeze and more in a nonchalant but not dismissive demeanor. This show is in your face dirty, gritty, and bares all. Love does not hold back and the audience loves her for it.

Written and Performed by Jess Love

Directed by Ursula Martinez and Julie Richardson

Review written by Ciara Thorburn

Together with her magical red carpet bag, Gran (Chrissie Shaw) takes the audience on a tale of adventure, from the beaches of Byron Bay to a deep dark forest. She sings, she dances, she swoops, occasionally, on delighted members of the audience, making them shriek with laughter. And though the set is sparse, she manages to breathe life into the negative space and simple lighting to create a performance full of warmth and energy. Her bag functions not only as a static prop, but unfolds to reveal a miniature world within itself, complete with a puppet Gran and multiple tiny bags which feature in some clever sleight of hand at the show’s conclusion.

Although she warns us that the story of her carpet bag might be a little bit scary, more than anything it’s amusing. Even the story’s villain, the witchy puppet Baba Yaga, plays air guitar and is simply lonely because nobody will write her any letters. Gran’s tale is received with wide eyes by the audience, resulting in squeals of laughter and gasps of excitement. She weaves her tale with gleeful gusto, at multiple points pausing to ask her young audience to guess what’s inside a particular bag or to help her sing a particular song. Her enthusiasm and tenderness bubbles over to create a beautiful, dynamic relationship with her audience.

And for adults, there can still be some delight taken in the nuances of Gran’s storytelling, as well as the sheer cleverness of the props, especially Gran’s magical carpet bag. Alternately acting as a bottomless cornucopia of props, folding out into Chinese gardens and Australian apartment blocks and witch’s huts, the bag is a skilfully designed piece of set which only adds to Gran’s quirky mysticism. Designer Hilary Tabot is responsible for Gran’s bag, as well as several puppets which intrigued and delighted the kids. Following the show was a quick sessions allowing for Gran to answer all the kids’ questions – Is the Baba Yaga real? Who made the puppets? Why do they have such long arms? – which satisfied curiosities and allowed for a pleasant conclusion to the performance.

Thanks to Chrissie Shaw’s charming performance, Gran’s Bag is sure to enchant those young and old alike.

When: 26 Sept – 1 Oct | Monday to Friday 10:30 am & 1 pm | Saturday 1pm only

Where: King Street Theatre, Newtown NSW

Tickets: $20 – $25

Information: Duration 55 mins, suitable for children

Link: www.kingstreettheatre.com.au

About lucy barber-hancock

Profile: View lucy's profile here

Email: lucy.barberhancock@www.theaustraliatimes.com.au

Welcome to your September arts injection! Yes, while gentlemen in tight shorts throb across football ovals, Women of Letters will be gathering in the magnificent surrounds of THE THORNBURY THEATRE, where we will once again celebrate the lost art of correspondence with friends, new and old.

On Sunday, 25th September, the WoL team bring together on stage for the first time:

Acclaimed singer, songwriter and visual artist BERTIE BLACKMAN

Beloved AFL writer, journalist and television and radio personality SAMANTHA LANE

Musician, impresario and raconteur MOJO JUJU

Cartoonist, artist, writer and children’s book creator JUDY HORACEK

Performer, polymath and co-director of the Black Honey Company KIM BOWERS

These fine dames will each be penning ‘A Letter to My Never-Again.’

There’ll be the usual wine/aerogramme-penning combo we’ve grown to love and a special DJ set from the inimitable DJ GINGER LIGHT.

Join us for a most pleasant afternoon celebrating a diverse range of strong female talent whilst simultaneously raising funds for animal rescue shelter, Edgar’s Mission (http://www.edgarsmission.org.au/).

Event: Women of Letters, September 25th edition

Date:Sun September 25 2016

Doors:2:30 pm

Show Starts:3:00 pm

Cost:$20 + booking fee General Admission $25 Door (if available)

Bookings:Book here

Nobody Owns The Moon is the first show premiered at the Spare Puppets Thetre, Fremantle, for its new opening season.

The show uses masks, marionettes and great puppetry skills to adapt the well known illustrated book by Australian writer Tohby Riddle, and the result is a comical, witty comedy that steals laughter from both young and adult public.

The city can be harsh. Clive the fox has a job in a factory and a one bedroom apartment where to sleep at night. Humphrey the donkey is not as lucky, he’s homeless and desperately looking for any kind of employment.

Clive and Humphrey are friends, and one night a light blue envelope found by the clumsy donkey in the rubbish will change their lives, even just for an instant.

This play by the Spare Parts Puppet Theatre combines funny moments with deep thoughts about how we live our relationships with strangers, how sometimes we can be very selfish and how, well, nobody owns the moon.

This production achieves something very difficult to translate. It delivers a deep message through a light comedy, and that’s where its charm lies.

When: 24th September – 8th October 2016

Where: Spare Parts Puppet Theatre, Fremantle PERTH

Tickets: $25

Information: Duration 50 minutes; Suitable for all ages, perfect for 5 and above; In Conversation with Tohby Riddle on Wednesday 28th September, 6:30pm.

Link: www.sppt.asn.au

About Elli Gemmo

Profile: View Elli's profile here

Email: elli.gemmo@www.theaustraliatimes.com.au

De Quincey Co delivers Metadata, a flickering collage of contemporary dance informed by butoh and astrophysics. Underscored by a thrumming, seething soundtrack, the show questions cosmic movement through an intricate play of shadows and binaries.

Framed by flickering strobes, dancer Tess de Quincey jerks, convulses and glides her way across the stage in the show’s first component, Pure Light. De Quincey emerges as a lone figure draped in a loose white hooded robe, her silhouette amplified dramatically behind her in a space lit by shifting fluorescent lights to a soundtrack of crackles and hums. It is in this component of the show that we are introduced to the motif of pure white light, which is to be played with and manipulated to a truly astonishing extent. Whether as an ocean of wriggling, sperm-like dashes or a matrix of barcode-like stripes, light is presented both as a standalone entity and as a counterpoint to the corporeality of the human form. The light does not merely frame the performers; rather, it takes on a presence of its own, allowing for a dynamic interplay between the human and the artificial. The lights, costuming and sounds combine in a minimalist collage of 0’s and 1’s, neon crucifixes, an X marks the spot.

The show’s second component, Moths and Mathematics, continues this exploration of form with the addition of second dancer Peter Fraser. Things start slowly in this ballet of vectors. The two performers walk in a void, disconnected yet somehow part of a whole. At times their bodies seem like magnets repelling one another, coming closer all the time but never truly connecting, continually bouncing off the surface of each other. Seemingly random movements emerge as patterns which are at once intricately wrought and improvisational, calling to mind cloud chambers, universal collisions and sonographic echoes. Projections surround us, enveloping the audience in a sea of flickering lights like slow, distant fireworks.

Although the show undoubtedly addresses contemporary knowledge and scientific theory, its exploration of tension is one of its great strengths: tension between the visual and the auditory, between light and dark, between bodies and the space they move through. Flanked by lines of flickering strobes, the body is presented as drastically human in contrast to the sterility which frames it. Perhaps the most dynamic moments of the show are those which show the full extent of the body’s reality: a sheen of sweat glinting off a bicep, or the deliberate sound of a heavy, slow footfall echoing through the sudden silent darkness of the theatre. De Quincey Co is exploring unknown territory, space that human consciousness cannot yet know and certainly not explain in words. In the end, we’re none the wiser, only left with a hint of what could hide in the shadows of the universe.

When: 15th – 17th September 2016

Where: Riverside Theatres, Parramatta NSW

Tickets: $25 – $35

Info:

ARTS-SCIENCE EXCHANGE

Facilitator: Associate Professor Ian Maxwell, Department of Theatre and Performance Studies, The University of Sydney

Guest scientists:

15^th and 16^th September – Prof. Geraint F Lewis, Professor of Astrophysics, Sydney Institute for Astronomy, The University of Sydney

17^th September – Dr Maryanne Large, Associate Professor, School of Physics, The University of Sydney

Link: www.riversideparramatta.com.au

About lucy barber-hancock

Profile: View lucy's profile here

Email: lucy.barberhancock@www.theaustraliatimes.com.au

The Pilot lives for adventure. The Pilot lives for her Tiger Moth plane. The Pilot lives for the exhilaration of being a badass. But mostly, the Pilot lives for the blue.

“You are the blue.

You are alone in the vastness and you are the blue.”

The Pilot is Alison Van Reeken (Caucasian Chalk Circle, Blithe Spirit) and she is phenomenal. Her performance is gutsy and the character full of machismo and confidence. After flying in the powerful position of Air Force number one, the Pilot feels uncomfortable drinking at a bar like a civilian. She gets chatted up by an almost too civilian guy and of course, one thing leads to another. This is the first time she is grounded.

She feels weighed down by her dependable lover, declaring her love to the audience…”Ah, f**k.” After a while it’s not just her new partner weighing her down, but the very physical weight of a baby. She takes her foetus on one last trip into the blue and is grounded for a second time.

After raising her child the Pilot yearns for the blue and eagerly returns to the Air Force with an exuberance that is almost infectious. She’s champing at the bit and struggles to hide her consternation and frustration when being relegated to the Drone squad – derisively named the ‘Chair Force.”

Mother and wife by night and morning and Drone pilot annihilating ‘military-aged males’ on tv screens that render the remote deserts grey by day. Van Reeken’s portrayal of the Pilot’s downward spiral as she questions her identity, her motivation and her sanity is moving. Grounded challenges the notion of the bored housewife – the decision between motherhood and working woman is heightened as she realises she can have it all, but at what cost?

Grounded is thrilling and compelling, the Pilot’s obsessive need to stay on for ‘just one more’ hour is reminiscent of the late night gamer, who just needs to join one more skirmish or raid, sitting in a darkened room with the only light a sluggish blue glow bathing their face. Questioning how warfare has changed, how families have changed and how our virtual world connects us in an unprecedented fashion, Grounded will thrust you onto the edge of your seat and keep you there.

When: 13th September – 1st October 2016

Where: The Blue Room Theatre, Northbridge PERTH

Tickets: $18 – $28

Information: Duration 85 mins no interval; AUSLAN performance 20th September; Q&A after the show Wednesdays 21st and 28th September

Link: http://blueroom.org.au/events/grounded/

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

Fresh from his 4star show in the Melbourne Comedy Festival, Willem Richards serves up a heartwarming, and silly, coming-of-age comedy about growing up with a Polish Tennis Dad.
So pull on your favourite sweatbands and get ready for five tight sets of high energy sketch, standup and improvisation.
Willem’s leather-clad, chain smoking Dad had one thing in mind for his son. Doctor? More important. Lawyer? It pays more. Willem’s Dad had centre court Grand Slam glory slated for Willem. Things began well. Willem was crowned Champion of Maribyrnong Tennis Club. In 1991. Under 12s.
But after failing Dad’s dream, Willem needed to find his own…

Confluence Festival of India in Australia is proud to showcase Shakespeare’s Twelfth Night like it’s never been seen before.

Piya Behrupiya, a unique Hindi rendition of the much-loved play, will be performed free for Melbourne audiences at 6.30pm on the 20th September 2016 at Federation Square’s Deakin Edge.

Performed by The Company Theatre (tct) and led by internationally renowned theatre director, Atul Kumar, Piya Behrupiya, will delight its Melbourne audience with a cast of unforgettable characters as they explore the experience of unrequited love through a combination of high comedy and cruelty, as well as poetry and song.

Commissioned by The Globe theatre UK, Piya Behrupiya was first performed during the World Shakespeare Theatre Festival and has been a great success throughout India and Singapore.

“The Globe theatre UK contacted me to direct a play by Shakespeare in Hindi and they gave me a few different options of his scripts,” said director Atul Kumar. “I chose Twelfth Night instantly as it lent itself beautifully to song and dance, a form that I had never explored before and a form that enticed me for some time now.”

There’s a new theatre company in town and they are ready to entertain. Hand in Hand’s debut show, The Violent Outburst That Drew Me To You is a bold and quirky piece of theatre that works perfectly for a budding new company. It’s not perfect, the set changes are too frequent and distracting (and at most times unnecessary,) the actors are sometimes out of their league and the costuming is a bit off but overall, the show is a great first shot.

Connor (Bradley Clarke) is angry. He expresses how angry and frustrated he is through funny little monologues and quirky moments with his parents and friends. Clarke’s performance is impressive but it still feels a little contrived. He manages the right balance between frustration and humour but at times it feels like he’s just shouting without the angst. The plot is simple, Connor is frustrated with everything – he hates on a girl in detention, can’t stand the teachers, even finds his patient parents annoying in the extreme. Hock Edwards and Grace Pusey are hilarious as Connor’s parents, even if their portrayals are a bit of a caricature. Their innovative technique to calm Connor down by sending him to his uncle and aunt’s (Hannah Anderson) and making him endure constant marathons of Antiques Roadshow is a brilliant moment and utterly hilarious.

It is when Connor’s parents are at their wits end that he is left, abandoned in the forest to calm down that he meets the equally angry and repressed teenager, Lotte (Karen Hansord.) She gets him, she understands him, and she also eclipses him in his torment. Hansord is the stand-out in this ensemble, charming, funny and full of angst – her tears are and she portrays teen frustration in an accurate way.

The Violent Outburst That Drew Me To You is a great debut for a young and energetic company. It’s fun, and light but hints at the darkness facing teenagers today. It will take you back to your youth and unresolved tension, have we actually gotten over it?

The Violent Outburst That Drew Me To You played at Murdoch University, Perth from 1st – 3rd September 2016

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

Matt Dyktynski as Bill Clinton in Clinton The Musical

Clinton The Musical is great fun, a light tongue-in-cheek look at the most scandalous and salacious period of Bill Clinton’s presidency. We all know it: the Lewinsky affair, sexual relations and cigars, and that dress with the stain. What I love about it, though is that the musical covers Clinton’s inauguration and the scheming of the Republican party and others to bring him down from the beginning. Clinton is his own worst enemy, but seeing the scheme from the start makes it appear as though he was playing into their hands all along. Bawdy and crass in parts, Clinton The Musical is not unlike the political farces and satires of the Restoration period or some of Shakespeare’s more overt parodies.

The premise is simple, Bill Clinton said in his autobiography that he felt like he lived ‘parallel lives’ and that idea is explored by two actors playing the titular Mr President. Simon Burke makes his Black Swan Theatre Company debut as William Jefferson Clinton – the straight-laced, adult Clinton who wants to reform Health Care and leave a democratic legacy. He is shadowed by Billy Clinton (Matt Dyktynsky)the sexy, rogue-like philanderer who plays the saxophone like a rock-star. The decision to split the two Clintons is quirky and fun. Dyktynsky is hilarious as the inner rebel and pure bad-boy president, likening himself to the youthful JFK.

Burke’s inner turmoil is kept under control as he attempts to calm his other self, even trying to expel him at one point (The Me I See.) The musical has been updated to reflect current status of the key players, including the unflappable Hilary Rodham Clinton. Lisa Adam is hilarious and perfect as the power-hungry, manipulative yet lovably strong first-lady. Her reactions to all of William and Billy’s indiscretions vacillate between eliciting hilarity and sympathy. She flawlessly exposes her naked ambition while trying to keep it all together, Carol Brady-style.

It’s a small cast, with many of the ensemble playing main characters as well as keeping the show together. I bet you won’t be able to get a certain Ms Lewinsky’s (Megan Kozak) signature song out of your head, I for one am still singing along!

When: 27th August – 11th September 2016 (7:30pm)

Where: Heath Ledger Theatre, State Theatre Centre WA

Tickets: $32.50 – $88.50

Info: 1st September pre-show talk; 8th September post-show Q&A

Link: http://www.bsstc.com.au/season-2016/clinton-the-musical/

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

Australia’s Premiere Celebration of Tap over the September School Holidays

The 5th annual Australian Tap Dance Festival stomps into town these September school holidays as a cavalcade of world class dancers arrive in Melbourne from across Australia, New Zealand, Singapore and the U.S.A. With an action-packed week of tap and choreography master classes, jam sessions, dance-offs and special events, the ATDF offers something fun for all ages and levels and is the only festival of its kind in Australasia.

”The ATDF is about bringing the tap community and the interested public together to learn, share, meet new people and most of all, have fun!”, says Creative Director and Founder of the Festival and Melbourne Tap Dance school, Winston Morrison. “We select the highest caliber faculty from across the world to deliver a truly unique immersive festival experience for our guests. Many of our festival sessions book out quickly as there is no other chance for Aussie tappers to learn from the best in one place!” he added. Morrison is himself highly regarded in the tap world as the Australian representative for the International Tap Association, experienced teacher and an in-demand performer across Australasia and the U.S.A.

One of the most sought after tap dancers in the world today, Michelle Dorrance, will be headlining the festival this year. A 2015 MacArthur Fellow and multi-award winner, Dorrance has been labeled “one of the most imaginative tap choreographers working today” by the New Yorker magazine.

“I have a series of enthusiasms which I have immersed myself in.

Ever since I was a kid, I always loved the new thing.”

Presented by Bare Naked Theatre

Gasworks Arts Park 27 July – 6 August.

The power of Bowie’s music affected everyone over five decades. The characters he created are immortal. His music videos intensified the emotion of his songs and everyone has their Bowie song. Now, for the first time, Bowie’s music will be reimagined through the power of theatre. Bare Naked Theatre will bring the songs of David Bowie to life with the roaring energy and emotion of the man who spent a lifetime creating them. This is not a Tribute Show – it’s a personal, raw account of storytelling through contemporary and physical theatre.

The music of Bowie will be realised by Melbourne outfit ROBOT CHILD, a band with an existing synergy of their own and not one that needed to be ‘created’.

Robot Child features Gold Logie winner Waleed Aly on lead guitar, whose note perfect version of Comfortably Numb at the recent Walkley Awards popped up on every website from Junkee to The Huffington Post and received well over 100,000 views on youtube.

Anybody who has ever dared to create art will relate to the themes in CHANGES and Bowie fans will, quite simply, lose their minds.

VENUE: Gasworks Arts Park, 21 Graham St., Albert Park VIC

DATES: Wed 27 July – Sat 6 August 2016

TIMES: Wed- Fri @ 8.30pm, Sat @1.30pm & 8.30pm

TICKETS: Adult $45/ Conc $40 / Student $34.50 / Group 10+ $40

BOOK: barenakedtheatre@gmail.com / Ph: 0405 812 646

FOR MORE INFO: www.barenakedtheatre.com / www.robotchildband.com

A theatrical musical dialogue celebrating the life and work of Leah Goldberg – the renowned pioneer of modern Hebrew poetry

“In spite of you, I shall be sane. I shall be fierce. I shall be very happy…” Leah Goldberg

A triumphant woman. A woman of cafes. A woman of the world. A companion of Chagall. Translated into 14 languages. Haunted. Impulsive. A prolific and versatile writer. A Poet.

Performance maker Deborah Leiser-Moore and musician Adi Sappir, in their first full-length collaboration, use Leah Goldberg’s poems and diaries to reanimate her spirit in an evocative performance work featuring live cello, visuals and the spoken word.

Born in Prussia in 1911, writing poetry from age 12, Leah Goldberg was invited by an exclusive group of all male Jewish poets to join them in Palestine in early 1930’s. Being the only woman in this literary group she fought hard for her status. As an outsider, with no family or close friends to turn to, she devoted herself entirely to her work. And this is where this story begins……

Deborah is renowned for her visually arresting performance works (Cordelia, Mein Kind, The Dead Twin, KaBooM and, recently, Imagining O in New York directed by Richard Schechner) that have toured nationally and internationally. Her work has been described as: “Powerful and sophisticated” (The Age).

Adi (cello and vocals), creates music that is “a deep and beautiful tapestry of sounds” (Nau Nua Arts,Barcelona). She has featured on radio in Australia and abroad and plays her music for television, theatre and film. Her recent EP Instead of a Love Poem was described as “mournfully beautiful”. Deborah and Adi’s previous collaborations were featured at Heide Museum and Theatre Works.

THE LEAH GOLDBERG VARIATIONS IS PERFORMED FOR 3 NIGHTS ONLY

BOOKINGS RECOMMENDED.

Show Details: The Leah Goldberg Variations

Dates: Thursday 8th, Saturday 10th and Sunday 11th SEPTEMBER

Time: 7pm

Cost: $25-32

Venue: The Butterfly Club, 5 Carson Place, Melbourne

Tickets: thebutterflyclub.com

Image courtesy of Lion Hearts Publicity

I sat down with the cute duo to talk about their act, and why they love creating music that entertains kids and parents!

TAT: Hi guys, where are you from? Melbourne?

Manny and Sarah: Yes, we live in Eltham.

TAT: When did you form as a duo?

Sarah: In early 2014, we started writing music specifically for my classroom. Being musically trained, we started writing songs on the weekend. By the end of the year we had a collection. Then we put the album out, came up with the concept, and have been doing it ever since.

TAT: How did you form as a duo?

Sarah: We are married, met 11 years ago when we were studying at Victorian College of the Arts. We’ve been married for four years now.

TAT: Where do you perform?

Manny: Mostly festivals, St Kilda Festival, SIDS for Kids at Luna Park, Geelong Royal Show. Things that we apply for. There is usually a Kids Zone at festivals for adults.

TAT: How do you spend your time?

Sarah: We are both primary school teachers, started off as Music teachers. Manny teaches classroom Music, I teach Prep.

TAT: What inspires you creatively?

Sarah: I think its both a musical thing and about the kids, it marries those two passions together. When we come home from work, we will write songs about how the day went, other times it’s just jamming in the studio.

Manny: Definitely the same for me. Children’s music can sometimes be underplayed or cast as being ‘just for babies’. I work with 5 year olds and they love The Wiggles, but also Katy Perry and Taylor Swift. That inspires us, it’s really rewarding work. We try and make every song different. Pop music, country songs, there’s a rhumba song, rap song, disco song, swing song. It’s kind of an educational process to expose children to as many genres as possible in a less obvious way.

Sarah: In one of my first years of teaching, a girl in my grade would hardly talk. I introduced a Cuddle Buddy to inspire a bit more confidence. I brought in a Pillow Pet Tiger and asked the kids what they wanted to call it. She put her hand up and said, “I think we should call it Pevan Stripey.” I had barely heard her talk, so when we were searching for characters I suggested Pevan.

TAT: (To Manny) How would you describe Sarah in three words?

Manny: Infectious, bubbly, exciting.

TAT: (How would you describe Manny in three words?)

Sarah: Hilarious, kind, talented.

TAT: Tell us about your last album, what’s your favourite song?

Sarah: Hands. It’s one of our first and Manny has a great Rastafarian accent. I like the way the kids react to it, it has simple actions but is really engaging.

Manny: It’s the fastest one we wrote as well. It was easy, just kind of happened… Other songs we’ve had to workshop and tease them out.

TAT: What do you want parents to know about your music?

Sarah: The biggest compliment we’ve ever had is that parents can listen to songs on repeat without wanting to chuck the CD out the window. Our music is sophisticated. Parents can enjoy our music with their kids, or with a glass of red wine.

TAT: What about a great performance moment?

Sarah: There was a little girl that made her parents drive for an hour to see a 10-minute show. She was beside herself with excitement. She knew every word to every song. She was crying she was so overwhelmed.

TAT: So you’ve got a new album coming out.

Manny: Yes, we’re very excited to be launching our new album The Tiger Tail on October 9^th,, 11:00am at Eltham High School Theatre.

You can stay in touch with ‘Pevan and Sarah’ via:

Website: http://www.pevanandsarah.com/

Instagram: pevanandsarah

Twitter: @PevanAndSarah

Youtube: Pevan & Sarah Music

About Jessica Horwell

Profile: View Jessica's profile here

Email: jessica.horwell@www.theaustraliatimes.com.au

Image courtesy of Ashleigh Kreveld

I sat down with Ashleigh to have a chat about her cabaret based on the great Amy Winehouse.

TAT: Hi Ashleigh, first off, where are you from?

Ashleigh Kreveld: Melbourne, I grew up in Mount Waverly and now live in Fitzroy.

TAT: How would you describe yourself in three words?

AK: Let me think- witty, effervescent and passionate.

TAT: How did you get into performing? Did you study?

AK: I studied for two years at Showfit Brunswick- musical theatre. I’ve always sung and mucked around with characters.

TAT: How do you spend your time?

AK: Between projects- this cabaret, a short film at the moment, working in hospitality and balancing a social life.

TAT: What inspires you?

AK: The stories that people tell, that everyone has a different journey.

TAT: What inspires you in the creative process?

AK: Wanting to tell these stories through performance. The beauty of performing is to step into someone else shoes, and empathise with them.

TAT: When did you start performing?

AK: I always did dancing when I was little, school productions things like that.

TAT: Tell us about the show, what’s it about?

AK: Pretty much a portrait of Amy Winehouse, showing her own spin. If you don’t know Amy Winehouse you’ll get to know her. It paints her spiral down, but also her lightness, because she was such a funny girl.

TAT: What made you decide to do an Amy Winehouse show?

AK: I’ve always loved Amy Winehouse, and felt a connection to her music ad her lyrics. When she passed I was really quite sad. On a whim I decided to write an Amy Winehouse show.

TAT: How long have you been developing it?

AK: I did the first 30 minute show last April, then last September I did the Melbourne Fringe.

TAT: Did you have a director?

AK: No. I love Amy so much I could kind of direct myself.

TAT: Why do you love Amy Winehouse?

AK: Because she feels so much, and so much in her music. Most performers feel a lot, including me. Her heartbreak and her spirit, she’s funny and cheeky. True to herself.

TAT: What do you want the audience to know about her?

AK: I want them to realise that she was misunderstood to some degree. The media took photos of her drunk in the streets, people didn’t realise that she hadn’t taken drugs the last two years before she died. The biography of Amy was spun by her Dads words, my cabaret is unique in the sense it’s her own voice and not spun by anyone else.

TAT: Do you get nervous before shows?

AK: Yes, but if I try and stay in the Amy character it helps me a lot.

TAT: What are your goals for the future?

AK: To take the show to Edinburgh, have it picked up by a big producing place.

TAT: What’s your favourite Amy Winehouse song?

AK: Wake up alone.

TAT: What has been your greatest accomplishment?

AK: This show, which I did straight after I finishing studying. It was scary playing someone that people know, but super fans have been super lovely to me.

TAT: What’s been your favourite performance moment?

AK: There’s a bit of audience interaction at times. There was a woman on her phone so I started joking about her being on Tinder, and if there was a tinder in heaven I’d hope to match with David Bowie.

TAT: Why should people see the show?

AK: Because its a cabaret experience that is funny, witty, tragic and heartbreaking, celebrating a legend in today’s music industry that was lost too soon.

You can see the raved about cabaret:

When: August 3-7, 6:30pm

Where: Whole Lotta Love Bar, 520 Lygon St, Brunswick

Tickets: $25

Links: www.moshtix.com.au/v2/frankly-winehouse

www.franklywinehouse.com

https://www.facebook.com/events/1561037750857919/

Instagram: Franklywinehouse

About Jessica Horwell

Profile: View Jessica's profile here

Email: jessica.horwell@www.theaustraliatimes.com.au

What do you get when you have a pining farmboy, an intelligent self-possessed woman, a cocky sergeant and a small town full of money-hungry naive folk? Throw in a sleazy mountebank, quack doctor and you have The Elixir of Love. WA Opera have brought Simon Phillip’s amazingly unique take on the Donizetti classic to the stunning stage of His Majesty’s Theatre in a show that is perfect for both newcomers and seasoned opera lovers alike.

Set against the opulent Edwardian theatre, the burnt sienna and rusty ochre hills of the backdrop stand out and give the audience a thrilling preview to the setting and the kind of show they are about toe see. As the orchestra gets started, the veil of curtain lifts and a stunning set of corrugated iron and iconic Australian sights are revealed. Bursting with humour, the set defines the tone of the production – fun, clever and full of the Aussie spirit! There are corrugated iron sheep, horses, and hills, defining the location as an outback town.

What stands out about this production is the humour running through it. Rachelle Durkin’s Adina is expressive and charming, her obvious bemusement at Nemorino’s (Aldo di Toro) attempts at courtship is flawless, yet it is her facial expressions and cheeky little slaps when dealing with Sergeant Belcore (Jose Carbo) and his rather hands-on approach at wooing her that really set Durkin apart as a brilliant performer. The acting is flawless. di Toro is endearing and beautifully sincere, Carbo’s arrogant swagger and comedic timing is unforgettable, and Marco Nistico shines as the hilarious and sleazy Dr Dulcamara.

This production is perfect for the first-time opera attendee, as it makes everything accessible. The setting of early WWI rural Australia works perfectly in concert with Donizetti’s plot. It’s not only the set and costumes that firmly embed the production in its time, it’s the surtitles. Usually used to translate the show from Italian, German or whatever language into English, this time, they are translated in Aussie slang! This is an absolute hit, a corker, a bobby-dazzler – it’s alright mate!

The Elixir of Love is a production that cannot be faulted – everything is perfect. Not only will you laugh at the very clear vein of comedy running through it, you’ll probably be moved to tears at points, too. Who knew Donizetti’s story would marry so well with that great Aussie tradition – humour with pathos?

When: 14th – 23rd July 2016

Where: His Majesty’s Theatre, PERTH

Tickets: $40 – $175

Info: Box Office open an hour prior to shows, Wheelchair accessible, Program available online

Links:

Tickets – http://premier.ticketek.com.au/shows/show.aspx?sh=WAOPERA16

WA Opera – http://www.waopera.asn.au/2016-season/the-elixir-of-love/

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

Review by Amanda Lancaster

Once again Spare Parts Puppet Theatre have completely outdone themselves with the new family-friendly, fun-for-all show, SPLAT! From the outset, elements of simple colour and shape, the audience is led along a roller-‐coaster ride of creative spontaneity and imagination. Without giving away too much of the show’s comedic surprise and high-energy impact it’s hard to describe what the audience is in store for.

The show is completely jam-‐packed with mixed media, colours, movement, slapstick physical comedy, music, puppetry and more. Trust me when I tell you that this is one show that will not only leave you breathless but also completely exhausted just from watching how much the three stars put into the performance. Unusual in its creative execution is the fact that SPLAT! is a wordless piece. The story instead moves along via the physical animations of the actors themselves and the subtle nuances of their facial expressions.

SPLAT’S emotion and underlying dialogue is brought to life with little need for more – once you are introduced to the cheeky, likeable characters conjured up in front of you one by one. The show’s thematic aesthetics play to the audience’s shared object memory and associations, reflecting the collective experience that is the tale’s moral of course. In fact, SPLAT! delivers one of the best demonstrations of moral undertone and explanation I have seen.

Based around the concerns of social dilemmas and stereotyping that face each of us, SPLAT! shows us that how we express express ourselves in such situations and our actions have consequences for not only us but for others too. SPLAT! is a great lesson in the need people feel to be accepted and to belong, but it is also a beautiful celebration of the importance of being your own individual self. After all, it is within your own individual selves that the power of imagination creates limitless anythings.

Amongst the ever-growing, constantly upgrading high-tech and media-based entertainments and activities that will no doubt swamp the school holidays shortly, SPLAT! is a beautifully crafted 50-minute alternative to submerge yourselves in. Fun for all ages but perfect for the younger crowds in particular this is a show unlike any other you are likely to encounter.

When: Until 16th July 2016 (10am & 1pm daily, 6:30pm 15th July, no shows on Sundays)

Where: Spare Parts Puppet Theatre, Fremantle PERTH

Tickets: $25

Info: Wheelchair accessible, suitable for children 2+

Link: http://www.sppt.asn.au/programme/index/splat

Well, the winter of 2016 has been a really cold one down-under. The cold can be a deterrent for leaving the house and heading off to the theatre, so we put together five things you can do to have a warm night out.

In PERTH? If you’re going to the The Blue Room Theatre, why not snuggle up at the bar and get yourself a beer and toastie. Guaranteed to keep you warm with its ooey goodness, the toastie is where it’s at on a cold winter’s night. As an added bonus, you can bring your drinks into the theatre with you…now that’s clever thinking!
If your scene is MELBOURNE, a cheeky wine or two at the Arts Centre is good, but once you’ve finished, why not line up at Lord of the Fries at Flinders Street Station for some hot chips? Mmm, what’s better than watching the steam rise off of hot potatoey yumminess?
How about SYDNEY? There’s a great theatre in Darlinghurst these days, so why not warm up at a traditional pub first? The Local Taphouse on Flinders Street has an awesome selection of craft beers to be enjoyed in an old European style restaurant. Going to the theatre on a Sunday? Check out their Traditional Sunday Roast – complete with Yorkshire pudding and lashings of gravy.
Heading to QUEENSLAND? Either before or after heading to the Queensland Performing Arts Centre, why not take a brisk winter stroll to Stokehouse? They offer awesome warm drinks including a Sunday special: Hot Buttered Rum, made with kraken spiced rum, spiced butter, and brown sugar. Heavenly!
Need a winter warmer in ADELAIDE? Located conveniently next to the Box Office in the Adelaide Festival Centre the Foyer Cafe offers decadent coffees, teas and warm drinks at least two hours before a show. I couldn’t think of anything better than a creamy hot chocolate to warm me up from the inside out!

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

Image courtesy of Davidoff Hoanganova

Watching Dave’s show is like receiving a huge hug from one of the giant plushies that surround the musical comic on The Butterfly Club stage in Melbourne’s CBD. It’s the warm feeling you get hanging out with your best friends eating cookies- you’ll be buzzing with laughter and joy from start to finish. Not all your friends ask you to sing along with them as monkeys, but trust me- you’ll want to do this when the moment comes around.

Dave begins the show with a kind of homage to rap- wearing big bling glasses and sporting a recorder in his back pocket, he slows the tempo right down. We immediately know the type of humour we are in for.

The theme of love is constant, and delivered in funny, cute, and heartfelt ways. Two projected videos are featured, one titled ‘First Kiss’ uses beautiful animation of two space lovers that will melt your heart. This is in contrast to a song that showcases Dave’s best pick-up lines, such genius lines include ‘are you from McDonald’s, cause I’m lovin’ it.” With it’s “100% success rate” you might learn a thing or two.

A highlight was Dave showcasing his new dance skills, and rendition of ‘Chubby Love.’

Dave’s voice is highly trained and his humour is warm, you’ll feel like you have known him for years. This show is the perfect remedy for the winter blues- so come and be comforted by Dave and his plushies!

Where: The Butterfly Club (Carson Pl off Little Collins Street, Melbourne CBD)

When: 28th June to 3rd July

Tickets: $26-$32

Information: Butterfly Club members get $1 off all drinks, regular offers of discounted (or free) tickets, access to members-only events and a pretty card that fits right in your wallet.

Links:

https://thebutterflyclub.com/show/dave-and-the-plushies

https://www.facebook.com/daveandtheplushies/?fref=ts

Image Courtesy of Josipa Draisma

Ljubičica – Wild Violet is the story of a young girl growing up in Croatia and journeying to Australia. Jospia brings outstanding vocals and a highly vibacious energy to The Butterfly Club stage, which charms and captivates the audience. The show is full of nostalgia and tales of family- to take in, is as sweet as a smooth red velvet cupcake.

Violet coloured flowers sprinkle and flutter from imaginary mounds at several points during the show, adding a visual backing to the poetic words in her stories. Jospia is full of light, colour, and culture, as she moves, dances and sings with beauty. Her sister joins her on stage mid-way through the show, and their vocals melt together to perfection. It is luscious and wonderful to listen to.

Jospia and her sister are accompanied by two musicians who bring gypsy style melodies on guitar and violin.

Ljubičica – Wild Violet is part of the Melbourne Cabaret Fringe Festival

Where: The Butterfly Club (Carson Pl off Little Collins)

When: 21st- 26th June

Tickets: $31-$36

Information: Butterfly Club members get $1 off all drinks, regular offers of discounted (or free) tickets, access to members-only events and a pretty card that fits right in your wallet.

Links: https://thebutterflyclub.com/show/ljubicica-wild-violet

About Jessica Horwell

Profile: View Jessica's profile here

Email: jessica.horwell@www.theaustraliatimes.com.au

Image courtesy of Natasha Jynel

I sat down with Natasha at my favourite coffee spot- Starbucks, to have a quick chat about her exciting new show. Read all about it here:

The Australia Times (TAT): Hi Natasha, just to start off with a bit of background about you… where did you grow up?

Natasha Jynel: That’s a very complex story but my parents are from Barbados. I grew up in Boston, Maryland, Florida, and New York a tiny bit. I moved to Melbourne the day after I turned 20.

TAT: How would you describe yourself in three words?

NJ: Tenacious, loyal and brave.

TAT: Have you studied?

NJ: My last high school was a performing arts high school. I went to Emerson College in Boston and studied film and photography , then I decided to move to the other side of the world. I’m a qualified primary school teacher.

Image courtesy of Raelene Isbester

I chatted over the phone with Raelene Isbester about her upcoming show about Nigella Lawson, and the reason for wanting to portray the loved domestic goddess. After a short introduction:

The Australia Times (TAT): So Raelene, I’ll start of just getting to know you.. where did you grow up?

Raelene Isbester: I grew up in country NSW in Orange. My parents owned the Huntly Berry Farm. When I saw 18 I moved to Mackay where I studied Musical Theatre at the Central Queensland Conservatorium of music. I moved to Melbourne straight after UNI.

TAT: What’s your performance life like?

RI: I do little cabaret groups, trios, and the auditioning circuit.

TAT: How would you describe yourself in three words?

RI: Oh gosh (laughs) oh that’s hard… I’d say I’m friendly, I’m goofy and loyal.

TAT: Can you speak any other languages?

RI: I can hold a conversation in Japanese. I worked at Disneyland In Tokyo, and did shows in Japanese as well as English. It was much better when I was over there, living there for a year you pick up a lot. Kind of disappears once you stop having to use lines everyday.

Image courtesy of Judy Hainsworth and Kaitlin Oliver Parker

Move over Kim Kardashian- there are two new spoilt, ego driven, narcissistic white girls preparing to get the world’s attention, and fix first world white girl problems.

The girls look truly fabulous stepping onto The Butterfly Club Stage. The show has been created, written and composed Judy Hainsworth who plays Tiffany- a rich, spoilt ex private school girl, alongside Kaitlin Oliver Parker who plays Kendell- a day drinking trophy wife. The girls harmonise perfectly, and deliver catchy songs as they share the mammoth problems they face, and feel are underappreciated.

Such horrendous suffering includes: maxing out credit cards, running out of smashed avocado, and not having a bin to spit mandarin seeds into (this problem was suggested by an audience member, but it’s a good one- relatable. They hold nothing back, will have you wondering ‘can they/did they just say that?’ Like good comedy it pushes boundaries and delivers consistent laughs.

Catch the Brisbane girls at The Butterfly Club until Sunday.

When: 15th-19th June

Where: The Butterfly Club (Carson Pl off Little Collins)

Tickets: $26-$32

Special Information: Butterfly Club members get $1 off all drinks, regular offers of discounted (or free) tickets, access to members-only events and a pretty card that fits right in your wallet.

Links:

https://www.facebook.com/firstworldwhitegirls/

https://thebutterflyclub.com/show/firstworldwhitegirls-2016

Instagram: Firstworldwhitegirls

About Jessica Horwell

Profile: View Jessica's profile here

Email: jessica.horwell@www.theaustraliatimes.com.au

Image courtesy of Davidoff Hoanganova

I caught up with the very funny Dave at Starbucks in the Melbourne CBD for a general chat about his performance life and new show Dave and the Plushies On the road to 2nd. After the consumption of coffee…

TAT: So Dave where are you from, are you Melbourne based?

Dave Hoanganova: Yep Melbourne based, my parents are from Vietnam but I was born here in Australia and proud of it.

TAT: Where abouts in Melbourne did you grow up?

DH: Springvale South. There used to be a lot of violence there.

TAT: How old are you?

DH: 31, turning 32 in September. I look young for my age because I use Olay every morning- love the skin you’re in (laughs)

TAT: How would you describe yourself in three words?

DH: Exciting, geeky and funny. There’s too many words, I mean I’m always hungry. Actually that could be the three words- I’m always hungry.

TAT: Did you study? Do you work?

DH: I studied multimedia at UNI and then I did an honours degree in creative media- which is all animations and stuff like that. Now I’m a high school teacher, and vocal coach at the David Jaanz school of singing.T

TAT: Are you passionate about your work?

DH: Absolutely! I love teaching high school just because I build great relationships with the students.

TAT: How do you spend your time?

DH: I’m very social, and I like to learn how to dance- Korean popstar dance. I read a lot of comic books- I am a geek. I love to gig, perform, eat and hang out with friends. And I’m Part Russian.

TAT: Really?

DH: (laughs) no, but your face just then was great! I love doing that to people.

TAT: Do you speak any other languages?

DH: I’m fluent in Vietnamese, I’m a wedding singer for Vietnamese weddings.

TAT: What inspires you creatively?

DH: My girlfriend- cause she’s hot (laughs). A lot of songs are love songs. I have a passion for music, I love seeing people happy and love seeing people laugh. When I’m writing something I hope it will make someone happy and make someone smile. Must be family friendly, hopefully not offensive so kids and older people can listen to it.

TAT: How do you come up with your material?

DH: It just comes to me. Usually starts off as a serious love song and does a complete 180.

TAT: When did you start musical comedy?

DH: I starting writing serious music about five-six years ago-gospel music. I’ve been in a cover band for seven years called DHM. I was sitting there one day at a gig and thought ‘I’m no different from every guy with a guitar’, then I had a dream about smurfs and porcupines and started writing songs about it. Women were cackling from the songs, it brings personality into my music. I wasn’t being true to myself writing depressing songs. Then I started writing more comedic songs. I thought ‘why not make my stage interesting as well.’ I don’t know why, but as the common link between smurfs and porcupines are that they come as plushies- I decided to use plushies. It’s bizarre.

TAT: So you don’t have a particular affiliation for soft toys?

DH: People would think ‘this guy has some sort of soft toy fetish’, but I think it will make people happy. Reminds them of a good childhood. I have hundreds of them in my bedroom and boot.

TAT: How long have you been developing this show?

DH: Six months. It’s based on developing the second album called 2nd. It’s a combination of old stuff and introducing new stuff. Brings familiarity to friends who know my songs, and fresh new songs for those who haven’t heard my stuff- hoping it will be a lot of fun.

TAT: Where do you perform in Melbourne?

DH: At the Exford hotel, stand up comedy in Brunswick on Monday, a few schools, charity stuff. After my show I’ll be doing a world vision fundraiser.

TAT: What are your goals for the future?

DH: I’d love to see this go global. Not like in a big sense- like me being a massive music comedian. I have a huge heart for the poor and the lost and would love to go to a third world country and make kids laugh. I believe the arts should be accessible to all. To make the whole world laugh, if you can bring a bit of hope to someones life it’s a good thing -we all come from different walks of life. I could even provide work for third world countries making plushies.

TAT: What has been your greatest accomplishment (career or otherwise)

DH: My greatest accomplishment is seeing my vision for Dave and the Plushies coming into fruition. Releasing an album was a huge thing. I’ve sacrificed a lot for it. Cut my hours at work, given it a lot of time and my life. My family and friends have supported me throughout the journey. To see people find joy in my music- that’s my greatest accomplishment. I found my niche with comical love songs that make people happy. Releasing my album on itunes and Spotify- if I went tomorrow, I’d die happy

TAT: Do you have a favourite performance moment?

DH: Serenading the mother of my friend with KFC, and serenading my girlfriend on stage. Album launch was so much fun, a memorable moment was when I performed at the IDGF in Melbourne. This woman pulled her pants down and mooned me.

TAT: (laughs) Okay last question, why should people see the show?

DH: That’s a very good question. If you want something different- something sweet, something Asian, something soft and plushies. And something that will bring them a big grin. Come see my show.

You can see Dave’s show:

When: 28th June- 3rd July

Where: The Butterfly Club (Carson PL off Little Collins Street)

Tickets: $26-$32

Special Information: Butterfly Club members get $1 off all drinks, regular offers of discounted (or free) tickets, access to members-only events and a pretty card that fits right in your wallet.

Links: https://thebutterflyclub.com/show/dave-and-the-plushies

https://www.facebook.com/events/911127642315910/

Instagram: Dave_and_the_plushies

About Jessica Horwell

Profile: View Jessica's profile here

Email: jessica.horwell@www.theaustraliatimes.com.au

Image courtesy of Aaron Walker

Things NOT of this EARTH showcases fourteen final year NICA (National Institute of Circus Arts) students in their individual and group specialties, presenting elite level circus skills in a sci-fi themed, vintage alien world.

You will see silver slinkies unfold from the sky, a red sparkling lady emerge from a martini glass to foot juggle with equal amounts of poise and pizzaz, edge of seat trapeze swinging and clowning/hat work crafted with absolute precision.

The music, transitions and structuring create all the dynamics of a great circus show. There are classic tricks, but new flavours added in everywhere. In one act- comedy is mixed with contortion as a hermaphrodite alien acrobat embarks upon a murderous rampage.

A particular stand out for me (based on individual taste, each performer stood out in their own right) was the soccer ball manipulation act by Hugo Bladel – whose wacky physicality and facial exuberance is reminiscent of Jim Carey’s character in The Mask.

The ending (which I won’t spoil) built to a colourful, fluttering climax, and left many audience members on their feet.

See these graduates now as you’ll probably have to pay more to see them in the future!

Where: NICA National Circus Centre, 39 – 59 Green Street, Prahran

When: 8th to 18th June

Tickets: $24-$36

Special Information: NICA is accessible by wheelchair

Links: http://www.nica.com.au/event-tickets.php?cPath=379

About Jessica Horwell

Profile: View Jessica's profile here

Email: jessica.horwell@www.theaustraliatimes.com.au

Stuart Halusz, Will O'Mahony, Adam Booth and Jo Morris in Black Swan's production of Angels In America, Part One.

Each year, Black Swan Theatre Company brings Perth something truly epic, from Next to Normal to A Streetcar Named Desire, they have pushed boundaries and created a larger than life production. All of those huge productions are eclipsed by Angels in America, Part One: Millennium Approaches. At first, it doesn’t appear to be as epic and grandiose as any other production but once it gains traction, it shows its true form on a massive scale.

Angels in America is a heart-wrenching work following a young homosexual man dying of AIDS in 1980s New York. The story centres on young Prior Walter (Adam Booth) who is in the early stages of the disease, frightened and unsure of what will happen to him as his body rapidly declines into the ravages of the disease. On top of having to face his own mortality, he is fearful of abandonment from his partner, Louis (Will O’Mahoney.) As it turns out, these fears are perfectly justifiable and we watch Louis’ struggle with his partner’s disease. With Prior ill, he is forced to consider his own mortality and questions whether he is committed enough to endure and bear someone else’s suffering.

But of course, there is so much more to it than that. Throw in a conservative closet homosexual lawyer (John Stanton) attempting to wield rather unethical power over Washington by manipulating his Morman prodigy (Stuart Halusz); the young Morman’s agoraphobic wife (Jo Morris) who hallucinates on Valium all too frequently due to her husband’s sexual indifference and you have a tangled web of dramatic tension. Although it seems like this is only a normal play with plot twists and secrets galore, but a regular play nonetheless: there are dreams, hallucinations, shared fantasy and lucid hallucinations, hauntings, and voices.

Each character must look introspectively as the millennium approaches, and seek meaning in his/her life. Religion, morals, fantasy, pain, suffering, and a keen sense of humour and self-awareness run through the biggest production to grace the State Theatre Centre of Western Australia. Hold on to your seats, because it’s only half-way through!

When: 23rd May – 19th June 2016

Where: Heath Ledger Theatre, State Theatre Centre WA

Tickets: $32.50 – $82.50

Info: Adult themes, coarse language, frontal male nudity, simulated sex and smoking of herbal cigarettes

Link: http://www.bsstc.com.au/season-2016/angels-in-america/

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

Image courtesy of Opencage Photography

I always expect a highly engaging show at The Butterfly Club in Melbourne’s CBD and #DearDiary definitely lived up to expectation. The first solo show of International actor, and big kid at heart- Andi Snelling, which sold out Adelaide Fringe Festival, entertained a packed house yesterday night- with an enormous, vibrating applause upon ending.

The show- which is entirely verbatim (except for a short improvised section) recounts the diary entries Andi made from age 9-33, with hashtags added. An hour was not enough to ride the roller coaster of emotions with Andi, and watch her express things we have all thought or felt in a private sphere at one point or another.

Andi as a performer is right there in that special pocket- the kind of artist that brings her whole self- past and present to boldly leave nothing unexpressed, and effect the audience with every comic line, wistful movement or tear jerking story. There isn’t a second you won’t be captivated or charmed by Andi and her unique way of storytelling- which includes song, hilarious facial expressions and entrancing physical embodiment of emotion.

The show is relatable for everyone, you will reminisce about your past, the things you might have written in your diary, but never said out loud. Go on the journey and discover how universal human emotions are, when you hear the private in public.

When: 1st-5th June, 7pm

Where: The Butterfly Club (Carson Pl, off Little Collins)

Tickets: $26-$32

Information: Butterfly Club members get $1 off all drinks, regular offers of discounted (or free) tickets, access to members-only events and a pretty card that fits right in your wallet.

Links: http://www.andisnelling.com/deardiary/

http://www.andisnelling.com/deardiary/

https://thebutterflyclub.com/show/deardiary-2016

About Jessica Horwell

Profile: View Jessica's profile here

Email: jessica.horwell@www.theaustraliatimes.com.au

In the black-walled confines of the intimate Blue Room Theatre sound clips fill the air – white people (some famous, some everyday folks) talking about ‘the black problem.’ A figure stands silent, providing a vigil against the tirade of horrendously racist and misinterpreted thinking. This is Ian Michael, solo performer and co-writer of Hart – he tells the stories and thoughts of four Noongar men, tackling the sad but true tales of Stolen Generation Aboriginal people.

This play is not for the faint-hearted. Let’s be clear – it is beyond sad, the sorrow of these men seeps into your bones, as it should. The stories and words come from four men but they are intertwined and jumbled – similar to the story of the Stolen Generation. There are common threads and vast differences. There are humorous anecdotes and a cheeky spirit that runs through all of the threads. There are heart-wrenching tales of separation, loss and deep pain.

Michael is a phenomenal performer. The audience hangs on his every word. His delivery is humorous and filled with pathos – his very mannerisms and quiet, regretful tone brings the audience to tears, and rightly so. Hart isn’t about making you cry or laugh – it’s about making you feel. It’s giving a voice to a generation and race that have been silenced and still are today. It highlights the way we were and how we haven’t really changed that much.

As a reviewer, I have seen many shows, but Hart was the first time I experienced, and was part of, a standing ovation. It was well deserved – brilliantly written, flawlessly performed, and wonderfully touching, Hart is the show everyone needs to see.

When: 24th May – 11th June 2016 (8:30pm)

Where: The Blue Room Theatre (Perth)

Tickets: $18 – $28

Info: Duration 50 minutes| Auslan interpretation 9th June| Q&A after show on 1st June

Link: http://blueroom.org.au/events/hart/

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

Review by Amanda Lancaster.

“My,what big ears you have!”

“All the better to hear you with.”

“My what big eyes you have!”

“All the better to see you with.”

“And my oh my what big teeth you have!”

“All the better to EAT you with!”

And just like the wolf had eaten little red, so too did the audience devour I See Red. We all know the classic fairy tale, Little Red Riding Hood – or at least a version of it but none quite so like the patchwork of interpretations that make up the performance, I See Red.

In a beautifully woven together hour we a treated to a seamless string of entertainment by Western Australian Academy of Performing Art’s (WAAPA) 3rd year performance making students. Consisting of 9 short re-interpretations and re-imaginings of the classic fairy story, the audience is treated to a night of experimental adult puppetry and visual performances, each of which takes on its own cleverly thought out creative demonstration on the basic cautionary tale that is Little Red Riding Hood. With gorgeously witty metaphors cloaked in red, each creative aesthetic choice has been made carefully by the students themselves and it is this artistic voice that the audience so willingly devours.

The audience looks on with big eyes and pricked ears trying to untangle the magic, but the performers create such a believable reality on stage between such skilled visual manipulations and the wonderfully subtle use of use of sound and light that we will happily believe there are no strings attached. The idea of taking a a children’s cautionary tale, a fairy story and adapting it to that of a show for the entertainment and intellectual enjoyment of a theatre full of adults is a bold and unique idea. But the 16 performing artists have done so with such a beautiful sophistication, that I See Red is not only just well received but leaves you with a definite hunger for more.

In a modern world of forward fast-paced momentum I See Red serves not only as a reminder of what predatory pitfalls can hide amongst society’s seemingly simple pleasures, but also reminds us of just exactly how exciting and edgy the art of visual theatre, puppetry and object manipulation can be.

I See Red played at Spare Parts Puppet Theatre, performed by 3rd Year WAAPA students from 19th – 20th May 2016.

Review by Brandon Taylor

Ships in the Night is a bimonthly gig that features music, readings and spoken word pieces from local Perth artists. This, the 13^th installment, took place at Northbridge’s Paper Mountain, a second-story gallery and art commune where from an audience seated on floral-print pillows, artists emerged one by one to trade songs, poems and stories on an improvised stage.

Albert Prichard of Shit Narnia opened with a collection of singer-songwriter pieces from his solo project New Nausea. Prichard’s methodical chords and soft, vulnerable lyrics would best be categorised as indie-folk, but to stop at that label would be a shame. There was an unfolding – a forested hum of notions in the music that is at once introspective and relatable. This calm was abruptly cut off when Prichard played an addictively discordant tangle of thoughts written for Shit Narnia.

Announced next by the hilarious and endearingly self-aware MC Alyce Wilson was local writer Ciocio (Zoey) Ola. “I finished my grandmother’s eulogy the morning of her funeral,” Ola started. Tugging on that thread of guilt, Ola unraveled a spoken word piece about the rebel, the co-parent, the sweet little old Polish lady, and the deeply sad and deeply happy person her grandmother was.

Guitarist and member of bands Rag n’ Bone and Hip Priest Axel Carrington delivered a breathless but well-written review of Shit Narnia, also reading one of their new songs “This is How They Kill Us,” and Elizabeth Lewis next read a selection of short, soft poetry about things unashamedly close to her heart.

Hugh Manning of Shit Narnia performed two spoken word pieces, one revealing the exhuming experience of his first (clumsy, stilted) sex escapade, and one scratching at the raw awareness that “I am a child, I am a child, I careen wild between guilt and rage.”

After a brief break, May of Golden String layered soft beats and keys with a loop pedal, a dusky voice and a haunted, caringly-sampled and occasionally 8-bit sing-song carnival of calmly threatening emotions and the real trouble in the world.

Tristan Fiddler, producer of Magnolia’s Late Night Live, came to the mic with a short story. Entitled ‘Please be More Somber,’ the piece explores the life of ex-punk rocker and current corporate drone Evelyn as she makes token resistances to authority that drive her deeper into the anxiety and depression one experiences when dissecting the layers of anti-freedom and mass produced escapism that surround so many aspects of today’s society.

Closing out the night was Patricia Hackett Prize winning short story writer Laurie Steed. Steed read an excerpt, or rather an offshoot, of book-in-progress The Bear. Through the eyes of a 7-year-old, Lionel Richie-loving boy, we watch – in slow motion – the members of a suburban family take alternate stands of solidarity and stubborn selfishness during the course of a painful divorce.

For more information or to catch upcoming bi-monthly shows, check out Ships in the Night on Facebook.

About Brandon Taylor

Profile: View Brandon's profile here

Email: brandon.taylor@www.theaustraliatimes.com.au

Image courtesy of John Dore

Performing to a small crowd is always a challenge- but John had the audience at The Butterfly Club in stitches with his relatable antics, and quirky physical impressions.

I found myself muttering ‘that’s true’ to many of the stories John told, with topics like- the tell tale sign we have reached a new height of laziness, the excessive sweat and red face we get when we are anxious, and the ordeal of trying to fake a believable sick day.

This show has been tuned so every joke is in the right key, resulting in well-crafted comedy. He broke down the extreme absurdity of sport fishing in a way I didn’t know was possible. Told very funny stories about catching mice and unleashing them on the neighbours.

I would say there is a mix of stories that evoke great laughter because of their relatability, as well as quirky thoughts and physicality unique to John’s style.

You can get stuck for a hilarious hour in John’s Revolving Dore for a few more days:

Where: The Butterfly Club, Carson PL, Melbourne

When: 18th-22nd May

Tickets: $26-$32

Information: Butterfly Club members get $1 off all drinks, regular offers of discounted (or free) tickets, access to members-only events and a pretty card that fits right in your wallet.

Links: https://thebutterflyclub.com/show/revolving-dore-may

About Jessica Horwell

Profile: View Jessica's profile here

Email: jessica.horwell@www.theaustraliatimes.com.au

Blue Room Theatre’s April-July season takes a gritty turn this week with Belated, a tale of friendship and forgiveness and the lengths we’ll go to for the people we love. Tickets to Members’ Night and Opening Night are sold out but you can still nab tickets for Friday and Saturday this week. The season runs until Saturday 28 May.

We caught up with Writer/Producer Liz Newell to find out what it was all about:

The Australia Times (TAT): I see this is Maiden Voyage’s ‘maiden voyage’ itself, how did you come to be involved with this project?

Liz Newell (LN): I founded MVTC earlier this year in response to the lack of gender parity in the Australian theatre industry. Maiden Voyage exists to champion gender parity and put new plays on stage. It’s just about being mindful in the shows we produce, and about recognising that presently, roles for women on and off stage are always as substantial – or even as common – as those available to men.

TAT: How important is gender equality in the theatre scene?

LN: Extremely. Gender parity is just a slightly fancier way of saying “equality” outright. I can’t see why anyone would actively want to prevent equality of any kind, not just that between genders. But aside from that, theatre is supposed to be for everyone. But theatre where women don’t find a foothold and men dominate the stage isn’t really theatre for everyone, is it?

TAT: It’s also your debut as a playwright, how long have you been writing for?

LN: I’ve been writing since I was a kid, but only ventured into writing for theatre a couple of years ago.

TAT: How did Belated come about? What was your motivation for writing it?

LN: Belated started out as a story about a group of 20-somethings trying to find their place in the world, and for the most part, it is still about that. I’m interested in the growing people do once they’re in their 20s, when they’re supposed to have hit adulthood, whatever that is, but sometimes it can feel like growing up is an ongoing process. Sometimes we wonder if we’re ever going to be the people we’re meant to be, or if we’re already stuck being one thing from hereon out. Belated is about realising you’re not perfect and trying, in your own strange way, to be better.

TAT: What does Belated say about women in today’s society? How is Maiden Voyage’s message of gender equality apparent throughout the play?

LN: That’s an interesting question. I hope Belated simply shows that young women can be many things all at once, instead of being reduced to one or two identifiers. In Blythe’s case, it would be easy to pigeonhole her as the angry lesbian, and Norah might come across as the highly-strung princess at first. By the play’s end, we see that the two contain multitudes, that they are more than their first impressions, or even their second or third. People can surprise you. Sometimes those surprises are even the good kind.

TAT: How important is the balance between friendship and individuality? It seems that Belated really pushes the boundaries of friendship through close living conditions, is that so?

LN: Every friendship is different, but that balance can be difficult to strike. Blythe and Max have been friends for so long, it’s less a case of losing individuality and more a case of not knowing who they are without the other one around to remind them. It’s a rare kind of bond and one not everyone will be fortunate enough to actually experience in their lifetime. Belated does explore the boundaries of friendship, but not so much through close living quarters. It’s more about asking how far you’d go for your friends, how deep down the rabbit hole you’d let yourself fall if you felt the alternative would be too much for either of you.

TAT: Do you associate with any of the characters? If so, why?

LN: To some degree, I associate with all of them. They did all come out of my head, after all. Some are based more on people I know than on myself. I relate to Blythe, Max and Norah in equal measure for different reasons. I swear almost as much as Blythe and find myself stuck in the middle of conflict, trying to be Switzerland, almost as often as Max.

TAT: I understand that Maiden Voyage is about more than just bridging the gender divide in the arts, it’s also about quality writing and producing great stories, with that in mind, how important is the Australian identity in the works you seek to promote?

LN: Personally I prioritise ‘good’ stories over anything else. What defines ‘good’ changes day to day for me, but generally involves characters with depth and a distinct arc from beginning to middle to end. The Australian identity is an interesting idea and such a tricky topic, but not something I intentionally seek out in the work I produce. More often than not, though, it is in the work I write, if only hovering in the background, I suppose. Some of my favourite stories – not just those on the stage – have been distinctly Australian. Tim Winton’s Cloudstreet is one of my all-time favourite books.

TAT: What has your collaboration with the Blue Room Theatre been like?

LN: Amazing. We couldn’t have asked for a more perfect place for our first production. It’s an immense credit to The Blue Room Theatre’s programming model (and its wonderful team) that a new company like MVTC can put on a new show within such a supportive, nurturing environment. It enables you to take risks and make the most out of the time you have in the theatre.

TAT: What’s next for yourself and Maiden Voyage?

LN: I’m going to start writing something new pretty soon. I’ll also start work on Maiden Voyage’s next show, which will hopefully find a stage to call home sometime next year. Other than that, we’ll be working to spread the word about the company and its aims in general and continue building an audience by raising awareness. It’s all fun and games.

Belated

When: 10th – 28th May 2016 (7pm)

Where: Blue Room Theatre, PERTH

Tickets: $18 – $28

Info: Suitable 15+; Wheelchair accessible; Q&A after Wednesday 18th May’s performance

Links:

Blue Room – http://blueroom.org.au/events/belated/

Tickets – http://sa2.seatadvisor.com/sabo/servlets/EventSearch?presenter=AUBLUEROOM&event=BELATED

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

Sailing high after the success of Ships in the Grr at FRINGE WORLD 2016, Ships in the Night will host their next gig on Thursday 19 May from 7pm at Paper Mountain in Northbridge.

The line-up includes Tristan Fidler from RTRFM 92.1, Laurie Steed well published author and editor, Axel Carrington, Elizabeth Lewis, Hugh Manning and Ciocia Ola.
Bringing the tunes will be New Nausea, the exciting new solo project of Albert Pritchard (Shit Narnia, Pool Boy) and Golden String, weavers of a dream pop tapestry laden with layers of soft beats and keys.

Ships in the Night is a quarterly gig showcasing Perth’s finest local wordsmiths, who bring their words to life on stage alongside talented musicians in a fresh, intimate context.

We caught up with Elizabeth Lewis ahead of her reading on Thursday, to get into her head about the project. Lewis works in a library, and knows how to rock a cardigan. Her poems have been published in Indigo, Quadrant, Cottonmouth and Zadok. She is a collector of moments and loves listening to people’s stories. She is also an accomplished car karaoke diva.

The Australia Times (TAT): How did you get involved in the Ships in the Night project?

Elizabeth Lewis (EL): A friend wrote to me trying to track down a poem of mine she’d read at another friend’s house a few years ago. I was touched it had stayed with her for so long. It turned out she’s one of the Ships in the Night team and suggested I read at the event some time. I love it when things line up unexpectedly.

TAT: How important is spoken word to you?

EL: Marcella Polain once said to me, ‘A poem when read aloud, is a completely different experience to the poem read on the page’. In spoken word you get a bit of the poet’s visual and aural personality, the bodily experience of this poet at this time in this space; the unique banter, breath, pause and atmosphere of this particular reading. It’s an exchange between the poet as a person or character and their audience. As a reader, sometimes all you can see are blank faces but sometimes you see a grin or a tear or a collective intake of breath or you feel the vibe that something is beating beneath the surface of skin and stance.

TAT: There’s something warm and inviting about doing something like this in winter, does environment lend itself to your choice of works to read?

EL: Well, as long as mulled wine is involved… Just kidding (but can we arrange that?). I’m a fan of sunshine so living in Perth works well for me. To be honest, not really. It can depend on the set-up of a space, or if a specific theme is named, or if everyone is wearing coats and shaking umbrellas I guess, but I’d hope that if the right words are there a poem can transport a listener to any season, place, street, moment, so long as it hits them in the heart.

TAT: You are surrounded by books and people’s stolen moments working in a library, how does that influence your work?

EL: Library work is not always as romantic as imagined. However, Libraries are a space where people tend to make a home away from home or work away from home and where some people find a special nook where 2 days a week or in some cases every day, they slip into the world inside their mind, in a welcoming, cosy, safe, free space. It’s a good place for people watching (as long as you’re not creepy about it).

I hear and see people’s stories every day. I don’t write about them specifically but all those stories, floating around in my head, bumping into each other, sometimes spark their way into a poem, even years later.

I feel like I understand people better because the library attracts such a diverse crowd. The humanity of all this, of all of us, makes itself known in my writing. Having said that, one of my favourite poems by Andrew Lansdown is about a man falling asleep in a library.

TAT: Are you nervous about the performance?

EL: Yep!! It’s been a while since I’ve read out loud. Must practice.

TAT: What’s the one theme you feel you explore the most?

EL: How the little things are really the big things in life.

TAT: What can poetry offer to people that prose can’t?

EL: It can be good for people with a short attention span! I don’t compare the value of each form, I notice if the language makes me say ‘Yes!’ in my head or if it pulls me in and keeps me. I do enjoy poetry because it’s often a snapshot that points to something bigger going on. The trick is to point to that big thing using only and exactly the right words. I could go on but that would require us to sit down with tea, or wine.

TAT: What’s next for you?

EL: I’d like to put my poetry somewhere people can find it and read it. I haven’t decided if that’s in a book, on a blog or on people’s fridges in their homes. Could be all three.

SHIPS IN THE NIGHT #13

When: Thursday 19th May, 2016 (Doors open 7pm for a 7:30pm start)

Where: Paper Mountain, 267 William Street, Northbridge PERTH

Tickets: $10 each, $50 for a group of 6

Info: Intimate space, even if you have a ticket, get in early!

Link: http://www.eventfinda.com.au/2016/ships-in-the-night-13/perth/northbridge

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

The Australian Ballet is back with the ultimate classic, Swan Lake. Fresh from Sydney, the company brings resident choreographer Stephen Baynes’ Swan Lake to Adelaide from 26th May 2016. Originally created in 2012 to mark the 50th anniversary of The Australian Ballet, this visually stunning production holds a special place in the company’s heart – Swan Lake was the first ballet ever danced by The Australian Ballet, in 1962 at Her Majesty’s Theatre in Sydney. This production is a traditional style ballet, providing the perfect counterpoint to some of the more modern interpretations of contemporary ballet.
This production, being revived by the company in 2016, with music performance by the much-loved Adelaide Symphony Orchestra, has not been stage in Adelaide since 2013 when it was received to great acclaim. An ageless ballet that has enchanted audiences for centuries, Baynes combines grand scale and psychological intimacy. His treatment of Swan Lake is a reverential reimagining, respecting the traditions and techniques of classical ballet.
The powerful work is complemented by Hugh Colman’s designs, which pit Edwardian glamour against the spectral beauty of the white acts. The celebrated costume and set designer showcases his love of the classics with this heritage production. His extravagant and lavish designs further heighten the drama of the tragic love story.

From the festive Edwardian costumes of the court to the spectacular ice-blue tutus of 24 swans on the moonlit lake, this production will captivate audiences of all ages. An integral part of Swan Lake is Tchaikovsky’s score, one of ballet’s most recognisable pieces of music. Commissioned in 1875, it reportedly took the Russian composer a year to complete. From the first yearning bars, the music takes audiences to another world. With its bewitched Swan Queen, doomed Prince, and velvety rich score, Swan Lake is the ultimate night at the ballet for seasoned ticket holders and newcomers alike. Swan Lake made its debut in Moscow in 1877and is one of the world’s most performed ballets. This is the fourth interpretation to enter The Australian Ballet’s repertoire.

In its various incarnations, Swan Lake has been danced by the company 612 times, making it the most frequently performed ballet in the Company’s history. This is the 20th work that Baynes has created for The Australian Ballet and his third full-length ballet. Baynes studied at The Australian Ballet School before joining the company in 1976. He first experimented with movement in 1986, creating Strauss Songs, a piece that won an Australian Ballet choreographic competition.

Swan Lake heads to Melbourne after Adelaide from 7th – 18th June 2016.

When: 26th – 31st May 2016

Where: Festival Theatre, Adelaide Festival Centre

Tickets: From $41

Info: 30th May Q&A after show, 31st May (11:30am – 12:30pm) Behind the scenes look at the life of a dancer. Watch the Company take their daily morning class, and then see two lead dancers in a private coaching session. (Tickets $19 – $29)

Links:

https://www.adelaidefestivalcentre.com.au/shows/tab-swan-lake/

https://australianballet.com.au/the-ballets/swan-lake-2016

https://www.artscentremelbourne.com.au/whats-on/ballet/swan-lake

Image courtesy of John Dore

I sat down with John at a bar in the Melbourne CBD to chat about his upcoming show Revolving Dore at The Butterfly Club, why he became a comic, and his advice for those starting out.

The Australia Times (TAT): Hi John, thanks for meeting with me. You look different to your pictures.

John Dore (JD): That’s because I’m less like this (makes the body angle in his promotion image)

TAT: Okay, so just a quick interview, to start off- when did you start comedy and what got you into it?

JD: I got into comedy five years ago. I’d always wanted to do it, I took any little chances at school to do public speaking. When I met my fiancé I told her that I wanted to do comedy but I thought ‘there’s no way you can do that’. She bought me a notepad for my jokes and booked me into my first open mic.

TAT: Where was your first open mic?

JD: At The Brass Monkey in Perth. Dave Hughes had apparently got up on that stage and failed twenty times before he had a successful performance.

TAT: How did you feel on stage for the first time?

JD: I literally almost ran off stage, my heart was jack-hammering. The headliner said my performance was ‘good’.

TAT: Why do you like comedy?

JD: Only funny things interest me. I wonder why anyone would talk or think about anything that is not funny, doesn’t seam worth getting involved. But I didn’t think stand-up was something I could ever do myself.

TAT: What does an average day for you look like? Are you a full time comic?

JD: I still work as a chef 2-3 days a week, but the dream is to be a full-time comic.

TAT: How do you promote yourself?

JD: Social media mainly, and stuff like this (referring to the interview)

TAT: How do you come up with your material?

JD: Any funny story or something strange that occurs, I’ll try and turn into a story. Contradictions and life. Things that are true and no one talks about. Thoughts go through your head all day. Starting out I thought all of my thoughts were fantastic then you start doing it and realise 10% are funny if told out loud.

TAT: What does a successful show look like?

JD: What I’m aiming for is to be so good at comedy that people are falling off their chairs for the whole hour and cant breathe. Generally you should have a laugh every 15-20 seconds to be a headliner. Guys like Louie CK and Bill Burke achieve that.

TAT: Do you have favourite comedians?

JD: Louie CK, Pete Homes., John Delaney, Norm Macdonald

TAT: Did you watch stand-up before you did it?

JD: When I was starting out I’d watch heaps of Louie CK. But then I’d get on stage and try and be him and that didn’t work. Finding your voice, that’s a very good thing.

TAT: Do you feel like it’s you on stage or do you feel like a character?

JD: When its best it’s me, having the right connection with the audience. If you can win over an audience, then everything you do is funny.

TAT: I’d like to start doing stand-up, what’s your advice for people wanting to start out?

JD: Just do it. No-one will remember if you fail, and you’ll probably have a year of sucking.

TAT: Lastly, how would you describe your show Revolving Dore, and why should we see it?

JD: It’s like a ‘Best Of’ album, the only theme is funny. Oh and it’s guaranteed the funniest show in the world.

(I’m being objective )

Revolving Dore is on at The Butterfly Club this week.

Date: Wednesday the 18th to Sunday 22nd of May

Time: 7:00pm

Tickets: $26-32

Information: Butterfly Club members get $1 off all drinks, regular offers of discounted (or free) tickets, access to members-only events and a pretty card that fits right in your wallet.

Links: https://thebutterflyclub.com/show/revolving-dore-may

Image courtesy of Madame Elbac

You won’t know what to expect, but she does. A psychic that knows what you’re thinking and how to make you laugh! Performing at the Butterfly Club in the Melbourne CBD until Sunday.

Describing herself as an ‘ipsy’ Madame Elbac combines comic song and ritual to reveal her psychic powers in a charming, but MA+ rated way. Accompanied by a piano player wearing a beanie- taking the occasional swig from a brown paper bag, and her beloved pussy- cat that is. She’ll discuss things like- using a cheeseboard instead of a wigi board and have you spell bound with her quirky songs.

The gold sequin stars and moons on Madame Elbac’s fabulously dazzling outfit, shine as bright as her third eye. She connects with the spirit world, receiving information and passing along to members of the audience. Bewitching and very theatrical, seeing this show should be in your future!

When: 11th – 15th May 2016 (7:00pm)

Where: The Butterfly Club, MELBOURNE

Tickets: $26 – $32

Info: Butterfly Club members receive cheaper tickets and $1 off all drinks!

Link: https://thebutterflyclub.com/show/an-evening-with-madame-elbac

https://www.youtube.com/playlist?list=UUtox96QZuZWWuBFj15KkxNQ

About Jessica Horwell

Profile: View Jessica's profile here

Email: jessica.horwell@www.theaustraliatimes.com.au

Review by Caitlin Harris

Fresh off the back of sell out shows at Perth’s Fringeworld comes A Lady’s Guide to the Art of Being a Wingman, from dynamic Australian comedy trio Daisy (Belinda Hanne Reid), DeeDee (Natasha York) and Delilah (Lisa Woodbrook.)

Suit, and pink bee-hive, up with our Single Ladies, as their audiobook guides them on their quest to become the ultimate wingmen in their home town of Melbourne.

Join the wolf pack ‘Desperettes’ in a how-to as they hit the city’s club scene, take prime viewing position at the bar and set their sites on many a fine gentleman (hint: audience participation). Learn how to lure your prey in with conversation starters like “would you like me to sit on your face?”. Dodge any ‘cliterference’ you may face along the way with ease (you know – being ‘boxed out’) and build your gal pals up as Heroes ready to save that fella in distress.

Laugh out loud funny, these women dressed as men do a hilarious take on the pick-up scene we have all at one-point faced – cleverly exposing double standards and ridiculous trends of the dating world, all while smashing out your favourite naughties ballads that’ll have you feeling Pitch Perfect (cue Destiny’s Child, Salt n Pepa).

The Desperettes are performing at the Butterfly Club in Melbourne until Sunday 15 May 2016 before their final Australian shows in Queensland and the Edinburgh comedy Festival in Scotland.

If you need some new pick-up lines (let’s face it, who doesn’t?) do yourself a favour and see this show. You won’t meet anyone on Tinder mid-week anyway.

Disclaimer – Males in the audience face a 75% chance of being grinded on!

When: 10th – 15th May 2016 (8:30pm)

Where: The Butterfly Club, MELBOURNE

Tickets: $26 – $32

Info: Butterfly Club members receive cheaper tickets and $1 off all drinks!

Link: https://thebutterflyclub.com/show/a-lady-s-guide-to-the-art-of-being-a-wingman

Image courtesy of Georgy Girl, The Seekers Musical

Review by Eden Caceda

The Seekers hold a place in Australian music history and have contributed significant amounts to music culture. Yet, when I first walked into the full State Theatre, Sydney for the opening night of Georgy Girl: The Seekers Musical, I knew little to nothing of the group or their legacy. Early my mother inferred that I would dislike the music as I had a long history of not tolerating folk music. So for an unsuspecting and uninformed viewer, watching the show was an introduction and teaching of the groups achievements through time.

Said to be focusing on the story of how The Seekers rose to fame and how their music evolved as they did, the show is surprisingly obsessed with the story of lead female voice Judith Durham and her stereotypically female tendencies towards men, fashion and fame in the 1960s. As a result, there’s little to learn about the other three men of the group and there are many questions to ask when the characterisation of Durham is mediocre at best.

Much of this is reflected in the book of the show, which is saddled with cliché lines, lousy character development and is scarily patronising towards the band members it is trying to qualify. But alas, audience members were not present to watch a dramatisation of The Seekers, but to hear the classic songs echo through the huge theatre. All songs are delivered with soul and at no point do the songs feel underwhelming or like the performers are unable to do well. Cheesy dance routines take place in the background at times, with somewhat lackluster stage presence on the part of set design and decoration. But when the four come together, they soar.

Director Gary Young pushes the audience to like the show, focusing on the big numbers and recognisable songs over the scripted parts of the show. On the stage of the State Theatre one can’t help see how small the magnitude of the show is, easily comparable to an amateur production at a local high school. If only the show was a tribute concert performed in a smaller, more intimate venue.

Each of The Seekers bring their best to the role and perfect their harmonies. With Glaston Toft as Athol Guy, Mike McLeish as Bruce Woodley and Phillip Lowe as Keith Potger, the men are all pleasant and hold the stage despite little character nuances or interest from the audience. Fortunately Pippa Grandison becomes the phenomenal Judith Durham and gives a star performance in an otherwise forgettable show. She captures the essence of Durham’s singing style and brings gravitas to the production. Her more emotional ballads are phenomenal and I would return to the show just to see her sing once more.

Moreover, the show’s poorly written book and uninspired storyline is merely a vehicle to the stupendous singing performances that we are privy to. Kudos to the actors and actress playing The Seekers and if you are a fan of the band or have never heard them before, go see it simply for the music, which I guarantee you will leave humming to.

Georgy Girl, The Seekers Musical is on in Sydney until 1st June 2016 and then heads to Perth in July 2016.

http://www.georgygirlthemusical.com/

About Eden Caceda

Profile: View Eden's profile here

Email: eden.caceda@www.theaustraliatimes.com.au

Image courtesy of Spare Parts Puppet Theatre

Phillip Mitchell is the director of WAAPA and Spare Parts Puppet Theatre‘s bold collaboration, I See Red, which plays next week on the 19th and 20th May 2016. The Australia Times caught up with him to see how the collaboration came about and what innovations young theatre students are bringing to the Perth stage.

The Australia Times (TAT): How long have you been directing WAAPA shows?

Phillip Mitchell (PM): This is my first time directing a WAAPA Bachelor of Performing Arts work. Our associate Director Michael Barlow directed last year’s iteration.

I should point out it is not really like a traditional directing role when you have about 20 hours of class time to direct 16 performers all brimming with ideas and enthusiasm – it is creative overload! Many of the performers are self directing and devising… I just ask loads of questions

In the past we have had many partnerships with ECU where we have collaborated on performances. Both Michael Barlow and I have enjoyed directing works in the past with the ECU students.

TAT: What’s it like working with students rather than more established performers?

PM: I absolutely love working with the students. I also don’t think of them as students – they are performing artists who need to be converted to the puppetry world of imagination and visual dramaturgy.

Their passion and enthusiasm for puppetry is so invigorating – you can’t help but be generous with time knowledge and expertise.

The perceptive and often quite deep interpretations of a classic cautionary tale like Little Red Riding Hood reminds me of how politically, socially and environmentally aware these performers are – they are not kids – they are impressive autonomous thinking creative thinkers in our community who have passionate and often surprising perspectives on the world we live in.

I love being challenged and there is no shortage of that going on as we create 9 individual re imaginings and re interpretations of the Little Red story.

The depth of understanding of puppetry as an art form is what is amazing me. The students get it after only 10 weeks of skills training, playing, reading and experimentation. Those are very impressive performers.

The course is now its second iteration. We have employed a graduate from last years course, Barnaby Pollock, and I am already keeping an eye out for possibilities for the future.

The only thing that seems to differentiate these artists as students from established performers is they have the pressure of having to be assessed on everything they do.

From my perspective having 16 adult artists in the room all eager to learn what is my head and body is both flattering and at times very demanding – our biggest casts at SPPT are usually 3 – 4 artists – 16 is like a training football team .. Not that I have ever done that.

TAT: Is puppetry part of the curriculum? How familiar are the students with puppetry?

PM: This unit as part if the BPA course at WAAPA and is the only training of its kind in Australia – these 16 students have the potential to change the way we make Australian theatre – we shouldn’t underestimate the impact of incorporating puppetry in to tertiary performance training.

TAT: Is this your first collaboration with Spare Parts Puppet Theatre? How did this collaboration come about?

PM: This partnership with WAAPA has come about through a lot of dedication and support from a long list of champions for puppetry at WAAPA and ECU. Frances Barbe, the course coordinator along with Julie Warn the Director of WAAPA have been pivotal in making this course and our dream to be teaching puppetry at tertiary level a reality.

Most importantly as we jump on the high speed train to a performance outcome on the 18th and 19th May all the team at Spare Parts are all contributing actively to this extra activity over and above our normal busy schedules

TAT: What are the challenges involved in directing a puppet show, as opposed to a straight play?

PM: It has been so long since I directed a purely actors theatre piece – the though of it turns my stomach. Why would you not incorporate puppetry in everything you do!

TAT: Do the students have much of a voice in the creativity of the show? How much do they influence the performance etc?

PM: The students have total control of the creative choices – it is their artistic voices you will see on stage and hopefully my contribution is in the skills training and guidance to exciting puppetry outcomes.

TAT: I understand that WAAPA students do have to work on children’s theatre at least once throughout their studies, what was the decision to make this an adult production instead?

PM: Creating work for young people is a lot harder than what many people think – it requires so many considerations that are not even artistic .. Messing with young peoples brains is serious business. While creating an adult work still has enormous responsibility there is a greater understanding from adults about the experimental nature of the work and that it is an outcome of training. Adults understand the context.

Adults know they will get something fresh, passionate and exciting – kids have no filter – they just see.

TAT: Do you feel the story of I See Red is reflective of the student’s lives, in that they are still young but must embrace the darkness of adulthood?

PM: Every artist reflects their vision of the world – the work I see Red is 9 different visions of the world and I suspect being aged between 20 – 35 we see their lens on the world resonated through this very rich cautionary tale.

TAT: What creative freedom do you have with the aesthetic of the show, that you wouldn’t have if it was aimed for children?

PM: There is no difference, absolutely no difference. The aesthetic sophistication and choices I make for children are the same I make for adults – I do not come from the school of bright colours and happy faces for kids – I believe children and adults can enjoy the same aesthetics and puppetry experiences in the same space

TAT: What’s next for these students?

PM: Auditioning for SPPT program for 2017 – 18 and going out into the world different to many other performers because they now have a greater understanding of visual dramaturgy and the importance of the object on stage … the beauty of allegory and metaphors… they will be champions of well considered visually strong theatre making.

I See Red

When: 19th and 20th May 2016 (7:30pm)

Where: Spare Parts Puppet Theatre, Fremantle PERTH

Tickets: $15

Info: Suitable 15+, wheelchair accessible, 60 minute duration

Link: http://www.sppt.asn.au/programme/index/iseered

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

Unsold seats at theatre, dance and music performances across the city could soon be filled with school students getting their first taste of Sydney’s diverse cultural life for as little as $10 a ticket.

The City of Sydney is investigating a ‘theatre passport’ scheme, and is calling for ideas to give high-school students access to unsold seat stock at theatres and performance venues.

The City is seeking innovative proposals that draw on new or emerging technologies to bring cultural venues, ticketing agencies and young audiences together, while keeping ticket costs down.

Lord Mayor Clover Moore said the idea for the scheme was to boost cultural participation among young people by making a trip to the theatre more accessible and affordable.

“We’re committed to giving Sydneysiders of all ages more opportunities to get involved in our cultural life,” the Lord Mayor said.

“The idea is to open up a new way for young people from all walks of life to get involved in Sydney’s fantastic performance scene.

“We’re encouraging creative groups to submit their innovative ideas to bring this scheme to life and help create a new generation of theatre lovers.”

The City’s scheme was first proposed in its Creative City Cultural Policy, released in 2014, and is based on a similar program run by the Adelaide Festival Centre during the 1970s–1990s that gave high-school students the opportunity to purchase low-cost tickets to performing arts events with unsold seats.

Students from that era remember the program as providing ‘unforgettable exposure to the performing arts’, building their awareness and knowledge of theatre and, in many cases, ‘fostering a lifelong love of the arts’.

The City has conducted research into the potential market demand and size in Sydney and received positive feedback from high-school students and teachers alike, along with support from several cultural institutions.

Proposals must be submitted by 17 May, and will be shortlisted based on the applicant’s ability to develop and maintain the proposed technology platform, keep tickets affordable, manage relationships with cultural organisations and venues, and market effectively to young people.

Up to two applicants could be invited to develop their concepts into business plans. If found to be feasible, one applicant could then go on to receive additional one-off seed funding from the City, with the aim of launching to market in 2017.

For more information or to make a submission, visit tenderlink.com/cityofsydney

Producers Andrew Lloyd Webber, David Ian, John Frost and the Really Useful Group announced that the world’s favourite musical, The Sound of Music, will come to Perth later this year, completing a highly successful national tour. The lavish London Palladium production will play at the Crown Theatre, Perth from 14 September for a strictly limited season. Following sell out seasons at Sydney’s Capitol Theatre and Brisbane’s Lyric Theatre, The Sound of Music will open at Melbourne’s Regent Theatre on 13 May and play at the Festival Theatre in Adelaide from 9 August, before it heads to Perth.

Tickets for the Perth season will go on sale to the general public on Monday 16 May. People can waitlist for priority bookings at www.soundofmusictour.com.au

This new Australian tour of The Sound of Music is led by Amy Lehpamer (Once, Dirty Rotten Scoundrels) as Maria Rainer and Cameron Daddo (Legally Blonde, Big River) as Captain Georg von Trapp, starring alongside Marina Prior (Mary Poppins, The Secret Garden) as Baroness Schraeder, Lorraine Bayly (Calendar Girls, The Sullivans) as Frau Schmidt and David James (Playschool, Avenue Q) as Max Detweiler.

The Sound of Music has been playing to rapturous full houses and receiving an overwhelming critical response since it opened. The Daily Telegraph said, “The music is glorious. There’s a good reason it’s an iconic show”, while Theatre People said the show is “a beautifully crafted production for all ages”.

On behalf of his co-producers, John Frost said, “Australia has taken The Sound of Music to its heart, with thunderous applause and standing ovations at every performance in Sydney and Brisbane. Rarely do we see such an acclaimed production of a much-loved classic. I’m so thrilled to bring The Sound of Music to Perth to round off our national tour. Make sure you buy a ticket soon as it’s sure to become one of your favourite things.”

Inspired by the lives of the actual von Trapp family, The Sound of Music tells the uplifting story of Maria, a fun-loving governess who changes the lives of the widowed Captain von Trapp and his seven children by re-introducing them to music, culminating in the family’s escape from the Nazis across the mountains from Austria. It features an unforgettable score that includes some of the most famous songs ever performed on stage, including My Favorite Things, Edelweiss, Do-Re-Mi, Sixteen Going On Seventeen, The Lonely Goatherd, Climb Ev’ry Mountain and the title song, The Sound of Music.

This acclaimed production of the legendary Rodgers and Hammerstein musical premiered in 2006 at the home of West End musical theatre, the London Palladium, where it celebrated a record-breaking 954 performances seen by well over 2 million people, before going on to enjoy sell-out seasons internationally.

www.soundofmusictour.com.au

@SoundofMusicAU

PERTH

Venue Crown Theatre, Perth

Season From 14 September 2016

Performance Times Wed–Sat 7.30pm, Wed 1.00pm, Sat 2.00pm, Sun 1pm and 6pm

Price Tickets from $79.90*

Bookings soundofmusictour.com.au or 136 100

Groups 12+ 1300 889 278

TICKETS ON SALE 16 MAY

* An additional transaction fee and/or a credit/debit payment processing fee may apply

Performance times and prices are subject to change

Blue Room Theatre’s April-July season takes a gritty turn this week with Belated, a tale of friendship and forgiveness and the lengths we’ll go to for the people we love. Tickets to Members’ Night and Opening Night are sold out but you can still nab tickets to the preview tomorrow night (for the bargain price of $18), or for Friday and Saturday this week. The season runs until Saturday 28 May.

Belated
Maiden Voyage Theatre Company // 7pm // 10-28 May // For audiences 15+
Preview tomorrow – tix $18

Writer/Producer Liz Newell explains what audiences can expect (via We Love Perth): “A lot of bad words and bad behaviour. A couple of dance sequences – with great soundtracks, if I say so myself – and more than a few moments of intensity. Opportunities to laugh and cry, and watch the people on stage do the same. But mostly, you’ll see one woman’s uneasy journey towards confronting the past and facing herself.”

Director Emily McLean (Fat Pig, Red Ryder Productions; Dust, Black Swan State Theatre Company) has worked with some of Perth’s most exciting young performers to make a funny and confronting show that’s full of heart and loaded with hurt.

When: 10th – 28th May 2016 (7pm)

Where: Blue Room Theatre, PERTH

Tickets: $18 – $28

Info: Suitable 15+; Wheelchair accessible; Q&A after Wednesday 18th May’s performance

Links:

Blue Room – http://blueroom.org.au/events/belated/

Tickets – http://sa2.seatadvisor.com/sabo/servlets/EventSearch?presenter=AUBLUEROOM&event=BELATED

Little Red Riding Hood reimagined as adult theatre by Spare Parts and WAAPA

A collage of adult puppetry works inspired by the classic fairy tale, Little Red Riding Hood, is the basis of an exciting performance collaboration between Spare Parts and the Western Australian Academy of Performing Arts (WAAPA).

Artistic Director, Philip Mitchell is working with WAAPA’s 3^rd Year students from the Bachelor of Performing Arts program, to create a theatre show that explores the power and potential of puppetry, object manipulation and visual theatre in performance.

I See Red, devised and performed by WAAPA’s 3^rd Year BPA students will be performed on May 19 and 20 at Spare Parts Puppet Theatre. All are welcome, tickets on sale now.

Book your tickets online

BY POPULAR DEMAND – ENCORE SCREENINGS ON SALE NOW!

A once in a lifetime opportunity. An incredible cast. Featuring a special performance by His Royal Highness, The Prince of Wales!

“Sent shivers down the spine” – Telegraph

“A bold and innovative tribute” – Guardian

WATCH THE TRAILER!

Hosted by David Tennant and Catherine Tate, this star-studded show from the BBC and the Royal Shakespeare Company celebrates Shakespeare’s plays and their enduring influence on music, dance, opera, musical theatre and comedy. Captured live from Stratford-Upon-Avon on the 400th anniversary of Shakespeare’s death, RSC Artistic Director Gregory Doran has assembled an astonishing once-in-a lifetime cast, including Dame Judi Dench, Sir Ian McKellen, Dame Helen Mirren, Benedict Cumberbatch, Tim Minchin, Rufus Wainwright, John Lithgow, David Suchet, Rory Kinnear, Joseph Fiennes, the cast of Horrible Histories, The Royal Ballet, English National Opera (ENO), Birmingham Royal Ballet, and many more, plus a very special appearance by His Royal Highness, The Prince of Wales, to perform in a unique tribute to the genius and influence of the world’s greatest playwright and storyteller.

Shakespeare Live! From the RSC features numerous theatrical performances, as well as Shakespeare-inspired works spanning the musical genres, including hip-hop, blues, musical theatre, jazz, opera and classical music. This unique gala event immerses you in the excitement, the drama, the laughter, the tears, the constant reinvention and the utter timelessness of the works of William Shakespeare.

Gregory Doran, RSC Artistic Director, said: “I am thrilled that the Royal Shakespeare Company’s celebration to mark this very special anniversary will be seen in cinemas across Britain and around the world. Performances of some of the greatest dramatic scenes ever written, played by some of our greatest actors, will look and sound wonderful on the big screen, as will the songs, the comedy, the dances and the music that we are bringing together in Shakespeare’s home town. Watching it together with an audience in your own town should make it truly an evening to remember.”

ENCORE SCREENINGS ON SALE NOW!

VIC

Cinema Nova

Palace Como

Palace Brighton Bay

ACT

Dendy Canberra

Palace Electric

TAS

State Cinema Hobart

Palace Nova Eastend

Wallis Mitcham

NSW

Hayden Orpheum Picture Palace

Dendy Opera Quays

Dendy Newtown

Palace Norton Street

Gala Cinemas Warrawong

Luna Palace Windsor Cinema

QLD

Dendy Portside

Palace Centro

New Farm Cinemas

Regal Twin Graceville

Hawthorne Deluxe

LOOK OUT FOR MORE CINEMAS ADDING ENCORE SESSIONS! SHAKESPEARE LIVE! FROM THE RSC is produced by BBC and RSC Screen Productions, distributed internationally by BBC Worldwide and sub-distributed in Australia by Sharmill Films.

Image courtesy of Melbourne Fringe Festival

We Want You… But Hurry!

Don’t forget registrations for our 2016 festival close in less than two weeks (Monday 23 May).

As a festival artist you will be:

Granted access to 100s of shows for free with your Artist Pass
Included in the Festival Guide
Listed on our website
Supported with artist development opportunities
Given marketing tips and much more

Click here to register. You can also call our friendly staff (seriously, we don’t bite) if you need help with any other part of the process.

Join the Fabulous Fringe Team

Ever wanted to work for Melbourne Fringe? We have two amazing opportunities to become part of our team (yes, we’re as fabulous as pictured above):

Ticketing Manager who will lead the box office staff and volunteers, and be an integral part of the 2016 Festival operations team.

Marketing & Development Officer who will work alongside our permanent team to assist with the delivery of marketing and development strategies, manage the Melbourne Fringe social media channels and help to secure advertisers. CLOSES TODAY

Head to the jobs section on our site and download the position description.

by Virginia Woolf

with Peta Hanrahan

Last week La Mama showcased a production in which four performers narrate and depict the four corners of Virginia Woolf’s mind as Woolf tackles the subjects of ‘women’ and ‘fiction’, in A Room of One’s Own.

I, Madison, attended the La Mama Courthouse and was immersed in the brilliance of both Woolf’s feminism and language, and Director Peta Hanrahan’s ethereal production. Below is a very insightful gaze into the brilliant, and talented mind of Hanrahan.

Madison: The raised issues of fiction and women in A Room of One’s Own, how relevant are they today?

Peta:

The beauty of this text is its flexibility; the multi-layering of metaphor and symbolism from a dramaturgical standpoint is a gift. ‘Fiction’ for me in context with this work, as I believe it was also for Woolf herself is a representation of all art, and in turn all women creatives, be they writers, composers, painters, actors or in my case directors of theatre.

So if we subtly shift the definition of the word for a moment and translate ‘Fiction’ to ‘Art’, one then reads ‘Art and Women’. Now we can clearly see that the questions Woolf poses in the novelette has a greater universal resonance and is not as seemingly specific to one discipline as in first read or listen. What we also start to see, through the course of the narrative, is that Art and its relationship to, for, with and from women has been almost exclusively experienced and recorded historically from the male perspective. She – all women, have had their voice (Art) muted and taken from them, ‘Not for two hundred years merely, but from the beginning of time’. (A Room of One’s Own – Cambridge Press. P 112.)

(and, or)

In the works contextual relevance for today, I see it this way – I am a woman and I am still alive, I am not yet a part of history, or the past, I am relevant because I am still breathing, therefore if this literature speaks to my heart, my day to day experiences and to my understanding of gender driven social inequity, then that makes it relevant. If 51% of the worlds population are still being treated as a ‘sub-culture’ what indeed does that say about the irrational and profound imbalance of all cultures?

Madison: The use of language has changed dramatically since the 20^th century, what drew you to Woolf’s essay? In terms of language.

About Madison Manning

Madison Manning; the creative writer, the literature scholar, the photographer.

Profile: View Madison 's profile here

Email: madison.manning@www.theaustraliatimes.com.au

The performance of Under My Skin, by ‘The Delta Project’, is an important stepping-stone in paving the way for dance & physical theatre shows with deaf performers, and shows catering to deaf audiences. The show- put on as part of the ‘Next Wave’ Festival at the Arts House in North Melbourne, was created and performed by a group of talented and inspiring deaf artists.

The performance proved the power of movement as a language of the soul, to be collectively understood by deaf and non-deaf members of the audience. The show addressed the vulnerability that we attempt to ‘mask’ from the world, characterised by a tight ensemble of dancers. The opening sequence asked the audience to tap into their own vulnerability as the dancers struggled to remove paper bags over their heads- scratching and ripping away pieces, before finally revealing their true faces. I could feel audience members next to me slightly on edge during this sequence, proving how uncomfortable we feel in ripping away our own masks.

A clowning inspired skit injected comedy into the performance, as the dancers played dress-up – changing a dancer into the different character costumes we hide behind in the working world.

The use of projection was also very much merited. What stood out to me was a close up image of one dancer with no make-up on, exposing perceived ‘flaws’. I was struck by the fear I would have if a group of people were to see me that close and uncovered.

Movement was organic and pure, like an honest conversation with a close friend. Maybe we should be as honest and vulnerable with the world, as those who we allow to see our true faces.

Powerful message, powerful performers.

Links: http://www.artsaccess.com.au/the-delta-project/

https://www.facebook.com/thedeltaprojectdancetheatrecompany/

About Jessica Horwell

Profile: View Jessica's profile here

Email: jessica.horwell@www.theaustraliatimes.com.au

Review by Samuel Elliott

There is an ostensibly casual line, uttered early on in Blonde Poison, by its single character, Stella Goldschlag. She expresses incense at having something stuck in her teeth, unable to be dislodged, forever there and unavoidable. It would be easy to draw from that line that she is really talking about the indelible mark left on her from her ill-fated youth, from her lapsing or perhaps begrudging Jewish faith, from being identified as such during the Nazi oppression, or even from the lasting horrific consequences of what she needed to do in order to survive such hellish times.

From the outset we are introduced to a talkative, definitely prim (though with a propensity to insert the odd sexual comment) Stella, there is something amiss, teeming under the surface and yearning to be told, to be confessed. Belinda Giblin, who plays Stella, wholly gives herself to the character, earnestly conveying all her eccentricities, her untold miseries, from beginning to end in a superb and stunning performance. The character is not an easy one, much like real-life human counterparts, and as such has times of melancholy, of remorse, of shame, even the sporadic moment of joy and humour unrestrained. The play passes the first test – that of having the audience react accordingly as is meant, chuckling with the risqué lines, sitting in stunned silence during the regular moments of devastating pathos, recoiling at the play’s defining torture scene.

Featuring an all female cast in their inaugural season, Heartstring boldly marches into the Melbourne independent theatre scene with their ambitious take on Shakespeare’s bloody tale of power and pride; Coriolanus.

Running from the 27th of April to the 8th of May at the Brunswick Mechanics Institute, Heartstring have emerged with the intent of creating thought provoking work, while actively addressing the shortage of roles for female actors on our stages.

Company member and co-founder Elisa Armstrong explains, “We believe that women have been underrepresented on stage since Thespis first stepped out of the Chorus. The talented female actors of Melbourne have been designated roles of shrieking harpy and mute girlfriend for far too long. At Heartstring we aim to present all the facets of women by always having more than 50% of the roles being played by women.”

Shakespeare’s dynamic tale of Coriolanus takes us into a world where the Volscian Army marches on Rome, only for the warrior Coriolanus to drive them back. As the dust settles, though, she finds herself pressured into the snake pit that is political office. With famine threatening and jealous tribunes plotting against her, Coriolanus discovers that the will of people cannot be so easily beaten back with swords…

The new Australian production of the worldwide smash hit musical WE WILL ROCK YOU will explode onto the stage at the Sydney Lyric Theatre tomorrow night, Thursday 5 May at 8pm, officially commencing its new national tour.

The Sydney Lyric Theatre season will continue until June 26, then the production travels to Brisbane’s Lyric Theatre, QPAC from 10 July; then on to Melbourne’s Regent Theatre from 30 August, Perth’s Crown Theatre from November, then the Festival Theatre, Adelaide from January, 2017.

New tickets will be released for the Sydney season of WE WILL ROCK YOU on Monday 9th May 2016.

Audiences have been giving preview performances standing ovations, and describing WE WILL ROCK YOU as “awesome”, “epic”, amazing”, “fantastic” and “memorable.” Writer Ben Elton said, “It’s notoriously hard to get Australian audiences to their feet, but preview audiences have been rewarding this brilliant company with a full house standing ovation at every performance. The talent we have on stage in the cast and the band is second-to-none anywhere in the world. This is the first of a new generation of WE WILL ROCK YOU productions, and I couldn’t be happier or more proud that it’s originating here in Australia. I can’t wait for Brian and Roger to come and see it.”

Image courtesy of Cy Gorman

I wasn’t at all sure what to expect from The Augmented AV Poet, walking inside the always mysterious and delightful Butterfly Club in Melbourne’s CBD.

Now it’s easy to understand why Cy Gorman’s music has been nominated for JJJs Hottest 100 on several occasions, as he adds a colourful mix to the music pot. That’s before you see a live show. The way he blends projections and acoustic sound makes for the perfect parcel, sending his audience on an immersive audio/visual voyage. Wrapped in ribbons of honest and heartfelt storytelling. His visual attention to detail is as well crafted as the melodies he plays on piano, and the authenticity of his voice is refreshing.

There is something very powerful about an artist who creates a world that takes an audience away from the moment they step inside the theatre. I could barely sip my wine I was so engrossed in the pattern of the lights projected onto the rips and tears of the white sheet covering the back wall, and the stories they were telling.

His stint at The Butterfly Club is now over, and Cy is working on some big things. He is a part of a project called Augmented Organism, which will take Cy to Finland. You can learn about, and donate to the project here:

LINKS: https://www.indiegogo.com/projects/augmented-organism-creative-residency#/

http://www.cygorman.com/

About Jessica Horwell

Profile: View Jessica's profile here

Email: jessica.horwell@www.theaustraliatimes.com.au

Local Perth boy, Jeff Hewitt is performing in 2016’s Perth Comedy Festival with his FRINGEWORLD show, Rad Dad Redemption. We caught up with him to see how that was going.

The Australia Times (TAT): Is this your first time performing at Perth Comedy Festival?

Jeff Hewitt (JH): This is my second time. I did a comedic play at the 2013 festival called When God Met Satan. I played Satan, naturally, and Levon J. Polinelli, the director of RAD DAD REDEMPTION, played God. This was typecasting, as Levon moves in mysterious ways, mainly at the Perth Steamworks.

TAT: Does the show differ from your Fringeworld show?

JH: Haha no, not really. There will be a few tweaks here and there, but fundamentally it will be the same, because really, if it ain’t broke, why fix it? Even before it was nominated for the Best Comedy Award at Fringe World this year, I knew it was the best show I had ever done. The worst show I have ever done, incidentally, is Men In Chairs, which I co-wrote with Perth comedians Tim Beckett and Xavier Susai. Funnily enough though, Men In Chairs is the only show that anyone remembers from the 2011 Wild West Comedy Festival, so you have to give us credit for making an impression.

TAT: What inspired you to write this show in particular?

JH: I combined the life-changing experience of becoming a father with my love of Joseph Campbell, and ended up mapping The Hero’s Journey onto my own life. It’s the most personal show I’ve ever written, so writing it was very different to writing my 2015 Fringe World show, V For Vagina, which was essentially an essay about women and feminism. V For Vagina was from the head, whereas RAD DAD REDEMPTION is definitely from the heart.

TAT: How has being a dad changed your perspective on life?

JH: Well, now I have to think twice before blasting Lamb of God first thing in the morning. My partner and I also have to keep all the cabinets in the house locked now, because the other week I walked in on my son Harry, who is 13 months old, scooping everything out of the cabinet under the bathroom sink and chucking it into the bathtub, including my beloved FleshLight. Thank goodness he didn’t decide to chuck it into the toilet.

Fatherhood changes everything. If I could give a pithy answer to that question I wouldn’t have had to write an entire show about it. I won’t give a detailed answer so as to avoid spoilers, but suffice to say that watching your firstborn child come into the world is the ultimate game changer. It was an extremely emotional experience for me.

TAT: Apart from your show, what would you recommend at the Perth Comedy Festival?

JH: Ben Sutton has a great show called Neither Here Nor There. He’s a naturally funny guy and this show is from the heart. Darren the Explorer is a politically incorrect children’s show for adults written by very funny Perth comedian Lukey Bolland. I’ve heard nothing but good things about Corey White’s The Cane Toad Effect and am excited that I’m finally getting to see it. David O’Doherty, Dom Irrera, Paul Foot and Steve Hughes are all comedy giants that I’m keen to see. I enjoyed Nicole Henriksen’s show about being a stripper very much, Makin’ It Rain, and she’s also doing an alt-comedy show called Techno Glitter Penguins. I would also recommend Mike Goldstein Does Words Good and Suns of Fred. I haven’t seen Zanzoop’s Feeble Minds but I’ve seen some photos of the show and it looks weird as fuck, which pleases me.

TAT: Favourite place to get a post-show drink?

JH: Probably the Brisbane Hotel, although to be honest, I’m a lover, not a drinker.

TAT: What are your plans after the Perth Comedy Festival?

JH: I’m toying with the idea of bringing RAD DAD REDEMPTION to the Melbourne Fringe Festival later in the year. Apart from that, it’s the usual hustle and flow: writing new material, trying to keep my podcast Once Were Zombies on a semi-regular schedule, actually launching my website (I’ve been sitting on the domain name for almost two years now), starting work on a novel, and mastering my Kegel exercises.

See our review of Rad Dad Redemption from Fringeworld here:

http://www.theaustraliatimes.com/fringeworld-jeff-hewitt-rad-dad-redemption-4-stars/

For more details about Hewitt’s show, see the Perth Comedy Festival website:

http://perthcomedyfestival.com/single-event?show_id=793

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

Review by Kieran Eaton

Infinite Jest: 50 First Jokes is a variety of first time jokes done by a wide array of Perth comedians. This rule of first time jokes is important because it means all the comedians are on an equal footing. The MC, Sam Cribb makes sure the crowd know the rules of the night, including that all acts cannot exceed 3 minutes. He then warms up the crowd with a short comedy set of his own.

The interesting thing about this night, is the huge difference in performing experience between the whole of the night’s acts. The crowd enjoyed this smorgasbord of talent, enhanced by the MC acknowledging when there is a good joke and moving the show quickly when an act creates a bit of a lull. All the acts respect the rules, however when an act goes over time a big gong noise is made and they quickly make their exit. The energy in the room feels very encouraging with Cribb, especially making sure first time/new acts feel welcome.

The other encouraging thing is that Cribb does not pad the night out with material between acts. This keeps the night to reasonable length of about two and a half hours. One thing I was pleased to see was an increase in the number of female performers, giving the crowd an insight that comedy should come from many points of view. The venue has an 80s New York Punk scene feel, allowing the crowd to totally embrace this unique concept. Most acts have a sense of self-awareness and make light of any bombing of jokes.

With around twenty-five performers during this night, there are definitely plenty of jokes floating the room to connect to different sensibilities. 50 First Jokes is definitely a show you should keep your eye out for, as it happens reasonably regularly during the year.

The Melbourne International Comedy Festival is all over Red-Rover but Australia still hasn’t had enough of comedy. If this is you, it’s time to join the comedians in their gypsy-like wake and travel to Sydney or Perth (or both!) to check out more hilarity. Here are the details:

Sydney Comedy Festival

This year’s festival features many stellar comedians. Centred around the CBD, this year the entertainment expands out as far as Parramatta, Bondi and Chatswood. Follow along with the SCF podcast, where Triple J’s Kyran Wheatley attempts to interview all of the comedians involved! So, what’s the line-up? This year the SCF will feature crowd favourites Akmal, Arj Barker, Dave Hughes, Frank Woodley, Joel Creasey, Kitty Flanagan, Peter Helliar, Ross Noble, Stephen K Amos, Festival legends: Anne Edmonds, Felicity Ward, Lawrence Leung, Michael Workman, Rhys Nicholson, Doug Anthony All Stars, Tom Ballard, David O’Doherty, and Australia Times favourites: Alice Fraser, Dan Willis, Jeeves Verma, Lady Sings it Better, and Nick Capper.

When: 18th April – 15th May 2016

Where: Various locations around Sydney including The Enmore Theatre, Comedy Store and Sydney Opera House. Full list: http://www.sydneycomedyfest.com.au/locations

Tickets: All tickets are available to purchase in advance or from the venue. More details: http://www.sydneycomedyfest.com.au/how-to-book-tickets

Info: All info needed is available on the website but don’t miss the blog: http://www.sydneycomedyfest.com.au/category/news-blog

Links:

Website – http://www.sydneycomedyfest.com.au/

Podcast: http://www.sydneycomedyfest.com.au/podcast

E-News: http://www.sydneycomedyfest.com.au/banner-mail-form

Perth Comedy Festival

Perth is relatively new at the Comedy Festival game, but it makes sense because so many great comedians started out there. This year, Perth comes alive as hipster bars and cultural cringe pubs alike host the best of the best – well, the comedians who could be bothered to travel over after MICF. Keep your eye on our Facebook page for interviews with Comedians. So, who’s involved? There are crowd favourites: Akmal, Arj Barker, Dave Hughes, Frank Woodley, Joel Creasey, Peter Helliar and Wil Anderson, Australia Times favourites: Dan Willis, Darren the Explorer, The Nasty Show and Jeff Hewitt, Festival favourites: Bart Freebairn, Becky Lucas, David O’Doherty, Hannah Gadsby, Paul Foot, Rhys Nicholson and Tommy Tiernan, and Perth favourites: Ben Sutton, Ciaran Lyons, Corey White, Famous Sharron, Janelle Koenig and Mike Goldstein.

When: 22nd April – 15th May 2016

Where: Various locations around Perth, including Subiaco and Mt Lawley. Full list: http://perthcomedyfestival.com/locations

Tickets: All tickets available online. http://premier.ticketek.com.au/default.aspx

Info: All info available from the website but don’t miss the PCF blog: http://perthcomedyfestival.com/view-all-news

Links:

Website – http://perthcomedyfestival.com/view-all-news

E-News – http://perthcomedyfestival.com/banner-mail-form

Well, the Melbourne International Comedy Festival is over for another year. What did 2016 bring? So many memorable moments! There were International guests, local jokers and everything in between. Not only was it MICF’s 30th birthday, but so much more was added to the program. The 30th birthday gala featured a stellar line-up, Humour Us – 30 years of the Melbourne International Comedy Festival exhibition brought a little culture to the festival, Live discussions and podcasts were recorded for posterity and the Big Fat (30th birthday) Comedy Quiz tested Australia’s comedy knowledge.

On top of all that, there was a comedy wedding that didn’t leave a dry eye in the house! Comedians Zoe Coombs Marr and Rhys Nicholson, who are both in homosexual relationships, held a protest by marrying each other to highlight the inequality that LGBTI Australians face in being denied marriage equality.

Coombs Marr then went on to take out the prestigious Barry Award for 2016. The award, which honours festival patron Barry Humphries, gives recognition to the most outstanding show. Zoe Coombs Marr’s show featured her character ‘Dave’ a rather put-upon Aussie bloke. She was delighted by the win, happy that the festival fostered the weird. Coombs Marr also took out the Golden Gibbo Award – named after the late Lynda Gibson whose quirky humour and brave comedic choices are lauded for the best Independent show.

Other awards went to:

Tom Walker – Best Newcomer

Tom Ballard – Pinder Prize (receives a show in Edinburg)

Chris Wainhouse – Piece of Wood (Comic’s choice)

True Aussie Patriots and Zanzoop – Director’s Choice

Carl Barron – People’s Choice

For the full list of awards winners, head to the MICF website: http://www.comedyfestival.com.au/2016/season/about-us/awards/

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

Image courtesy of Pin-up Perfection Photography

Like a naughty, comedy version of Taylor Swift- Shirley Gnome uses her superstar country voice and beautiful acoustic melodies to deliver witty, original song lyrics about sex and relationships with hilarious results.

Very clever, very silly and very honest, both men and women will relate to Shirley’s stories and you will probably leave thinking ‘she read my mind’. Maybe we won’t be able to relate to hearing a 72-year-old woman in the bedroom, but surely is an amusing insight.

Expect an inventive Kazoo performance to an Adele classic, an equally emotional and funny song about being ‘just friends’ plus plenty of profanity and colourful language to describe private parts.

Her vocal will wow you before you even begin to appreciate the intelligence of her lyrics. One of the best musical comedians I’ve seen. Today is the her last day performing in Melbourne so catch her quick!

When: 15th, 16th, 17th April (5:30pm)

Where: The Butterfly Club

Tickets: $25-$32

Info: 60 minutes duration

Links: http://www.comedyfestival.com.au/2016/season/shows/real-mature-shirley-gnome

http://www.shirleygnome.com/

https://www.youtube.com/user/ShirleyGnome

About Jessica Horwell

Profile: View Jessica's profile here

Email: jessica.horwell@www.theaustraliatimes.com.au

Every time I head into Perth’s Blue Room Theatre, I am surprised. It’s a rare show that has a conventional seating plan, and Selkie is no different. This time, the rows of seats line all four walls, creating an arena for the main action. An ornate round stage graces the centre and then – blackout.

A dancer in a strange seal-like costume, stripped to the muscle and bone lays, cutting a tortured figure on the floor.

Blackout.

A woman in a checked shirt and denim cutoffs sits, hugging her knees, mirroring the dancer on the floor.

Blackout.

Two men join the two women. One, a dancer, offers a towel as a silent olive branch to the crumpled figure on the ground. The other, offers his hand to the sitting woman.

So begins Selkie.

It’s a bold piece about the displacement of culture, adapting, fitting in (or not), oppression in relationships, control, fear, and self-identity. And that’s just the subtext. The main story centres on the mythical Gaelic creature – the selkie – which exists as a seal in water, and can shed their sealskin to assume human form on land.

The idea for the play came to playwright Finn O’Brannigain after re-visiting the stories of her childhood. “The idea of a strange woman from the ocean living amongst fishermen seemed magical and romantic when I was younger, but when re-reading with an adult lens, critical engagement, and the growing discussion of domestic abuse, this fantastical faerie-creature that was captured and kept now appeared to be a metaphor for keeping foreign and exoticised women captive as wives.”

The actors perform their tension-filled dialogue alongside the silent dancers performing a tete-a-tete with each other that borders on physical violence and repression at times. This is a powerful technique as one feels they are witnessing the violent inner struggle of the actor’s psyches.

Selkie is not for the faint-heated, it’s stomach-churningly good theatre that highlights the dangers of othering and capturing the ‘exotic.’

When: 12th – 30th April 2016 (7pm)

Where: The Blue Room Theatre, PERTH

Tickets: $18 – $28

Info: Duration 50 minutes; Q & A session Wednesday 20th April; Suitable 15+

Link: http://blueroom.org.au/events/selkie/

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

I am stuck over here in Perth but if I was in Melbourne there’s only one thing I’d be doing – BINGING ON MELBOURNE INTERNATIONAL COMEDY FESTIVAL!

Since I can’t make it over, I’m going to share with you my ultimate final weekend binge:

Saturday 16th April 2016:

6pm: Gillian Cosgriff – To the Moon and Back, ACMI Cube (Federation Square)

I’d start off my night with a funny and quirky story in an awesome setting. It goes for 60 mins so it would give me time to get to get something yummy from Lord of the Fries or any of the awesome food venues along Swanston Street.

8pm: Australia: A Whinging Pom’s Guide, Sub Club (33 Elizabeth Street)

Time for some good old-fashioned laughs. I always love seeing my culture through the eyes of another, and Dan provides the perfect funny lens. After gobbling down my Lord of the Fries, I can take a leisurely stroll down Elizabeth Street to the Sub Club.

9:45pm: Adrienne Truscott’s a One-Trick Pony, Coopers Malthouse (Southbank)

After downing a few at the pub, listening to a pom whinge about us, it’s time for something weirdly feminist and heartfelt. I would happily stroll along past Flinders Street Station, across Princes Bridge and take in the heady scents of the Yarra to get along to The Malthouse Theatre.

11pm: The 19th Annual Barry Awards, Festival Club (Swanston Street)

Since this is the ultimate fantasy, I would hop on a handy-dandy tram and get myself down to Swantston street to check out the Barry Awards. This is where the announcement of the best of the best happens! After that, I’d dance the night away with cheap drinks and comedians galore! After that, I’d head down to a greasy spoon like Swanston Walk Cafe and gorge myself on pizza and chips.

Sunday 17th April 2016:

6pm: She Was Probably Not a Robot, Cooper’s Malthouse (Southbank)

After my wild night, I would need something relaxing to watch. Stuart Bowden’s style of comedy and storytelling is the perfect way to end the festival. The show goes for 60 minutes, which would give me time to enjoy a great meal at the Malthouse (or head back to Flinders street for more Lord of the Fries!) before walking over to a show at 8:30pm.

8:30pm: Lady Sings it Better – Here to Save the World, Butterfly Club

Leaving myself plenty of time to get over there, I would head to the Butterfly Club for an evening of feminism and great music! It goes for 60 minutes so I could easily get over to see a show at 9:45pm or 10pm.

9:30pm: Reuben Kaye: Plugged, Butterfly Club

Since the drinks are fairly cheap and you can get some pretty decent bar snacks, I’d probably hang around the Butterfly Club to check out another member of its line-up.

11pm: No Show, Xavier Michelides and Ben Russell, Imperial Hotel

After an evening at the Butterfly Club you’d probably think enough was enough but no! I would be happy to stagger down to the Imperial Hotel and check out my mates from Perth. Both comedians have come such a long way since playing small rooms for 5 minutes at a time and I know I’d be in for a quality ‘happy ending’ to my MICF!

What’s your plan for the final weekend of MICF? Let us know in the Facebook comments!

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

Well, the FINAL nights of the Melbourne International Comedy Festival are here! How are you going to spend them? We recommend some of the shows we’ve seen to help you figure out how to close the festival with a bang. All tickets can be purchased here:

http://www.comedyfestival.com.au/2016/season/shows/?filters[sort]=alpha&filters[category]=&filters[date]=&filters[venue]=all&filters[accessible]=

Alice Fraser: The Resistance

Heartfelt and hilarious, Fraser has the remarkable ability to tell a really heartwarming story with a funny twist. We saw her previous show Savages and agree that she is not to be missed.

When: 6pm Where: Old Met Shop, Melbourne Town Hall

Tix: $15 – $25 Duration: 60 mins Rating: 4.5 Stars

Review: http://www.theaustraliatimes.com/fringeworld-alice-fraser-savage-4-5-stars/

The CROSSxROADS Company proudly presents the world premiere of

CROSSxROADS
Book by Peter Fitzpatrick
Music and Lyrics by Anthony Costanzo
Directed by Tyran Parke

Sometimes starting again can change everything…

Spanning over 10 years, CROSSxROADS follows the relationship of Amy and Rick; from their graduation at the start of a new millennium, to a day in Paris that might be the best or the worst of their lives. It’s a story of finding love and losing it. A story that is uniquely theirs, but also one that belongs to us all.

A dynamic new Australian musical, CROSSxROADS invites you on a journey into a world of sliding-doors – where every path takes a very different turn. It’s a powerful exploration that answers the eternal, whispered question we all ask ourselves, “What if?”…

This world premiere season features music and lyrics by Anthony Costanzo (Life’s a Circus – Green Room Award Nominated), book by Peter Fitzpatrick (flowerchildren: the Mamas and Papas Story – Green Room Award Winner), and performed by a phenomenal cast of Australian musical theatre’s brightest stars.

Book by Peter Fitzpatrick
Music and Lyrics by Anthony Costanzo
Directed by Tyran Parke
Choreography by Michael Ralph
Musical Direction by David Wisken
Costume Design by Kim Bishop
Featuring Alinta Chidzey, Stephen Mahy, Fem Belling, Joe Kosky, Bianca Baykara, Ed Grey, Bronte Florian, and Ryan Gonzalez

CROSSxROADS is proudly supported by the City of Stonnington, in association with Magnormos, Stella Entertainment and RL Productions.

When: 15th – 30th April 2016 (Mon, Wed-Sat 7:30pm; Sun 6:00pm)

Where: Chapel off Chapel (12 Little Chapel Street, Prahran, MELBOURNE)

Tickets: $29 – $49

Links:

www.chapeloffchapel.com.au

www.rlproductions.com.au

Join the discussion online at #CROSSxROADS

“A Boogie Woogie Midlife Crisis.”

This is the tagline for Damian Callinan’s show at the Melbourne International Comedy Festival – Swing Man. He set himself a goal of being able to swing dance by the time he turned 50. When his deadline passed and his goal was still out of reach, Callinan decided to do something about it. So, did he eventually master the art of swing dance by 51? I guess you will have to catch his show to find out!

Swing Man begins with Callinan boogie woogying to some 80s hits, with his moves better than my own. The music is then cut as two voiceovers can be heard. The audience soon discovers 16 year-old Callinan has been captured by aliens, Norma and Frankie. They demand for Callinan to teach them to swing dance.

But don’t worry, they give him 34 years to perfect the craft, as that is how long it will take them to return from a shopping trip. They are even so kind as to gift him a swing partner, played by Jeanne-Clare Storage and Genevieve Wallis.

Callinan cleverly walks the audience back in time to his dance beginnings, and awkward school lessons at 16. He tells us just how he is learning about swing dance: from Swing for Morons broadcasts by Hank and Mindy, and a one minute crash course in swing history. But it is the local dance lessons in Melbourne that transform his moves.

His impersonations of the different personalities in the swing dance classes are hilarious, as he re-enacts some awkward conversations. Finally, Norma and Frankie’s voices are heard once more, and Callinan shows them his skills.

At the end, the audience has the chance to boogie woogie with the Swing Man himself too.

When: 24th March – 16th April 2016 (7:15pm)

Where: The Malthouse Theatre, Southbank

Tickets: $21 – $30

Info: Duration 60 minutes; Suitable 15+

Link: http://www.comedyfestival.com.au/2016/season/shows/swing-man-damian-callinan

About Hayley Simpson

I am a twenty-something freelance writer who currently calls Melbourne home. I am an adorer of the arts, whether that be theatre, musicals, TV or film. I am an indie music addict and can usually be found on Netflix. I write about travel and Melbourne life on my blog, Hayley on Holiday. I have previously lived in Vancouver in Canada and live to travel. I am excited to explore Melbourne's entertainment scene with The Australia Times.

Profile: View Hayley's profile here

Email: hayley.simpson@www.theaustraliatimes.com.au

Image courtesy of BLACKCAT PRODUCTIONS

A quartet of clever and talented ladies have pulled together a tight, wowing performance with Here to Save the World reaching notes higher than the ceilings of the intimate Butterfly Club space in Melbourne’s CBD, and tackling sexism head on- through witty adaptions of male led pop, rock and hip-hip classics.

Kanye’s lyrical references are particularly golden.

The standard of the piano and drum accompaniment made it a real musical treat. All six performers, including the musicians were on the same beat for the entirety of the show, meaning transitions were seamless and the audience was on a constant, radiating, laughter filled buzz.

A stand-out moment for me was the dark, sultry adaption of ‘Harder to Breathe’- originally sing by pop band Maroon 5, which stood as the only powerful vocal performance not laced in comedy, but truly captivating.

I highly recommend seeing this female powerhouse. You won’t be ‘Sorry’ –hint there may be a Justin Bieber number.

When: 11th April-17th April (8:30pm)

Where: THE BUTTERFLY CLUB

Tickets: $28-$38

Info: Duration- 60 minutes

Links: http://www.comedyfestival.com.au/2016/season/shows/here-to-save-the-world-lady-sings-it-better

About Jessica Horwell

Profile: View Jessica's profile here

Email: jessica.horwell@www.theaustraliatimes.com.au

Legendary comedian, Damian Callinan, is in Melbourne again for the Melbourne International Arts Festival. We caught up with him in between shows to see how his MICF experience has been.

The Australia Times (TAT): Is this your first time performing at Melbourne International Comedy Festival?

Damian Callinan (DC): This is my 20^th year at the comedy festival. I started in Raw comedy in 1997 & have been involved in some capacity every year [bar one] since then.

TAT: If so, is this also the first time you’ve performed this show?

DC: This is the world premiere of ‘Swing Man’

TAT: What inspired you to write this show in particular?

DC: I love dancing and had previously done a show about dance called The Cave To The Rave but have always wanted to learn to Swing Dance. Since seeing swing dancing in a club in Paris 3 years ago I have had a postcard for Swing dance lessons stuck to my fridge and hadn’t got around to it. Eventually I thought bugger it, if I commit to doing a show about it I’ll have to learn how to do it in time for the comedy festival.

TAT: How important is setting goals and living life to the full?

DC: It’s good to keep challenging yourself. It’s confronting being shit at something but if you don’t push yourself to learn new things you don’t evolve as a person.

TAT: Apart from your show, what would you recommend in MICF?

DC: Butt Kapinski, Juan Vesuvius, Sammy Shah, Tessa Waters

TAT: Favourite place to get a post-show drink?

DC: Cabinet

TAT: What are your plans after MICF?

DC: Pole Dancing lessons

You can catch Damian Callinan performing Swing Man at The Malthouse Theatre from 24th March – 16th April 2016.

http://www.comedyfestival.com.au/2016/season/shows/swing-man-damian-callinan

You can also read about his Swing Dance journey at his blog: https://swingmandamiancallinan.wordpress.com/

Review by Elli Gemmo

WA Opera opens its 2016 season at His Majesty’s Theatre with modern masterpiece, The Riders – adapted for the stage from the novel by prominent Western Australian author, Tim Winton.

An essential stage is where the story of Scully and his daughter Billie takes place. Scully is building a new home for his family in Ireland and he’s waiting for his wife, Jennifer and beloved daughter Billie to join him and start a new life outside Perth. Yet, Jennifer disappears, leaving a desperate Scully with nothing else but the thought of finding her.

Translating a novel into a different media is always difficult and risky. This time though, composer Iain Grandage and librettist Alison Croggon, completely nail it – arranging a wonderful masterpiece.

The final result is a contemporary Australian psychological thriller, with great music that perfectly reflects the drama and great acting and vocal performances on offer. An honorable mention goes to the bright talent of Rosanna Radici as Billie – she not only finds her way through the public attention but is also able to perform with true pathos without singing. Her performance is something you will not forget soon. Also, the choice of having a simple stage with small changes between different scenes and acts help to focus on the story rather than being distracted from useless particulars.

Jennifer’s ghost-like appearances reinforce how haunted Scully truly is by her disappearance and betrayal. This choice helps to identify and better understand what Scully and Billie are going through becoming an important feature when it comes to judge fluency and coherence of the plot.

Life rides dramatically inside this opera offering deep reflections about life itself, love, family, and leaves the audience with something to think about. This masterpiece of contemporary Australian opera shouldn’t be missed.

When: 13th – 16th April 2016 (7:30pm)

Where: His Majesty’s Theatre, PERTH

Tickets: Premium $175; A reserve – Adult $150, Concession $145, Under 30 $140; B reserve – Adult $95, Concession $90, Under 30 $85; C reserve – Adult $45, Concession $42, Under 30 $40

Info: Duration 90 minutes, no interval; wheelchair accessible; suitable all ages

Links:

WA Opera – http://www.waopera.asn.au/2016-season/the-riders/

Ticketek – http://premier.ticketek.com.au/shows/Show.aspx?sh=THERIDER16

About Elli Gemmo

Profile: View Elli's profile here

Email: elli.gemmo@www.theaustraliatimes.com.au

Review by Miranda Johansen

The Little Prince, adapted from the classic French book of the same name, is a joyful and thoughtful production that follows the Prince’s journey through space, where he learns a little about the adult world, but teaches bored adults much more about the important things in life. And that is the central theme of the show – the rediscovery of playfulness, magic and wonder that seems to be sucked out of us as we get older and learn more about how the world works.

The format of the play roughly follows that of the book. The Prince leaves his home planet, which is shared by a beautiful rose that proudly states that it is the only rose in the universe. Fuelled by curiosity, the Prince travels around the universe, where he encounters a cast of adult caricatures who have a lot of silly ideas, a man who has crash landed his plane, a snake of dubious character and a wild fox whom the Prince learns to tame. Eventually, the Prince’s journey throughout the universe takes him back to his home planet, as he learns that, no matter how many other roses there are in the universe, the rose you love is nonetheless the most special and unique.

This production begins unexpectedly, as the two actors/puppeteers (Shane Adamczak and Jessica Lewis) play themselves nonchalantly unloading the set, appearing somewhat bored with their lives and jobs. From there, it becomes almost a play-within-a-play, as the story unfolds with occasional jumps back into the actors’ reactions as they become more and more engaged with the story – as does the audience. The musical interludes are well designed to keep the audience (especially the children) focused during set changes, with the lyrics often reinforcing the central themes of the scene.

The design of the set is simple yet effective – and the aeroplane reveal towards the end provides a definite highlight! It’s clear to see why the story of The Little Prince never gets old or tired – both adults and children alike will be moved by the inspiring yet melancholic story of a child who wonders why adults do such silly things sometimes.

When: 9th – 23rd April 2016 (11am & 1pm)

Where: Spare Parts Puppet Theatre, (1 Short Street, Fremantle) PERTH

Tickets: $25

Info: Duration 45 minutes; Suitable all ages, perfect for 4+; No shows Sundays or Public Holidays

Link: http://www.sppt.asn.au/programme/view/littleprince

Well, Tuesday night is bringing rain and wind in Perth. It’s also bringing the April – July season of shows at The Blue Room Theatre for 2016.

This season is a strong one, kicking off with Renegade Productions’ new play, Selkie. Exploring themes of mythical creatures, domestic oppression, and cultural exploitation, it’s directed by the wonderful Joe Lui and written by the Queen of storytelling, Finn O’Brannigain.

O’Brannigain was the first guest artist of the Blue Room’s latest storytelling initiative, The Good Play Club. Along with Black Swan Theatre Company Associate Director, Jeffrey Jay Fowler, The Good Play Club is a fortnightly gathering of artists offering a chance to read a different play from the canon of great theatrical works – followed by a guided conversation lead by Fowler and an invited guest artist.

Starting on the 19th April, The Mars Project looks to unravel the absurdities of our Me-First age. The award-winning team who brought you Great White now present a story about chasing your dreams – whatever it takes.

With the wind howling outside and the rain trickling down (it is Perth after all!) The Blue Room is the perfect place to snuggle up with a beer and a hot toastie, check out a show, or listen to the great plays being read by the cream of Perth’s talent.

SELKIE:

When: 12th – 30th April (7pm)

Tickets: $18 – $28

Info: Duration 50 mins; Suitable 15+; Post show Q& A Wednesday 20th April

Link: http://blueroom.org.au/events/selkie/

THE MARS PROJECT:

When: 19th April – 7th May (8:30pm)

Tickets: $18 – $28

Info: Duration 65 minutes; Suitable 13+; Post show Q & A Wednesday 27th April

Link: http://blueroom.org.au/events/the-mars-project/

Jeeves Verma, a lovely, kind-hearted comic from Sydney warms an intimate space at Belleville– bar/restaurant in Melbourne’s CBD with his cultural comparison show He’s Just Not That India.

Verma explains the struggle of having Indian parents understand his lifestyle choices with strong, humorous impersonations and graphs. The show begins with Verma’s impersonation of his Dad- really stripping back the feathers of the classic ‘why did the chicken cross the road joke?’ taking audience suggestions, and turning them into golden comic eggs.

His description, and impersonation of his mother commenting on his life choices, is the main running theme of the show. Her reactions to Verma’s choosing comedy over a medical career, her pestering Verma to lose weight, and the 47 missed calls he received when he didn’t answer the phone one day.

Verma highlights the things he noticed Australia had taken from India, including the ‘Colour Festival’- which we unfortunately made it into a running event, and the concept behind the TV show Married At First Sight. His comments on cricket are very relatable – even for those Australians who aren’t fans. He describes it as a game where four people have all the fun, making the suggestion that we replace the fielders with hills – so the ball just rolls on back.

His Bollywood version of Twinkle Twinkle Little Star is particularly animated and amusing. Complete with the dance moves!

Jeeves Verma He’s Just Not That India is an endearing, honest show, performed as part of the Melbourne International Comedy Festival.

When: 4th – 16th April 2016

Where: Belleville (Globe Alley off Little Bourke Street)

Tickets: $10 – $22

Info: Duration 50 minutes, suitable 15+

Link: http://www.comedyfestival.com.au/2016/season/shows/he-s-just-not-that-india-jeeves-verma

About Jessica Horwell

Profile: View Jessica's profile here

Email: jessica.horwell@www.theaustraliatimes.com.au

Performing her stellar show Am I Mental? at the Melbourne International Comedy Festival, The Australia Times Theatre caught up with Daisy Berry and asked her about her MICF experience.

The Australia Times (TAT): Is this your first time performing at Melbourne International Comedy Festival? If so, is this also the first time you’ve performed this show?

Daisy Berry (DB): It’s not my first time performing in the MICF but it is my first full-length solo show. I’ve done double bills and line-up shows previous years but this is the first time I’ll be going out on my own and producing and performing on my lonesome. Which is terrifying, can I just add! I think I’m dreading flyering by myself the most. Please be nice to me people of Melbourne, it’s draining out there.

I’ve actually just done this show in Adelaide for the fringe festival so it’s not my first time doing the show. I just did two weeks’ worth of shows over there to test out if it’s any good. And thank goodness people actually really liked it.

TAT: What inspired you to write this show in particular?

DB: I just realised how much doing stand-up really is therapy for me and, I suspect, most comedians. So I wanted to take that to a whole other level and have the audience openly be my therapists. That way we get to explore how judgemental humans are of each other and also what exactly makes you a little bit crazy. It keeps it fun for me as well because I never know what the audience are going to say or decide. It’s been surprisingly 50/50 so far.

TAT: How important is breaking down the stigma of metal health and how can we achieve it?

DB: I think it’s incredibly important, but as for how we achieve that, I’m never going to speak like an expert on that. I’ve just never understood why there is one, so I wanted to act like there isn’t one, if that makes sense? To just talk and joke and laugh about it as if the stigma doesn’t exist. In a twisted way if everyone pretended like that then we wouldn’t be pretending. Or maybe I’m just too big a fan of denial and pretending problems away. It’s a great life habit.

TAT: Apart from your show, what would you recommend in MICF?

DB: I honestly don’t even know where to start. There’s a ridiculous amount of talent every year and it just seems to get more and more intense. The people I’m going to aim to see are Sarah Pascoe, Sam Simmons, Lauren Bok, Kate Denhert, Nicole Henrikson, Megan Mckay, Celia Paquola and Anne Edmonds. A lot of women really, because we’re hilarious and there’s never enough of us.

TAT: Favourite place to get a post-show drink?

DB: I’ll probably just end up going to the Hi Fi Bar because that tends to be where all the comedians are. And of course, my venue the Highlander Bar, as I’m literally on top of it.

TAT: What are your plans after MICF?

DB: A friend of mine is planning on making a web series which I’m going to help on so that will probably take up a lot of my time and energy. I’m really looking forward to it actually; it’ll be fun to do some collaborative stuff after months of working solo.

Am I Mental? is playing at Highlander from 5th -16th April 2016.

In her debut solo show Daisy Berry is currently performing her hilarious and aptly named, Am I Mental? during the Melbourne International Comedy Festival.

In a shockingly honest and brave stand-up routine Berry shares the woes of being too tall to be a considered midget yet too short to reach the second item on the top shelf.

While sharing both entertaining and revealing stories from her childhood and delving into her daddy issues, Berry considers us audience as therapists. During the 50 minutes of laughing induced tears that blurred my vision, Berry had us; the audience decide if she is mental or sane!

Why not come along and be the judge yourself?

When: 5th – 16th April (Tues – Sat 8:30pm)

Where: Highlander (11a Highlander Lane)

Tickets: $15 – $20

Info: Duration 50 minutes; suitable 18+

Link: http://www.comedyfestival.com.au/2016/season/shows/am-i-mental-daisy-berry

About Sarah K.Gill

Profile: View Sarah 's profile here

Email: sarah.gill@www.theaustraliatimes.com.au

Review by Eden Caceda

Entering the Reginald Theatre at the Seymour Centre, completely unaware of what Unfinished Works is, or what it is about, means a world of possibility and open mindedness from the audience for this new production by playwright Thomas De Angelis. But soon after the show starts, it’s tale about a contemporary artist in crisis and the internal struggle between integrity and money that faces these artists becomes clear, we understand where Unfinished Works gets its name from and is trying to achieve.

We are introduced to artist Frank Ralco (Lucy Goleby), a creatively limited artist who is close to being required to submit a new work to a museum. Her own friend, who has since become her agent, Jimmy (Kyle Kazmarzik) is anxiously pushing her towards selling another piece for a big paycheck. At the same time, student architecture Isabel (Contessa Treffone) is being pushed into a career, despite art being her only true passion. When Frank and Isabel meet, with the latter’s bewildered father Vince (Rhett Walton), the story begins, with Isabel helping Frank submit her work. But the play begs the question: how far is each individual willing to go to get where they want and what is the truly distinction between aptitude and artistic credibility?

Much of the difficulty with the play is how inauthentic the characters come across. Frank and Isabel feel like protagonists that lack the sensibilities and manner of professional artists, despite their potentially engaging characteristics. This blandness is further presented by the simplistic approach to set design and decoration, which is uninspired and subliminally reflects how boring these people are. This is in stark contrast to the strong themes and ideas that the show aims to explore and is not as well thought out as one would hope.

Lucy Goleby is in excellent form as Frank, with her emotional intensity not overdone, but authentic. We feel her complicated thought process and her insecurities in approaching her art. Goleby’s expression of vulnerability and force is astonishing and she is a highlight of the show. Isabel’s Contessa Treffone is anther solid performer, and more natural in her approach to the character – we feel she is not acting, but she is this character. Nevertheless, both women are strong and their chemistry is to be commended.

On the production side, director Clemence Williams starts off strong, with the initial attitudes towards art and commerce an interesting commentary in this modern play. William’s approach to the source material is honest and at times she gives the performers too much emotional passion to verge on subtlety. However, the second half loses impact and becomes a tiresome trudge to the end, with the impending climax missing the mark on the show. Much of this rest of De Angelis’ dialogue and plot structure, which certainly require more refinement and thought.

For much of the play, I couldn’t help but feel that there were missed interactions between the characters that could have been funnier and a more unusual view of the themes could have done the production better. Yet, I must admit that the work is simple but thoughtful and exciting. The work is self-aware and tightly constructed. The references to its location, inner west Marrickville in Sydney, make it appealing to members of the city audience and Sydney siders.

Ultimately the ending falls short as it becomes too focused on the commentary and closing of the storylines. That’s not to say that the play’s ending is not strong – it’s rewarding and fulfilling. But what makes the play soar is Williams’ direction of her actors and actresses, the main reason to come out and see this solid work.

Unfinished Works played at The Seymour Centre in Sydney from 23rd March – 2nd April 2016.

Review by Eden Caceda

There are many expectations going into Ghost The Musical at Sydney’s Capitol Theatre on opening night. Bruce Joel Rubin’s adaptation of his own film from 1990 is a gamble in a huge way – chatter outside the auditorium centers on the legacy left behind by Patrick Swayze, Demi Moore and Whoopi Goldberg and anticipation is high to see if this production can successfully translate such a film icon to the stage and retain the spirit of the original.

Many audience members will be split on the final product, though it’s safe to say Joel Rubin tries not to rock the boat too much and sticks to the familiar story without much new creativity. For one, the musical uses many projector and video techniques, not just on the scenes where Sam is a ghost, but introducing the play through a bizarre establishing shot through New York City and overuse of background screens during Sam and Carl’s song about working in the city are some examples of how the musical is done in such a way to draw parallels to a film.

But for diehard fans of the original, this production adheres closely to the original screenplay. At the centre of the story is Wall Street banker Sam Wheat (Rob Mills) and passionate artists Molly Jensen (Jemma Rix), with their love tested after Sam is randomly killed after a night out. Prior to this point the musical is incredibly stale, with the relationship between Sam and Molly not as organic as in the film. In fact a majority of the first half of the first act is tedious and clunky, with it picking up in the second half, with the story heading in a more fluid direction.

Director Matthew Warchus obviously makes an effort to appeal to the fans of he original film and goes above and beyond to provide the highest production value and give off a live-cinematic experience. There are sweeping lights, projections of the train and graphics to make this stage experience much more “modern” and for the 21^st century Ghost fanatic. Despite this, the changeover between scenes never seems jolted and the movement on the stage is delightfully refined. Sadly none of the songs featured throughout are highlights of the show and are shockingly stale.

While Mills and Rix are the leading characters, things really get going when crowd favourite Oda Mae Brown (Wendy Mae Brown) comes into the mix. In the role that got Whoopi Goldberg an Oscar, Wendy Mae Brown, who also shares the same last name as the character, too is the highlight of this production. Oda Mae’s sassiness and voice raises the roof and provides moment of musical excellent and comedy gold, as Wendy plays the charlatan psychic who Sam communicates with. Indeed these insertions of humour elevate the show and no doubt add to satisfaction at the end of the show.

Sam’s co-worker Carl (David Roberts) overplays his character and there are moments when his dialogue is so blunt and poorly written that one has to wonder what the musical creators were thinking when bringing this character to life on the stage. Likewise, whether through the writing or acting, there is an unbelievable lack of chemistry between any of the characters and at times the dialogue feels abrupt and ingenuine. This also definitely applies to the flirty/love scenes between Molly and Sam, with Mills and Rix struggling to make their relationship seem real.

Unfortunately Mills struggles with the all-important Unchained Melody, but is solid in all of his other songs. Rix is terrific in all her songs, but you can’t help but wish she was in something of better material. The ensemble are jerky and uninspired, mostly wasted in this production in useless chorus numbers and boring choreography.

All in all, Ghost The Musical is for the fans and the audience members who can quote much of its material. This work doesn’t aim to provide much originality nor derive too far from the source material, as it is aware that doing so would turn patrons away. Regardless of its glitzy staging, attractive leads, mass marketing and riding off the back of a seminal classic, Ghost The Musical is missing the heart and soul that made us fall in love with Patrick Swayze, Demi Moore and Whoopi Goldberg in the first place.

When: 18th March – 14th May 2016

Where: Capitol Theatre, SYDNEY

Tickets: $120.15 – $136.46 Premium; $95.68 – $120.15 A Reserve; $65.10 – $77.33 B Reserve

Info: Wheelchair accessible; PG suitable

Link: http://www.ghostthemusical.com.au/about/?click=nav-about

In town for the Melbourne International Comedy Festival, Lisa-Skye is delivering comedy differently. We chatted to her about how her show Spiders Wearing Party Hats came about, what she’s doing differently to others, and how her MICF experience has been.

The Australia Times (TAT): Is this your first time performing at Melbourne International Comedy Festival? If so, is this also the first time you’ve performed this show?

Lisa-Skye (LS): Melbourne premiere for this show; which I’m super excited about. People have been loving it! As for MICF, I’ve been doing it since 2009ish but this is the first year I feel like I’m actually really good at it.

TAT: What inspired you to write this show in particular?

LS: Three things:

– The questions I get from people who seem fascinated by my life, which sort of baffles me since I forget what a weirdo I am.

– Punching a dude in a sex club in Berlin.

– How much I love my husband.

TAT: Your show run includes a “Relaxed Performance” on Saturday 2nd April, could you please tell us about that?

LS: Yes! I’m super excited about that. A friend asked me if the room I was doing the show in was accessible. It wasn’t, but another bigger room at Tuxy is. So after a bit of back and forth, I was able to book in a weekend matinee.

But in for a penny, in for a quarter pounder: I do Edinburgh Fringe every year, and I’ve noticed that the bigger acts do a Relaxed Performance session. I loved the idea and have always wanted to do it. The National Theatre UK explains it well: ‘Relaxed Performances are specifically designed to welcome people who will benefit from a more relaxed performance environment, including people with an Autism Spectrum Condition, sensory and communication disorders, or a learning disability. There is a relaxed attitude to noise and movement… An easy way to understand the atmosphere is perhaps, ‘the opposite of the quiet carriage on the train’.

TAT: How important is inclusivity to you?

LS: So important. So much comedy is about kicking down. And I used to get frustrated that my kind of people (queer, kinky, polyamorous) weren’t represented much in comedy. There should be art for everyone, and it can’t be if it’s about mocking already disenfranchised people. Straight, white, cis, able-bodied, male (pick any 3 that apply) can be inclusive – I’m not talking about ghettoising comedy into ‘the normies’ and ‘us’. It’s just a shame that so many go for the easy joke – mocking what they don’t understand, rather than engaging with empathy and trying to empower themselves with knowledge.

TAT: If you were a punter, would you rather go to the ‘relaxed show?’

LS: I have a lot of privilege, which includes being able-bodied. I wouldn’t want to take up a space in a show when someone who wouldn’t feel comfortable in a regular session could go instead. BUT, I would totally assemble a crew of my mates whose needs meant they’d prefer a relaxed performance, hell yeah. Having said that, if I knew the room was big enough for everyone who wanted a ticket (like my accessible room at Tuxy, hint hint) then heck yeah.

TAT: How do you achieve a relaxed atmosphere? I understand your show is 18+ so do you change content, or delivery?

LS: It depends on the needs on the day. I don’t need to change content of this show, but my usual delivery might have to change if there were more frequent interruptions. It’s more about planning for what can’t be planned for.

TAT: Your show looks decidedly raunchy, fun and unique compared to the standard ‘guys in t-shirts and jeans talking about their love life’ fare. What will people see that is different at Spiders Wearing Party Hats?

LS: They’ll get some professional, well-crafted and very funny stand up and storytelling, but they’ll also get assurance that I’m not going to bust out jokes about minorities, or talk ‘Big Truths’ at them while being merrily oblivious to my own privilege. I try to never make a joke that someone else could – everything is through the prism of my own life, which is a unique take.

TAT: Apart from your show, what would you recommend in MICF?

LS: So many good shows on! In fact, I made a whole video about my top 30 picks! Look!

https://www.youtube.com/watch?v=ZTKX0Hfq_Rs

TAT: Favourite place to get a post-show drink?

LS: Tuxy Cat, my venue, is great for a post-show catch up and drink. Love, love, love it. Them and the Butterfly Club, who also have a damn fine line up this year.

TAT: What are your plans after MICF?

LS: Everything, followed by everything else. I have a European tour in July-Aug, but before that some cool little things, and after that some very cool local and interstate stuff. Can’t talk about a lot of it right now, but follow me on the social medias for more info and pictures of my face (Twitter, Instagram, Facebook and YouTube, I’m ‘thelisaskye’ everywhere)

Spiders Wearing Party Hats

When: 4th, 5th and 11th April 2016

Where: The Tuxedo Cat, 293-299 Latrobe Street, MELBOURNE

Tickets: $15 – $21

Info: Duration 55 mins, suitable 18+

Link: http://www.comedyfestival.com.au/2016/season/shows/spiders-wearing-party-hats-lisa-skye

Black Swan Theatre Company and the Malthouse Theatre team up to bring audiences in Melbourne and Perth the ultimate Australian Gothic tale. Tom Wright’s adaptation of Joan Lindsay’s classic novel is an absolute triumph. The lilting story-telling combined with realistic dialogue provide an almost dream-like quality to the entire production.

Do you think you know the story of Picnic at Hanging Rock? Immediately conjuring up images of bonnets, flowing loose white dresses caught on bushes at exposed ankles, school girls shrilly screaming ‘Miranda!’ – and the ubiquitous pan-pipes so iconically used in the famous film. This production is so much more than that.

Five school girls recite the story, playing all of the characters and explaining all of the little asides. They tell it as though it were a poem they must learn by rote. The story is the stuff of legends, and all the girls know it well. The rhythm of Australian accents, up and down, provide a mythical tone – almost like listening to the legendary story-poems of Clancy of the Overflow or The Man From Snowy River. Tension builds, the soundscape reaches a crescendo as the girls story reaches the summit along with its characters.

Black out.

Director Matthew Lutton’s vision is clear. Keep the action to a minimum. This is not a play based on recreating the events, as such, it’s about the powerful nature of storytelling and creating legend. The girls move slowly towards the audience in the opening scene. After that, they depict interrogations, school life, and the haunting of the Englishman, Michael as if they were truly happening. Yet, the whole play is rendered as though it was a distant memory in the past.

The all female cast is phenomenal. Each player takes on multiple roles and narrates the play. Harriet Gordon-Anderson is perfect for the gruff Aussie lilt given to the cart driver and also young Albert, Arielle Gray brings humour and pathos to the misunderstood and physically awkward Sara, Amber McMahaon has a dream-like tone as she attempts to make tangible the mists that surround Michael’s identity and purpose, Elizabeth Nabben will send chills down your spine with her accurate and cutting Headmistress voice, and Nikki Shiels displays amazing facial expressions as her Irma borders on hysteria and horror.

This production of Picnic at Hanging Rock is not quite the classic you remembered – it’s better. Questioning identity, society, propriety, life and death, and the universe itself, the rock will draw you in. You will leave this Gothic delight feeling slightly uneasy, asking – did it really happen, or was it all just a dream?

When: 1st – 17th April 2016

Where: Heath Ledger Theatre, STCWA, PERTH

Tickets: $80 Standard; $64.23 Concession; $33.13 Students; $191.67 Family (2 Adult, 2 Student)

Info: 90 minute duration; Lockout after 12 minutes; Pre-show talk 7th April; Close Captioned 13th April; Post-show talk 14th April; Program available online as free download; Special Hamper deal available at bar – pre-order a picnic hamper to enjoy before the show!

Links:

Black Swan website – http://www.bsstc.com.au/season-2016/picnic-at-hanging-rock/

Tickets – http://premier.ticketek.com.au/shows/show.aspx?sh=PICNICAT16&utm_source=black-swan&utm_medium=website-buy-tickets&utm_campaign=black-swan-state-theatre-company|picnic-at-hanging-rock

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

Richard Wielga is the creative genius behind one-man show Willem Richards is Bringing Out the Cheeseboard. In Melbourne for the 30th Melbourne International Comedy Festival, The Australia Times Theatre asked him to answer 6 questions about his festival experience:

The Australia Times (TAT): Is this your first time performing at Melbourne International Comedy Festival? If so, is this also the first time you’ve performed this show?

Richard Wielga (RW): First time handing around a cheeseboard to start a Comedy Fest show, that’s for sure! While I know people have really got into the cheeses I’ve been offering, I hope not more so than the comedy!

TAT: What inspired you to write this show in particular?

RW: My Dad. He was one of those larger-than-life tennis-coach Dad’s (self-appointed, of course) through my childhood. I wanted to share my experiences of growing up with my Dad getting more and more involved in my tennis. He’s given me hell but I still love the guy!

TAT: How important is hospitality to you? Is breaking out the cheeseboard an act of friendliness or the epitome of a good host?

RW: I involve the crowd in my show quite a lot so the cheeseboard for me is a fun way for the audience to see me as just a nice, normal guy (hopefully) that wants to get to them rather than a ‘comedian’ that wants to make fun of them. One of my aims as a performer is to have the audience feel supported and loved so the stage is a safe and super fun space for everyone. I know it sounds corny to ‘love’ your audience but its true for me.

TAT: Apart from your show, what would you recommend in MICF?

RW: I haven’t seen any shows yet since I’ve been busy performing. But one of my comedy heroes is Steen Raskopoulos – his show You Know the Drill is one I’m very keen to see. His ability to improvise with the audience with love and support is something I aspire to.

TAT: Favourite place to get a post-show drink?

RW: My place, alone with a peppermint tea infused with fresh honey and lemon. Sometimes I settle for a tea that is not infused. I’m not fussy like that.

TAT: What are your plans after MICF?

RW: Stocking up my supplies of peppermint tea.

You can catch Richard as his alter-ego Willem Richards at the Downstairs Lounge of the Mercure Hotel until 3rd April 2016.

Upon entering the small room in the Downstairs Lounge at The Grand Mercure, we are greeted by Willem Richard’s heavily-accented ‘dad’ who is singing along to Bette Midler and offering us cheese and crackers. My friend is confused and asks, “is that him or is that actually his dad?” He gets his answer when dad introduces his son, and he is still standing on the stage.

Richard’s show is an expert mix of one man sketch, improvisation, and storytelling. His performance is interspersed with a lot of anecdotes from his childhood with an overly enthusiastic Polish dad. His improvisation surrounding his short-lived teenage tennis career with his dad as coach is hilarious. He also narrates the time his dad offers to buy him a car, and ten years later a slightly flood-ravaged vehicle is purchased. Richard’s impersonations of his father are incredible. So much so I think he could have a strong acting career as an irate European man!

His sketch pieces, with background music included, take him from preaching about staples, dancing around the room as Spanish Ken (of Barbie and Ken fame), and working at a matchmaking call centre. Audience participation is encouraged, and I of course am invited on stage to go on a date with Spanish Ken. But as it turns out, everything I say just reminds him of his ex-lover, Maria. Next time, Miguel Barcelona.

But perhaps the ending is the funniest moment of them all. Richard begins to undress behind a curtain, but continues to address the audience. The lights are then dimmed before we are greeted by Richard dressed as Kylie Minogue in the Can’t Get You out of my Head video clip. He realises his dreaming of being her backup dancer before our eyes, and it is a sight to see.

When: 23rd March – 3rd April 2016 (9:00pm)

Where: Downstairs Lounge, Mercure Hotel, MELBOURNE

Tickets: $15 – $19

Info: Duration 50 minutes; wheelchair accessible; suitable 18+

Link: http://www.comedyfestival.com.au/2016/season/shows/bringing-out-the-cheeseboard-willem-richards-is

About Hayley Simpson

Profile: View Hayley's profile here

Email: hayley.simpson@www.theaustraliatimes.com.au

Review by Kristie Giblin

Any regular Triple J Breakfast listener would definitely be able to relate to Matt Okine’s performance at the 2016 Melbourne International Comedy Festival.

Okine’s show details the trials of working in the public eye, with many ‘haters’ messaging the text line and trolling him through his social media streams.

From constantly messing up what day of the week it is and confusing people over whether it’s muesli bar Tuesday, or roll up Wednesday, to accidentally liking an old Instagram photo of Masterchef contestant Justine Schofield and still copping flak for it months later; his everyday life provides plenty of material for the show.

Similar to last year’s offering, Okine has one main story which he cuts in and out of throughout the evening, this time about a text message they received on the show after Matt told a story on air about neck pain, which saw him having an MRI and finding out whether he was suffering from Multiple Sclerosis.

Although some more serious themes do tend to creep into the material related to commercial horse racing and racism, overall it is quite a light hearted offering with Okine’s cheeky sense of humour shining through.

Being a Triple J listener is a bonus for understanding the content, though it isn’t a requirement as all stories are detailed enough for the whole audience to enjoy.

When: 24^th March – 17^th April 2016 (Tue-Sat 7pm, Sun 6pm – no Mondays)

Where: Melbourne Town Hall – Supper Room

Tickets: $25-$35

Info: Duration 55mins, Suitable 16+, Wheelchair accessible

Link: http://www.comedyfestival.com.au/2016/season/shows/matt-okine

#Improvilicious: The Improvised Guide to the Internet is currently being performed at the Melbourne Town Hall as part of the Melbourne Comedy Festival. Starring performers Ben Russell and Cassie Daly, the show is presented by Always Working Artist.

Using audience suggestions and on the spot made up characters, Ben and Cassie take us through the dos and don’ts of the internet. Ben and Cassie use their improvisation skills to demonstrate a hilarious internet survival guide that takes us through entertaining scenes that depict internet trolls, pet snails, cat meme land where hours are wasted, scrolling your Facebook feed, creating a profile, rescripted YouTube videos, and introduce us to the ‘Master of Notifications’ and the ‘Keeper of the Internet.’ This is a show for the internet generation.

The show would be suitable for children from ages 10 and up. While it is mainly aimed at the younger generation of tweens and teenagers older generations will also enjoy it. I had a few laughs and at times had tears in my eyes – mainly from the crazy scenes and characters created by the suggestions from the audience.

If you are looking for something to do with the kids this school holidays then you need to take them to see #Improvilicious: The Improvised Guide to the Internet. The show offers many opportunities for volunteer participation on stage and will give amusing results each time. The best thing about it is that as each show is based on audience suggestions, not one show is the same!
When: 26th March – 10th April (12:15pm, No shows Mondays)

Where: Melbourne Town Hall

Tickets: $15 – $20

Info: Duration 50 minutes, Suitable for aged 10+

Link: http://www.comedyfestival.com.au/2016/season/shows/improvilicious-the-improvised-guide-to-the-internet

About Sarah K.Gill

Profile: View Sarah 's profile here

Email: sarah.gill@www.theaustraliatimes.com.au

By Madison O’Riordan

After stellar seasons on both The West End and Broadway, Matlida the Musical makes its way to Melbourne following its immense success in Sydney.

With a run spanning over five years and an impressive collection of international and Australian theatre awards, Matilda is now showing at the iconic Princess Theatre, and after its premiere on the 17th of this month, has already been received with a string of sold out performances.

The musical is based on the iconic children’s novel of the same name. Written by Roald Dahl and first published in 1988, the story follows Matlida, a precocious 5 year old girl whose giant intellect soon becomes the source of her power as she attempts to handle the many rotten adults she encounters within her life.

The music and lyrics to the show were penned by none other than renowned comedian and musician Tim Minchin, who attended the press call recently for the Melbourne leg of the tour.

Minchin aptly described the show as ‘A musical that doesn’t suck’. He give a wry warning to parents that their children may be ‘chaotic on the car ride home’ as the musical is one that will speak to the kids and will see them leaving ‘hopefully empowered’.

He [Minchin] goes on to discuss how impressed he is with the children in the cast, including the four main actresses that will be playing the role of Matilda in the Melbourne performances; Dusty Bursill, Tiana Mirra, Alannah Parfett and Ingrid Torelli. ’People back home [in the UK] don’t have to worry about the talent here in Australia…The talent here is absolutely world class’.

Aside from the spellbinding dance numbers, impossibly intricate lyrics and breathtaking sets, the universal message of Matlida the Musical will shine through for audience members of all ages; Even if you’re little, you can do a lot…and sometimes you have to be a little be naughty.

Matlida the Musical season is currently showing at Melbourne’s Princess Theatre.

Tickets can be purchased via Ticketmaster.

Here at The Australia Times Theatre, we love a good festival! It’s almost April and that means the Melbourne International Comedy Festival is in full swing. This year, MICF turns 30, here are some of the ways it’s celebrating the big three oh.

30th Birthday Bash – Gala

What would a milestone birthday be without a huge party! Fittingly held on April Fool’s Day, MICF heads to the Regent Theatre to host a gala comedy event.

Featuring comedic heavyweights Tommy Little, Cal Wilson as your illustrious hosts, the superstar line-up includes Eddie Perfect, Rich Hall, Greg Fleet, The Umbilical Brothers, Wendy Harmer, Rachel Berger and many more!

http://www.comedyfestival.com.au/2016/season/shows/30th-birthday-bash

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

Review by Hayley Simpson

CJ Delling’s show for the 30^th Melbourne International Comedy Festival is funny before it even begins, as the audience is directed to seats behind a shower curtain. This interesting choice of partition sets up Delling’s first joke of the night: “This is the second most fun you can have behind a shower curtain.” Just so you know, number one is not where your mind initially went. Delling amusingly uses the show’s location – next to the kitchen downstairs at the Bull and Bear Tavern – as the premise of a few beginning jokes.

Funny Bits is a hilarious collection of life anecdotes from Delling, who hails from Germany but moved to Australia ten years ago. She recently became an Australian citizen too, which is (obviously) the subject of many of her jokes. Yes, she may drop in something about our inefficiency to have a long-lasting Prime Minister. She also mentions a few unusual lost in translation moments she has had since moving.

For 50 minutes Delling discusses her role as a lifesaver in Sydney, gender equality, religion and custom forms from around the world. It seems the funniest customs form you will receive is upon entry into Argentina. Plus she shares with the audience that in 2016 it is mandatory for all performers to reference Tinder in their sets. So Delling speaks about a couple of awful pick-up lines she has been subjected to, but thankfully she is now happily engaged.

Delling mentions that she wants her last joke to be memorable, so she says that it will be 48 degrees in Melbourne tomorrow: “15 in the morning, 20 during the day and 13 at night.” Unfortunately, it’s funny because it’s so true about this city we call home.

When: 23rd March – 3rd April 2016 (7pm)

Where: The Bull and Bear Tavern (347 Flinders Lane) MELBOURNE

Tickets: $12 – $20

Info: Suitable 16+, German performances available, AUSLAN interpretation available

Links:

MICF: http://www.comedyfestival.com.au/2016/season/shows/funny-bits-cj-delling

Website:

http://www.cjdelling.com/

Facebook:

https://www.facebook.com/CJDelling

About Hayley Simpson

Profile: View Hayley's profile here

Email: hayley.simpson@www.theaustraliatimes.com.au

Wow, it’s never too late to be a brilliant comedian – a fact proven by the incomparable Lynn Ruth Miller. At 82 years old, Miller is a refined and funny entertainer performing at The Butterfly Club as part of the Melbourne International Comedy Festival 2016.

Miller opens the show by asking: “Are you looking at me? This is your future.” Miller hilariously draws comparisons from her life growing up to ours with shockingly clever punch lines- “We never used to go to the Doctor for mental health problems- it was too expensive, in my day we just jumped.” But there are more similarities between the generations than expected – especially how her dates consisted of “beer, pretzels and testosterone.”

This Grandma speaks boldly about the ‘controversial’ topics – marijuana, ‘ravaging’ men and being a ‘GILF’- whilst elegantly dressed in a white lacy number, expensive pearls dangling from her neck.

A particularly funny moment of the show is the story Miller tells about cooking dinner. Losing her contact-lens in the soup, and her hearing aid falling on the floor! Without being able to see, Lynn decides to order takeaway- but she won’t be able to hear the deliveryman! She decides- “Well I could still see shapes so, I’ll drive to the 7 Eleven”.

A relatable struggle for some of the young people in the audience.

Good comedians – in my opinion – express some sort of personal struggle to their audience. Miller’s battle with an eating disorder makes a candid appearance. Empathy turns to laughter with Miller, as she sexualises the ice cream cone that once haunted her thoughts.

I’ll leave with this line as inspiration for those under 80- from Miler: “This truly is the best year of my life… but I can’t remember any of the others.”

When: 23rd March – 17th April 2016 (7:00pm)

Where: The Butterfly Club, off Little Colins Street, MELBOURNE

Tickets: $38 Full; $34 Concession; $31 Butterfly Club Members

Info: Suitable 18+

Links:

MICF – http://www.comedyfestival.com.au/2016/season/shows/this-is-your-future-lynn-ruth-miller

Butterfly Club – https://thebutterflyclub.com/show/lynn-ruth-miller-this-is-your-future

Butterfly Club Membership: https://thebutterflyclub.com/membership

About Jessica Horwell

Profile: View Jessica's profile here

Email: jessica.horwell@www.theaustraliatimes.com.au

As the Australian Cast of Matilda The Musical premiered in Melbourne, the Royal Shakespeare Company announced that the production will play seasons in Brisbane and Perth.

Winner of over 50 major international awards, including 13 for Best Musical, Matilda continues to thrill audiences in London, on Broadway, on tour around the USA. It made its Official Melbourne Premiere on Thursday 17th March at the Princess Theatre, and tickets are currently on sale for performances through to 13 July 2016 through Ticketmaster.

http://www.ticketmaster.com.au/Matilda-the-Musical-tickets/artist/1601714

Matilda will play Brisbane’s Lyric Theatre at QPAC from November 2016 and Perth’s Crown Theatre from February 2017 with ticketing details to follow.

Review by Laura Money

I don’t know if it’s because I’ve seen a lot of circus/cabaret shows during Perth’s FRINGEWORLD, or if I live an exceptionally exciting life but El Bizarro seems to be trying a bit too hard. Look, it’s a solid show complete with several burlesque/cabaret acts but its claim of the ‘bizarre’ is overstated.

The host of the evening would fit in well in the hipster scene – his Victorian mountebank costuming aids his cheeky and witty delivery. He banters well with the audience, and makes sure that everyone is comfortable – well as comfortable as a show that supposedly pushes the limits wants you to be!

David Eriksson is probably the highlight of the show – he’s funny, quirky and immensely talented. His unique style of ping-pong ball juggling and antics are embedded throughout quite well. The contortionist is talented, yet relies on the same poses over and over. The couple representing Circus Carnis promise a titillatingly naughty late-night experience, yet when it comes down to it, are quite tame. There isn’t a lot of talent in removing one’s clothing and winking at the audience. They do manage some impressive acrobatics but these almost appear to be an aside.

Perhaps the biggest acts are also the biggest disappointments – Ellie Diablo the ‘sword swallower’ spends most of her act cavorting around the stage in a robe, semi-naked and not really even dancing. She expects the audience to be shocked when pulling out a tiny dagger at the end of her drawn-out act, and proceeds to swallow it. Yes, that is incredibly hard to achieve and she is obviously very good, yet it is only a minor part of her act and shouldn’t be billed as her main attraction. The finale consists of fire-breather Missa Blue – an act that is so hyped up, she seems to be annoyed when the audience isn’t cheering as loudly as she expects. Her fire-breathing is amazing, however she spends more time in her act waving her hands about and stripping. The fire-breathing elements are great, however sadly, few and far between.

El Bizarro is an ambitious venture – a chance to showcase the truly bizarre and authentic side-show ‘freaks.’ It seems to me, though, that they have become more interested in presenting something sexy that they have stumbled from their path a little. The show is entertaining, however, just not in the way one expects.

El Bizarro has just finished its run in Perth’s FRINGEWORLD (February) and Adelaide Fringe (March) 2016. Check out their website to see what’s next for the team: http://www.dangercabaret.com/events/el-bizarro/

Review by Jessica Horwell

In a bright, intimate theatre space inside the mystical, alluring setting of The Butterfly Club in Melbourne’s CBD, a 23 year old magician- David Stewart– used super consciousness and spiritual connection to read minds with the knowing of a mathematician resolving equations. Instead of rabbits, he pulled the numbers we were thinking of out of one collective hat worn by audience and magician.

Stewart maneuvered a piece of silver string through the air as he talked about connection and psychology guiding his practice of magic. Pulling the piece of string from his eye, not his nose- as I have seen before- was a metaphor for the way David could ‘see’ what others couldn’t. In the middle of the show, he placed razors on the cream centre of an Oreo, and turned his back as he asked me to switch the position of the deathly Oreo’s with the five ‘safe’ Oreos lying on the table. He picked up each Oreo- and chugged it down with hesitation, leaving the deathly Oreo alone under the spotlight.

Drawing my attention to the line of my pentagram tattoo, with a finger click he put me in a mediative trance- I felt as if I was being guided by magic.

The most powerful part of the show for me was when Stewart contacted ‘the other side’. Having told us the story of losing his mother at age 16, this was a poignant moment. A volunteer audience member on stage with David told us his pulse had stopped. I was hit with a visceral experience or ‘hallucination’- giant angel wings appearing behind David, and the breath of a bellowing, mystical wind. This young magician is only beginning to tap into his potential with ‘Mystica’ and will amaze audiences on a deep level for years to come.

Mystica played at The Butterfly Club in Melbourne during March 2016.

Review by Kieran Eaton

The Nasty Show is an assortment of edgy material presented in an accessible way. You know from the title that it not about sugar and spice, and all things nice, MC Jez Watts sets up the premise in a simple manner and gets the audience to think of their own nasty jokes. Anyone can tell a nasty joke – but can everyone get away with it? Watts skillfully demonstrates how to pull off a good nasty joke – this is a masterclass in smut!

The good news is most of the jokes are told with great skill and craft by a variety of stand-up comedians from different backgrounds and experiences. Does this make it a bit hit and miss? Well, to a degree but the stronger acts in this show help to carry the ‘weaker’. However, it does end up becoming a bit of a joke-a-thon competition after a while. What really makes The Nasty Show work though, is a sense of camaraderie from the audience. They truly embrace the concept and the comedians, leaving the tent with a whole bunch of new friends at the end of the night.

The show is on late, so it feels like a setting where the comedians with more beers under their belt can be a bit looser and bolder. This is a fun breakaway from seeing generic “likable” styles. The downside is it does have a laddish feel to it, with all performers being straight male comedians. There is a huge amount of energy in the room which keeps this ad-hoc, guys-will-be-guys vibe going. Once they are on a roll, the comedians can really get nasty!

With about an average of five performers a night, The Nasty Show has someone for every taste, with plenty of variety, you’re bound to find a new favourite comedian. The Nasty Show is a simple format but is sure to fit in well for most comedy/fringe festivals. I recommend this to anybody who likes to walk on the wild side.

The Nasty Show played as part of Perth’s FRINGEWORLD festival in February 2016. Infinite Jest have just finished a run of comedy shows in Adelaide Fringe March 2016. You can catch The Nasty Show during the Perth Comedy Festival 22 April – 15 May. See website for details:

http://perthcomedyfestival.com/

Review by Brandon Taylor

The Wild Duck, an 1884 play by Norwegian playwright Henrik Ibsen, is an observance of tragedy and family dysfunction. Translated into present day by Writer/Director Simon Stone and Sydney Theatre Company Belvoir, this 2011 production comes to Perth after winning three Helpmann awards, following hit seasons in Sydney and critical acclaim during international tours to Norway, Holland and the UK.

The haunting PIAF performance at the Heath Ledger Theatre expertly captures the heartbreak, tenderness and the bloodied jagged edge of personal and familial collapse, using the love at its core to observe the pain of deceit, and the capability of the human spirit to endure.
The Wild Duck follows Gregers Werle (Richard Pryos) and Hjalmar Ekdal (Steve Rodgers), the sons of two businessmen, Haakon Werle (John Gaden) and Ekdal (Anthony Phelan) as personal and professional scandal between the two families is revealed. Hjalmar’s seemingly happy life is built on a lie, the exposure of which tears both his and Gregers’s families apart at the seams. We can only observe as Hjalmar, his supportive wife Gina (Katherine Tonkin), his aging father Ekdal and his brilliant young daughter Hedvig (Airlie Dodds) alternately lie, love, scar, and lose each other. Heightening the experience is the fact that many of the most explosive events are left to the audience’s imagination. The scenes of the play often lead right up to the reveal, the fight, or the event, leaving the play to focus on the consequence.
Examination of these consequences is enhanced by the fact that the entire play is performed inside a 10- by 20-meter glass box. The cage is barely able to contain the storm of emotion, but makes acute examination of that storm painfully unavoidable. The glass box forces recognition of how small such matters can appear – all able to fit within a modest container. At the same time, it forces recognition of the life-shattering power of the things that take place within this box – the magnitude of a word, a lie, a helping hand.

As the faces, hands, experiences and very psyches of each character are pressed against the pane, a dual-truth emerges from under the microscope. That love endures all things, and that all things must endure love.

When: 3 – 13 March 2016 (Times vary)

Where: Heath Ledger Theatre, State Theatre Centre of Western Australia

Tickets: Premium $79; A reserve Adult $69, Concession $62; B reserve Adult $54, Student $25

Information: Some performances Close Captioned

Link: https://perthfestival.com.au/whats-on/2016/the-wild-duck/

Review by Amanda Lancaster

“Sexy, Sexy, Sexy!” This is how the audience are greeted by comedic performer Helen Duff upon entering her intimately staged one woman show. A sexy vibe, a pleasurable experience is what she is attempting to create she tells us…..which is a little hard to process given that we are bring addressed by a giant blue sperm.

Welcome to the absolutely shameless, boldly ridiculous, embarrassingly funny journey that is Helen Duff’s failing relationship with the Big O and her determined attempt to attain it. If you are looking for a show that treats the intimate subjects of sex with a little subtlety you are definitely out of luck. Duff gives an amazingly high spirited, over the top, make you groan and squirm performance right from the get go. In fact so bold and shameless is her approach to the subject matter and herself that any discomfort or embarrassment the audience may have felt is easily stripped away and replaced by the mutual, underlying knowing feeling that is being able to relate to the darker, more ridiculous aspects of her honesty.

Throughout the performance we are treated to numerous performance mediums including bad one liner pick up jokes, personal tales and experiences, short bursts of lewd song lyrics, survey questions and even a vagina monologue…..which I do mean quite literally! Duff is a fearless and captivating performer, improvising and adapting at lightning speed to the audiences reactions. Her comedic timing and lack of inhibition make the shows subject matter playful and entertaining while simultaneously managing to deconstruct the preconceived notions of niceties an neuroses that stigmatise our ideas of sexual pleasure.

Without giving too much away, that would ruin the shows pleasurable build up of hilarious twists and turns it is hard to describe more. However this is an absolute riot of a show. A must see symbolic experience that culminates in the clear denouement of how most of us, and indeed Helen herself experience that great Big O.

When: 17 – 21 February, 2016 (10pm)

Where: Deluxe, Perth Cultural Centre PERTH

Tickets: Rushtix from $10

Info: Duration 55 minutes, Recommended 18+

Link: http://www.fringeworld.com.au/program/event/42e290de-3199-41f2-9547-be6498ca3ae9/

Image courtesy of Spooky Men of the West

Review by Brandon Taylor

Somewhere in Perth’s Pleasure Gardens, a shadowy and rustic wood-scented cavern rings with the voice of man. The voices of men, rather – men clad in black, men who build enormous structures, men who dream of mastadons, and men who are revealing in earnest tones the well-guarded secrets of mansinging. Yes, Teatro 1 is being transformed into a temple of burly enlightenment by WA-based men’s a capella choir group the Spooky Men of the West.

A favourite in Adelaide’s Fringe 2014 and 2015 festivals, The Spooky Men are a well-oiled (don’t take that the wrong way) machine of monastic harmony and ironic humour. They don’t take themselves too seriously, but directed by Micheál McCarthy, Senior Lecturer in Aural Training, Theory and Choral Training at WAAPA (West Australian Academy of Performing Arts), they enjoy a satisfyingly overbuilt foundation of expertise.

The team, around 20 men of widely varying age, harmonise about the comedies inherent in being a man. With no mountain to climb, no mammoth to spear, and no kingdom to conquer, man often turns his attention to the tool shed, the construction site and occasionally the social club. Along with the mostly original music comes hilarious choreography, tongue-in-cheek narration and of course, all-black costumes, hats and secret handshakes.

Throughout the show, Original songs from the zany hand of Spookmeister Stephen Taberner, including crowd favourites like “Don’t Stand Between a Man and his Tool” ring out in rich layers, creating a cathedral of stoic brotherhood while poking fun at the very idea of such a thing in the first place. The clever contradiction, though cheeky, is appropriate for all ages and enjoyable by all types.

When: 16 – 21 February 2016 (5:15pm)

Where: Teatro 1, Pleasure Garden, Northbridge PERTH

Tickets: From $5!

Info: Duration 45 minutes, Suitable all ages

Link: http://www.fringeworld.com.au/program/event/a710aa34-895b-4ca4-8f06-2b4b95ba0ba0/

Review by Kieran Eaton

Xavier Michelides: Live at the Allocated Venue is solo stand-up with personality. Michelides’ talent lies in his immense vocal range, his voice is so unique he can bring any character or sound effect to life! He masterfully uses his charm to get the audience on side – an important feature as his audience numbers have ranged from ten to sixty!

This huge differentiation does not waiver Michelides as he has the calmness of a Zen master. He is still normal, as he describes his looks, his sweating problems and his past (ok and also current) experiences with drugs and alcohol. He cheekily tells the young people in the audience that he is an example of what not to do with these substances.
Michelides is an experienced comedian, so you can tell that he has confidence in his material. He seamlessly blends them into of his assortment of tales regarding his life so far. There is no strong theme in this show so he makes every bit of his material count. He even uses off the cuff crowd interaction to deal with mixed responses. This is done in a quick and very intelligent manner.

This show displayes Michelides’ comedic talents marvelously. His style has a cheeky charm to it that most audiences find endearing. Xavier Michelides: Live at the Allocated Venue is definitely a show for lovers of comedy.

When: 5 – 9 February 2016 (7pm)

Where: The Moon Cafe, Northbridge, PERTH

Tickets: $15 to $22

Info: Duration 60 minutes, 15 + recommendation

Link: http://www.fringeworld.com.au/program/event/7f7b5ad9-67c5-4b10-b455-1372de946095/

Credit: Jesse Collins and Studio Damascus

Review by Elli Gemmo

On a really hot night in Perth, the atmosphere of a cool underground club “The Cellar Bar” has been created on stage by the cast and crew of the show Underground.

You will be introduced to Rhizzy, a shinily dressed jazz-blues singer who is about to perform once again after ten years – in this underground bar. Rhizzy has a beautiful voice, performed live, that will enchant her real and imaginary public. Sadly though, the place where Rhizzy and her friend Max have been performing for so long is about to be closed down and dismantled.

Lives and friendships of this small group of people including Rhizzy, Max, Esther the manager and Zak the owner, have been changed and formed around the Cellar Bar. Its closure is going to crack their normal lives and habits wide open – letting some of the things that were buried behind curtains of silence to come up and be faced.

Underground is a play about everyone who has ever had a painful secret to hide. Rhizzy belongs to the night as her secrets do too and a metaphorical as well as physical sunshine is going to unveil a spot of darkness right in front of us. Underground is an enjoyable story with a considerable metaphorical background. Dixie Johnstone‘s vocal performance featuring original songs is one of the gems of this show.

If you are craving a night of theatre and good live music, don’t miss Underground.

When: 16 – 20 February 2016 (6pm)

Where: The Blue Room Theatre, Studio. Cultural Centre, PERTH

Tickets: $22 – $25

Info: Duration 60 minutes, Suitable 15+

Links:

Fringeworld – http://www.fringeworld.com.au/program/event/bbd56ce5-d4ba-4333-925e-d83fa11193f9/

Blue Room – http://blueroom.org.au/events/underground/

Guest review by Jessica Thompson

In Adam Peter Scott: Straight to Video, Scott asks what sort of movie or tv show would his life be. Could it be a romantic comedy? Comedy, crime, spy? Will it be the Captain Planet movie he’s wanted to make since he was a kid? Probably not. In the next hour, Scott masterfully explains why his life doesn’t quite fit into those pre-made genres, using examples from episodes of his own life.

Scott – a self-confessed straight, white man, takes you on a walk through different genres that could be his life. After trying to fit his own life into these high-paced, fast and furious genres, Scott realises that maybe he is just too normal or sidekick like to be the star of any genre.

Scott’s delivery is fantastic. He jumps from info-commercial-like excitedness to TED Talk presenter, depending on how manic the genre or how passionate he is about the topic. He’s a geek – he reads voraciously, watches tv and movies as often as possible, and will take any opportunity he is given to talk about 90s pop culture. Sometimes slick, other times shamelessly geeky, Scott’s style is definitely unique.

Throw in some dick jokes, pop culture and Captain Planet and you get a great show that will leave you laughing except for maybe the end bit!

When: 10 – 20 February 2016 (8:10pm)

Where: Pho Barn, Noodle Palace, Northbridge, PERTH

Tickets: $15 – $20

Info: Duration 55 minutes, Suitable 15+

Link: http://www.fringeworld.com.au/program/event/116978c0-02b5-4f40-871d-d05387676db6/

Review by Brandon Taylor

Coming all the way from Cincinnati Ohio, soul singer Richard Jackson has brought his velvety voice – and the sound of greats like Stevie Wonder, Marvin Gaye, Michael Jackson and James Brown – to the West Australian Spiegeltent for Perth’s Fringe Festival. Backed by (mostly) local rhythm and blues six-piece The Velvet Playboys, Jackson lays down the smooth, playful and hearty music he’s famous for over a backdrop of Perth talent that seems custom-built to support him.

The Soul Rhythm Spectacular hints aptly at the energy and variety of this show. The Velvet Playboys are lively and like to experiment with covers (and the audience) so you’ll get a bit of an act with your music, but the focus will be on Jackson – and for good reason.

Listen to Jackson sing just one line, and you don’t need to be told he’s headlined major festivals around the world. Watch him close his eyes, knit his brow and beckon absent-mindedly while he sings it, and you don’t need to guess that soul music is at his core. From his massive frame pours the sort of voice you’ve only heard on an old Temptations record, and it’s one-hundred times better live than from the grooves of a dusty 8-track.
Sharing the spotlight with Jackson is trumpeter and vocalist Adam Hall. Leader of The Velvet Playboys and undisputed MC during this show, Hall cajoles crowd between tracks and sings a bright if occasionally pitchy lead tenor on songs like “The Way you Make Me Feel” and Amy Winehouse’s “Valerie”.

The rest of the Playboys bring a lot of energy, a tight sound and more variety than most six-pieces do to the table. Mark Turner alternates between equally impressive lead guitar and saxophone, Adam Hall’s expert trumpet is more than worthy of its own mention, Anthony Dodos rounds out the horns with his trombone, Matthew Schmalkuche plays some seriously funky keys, Matt Hanson rocks the drums, Pete Jeavons grooves out on the bass, and most of them sing backup vocals to boot.

Throughout the set, the Playboys do justice to soul classics, solos rip from every instrument, and Jackson waxes poetic on vocals. With a bit of Cincinnati, a bit of Perth, and a heap of soul, Richard Jackson and the Rhythm Soul Spectacular offers a well-balanced diet of grooviness for all.

When: 15 – 21 February 2016 (8pm)

Where: West Australian Speigeltent, The Pleasure Garden, Northbridge, PERTH

Tickets: $15 – $38

Info: Duration 60 minutes, Suitable for all ages

Link: http://www.fringeworld.com.au/program/event/269a5958-de24-4ded-b198-9b3e452d1e73/

Review by Amanda Lancaster

Once upon a time… fairy tales, fables and stories were all used as cautionary tales and lessons of morality. But over time these tales began to warp and lose power, and so they had to be remade. A constant act of unmaking, adapting, mutating then beautifying and smoothing away at the rough prickly edges forcing the ideas within the pages to twist and become transposed until eventually resembling nothing of itself – it was now palatable enough for the ever changing world and its inhabitants.

This idea of fantasy and reality blurring into one an other, this idea of dream no longer being discernible from actuality is where you will find the base narrative for Sleeping Beauty.

Renee Newman and Ian Sinclair were both struck with the idea of placing a character like Sleeping Beauty – the quintessential victim and constantly distressing damsel – into a contemporary modern day setting, to see if the story could still work in today’s socio-political life.

This is how we get to the dream motel. A sleep clinic, where the loss of control and inability to grasp reality can be reattained….by killing your dreams. Newman and Sinclair make a wonderful pairing as the two main characters both of whom are unable to disentangle themselves from dreams that feel more fulfilling and more like reality than reality does itself. Working together with minimal subtle nuances the show takes on a dream like pace in sync with the constant lullaby toned music making the audience wonder at time if perhaps they are dreaming whilst awake?

A thoroughly watchable journey exploring the modern ideas of sleep, dreams, science and the courage it takes to gain control over your own life and what you want.

When: 2 – 6 February 2016 (9:30pm)

Where: PICA Performance Space, Perth Cultural Centre, PERTH

Tickets: $17 – $25

Info: Duration 50 minutes, Suitable 15+

Links:

Fringeworld – http://www.fringeworld.com.au/program/event/c23a3171-a188-41c7-b8b6-9520bd773d51/

Blue Room – http://blueroom.org.au/events/sleeping-beauty/

Review by Laura Money

Have you always dreamed of being a magician? Do you want to dazzle your friends and family with your sleight of hand and baffling magic tricks? Always had a rabbit under that hat? Perth magic-man Jon Madd will break the first rule of magic for you and reveal his tricks!

Madd is charismatic and funny. He takes the lesson in an entertaining and candid manner. Firstly, he dazzles the audience with a card trick. It’s impressive – there are gasps and jaws dropping all over the speigeltent! Never fear – Madd will show you how to perform that very trick by the end of the show you will be a magician extraordinaire.

I can’t actually give too much away here – that’s Madd’s job, but I will say that he presents the trick in several ways – all equally impressive. After showing off a little – Madd lacks the showy over-the-top flashiness of a magician – he’s humble and obviously passionate and reverent of the magic he presents. Madd then breaks down how he achieves his trick. Adults and children alike can learn from him, as his manner is calm and easy to understand.

Madd’s sheer love of magic tricks shines through as he plays with the children he teaches. There are more than one ‘ahhh’ moments rippling through the crowd…after seeing the show I just have one question for you: would you like to see a magic trick?

When: 13 + 14, 20 + 21 February 2016 (4:30pm)

Where: De Parel Speigeltent, Perth Cultural Centre, PERTH

Tickets: $15 – $20

Info: Duration 55 minutes, Suitable for all ages (Children encouraged!)

Link: http://www.fringeworld.com.au/program/event/986a58b4-de23-4b64-adbe-a29ec0b8fa1d/

Review by Elli Gemmo

Is there anything strange about a janitor who is cleaning a scientific laboratory after all the experiments of the day have been done and all the scientists gone home for the night? Is there anything particularly weird if this dorky janitor ends up activating, while cleaning, a miniaturising machine that will allow him to sit inside another man’s beard? Well yes there is.

The Ballad of Frank Allen is a genial, hilarious show where every moment of the story is so unpredictable that you can’t really figure out what is going on and makes you feel like the time spent inside the Blue Room Theatre is flying.

Frank Allen, the janitor ends up living in another man’s beard – following his daily routine, love problems, job switching and helping him with a “gentle” pull of the beard whenever needed. Both of them seem to be a bit confused and clueless about their lives. Strange enough, they can hear each other only when both of them are completely drunk. This fortunate “house sharing” leads the two to the quirkiest and funniest situations and eventually to a better understanding of themselves. Is Frank going to be able to go back to his own life and size? The scientists at the laboratory noticed something strange and are now looking for a man with a talking beard…

Both characters are so playful and full of good old school humor. There are occasional sketches with live indie music that complete the picture of a well designed comedy.

The Ballad of Frank Allen is original, clever and enjoyable and a must see in FRINGEWORLD.

When: 16 – 20 February 2016 (7:30pm)

Where: The Blue Room Theatre, Studio, PERTH

Tickets: $22 – $25

Info: Duration 55 minutes, Suitable 15+

Links:

Fringeworld – http://www.fringeworld.com.au/program/event/7ab0e146-919a-479f-a896-31094610fabe/

Blue Room – http://blueroom.org.au/events/the-ballad-of-frank-allen/

The Dirty Blues Trio know a little bit about a lot of things. Sinning is one of them. And whether your weakness of choice is lust, gluttony, sloth, greed, envy, wrath or pride, without a doubt there’s a blues song about your particular sin.

Sultry Perth songstress and Fringe World 2013, 2014 and 2015 Award Winner Jessie Gordon is joined by incredible blues guitarists Jon Matthews and Mark Turner in a soul-full, heart-heavy, lust-inducing musical journey of trouble, sin and joy.

“Gordon’s vocals are like diving into a cool stream, she hits every note flawlessly. She brings a youthful signature… [to whatever she sings.] “ The Australia Times, Theatre.

Believe me, you’re in for a treat with this show – Gordon’s voice is so versatile she sounds like she’s been singing the blues for years. Don’t miss out!

When: 17 – 21 February 2016 (10pm)

Where: De Parel Speigeltent, Perth Cultural Centre, PERTH

Tickets: $20 – $25

Info: Duration 60 minutes, Suitable 15+

Link: http://www.fringeworld.com.au/program/event/de012dc7-4ec0-45bd-a9f6-5ffddbcb562a/

Review by Laura Money

Parkour collides with the Big Top in this unique combination of electronic music and circus. Undertone uses live triggering on a looping machine to create temporal soundscapes from the performance it’s influencing. Confusing? Well, it’s not as complex as it sounds.

Five performers enter the big top – four experts in movement and dance, one DJ extraordinaire. They have a hipster vibe in their 20 shades of grey, top knots, facial hair and quirky tattoos. The DJ attends a comprehensive electronic music system, creating sounds from ambient noise and looping that into an urban soundscape. The others stand at a corner each of a table-tennis table, hitting different parts in a syncopation that seems random, until you realise that the DJ is picking all of it up. They are having fun, grinning at each other in playful jest. This could be anywhere – your garage, someone’s rumpus room, a community centre. They could be any group of friends – until they start to manipulate the space in front of them with their bodies.

The young adults pommel their way over and under each other using the surface of the tennis-table as an anchor. They move in perfect synchronisation – one false move and they’d be colliding with each other. The whole thing has a Parkour vibe to it – almost like seeing a live rendition of the phenomenon which uses peoples bodies twisted and present to create different meanings to the standard ‘negative’ spaces of our world. Ping-pong balls are supposed to bounce on the surface of a table-tennis table – not people. By using their bodies, the Undertone crew essentially re-write the relationship between physical space, convention, time and aesthetics.

There are hilarious sketches, including a camp interpretation of a table-tennis match. Despite using the table as it was originally intended, the crew are able to gently tease the mainstream phenomenon with a kitsch representation of tennis-wear, competitive spirit, and the ineffable coolness of leisure. There are more conventional circus-acts such as ropes, straps, poles, and tumbling, even juggling but these are all tackled in a fresh, urban way – they are so talented it almost looks like you could give it a try yourself, next time you’re at the local part. But don’t be fooled – it takes immense training and skill to make what you do look effortless.

When: 11 – 17 February 2016 (6pm)

Where: Big Top, Pleasure Gardens, Northbridge, PERTH

Tickets: $16 – $28

Info: Duration 55 minutes, Suitable all ages

Link: http://www.fringeworld.com.au/program/event/2c8870a7-f278-4c96-b314-32818cbdb5ef/

Review by Laura Money

Dez Pondent, comedian, human being, film critic. I Am Not An Animal, I Am a Film Critic is a wonderful journey through film as an art form and how it can fit into everyday life. Opening with a message from the one and only Yoda (in a very convincing voice, one might add), Dez takes the show one film review at a time. However, these are not conventional reviews, as we shall see.

Each night there is an opening act – someone who warms up the crowd for Dez’s left-of-centre comedic stylings. The night I was there it was fellow Australia Times Theatre reviewer, Kieran Eaton. Eaton’s quirky and off-beat set fits into a show like Dez’s perfectly. He quips about being cool despite his glasses, makes references to a classic horror film (IT), and even gives us a cheeky little ditty about one of life’s greatest pleasures – wanking.

The lights go dim, and we are treated to the iconic scene from The Elephant Man in which John Merrick (AKA The Elephant Man) is mobbed at a train station. In desperation, he cries out “I am not an animal! I am a human being!” Cue Dez Pondent running down the aisle of the venue in a suit, complete with bowler hat and death mask crying out “I am not an animal. Will you be my friend?” It’s anti-comedy at its finest – a brilliant homage to something he loves, that also mocks it gently.

Dez Pondent is a great character. He is deadpan and expressionless in his delivery. This is what gives his show strength. When reviewing a film, it’s hilarious to hear him deliver ‘excitement’ for a plot line or franchise in a low, unmotivated tone. Almost every film in existence gets a mention. Dez is particularly fond of action adventure, and would love to see Perth become the next location for a Fast and the Furious movie sequel…maybe called Como Drift?!

The reviews are less about the films than about Dez himself. For example, going into the film Up while feeling down, allowed him to UP-lift his spirits and feel UP. The Good, The Bad and The Ugly review is not really about the movie, but what Dez considers good, bad and ugly about life. The review of The Human Centipede is more about how he can turn it around into a ting of beauty – and believe me you will belly laugh when you see the result.

I Am Not An Animal, I Am a Film Critic is a breath of fresh air on the comedy scene. Delivered with dead-pan genius, Dez Pondent’s views on life will stick with you for a while, and that’s definitely a good thing.

When: 12 – 16 February 2016 (9:30pm)

Where: Four5Nine Bar, Leederville (Enter via Rosemount Hotel) PERTH

Tickets: $9 – $15

Info: Duration 60 minutes, Suitable 15+

Link: http://www.fringeworld.com.au/program/event/892edc9a-d112-4666-a992-e5ec39d15eb2/

Review by Amanda Lancaster

Is it possible to bring life to death? Welcome to the Grr – an intimate hand made yurt, where the performers are determined to do just this.

In conjunction with the Blue Room Theatre, Grr Nights is part of a series of delightfully intimate mini festivals within the festival. Held in a hand made yurt, in a close proximity performance space, prepare to get up close and personal with both performers and audience alike.

Addressing such cheerful themes as the apocalypse and of course our ever impending deaths, we are treated to a trio of eclectic talents that host what is better described as an experiment in experience rather than a performance or a show.

Showcasing the talents of musician Jacob Diamond, wonderfully crafted observations about life flow through the yurt and help the intimate setting seem almost tangibly personal somehow. With his alternative- folk-rockabilly styled guitar melodies and accompanying lyrics of such carefully crafted detail, the night begins with almost a soothing tone like a lullaby.

We are then treated to the unique stylings of poetic wordsmith Scott Sandwich, who manages to put an absurdly humorous spin on the ideas of how we imagine our own personal deaths and how we hope to be remembered. With a wonderfully witty spoken word performance, Sandwich manages to tell us almost everything and simultaneously nothing about himself in a pseudo intimate stream of truths. Leaving you with the sly feeling that you have just experienced him via the skimming of his Facebook page.

Rounding out the night’s trio of stellar hosts is a onsie-wearing gent who invites the audience to write letters to a fellow stranger in the audience as if it were the last thing you were to say and be remembered for before you left the yurt and perhaps even life itself.

Intimate without being intrusive, interactive without having to worry about introspection, this is an experience not to be missed. This is one performance that will definitely have you feeling that death has a life all its own.

When: 9 – 20 February 2016 (Times vary)

Where: Blue Room Theatre, Perth Cultural Centre, PERTH

Tickets: $25

Info: Some free tickets available, Duration varies, Suitable all ages

Links:

Fringeworld – http://www.fringeworld.com.au/program/event/e31792de-0f7b-4d69-b4fa-0b38e4f0fb73/

Blue Room – http://blueroom.org.au/events/grr-nights-2/

Review by Amanda Lancaster

What do the Following things have in common? A shopping network makeover, a stand up routine performed by a laptop, and a half naked man covered in baby oil? Well ….nothing really….. except that they are all part of a strangely twisted and humorous ploy to win over the ever elusive Todd.

Welcome to Paper Mountain where the comedy troupe Only The Human have well and truly taken over.

This is a fabulous mish mash of improvisational and experimental comedy by a group of performers who clearly love what they do. Not afraid to make their audience squirm a little, the group proceed to offer up a range of small sketches – from light and humorous observations about how people relate to each other in modern society …or more precisely how we don’t. To the darker side of the human psyche and all the anxieties and irrational expectations we put upon not only ourselves but also each other.

From the wonderfully sly comic interlude on feminine beauty stereotypes by the “shopping network ladies” with their make over miracles that you too can create with just household food items, to the absurdly tongue in cheek choose your own adventures – in depression. And of course not forgetting sketches such as the Buzzfeed article demonstration of just how not to mix together the two most popular topics on the internet …pornography and pictures of cats.

This show has a little something for everyone, and will definitely have you giggling whether you like it or not! Twisted and strange, kooky and fun the night’s eclectic mixture is held together by the constant underlying narrative provided by the lovely MC, reminding us all throughout that this experimental night of comedic shenanigans and the audiences participation on said journey have all been employed as her last ditch effort to impress the elusive Todd.

So will Todd show????

You’ll just have to see the show to find out.

When: 11 – 13 February 2016 (7:30pm)

Where: Paper Mountain, Northbridge, PERTH

Tickets: $22

Info: Duration 60 minutes, Recommended 18+

Link: http://www.fringeworld.com.au/program/event/53b72630-bcad-4a6a-a561-ea87ceb23647/

Jessie Gordon is the lead singer of Perth outfit The Darling Buds of May, as well as a regular in the Perth scene. She is in several shows during Perth’s FRINGEWORLD. The Australia Times Theatre caught up with her to get an insight into her Fringe experience.

The Australia Times Theatre (TATT): How did The Darling Buds of May come about?

Jessie Gordon (JG): We used to play together when we were very young in a youth orchestra called the Kalamunda Youth Swing Band. I think Leah and Dom and Mark had a few gigs as a three piece and then at some point they thought getting a singer might be a good idea… That was over 10 years ago!

TATT: What is it about jazz music and the golden age of swing that you love?

JG: It’s one of the earliest forms of widely available commercial music, one of the first genres of pop music. It had and still has such a wide appeal because it was dance music and there are so many reasons I love it! It swings. It has beautifully complex chords. It has melodies that are rich and lush. It’s danceable and listenable and loveable!

TATT: De Parel Spiegeltent is a great venue for you, where do you usually play when Fringe isn’t on?

JG: I do a pretty regular duo gig at Swallow Bar, I’m at the Ellington every now and then, and the rest of the time I’m singing in my lounge room irritating my neighbours.

TATT: How do you find that Fringe audiences respond to your work? It’s so toe-tapping I can hardly imagine it would be a still crowd!

JG: It really depends on the time of day and the heat! Sometimes people are happy to sit and listen and be mellow but appreciative. Sometimes you can see they want to get up and dance and they are really animated and loud. The loud audiences are the greatest to play for because their energy just feeds into everything you do on stage.

TATT: Everyone in the ensemble is so talented, how much fun do you all have together?

JG: Unquantifiable. It’s a pretty rewarding life. It’s like a family, so we fight ALL THE TIME, but we are also pretty fiercely loving and supportive of each other.

TATT: You’re in several shows, and with regards to Dirty Blues, is this a first outing of you singing the blues at Fringe World?

JG: It is! I’ve sung a few blues songs in other shows, but this is my first whole blues show and I’m really excited for it. It’s a totally different style of singing and I’ve been working on it for a few years and I hope it’s as enjoyable for people to hear and it is satisfying for me to sing!

TATT: Apart from your shows, what would you recommend seeing during Fringe?

JG: See anything with Frisky and Mannish or Captain Frodo. Also check out what Gelo Company are putting on by way of comedians! My good friend Bart Freebairn is coming over from Melbourne and he is *hilarious*. His shows are Feb 19-21.

TATT: What’s next for The Darling Buds of May?

JG: We’re looking at recording another CD this year, and we have a few gigs coming up (Ellington, April 29th for anyone who wants to come along!), but I think mostly we’ll be recuperating post fringe and discovering what sleep feels like again.

The Darling Buds of May: The Swing Revue
Sat 13 Feb, Sun 14, Mon 15, Tues 16, and Wed 17 Feb @ 6pm
De Parel Spiegeltent, Urban Orchard, Perth Cultural Centre

The Swing Revue showcases Perth jazz sextet The Darling Buds of May with some of Perth’s greatest jazz musicians! This year’s Swing Revue features Jessie Gordon, Libby Hammer, Ali Bodycoat, Ricki Malet and the syncopated three part harmony of the Cottontail Trio.

‘Simply, The Swing Revue is fantastic… [The show] collectively charmed its audience with its off-beat asides, silly banter and a warmth that showed their obvious closeness – from insulting one another onstage, to the spontaneous group photo taken mid-song, The Swing Revue seemed like a group of friends enjoying a night out.’ Great About Perth

Jessie Gordon in Dirty Blues: The Sinning Edition
Wed 17, Thurs 18, Fri 19, Sat 20 and Sun 21 Feb @ 10pm
De Parel Spiegeltent, Urban Orchard, Perth Cultural Centre

The blues has always been about trouble. And there are many different kinds of trouble. Some kinds make you want to weep and moan, some kinds make you want to howl at the moon, but most kinds begin or end in sinning. Join Jessie Gordon’s Dirty Blues band in a soul-full, heart-heavy, lust-inducing musical journey of trouble, sin and joy. “Singer Jessie Gordon is superb, her vocals are flawless, she encapsulates the style of the time and delivers each song with charisma and charm” – Out in Perth, Jan 2015

The Cottontail Trio – The Golden Era of Swing
Thurs 18, Fri 19, Sat 20 and to Sun 21 Feb 2016
De Parel Spiegeltent, Urban Orchard, Perth Cultural Centre

Cottontail Trio are three dazzling Perth women with a deep abiding love for Andrews Sisters style three-part harmony. With vintage hair and dance moves to match, Jessie, Amy and Alissa will take you on a journey through popular harmony music from the Golden Era of Swing, backed by their six-piece band The Supper Club.

“…the Cottontail Trio’s harmonies shone like a nearby stellar formation. The band – The Supper Club – made up of the horns: clarinet, trumpet and saxophone, and rhythm section: upright bass, acoustic guitar and drums – were world class. Each and every new song was as slick as the previous one.” – The Music, 2014

Still buzzing after seeing heaps of shows on a Friday or Saturday night? Close to midnight and you don’t want the fun to end? Head on down to Popcorn Club – the craziest, madcap cabaret full of first-class performers you’ll see all Fringe.

The audience is small, the energy is big, there’s fun, festivity…and actual popcorn. The Popcorn Club consists of several performers from around FRINGEWORLD – including Kate McKenzie from the Get Lost Maze, Mooky from La Soiree, and consumate professional and showman Chris Lynam. Along with a few other performers, the ensemble work so well together, it’s hard to believe they haven’t been honing their act together for years.

Featuring the incomparable comedy styles of slapstick, hilarious parodies of gymnasts, and even a bit of audience participation – you’ll laugh, you might cry, but you will definitely be thoroughly entertained at the Popcorn Club.

When: 5 – 20 February 2016, Fri and Sat only (12am)

Where: Bok Choy Ballroom, Noodle Palace, Perth

Tickets: $15 – $20

Info: Duration 60 minutes, audience participation

Link: http://www.fringeworld.com.au/program/event/181987c7-2da7-4833-b117-514c59250aa2/

Review by Elli Gemmo

If I could use just two words to describe the show My Best Dead Friend they would be “authentic” and “brilliant.”
Why? The show is a vibrating monologue written and staged by one of the most energetic actresses and theatre makers you will ever see.

Anya is about to tell us the story of her teenage years in New Zealand. As she eagerly explains she was living in a rather small country town, Dunedin, situated in the South Island or as she describes it the furthest inhabited part of the southern hemisphere. Anya is going to ask to the public to take a trip in the past with her, and to imagine the story of a group of friends. With the aid of black chalkboards cleverly placed all over the stage and of course big pieces of white chalk, she is going to draw bits of the story for the public and let your own imagination to do the rest.

With engaging moments where the public itself is called to help and draw the storyline, Anya’s tale is full of meaningful experiences, common life moments and popular culture hints that everyone who was born between the 80s and the 90s is going to enjoy and make their own. It’s a play about friendship and life precious moments, wild adventures, possums on the roof and desire of rebellion.

Yet, as it happens in everyone’s life at some stage things are going to change and the group of friends will need to face the necessity to grow up.

The storyline is interesting and different and Anya’s performance enthusiastic and passionate. Poetic but popular, set between Bob Dylan and The Backstreet Boys (who didn’t have a crush on Nick?) My Best Dead Friend is a mix of comedy and drama, laughter and tears.

When: 9 – 13 February, 2016 (6pm)

Where: The Blue Room Theatre, Perth Cultural Centre

Tickets: $15 – $20

Info: Duration 50 minutes, Suitable for all ages

Link: http://www.fringeworld.com.au/program/event/9087da61-2662-459f-b0a7-8d0fd5c19f98/

Review by Brandon Taylor

A chipper audience funnels into the Blue Room Theatre, chatting easily after a good day’s work and drink at the bar. They turn a few corners, the merry din of the Fringe outside losing itself amongst the Blue Room’s stark black walls. The crowd’s exuberant air survives this and also, somewhat eerily, the fact that they all have to step over a dead body to get to their seats.

Dimming lights soon force the focus to that body – it’s a woman’s – twisted amongst coils of thick, dirty rope and surrounded by rancid piles of junk and burlap sacks. A sense of claustrophobia settles in with the silence. And then, a figure emerges from a corner lost in darkness. She’s comically nonchalant, appearing every bit the homicidal sociopath as she saunters over to the body and begins peeling a potato onto the corpse. This gets a giggle from the uneasy crowd, but it’s shattered as the body jerks to life, gasping and screeching “Where am I?” “What is this?” “What did you do to me?”

Inside we Hide proceeds to darken from this point onwards. The audience joins three strangers trapped together in an impenetrable box as the constant fear of death forces them into hysterics for the duration of the play.
Reminiscent of the Saw series, the captives are being watched. They’re forced by a twisted entity to inflict physical and psychological pain on themselves and each other as they try to satisfy its puzzling requests. Through their desperate attempts to work out why all this is happening and how to get out alive, the three dissect each other, digging deep into what we learn are complicated personal hells hiding inside each of them.

The acting is clever, the action riveting, and the literal and metaphorical suspense throughout will wear out the edge of your seat. Little nuts of comedy sprinkled in serve not to cheapen, but realise the secret darknesses of humanity that Inside we Hide explores. Audiences leaving this intense performance may not be as chipper as those that enter, but that won’t be for lack of entertainment.

When: 9 – 13 February, 2016 (6:30pm)

Where: The Blue Room Theatre

Tickets: $15 – $20

Info: Duration 60 minutes, Suitable 15+

Link: http://www.fringeworld.com.au/program/event/9ecb9553-3edc-4667-b32b-baa06cb18111/

Review by Kieran Eaton

Colin Ebsworth: Neato Burrito is not a show about burritos. It is actually just comedian, Colin Ebsworth performing a variety of comedic observations with a different support act each night. This performance, very young Ciaran Lyons did a very strong opening act about being a young adult.

Once Lyons did his opening monologue, Ebsworth came on stage with energy. At first it felt like it was going to be a slow burner but he was quick to warm the audience up with rapid fire material, initially about his looks. He then followed with subject ranging from relationships to bogans. This was very relatable humour for the audience and most of the audience agreed with his political opinions. From my observation, he leans to the left of centre.

Ebsworth appears to be young man that many young ladies would find attractive. However, there is a neurotic side him and that is where the smart wit comes in. You can tell that he is a good writer as there is not a lot of waffle in all his bits. He also knows when to emphasise punchlines, yet at the same time make it feel conversational. I guess from his natural presence that he wanted to be stand-up comic from a very young age.

Colin Ebsworth: Neato Burrito is definitely a show for the mainstream, as he definitely is in touch with the current zeitgeist. Ebsworth is definitely a comedian that parents would be happy for their daughter to bring home. Though be prepared to listen to his opinion about everything.

When: 6 – 11 February 2016

Where: Deluxe, Perth Cultural Centre

Tickets: $20 to $25

Info: 60 minutes, 15+ recommendation

Link: http://www.fringeworld.com.au/program/event/5e06835b-1682-4c86-82d0-3182aa409510/

Review by Miranda Johnson

Ballet at the Quarry is a summer classic: a fantastic way to get a taste of what’s happening in the world of dance in a beautiful setting that encompasses the Australian bush, dramatic rock formations, and the twinkling lights of the city below. This year’s offering from WA Ballet was a series of five vignettes, all very different but fundamentally dealing with themes of introspection, physical challenge, and the many different forms of movement that are all considered dance. From classical to hip-hop, contemporary to acrobatic, the dancers demonstrated time and again their astonishing talents of agility, strength, and grace.

The five pieces were very diverse in terms of mood and tempo, but a common occurrence was that the dancers often appeared on stage in uneven numbers, an unusual strategy adding a dynamic twist to the classical moves that appeared alongside hip-hop, contemporary and experimental dance. From a classical scene exhibiting fantastic technical challenges set to a fast and furious musical except from Coleman’s Giselle, to a hip-hop inspired piece that made clear the multidirectional links between the histories of both dance and music (ballet melting into acrobatics into breakdance, and jazz music morphing into rap), the works were clearly crowd-pleasers. The central piece was frantic and somewhat chaotic, dissolving bit by bit into a slow, thoughtful and considered duet, during which the dancers’ shadows darted across the walls of the Quarry, adding to the dramatic mood.

Beautiful, soaring music was another highlight throughout, culminating in a fast-paced, Flamenco-tinged reflection on the nature of dance today. Again, the uneven number of dancers on stage, as well as their bare feet and androgynous, simple costumes challenged and reshaped my preconceived ideas about classical dance, adding nuance and igniting passion.

When: 5 – 27 February 2016 (8pm – gates open 6:30pm)

Where: The Quarry Amphitheatre, City Beach, PERTH

Tickets: A reserve: Adult $67, Concession $56, Youth $52, Junior $50

B reserve: Adult $49, Concession $44, Youth $39, Junior $39

Info: Limited parking, BYO picnic, Picnic Hampers available for purchase, bring warm clothing/blankets and cushions to sit on

Links:

PIAF – https://perthfestival.com.au/whats-on/2016/ballet-at-the-quarry-five-by-night/

WA Ballet: http://waballet.com.au/whats-on/five-by-night-ballet-at-the-quarry/

Transperth: http://www.transperth.wa.gov.au/

Review by Kieran Eaton

Sami Shah: Islamofarcist is refreshing topical comedy done close to perfection. The show deals with the idea that Western media does not know how to deal with Islamic terrorism. Sami Shah is a well-travelled expat Pakistani comic who explores his existential journey in becoming an apostate to Islam.

Shah has a growing reputation as a comedian, with a guest appearance on QI and also as an author of a novel about his time in Australia. This has meant his show has a larger mainstream audience, and Shah revels in this! He uses his warm personality to break down cultural prejudices and does not take himself too seriously. He is a well-educated man – as he studied journalism in his native country before become a professional comedian. Shah’s intellect combined with cleverly chosen visual aids makes all his concepts easy to understand.

This performance displays Shah’s strong understanding of Islam. It makes sense, seeing as he was born into a devout Islamic family. They being from the small group of Muslims, in the Shiite sect. This can be broken down even further, which he does and describes how as a child he did not question his faith. It was not until teasing from his Sunni classmates did he see the darker side.

What is exceptional about this comedy show is Shah’s ability to present a serious topic in a light manner. He is very likeable on stage, highlighted by his ability to get an audience member to read facts about Islam that can only be said by a white male! Sami Shah: Islamofarcist is a wonderful theme based comedy show for those who want to think about the world they live in.

When: 3- 13 February 2016 (6:40pm)

Where: Soba Stadium, Noodle Palace, PERTH

Tickets: $25

Info: 50 minutes, 18 + recommendation

Link: http://www.fringeworld.com.au/program/event/fb363b77-cee4-4301-b4b8-b4326afb8bff/

Review by Laura Money

Daniel Gorski is The Vaudevillainous Mr Gorski – stumbling, tumbling, and bumbling his way into The Black Flamingo at FRINGWORLD. This is Gorski’s first time in Perth and his mad-cap antics are refreshing in their energy and unflapability. Gorski claims to be lucky to be raised in an eccentric Polish, artistic environment where his creativity was applauded and celebrated. He created his Mr Gorski character as a way to pay homage to the quirky eccentric Polish family members who would have performed across the European stage.

Children are wriggling in their seats, fans are blasting and the audience are treated to police sirens and a public service announcement. DO NOT ENCOURAGE MR GORSKI. HE WILL TRY TO ENTERTAIN YOU AND HIS SKILLS CAN BE SO ENTERTAINING YOU MAY BE IN DANGER. This hilarious premise is made even funnier when Gorski runs into the tent supposedly pursued by the police. He hilariously notices the audience and obviously can’t help himself – he starts to entertain!

The comedy is on-point. He brings back the timeless humour of mime, slapstick, circus, and magic in an almost dialogue free hour of fun and genuine belly laughs. Don’t be fooled by the humour of the show – Gorski is an enormous talent! He spins plates, juggles, balances, and uses centrifugal force to throw glasses around. Be prepared to giggle, gasp, and be dangerously entertained by this timeless performer, bringing back the ultimate essence of laughter and humour – being silly.

Suitable and recommended for children, beat the heat and get down to the Pleasure Garden because you’re in for a treat!

When: 2 -10 February 2016 (5:15pm)

Where: Black Flamingo, Pleasure Garden, PERTH

Tickets: Standard $22, Kids (12 and under) $15, Family $65

Info: Duration 40 minutes, suitable all ages

Links:

Fringeworld – http://www.fringeworld.com.au/program/event/fef45b91-245d-4368-81de-c2c572285aa4/

Official website: http://www.danielgorski.net/

Review by Laura Money

Marcel Lucont‘s Cabaret Fantastique is the most unique evening of cabaret you will experience during FRINGEWORLD. Lucont brings his laconic style of classic poetry, comedy, and philosophy as the host of a traditional cabaret. He hosts a different line-up each evening, and has been doing so all around the world. For FRINGEWORLD, Lucont is joined by a wonderful mixture of Perth Fringe royalty and he brings them all together with nonchalant ease.

Sitting in the smoky, heady atmosphere of the WA Speigeltent, the audience are treated to the marvelous Lucont slinking onto the stage. He introduces the Cabaret Fantastique with a charming and witty song, reminiscent of the European cabaret scene. Lacont is a comedic genius. He has developed his character to perfection – laconic, sophisticated, and silkily sexy, he jokes “if you expect the level of excitement to rise – expect away.”

Lucont’s arrogance is charming. He exemplifies the snooty Frenchman type – right down to the evening jacket, turtleneck, and ubiqtuous glass of red wine. The character is impeccably delivered. Lucont loves to flirt with women in the crowd, read his poetry, philosophise, talk about himself, and of course – drink copious amounts of wine. Each act is introduced with obvious love – yet Lucont is sure to let you know that he is the superior performer!

The evening I was there featured the hilarious ‘psychic’ Ian D Montford – a truly brilliant parody of those psychic tv charlatans. He is so quick-witted and clever and has his parody down-pat. Juan Vesuvius brought a literal spin on classic DJing – he cleverly fuses calypso music with pop classics to create some hilarious results. The absolute highlight, however is his playing of all the members of a calypso band – about 12 people! The boys from Lords of Strut brought their original and quirky Irish humour to the stage in an awkwardly clever sketch that combines acrobatics, comedy, and a little bit of stripping. Next we were treated to the mime-tastic delights of Tessa Waters whose delightful invisible hoola hoop routine was enough to crack up the whole crowd. Finally, we were treated to the singing stylings of Elena Gabrielle who gave us a sample from her show Dirrty. Singing about shaving unruly pubic hair and including the audience, she certainly wowed the crowd.

In between all of these acts, Lucont provides commentary, poetry, and even some audience participation. He nonchalantly slams everyone – ensuring the audience knows that Lucont is the true King of Fringe.

When: 22 January – 20 February 2016 (11:30pm)

Where: WA Speigeltent, Big Top, and De Parel Speigeltent

Tickets: $21 – $25

Info: Duration 45 mins – 90 mins, Suitability 15+

Links:

Fringeworld – http://www.fringeworld.com.au/program/event/9e943314-f2f5-46fd-8e1c-104b2e6ff08a/

Official website: http://www.marcellucont.com/

Review by Kieran Eaton

Dr. Neal Portenza’s Catchy Show Title is out there Anti-Comedy at its best. It is Anti-Comedy because is not based on traditional jokes, rather humour based on a shambolic character who breaks all the conventions of comedy. The creator of this character being Joshua Ladgrove – a Melbourne University Mechanical Engineering graduate, who gave up $200,000 pa job up in the mines to do this job. Luckily, he has comedic ability to match his academic ability.

Ladgrove appears to be an Introvert that uses character to get out of his shell. He has amazing stage presence, in not starting his show until he got the majority of the audience hugging. This sets the scene for some intense crowd interaction, with the character always looking for validation in the wrong areas. Neal Portenza is an eccentric maniac, who if was a real life person most likely need psychological help. However, this character is created with insight in the audience sensibilities.

This show Portenza, is an expert at creating awkward comedy. For example, he asks an audience member where they come from and just because this member is of Asian ethnicity, he presumes that he would be from an Asian country and with Asian name. This happens to not be true and rather than back away from the situation he uses it for all the comedic value possible, in getting him onstage and saying making insults to him, in his face!
I recommend that you watch this show if you like your comedy a bit on the alternative side. Don’t easily expect to find a box to put this comedy into. Dr. Neal Portenza’s Catchy Show Title is definitely memorable Fringe comedy.

When: 3 – 20 February 2016 (9pm)

Where: Laksa Lounge, Noodle Palace, PERTH

Tickets: $15 -$20

Info: Duration 55 minutes, Suitable 15+

Link: http://www.fringeworld.com.au/program/event/c4aa76c5-e6a0-4da9-a918-3bfa684f0892/

Review by Kieran Eaton

Parallax Capper is Nick Capper’s masterful display of a jokey true life tale of his life. He compares how he has it easy compared to his grandparents, especially his Grandpa who was a war veteran and made a new life in Africa. Meanwhile, Capper deals with First World problems of trying to find the best way to ask a girl out!

They way Capper deals with being not seen as a whinging whitey is his self-depreciation. Once he gets on stage you notice that he does not mind making fun of himself, with daggy dance moves and awkward stares. It is hard not to ignore him, as he has hair reminiscent of Side Show Bob! Capper makes jokes about his hair without making that reference. Most likely because he has a vast experience of comedy and knows from the worst what not to joke about.

Capper is a young man from the country and you can tell this by his laconic nature. He tries to keep his life simple – when he needed extra money to do his festival show, he moved back in with his parents for a little while! The problem with this is it meant he could not doing any gigs, during this period. Well, that is not the whole truth because his dad helped perform in front of half the town, in a farm shed! This went well…well they were happy that they could hear him.

What makes this comedian excellent is his versatility. That night was only a small crowd but he created atmosphere in his use of crowd interaction. Keep your eye out for this performer, as he defiantly a person you’d love to have a beer with.

When: 22 – 30 January 2016 (10:10pm)
Where: Hokkien House, Noodle Palace.
Tickets: $15-19
Info: Duration 50 minutes, 15+ recommendation.
Link: http://www.fringeworld.com.au/program/event/acdf6656-82c7-4ceb-9bea-d4aecf751788/

Review by Laura Money

IntotheMask Theatre returns to Perth FRINGEWORLD bringing its unique revival of Commedia dell’arte – masked theatre that has a long tradition, going back to ancient Greece and medieval Italy – into the modern world in a quirky twist on a classic tale of loyalty, betrayal, adventure, and intrigue.

The almost one-man show is brought to life by the immensely talented Shane McMullan. Playing several characters from cheeky rogue and thief, Jack, to a host of formidable giants, to bumbling lawmen and everything in between, McMullan truly transforms his body and voice to create these unique and memorable cast.

Loosely based on the story from your childhood – but certainly not how you remember it, Frenchman Jack takes you on a journey from executioner’s shackles to beanstalk, from ship-stealing to friendship forming, and betrayal. Jack is a charismatic, nonchalant thief who can charm you just as quickly as he can pick a lock – which he boastfully states is easy – you just have to wait for the click.

As McMullan switches between characters in an energetic dance, perfectly choreographed and hilariously rendered, he is accompanied by musician James Morrison, which leads to witty banter as each character reacts differently to the, at times, questionable sound effects. While some of the characters are created by McMullan’s superb acting and mannerisms alone, the giants of his fantasy land are represented by bespoke hand-crafted leather masks. They are beautiful and terrifying. McMullan breathes life into these stunning lovingly crafted pieces of art.

What Goes Up is a truly unique piece of theatre. It brings together the mythical elements of monsters and men. It takes you on a journey peppered with slapstick, comedy, and wit, and couples that with fearful moments, poignant questions of friendship and morals, and a terrifying parable of the fear mongering politicians engender when it comes to helping, hindering or lambasting asylum seekers.

This is perfectly charming theatre at its best, and certainly not to be missed!

When: 3 -8 February 2016 (10:45pm)

Where: The Stables, Cultural Centre, PERTH

Tickets: $15 – $20

Info: Duration 55 minutes, Suitable 15+

Links:

Fringeworld – http://www.fringeworld.com.au/program/event/b3c8672f-9a05-49a8-a93b-a1e3337758d7/

IntotheMask Theatre: http://www.intothemask.com/

Review by Amanda Lancaster

“Always read the label, and use only as directed”

The use of labels is so commonplace in the daily communications and navigation of absolutely everything around us that we often take for granted exactly what it is that those labels are really saying beneath the surface.

In society we are lead to believe that the theory of labelling and grouping things together is to better enable us to cognitively process the signals of the world around us – what something is, what we call it, where it belongs, if it’s out of place, is it safe….is it dangerous… why?

This is a level of enquiry that Joe Sellman–Leava has already well and truly immersed himself into. Carried out with incredible warmth and depth, Sellman-Leava offers a seamless performance that switches between both intimate personal stories and large scale social and political narratives to illustrate just how our inner defence measures can create such a stigmatisation between one another.

It is hard to describe in more detail the show’s facets without giving away some of its compositional harmony and flow. Oh, and of course now there are those newly formed and inquisitive thoughts concerning whether or not I myself and my reaction are to be considered falling into the pattern of labelling?

At its simplest Labels is insightful, witty, charming, and most of all powerfully thought provoking. A beautifully put together discussion about the act of labelling, our participation in this act and the blurring of ideas that create such a distance between curiosity an fear?

I would consider this show an absolute must see for anyone who would rather not see themselves and the world around them become little more than a walking disclaimer.

When: 2 – 6 February 2016 (7:30pm)

Where: Blue Room Theatre, PERTH

Tickets: $18 – $25

Info: Duration 60 minutes, Suitable 15+

Links:

Fringeworld – http://www.fringeworld.com.au/program/event/97578448-dffa-423c-822d-283ed777b2d6/

Blue Room Theatre – http://blueroom.org.au/events/labels/

‘Dropping her debut show POP POP like it’s hot,’ Penny Greenhalgh wants to give you an arena spectacular! However, due to budget constraints, lack of FRINGEWORLD endorsement, and probably lack of recognition – she can’t book the WACA quite yet. In the somewhat smaller setting of the Big Top in Perth’s Pleasure Garden, the audience files in to what appears to be an undressed stage. If anything, it looks ready for circus or burlesque. Greenhalgh provides so much more than that.

Instead of putting on a show, as such, Greehalgh outlines what her arena show will consist of – providing hilarious demonstrations and brilliantly awkward dance routines. The crowd are all given pieces of paper to make paper planes and it just gets better from there! Greenhalgh doesn’t steal the spotlight in her arena spectacular, however, allowing an English guest to warm-up the crowd. You know Jacinta, right? A set of novelty teeth and a perfect chav accent transform Geenhalgh into a great parody of stand up comedy, while cheekily having a go at other comics for having warm up acts in the first place.

Then comes the big bit – the ice dance. Greenhalgh has a rough and ready spirit that is highly encouraging to the audience. So encouraging that several of them are willing (well, they seem willing) to get up on stage with her to help flesh out the bits. Greenhalgh nails the ice dance in a hilariously awkward sequence that will cause you to question your guilty pleasure love of Torville and Dean! After the half-time entertainment from another of Greenhalgh’s characters, and more audience participation, comes the grand finale. This is bigger than Ben Hur and Greenhalgh wastes no time in getting the whole tent involved – if you ever wanted to be in a FRINGEWORLD show, head to this one!

Quirky and fun, POP POP provides the makeshift hipster vibe that FRINGEWORLD so lovingly embraces – and does it well.

When: 3 – 8 February 2016 (8:45pm)

Where: Big Top, Pleasure Garden, PERTH

Tickets: $20

Info: Duration 50 minutes, suitable for all ages

Link: http://www.fringeworld.com.au/program/event/4835652d-efc4-40e0-82c1-a1c2afb0d6b6/

Review by Kristie Giblin

The first stop on her Seriously? tour started out with a Paul Kelly song about Sydney, sung by Flanagan’s sister Penny. As Kitty joined her on stage, a new verse of the song was brought to light showcasing some of the sites of Lonnie. This is a great move which is always appreciated, when an artist not only acknowledges some of the small town icons, but have done enough research to connect with the locals.

The show was created in order to debunk the many rumours that Flanagan is a lesbian. She took the audience through her recent relationships, and subsequent breakups, trying to set straight the fact that she didn’t choose to be middle aged, single and childless for ‘comedy purposes’.

Her most recent relationship which lasted for 18 months with a police man, brought on many laughs, not just about the silly things you fight over when you’re in a relationship, but also some hilarious police puns.

Working through a large array of topics including ‘are you a dog or a cat person?’, ‘what’s a better invention – a dishwasher or the internet?’, and many tales of what it’s like being a middle aged woman.
Flanagan finished the show by bringing her sister back out for another song which beautifully encompassed all of the best bits of the evening.

A fantastic, feel good performance which not only gave more of an insight into the real Kitty Flanagan, but proved that she can still nail stand up, even though she now predominantly works on television.

When: 4 February – 18 June 2016

Where: Tasmania, Victoria, New South Wales, Queensland (see website for exact towns)

Tickets: Varied – $44.90 average.

Info: See website for site specific information.

Link: http://www.kittyflanagan.com/#!gigs/c16q5

Review by Brandon Taylor

Imagine a stage crowded with 11 to 15 horns, saxophones, singers and percussionists. Now imagine them belting out original funk music at top volume – while dancing wildly and using ‘junk’ for instruments and clothing wherever possible. That’s Junkadelic, the Perth-based musical collective that’s been taking the DIY movement to WA’s music scene since 2002. One could say Fringe is the perfect home for such a group!

Fittingly enough, Junkadelic has gone straight to its New Orleans roots for its Fringe show. Voodoo You Think You Are is a rowdy, hour-long exploration of voodoo (its origins, spirits and stories) through original funk/calypso music. Each song is dedicated to a legendary voodoo spirit – you’ll learn about them all during edu-taining introductions to each number. But the legends, wild as they may be, are best told through the music that follows.

The battalion of players is bursting with all the brass bravado, wailing saxophones, and honky tuba bass lines of a full on Mardis Gras parade. Oh, don’t forget the funky drum-line beats (from no fewer than four percussionists) beaten out on buckets, water jugs, lampshades, frying pans and other foreign objects. Could you ask for more Fringe-ness? Yes you could! Dancers in dia de los muertos face makeup and flowingly scant costumes do indeed emerge from backstage and perform synchronised moves to over half of the songs.

This show is custom-built to be silly and wild. If you’re looking for a slick and super professional music experience, this may not be your show. The playing is certainly good, but this is a collective – it’s all in fun. That being said, they have been playing since 2002 and have a very solid performance and some very cool original music to show for it. So, if you’re looking for a high-spirited, hip-shaking, hand-clapping street party of a band (and don’t mind a crowd – the Ellington gets cosy for this one) come down and shake your carefree Voodoo doll of a self to Junkadelic’s funky jams.

When: 3 – 4 February 2016 (8:30pm)

Where: The Ellington Jazz Club, Northbridge, PERTH

Tickets: $15 – $20

Info: Duration 60 minutes; suitable 18+

Link: http://www.fringeworld.com.au/program/event/048998be-5f17-45ee-a35d-8d3afaa3fcc6/

First impressions most certainly counted at Uncovered’s opening night performance on Wednesday night. There were a select amount of tables at the front of the stage and the usher chose my friend and I for the VIP treatment. When a glass of champagne was placed in front of us both, we were excited for what was to come.

Uncovered is one of the many plays taking over Gasworks Arts Park for the next three weeks as part of Melbourne’s Midsumma Festival. As the official website states, Midsumma is Melbourne’s annual Queer Celebration: “a federation of arts and cultural events spread over 85 different venues throughout Melbourne and Regional Victoria.”

Uncovered was an unexpected circus-like performance, featuring Dave Coombs, Alex Jean, Mark Graham, Shannon Vitali and Emily Gare. As the only female presence on stage, Gare acted like an MC of sorts, which made the performance more cohesive. The show consisted of acts: a cast of one, two or all performing to an interesting array of music. Many of the acts had one underlying theme – love. These were interspersed with fun and sexy performances (tasteful nudity included).

Director/choreographer Coombs’ playlist included remixed versions of Anaconda, Gangsta’s Paradise, Let Me Love You and Toxic. As the songs played, the dancers grooved, flung themselves through hula hoops, dangled from aerial ropes, and gripped aerial hoops. The performances were entertaining and riveting, with a little bit of audience participation thrown in for good measure.

Unfortunately there were a few kinks that still needed to be ironed out for an overall smoother performance. Hopefully the incidents were just down to opening night jitters, as the remainder of the show had the audience laughing, clapping, and wanting more.

When: 27th – 30th January 2016 (8pm)

Where: Gasworks Arts Park, Albert Park, MELBOURNE

Tickets: Standard $28, Concession $22

Info: Duration 60 minutes; wheelchair accessible; contains partial nudity, smoke and haze effects, and strobe lighting

Link: http://www.gasworks.org.au/event/uncovered/

About Hayley Simpson

Profile: View Hayley's profile here

Email: hayley.simpson@www.theaustraliatimes.com.au

Review by Ghill de Rozario

Gavin Roach’s Measure of a Man is the second installment of his Anxiety Trilogy, following his previous I Can’t Say the F Word. It is currently playing at Gasworks Arts Park from February 1st – 6th.

Measure of a Man explores the rarely spoken about issue of being a man who often doesn’t enjoy sex and often experiences anxiety in the bedroom, leading to misunderstandings with partners, relationship breakdowns, and an erosion of self-worth.

What happens when you have sex for the first time and don’t experience any pleasure? Well, it’s common for women, frequently discussed between friends, and often addressed or treated by health professionals. I personally have several friends who have seen sex therapists for this very reason. But what if you’re a man, having sex for the first time with another man and don’t experience any pleasure? What if that happens the second and third time? What if it is ongoing? This is something rarely discussed, and Roach showcases why, as he monologues his experience of opening up to friends and seeking out medical help, only to be shut down and met with expressions of disgust.

The show explores the way in which society measures a man’s value, and highlights our obsession with the physical, while ignoring other important characteristics of a person’s whole being. Roache’s performance is certainly full of depth, warmth, emotional intelligence, and compassion. It is told from his experience and perception, and is an excellent eye-opener to anyone who may have found their expectations of sexual awakening slashed by disappointment and confusion.

This isolating experience is delivered with enough humour to make the performance extremely enjoyable, despite it dealing with some very serious issues and stories which may bring up troubled past experiences for some viewers. While the tale focuses purely on sexual and self-esteem issues, it leaves the audience questioning how Roach came to be in this position. Was it the experience of sexual problems that created the anxiety and self-esteem issues, or were there other social influences at play?

The performance is delivered in a small theatre space which seats only a handful of rows, and allows for an intimate experience during the 60 minute production. Audiences can expect to laugh and be moved frequently, then leave with perhaps a changed view on the male sexual experience. The candid discussion and description of sexual encounters may make some uncomfortable, however, this is just the type of audience who may benefit and learn something about social issues from Roach’s story. This is because the play opens up important discussions as much as it opens your eyes.

Overall, an excellent piece of work, which highlights Gavin Roach as an artist to watch, and has consequently made me regret not frequenting the Gasworks Arts Park more often.

When: Monday 1st – Sunday 6th February 2016 (9pm)

Where: Gasworks Art Park, Albert Park, MELBOURNE

Tickets: $20

Info: Duration 60 minutes, No interval, disability access friendly

Link: http://www.gasworks.org.au/event/the-measure-of-a-man/

As the audience files into the dimly lit room at the Laksa Lounge in the Noodle Palace precinct, they are greeted by a green velvet-hooded figure, wearing a masquerade mask. She dips into her big black bag and hands a mask to each audience member. The crowd is filled with people donning their masks, taking selfies, and bristling with anticipation. The room darkens. A voice blasts from the speakers, it’s Scottish brogue describing, one can only imagine, a masked orgy – ritualistic and reminiscent of Eyes Wide Shut.

The tension is palpable as one feels the audience swallowing, heart rates quicken, and breathing becoming shallow and rapid. Then the cheeky Scarlett Belle removes her cloak and mask and greets us with a grin and a quip – she apologises for the darkness of the introduction, and laughs that we probably weren’t sure what was going on! Belle is exquisite. She ‘shares her true story of a promiscuous girl’s search for love.’ Hilarious and tragic, Belle created the show based on the question: ‘Do we over sexualise love and de-eroticise sex?’

Belle begins by reading several letters that serve as journals relaying the tale of a true episode of her life. The audience isn’t quite sure how to react when she sings a love ballad to her first ‘sexual partner’ – her teddy bear. It is hilarious! Throughout the show, Belle uses her clear and beautiful voice to belt out classics that fit into her life story. She strips herself bare as she tells of her first foray into internet porn (a story any gen Y will relate to – MSN chat, guys?!) and her few awkward sexual encounters. She takes you into her world of burlesque, mistresses, and orgies.

Scarlett Belle’s Scarlet Letters is a candid and funny journey through one woman’s sexual experiences. It’s subtle, clever, and certainly not crude. Belle is a truly enigmatic performer – this is a great show!

When: 22nd – 30th January (10:20pm); 4th – 6th February (7:40pm)

Where: Laksa Lounge, Noodle Palace (Jan); Rectangle Room, Midlandia (Feb)

Tickets: $15 – $22

Info: Duration 60mins, Suitablilty 15+ (mature only)

Link: http://www.fringeworld.com.au/program/event/1b7b89c6-94e7-4ddc-a37c-d97703cebdd4/

Fringeworld Guide: Page 20, Cabaret

Tina Del Twist has featured on ABC TV’s Comedy Up Late, has performed sell-out seasons with Melbourne International Comedy Festival, Melbourne Cabaret Festival, Darwin Festival and has been invited to perform in Copenhagen, Berlin, Edinburgh, and New York. Tina has also performed with The Melba Spiegeltent playing a lead role in La Soiree. And then some.

Tina Del Twist is performed by award winning Wes Snelling with Stephen Weir on guitar.

The Australia Times, Theatre caught up with Tina and asked her a few questions about her FRINGEWORLD experience.

The Australia Times Theatre (TATT): Is this your first time performing at Perth Fringe? If so, is this also the first time you’ve performed this show?

Tina Del Twist (TDT): We performed a great season last year and were nominated for best cabaret which is lovely. I adore Perth. Such a wonderful vibe and atmosphere!

TATT: What inspired you to write this show?

TDT: Growing up in a caravan park surrounded by loads of trailer trash but in a good way. I was surrounded by dark souls full of light. I also love singing the blues and jazz so I kind of amalgamated it all together to create Tina Del Twist with my guitarist Stephen Weir.

TATT: How close is the character to yourself? Is this a candid tale of your life?

TDT: There are remnants of me in the character but I’d like to think I’m not a daily drunken lush like Tina. I definitely agree with Tina’s general rule of life which is have all of the fun and try not to break things. This doesn’t always go to plan though.

TATT: Apart from your show, what would you recommend in Perth Fringe?

TDT: Becky Lou‘s SHAKE is fabulous, also Laura Davis Ghost Machine. Dolly Diamond is always a treat. Deadly Funny is always amazing. And I’m looking forward to seeing some acts I’ve never heard of.

TATT: Favourite place to go for a post-show drink?

TDT: I love just hanging outside the De Parel Spiegeltent with a champas watching all the peeps coming and going from shows. It’s so vibrant.

TATT: What’s next for you?

TDT: A dry martini. Oh and touring around Australia with the national comedy competitions Deadly Funny and Class Clowns. I also produce these for Melbourne International Comedy Festival.

Review by Laura Money

Tina Del Twist is an absolute breath of fresh air on the cabaret scene. Her beautiful, rich voice and quick, cracking wit make her solo show (alright she has a guitarist) stand out among the bevvy of sultry cabaret acts giving us jazzy versions of pop classics. (A new arrangement of ‘I Wanna Dance With Somebody, anyone?) It’s not that she doesn’t do arrangements of pop songs, though, it’s the choice of music and artistic style that is refreshingly unique.

Booze-hound Tina stumbles elegantly onto the stage, making a bee-line immediately for the glasses of wine on a small table to the side of the stage. She scornfully disregards the glass of water, and reaches for the biggest glass of wine – downing it with charm and grace. The twang of Twist’s guitar provides the perfect accompaniment to Tina’s smooth tone. She gives the songs of the 60s a smoky, nightclub feel. With music choices from The Velvet Underground and Jefferson Airplane, and even a few Aussie classics, you won’t see a show so musically diverse.

Tina Del Twist is a comic genius. Her quick-wittedness sparkles as she banters with the audience, introduces her songs, stumbles about the stage, and finds as many ways as possible to acquire wine. The finale is hilarious and exceptionally fitting for, arguably, the queen of cabaret. Tina Del Twist is a favourite of the Melbourne International Comedy Festival, and has been invited to perform in Copenhagen, Berlin, Edinburgh, and New York. Fringeworld is truly privileged to host her in this stunning show.

Tina Del Twist is performed by award winning Wes Snelling with Stephen Weir on guitar.

When: 1st – 6th February 2016 (10pm)

Where: De Parel Speigeltent, Perth Cultural Centre

Tickets: From $27

Info: Duration 60mins, Suitable 15+

Link: http://www.fringeworld.com.au/program/event/21ea25c7-433f-42be-894a-6610ba69515d/

Review by Laura Money

Picture a Venn Diagram with one circle containing Cirque du Soleil, one containing your 90s calisthenics class, and the other the movie Eyes Wide Shut; and where they intersect you’ll find Dark Matter. Circus has obviously evolved into this sensual, dramatic, and tense phenomenon.

The troupe consist of about 8 – 10 acrobats, and a violin player. They slink onto the stage in a liquid motion, bodies rolling over bodies like water over stones – it’s a beautifully visual show. The first sequence consists of two strong men on ropes, slipping in and out of each other’s negative space in an aerial ballet that is simply stunning. Out of the haze, they twist and weave. The audience is stunned into silence. There is a smattering of applause here and there, but largely there are gasps of admiration.

Stunning juggling with glowing balls that light up the pitch dark tent, amazing feats of strength and acrobatics, aerial routines that defy gravity – including nets, silks, perches and poles – Dark Matter always keeps you guessing. There are some pretty intense moments – Egyptian style masked acrobats performing a sombre and intense routine that causes many in the audience to sweat and gulp in deliciously tingling fear.

Dark Matter’s slick and sensual costumes reveal every muscle of the highly athletic crew, the sumptuous reds and dark wood of the West Australian Spiegeltent, intense Bjork-style soundtrack complete with seat vibrating bass, all culminate to produce a unique aesthetic that will keep you wanting more. It may even inspire you to find your nearest playground and whirl around on the monkey bars!

When: 27th January – 1st February 2016 (10pm)

Where: West Australian Speigeltent, Pleasure Garden

Tickets: From $25

Info: Duration 60mins, Suitable 15+

Link: http://www.fringeworld.com.au/program/event/00ac36c7-adec-45f1-adb5-978aa5177ff0/

Review by Laura Money

Stand-up comedian Alice Fraser brings her emotional, and personal story to FRINGEWORLD in her hilarious show Savage. She lays bare he life and that of her mother’s as she attempts to tell the story of her mother’s illness and her coming to terms with growing up and moving away from someone who relies on her. It’s raw, beautiful and, above all, extremely funny.

Fraser greets the audience as they enter – Deluxe is a tiny venue, but this intimacy only adds to the connection she clearly feels with the audience. As the lights dim, Fraser plays part of an interview she did with her mother whilst she was in hospital. Her crackling voice shines through with pride as she speaks with her daughter. One feels a deep connection between the two. Fraser then greets the crowd with some traditional jokes, and eases the tension in a deft maneuver – self depreciating humour. She starts with stories from her teen years as a marathon runner and her crippling crush on a young colleague. It’s so relatable as pretty much everyone has been through the strange feelings associated with first love.

The story encompasses Fraser’s teenage years, her mother’s illness, her awkward experiences starting out as a stand-up comedian, and how she developed the show we see today. You see, everything changed when she met a long-lost acquaintance. All of Fraser’s experiences from there came to shape the show – from meditations on religion, to body image and health, from witty pieces of life advice written on yellow palm cards, to ridiculous situations Fraser has been in, every story is perfect and gives you such a remarkable insight into Fraser’s keen mind. Featuring one of the best existential banjo song ever – Steve Martin would be proud, the show strips bare all that is silly, wonderful, and heartfelt.

The best comedy comes from the heart, and with a heart as big as Fraser’s, the comedy is golden. Alice Fraser ‘Savage’ will make you laugh and cry at the same time, and at the end, she’ll hug it out with you. This is a truly beautiful show.

When: 27th – 31st January 2016 (7pm)

Where: Deluxe, Perth Cultural Centre

Tickets: $25

Info: Duration 60mins, suitable 15+, bring tissues!

Link: http://www.fringeworld.com.au/program/event/3453ff2a-2037-4b05-ae67-819e39f35831/

Review by Brandon Taylor

You may already know Sassafras, the local gypsy jazz 5-piece known to play Perth spots like The Playroom and The Ellington. If you don’t, any doubt you have that they play excellent fast, tight and wild swing music will be banished by their Fringeworld act.

Exploring the niche they’ve perfected, Sassafras uses A Night in Paris to show the Fringe what French gypsy jazz is all about. The show is an hour-long set of songs from the early 20th century, most of them of French origin. In it, greats like Django Rinehardt, classics like ‘Autumn Leaves,’ and the spirit of old-school jazz are celebrated with a faithfulness and skill that comes only when a group has focused in on what they love.

From the first few notes of clarinetist Adrian Galante’s opening solo, two things become obvious – that the band is professional, and that the act is all in fun. He’s soon joined by Pete Jeavons on stand-up bass, Lachlan Gear on lead guitar, Aaron Deacon on rhythm guitar and Jessie Gordon on vocals. Galante’s frisky embellishments float in and out through the set, keeping the mood light but impressive, while Gordon’s steamy French verses and lively English ones are interspersed with virtuosic solos from every band member.

Gordon plays an audacious host, looking every bit the flapper girl in tight pink dress and 1920s wavy hair. She jokes between songs, but never forgets to provide historical background on each before launching in and giving an expressive performance.

This dedication to the theme is echoed by the music itself – lead soloist Galante is routinely given a run for his money by Jeaver’s bass solos, Deacon’s strumming and especially Gear’s fantastically fast and accurate picking. Altogether, it makes for a first-rate performance. Any audience will enjoy this taste of the 20s, but don’t go thinking this band is a gimmick – Sassafras is a theme band whose sound is the centerpiece.

When: 28th – 30th January 2016 (7pm)

Where: The Ellington Jazz Club, Northbridge

Tickets: $25

Info: Duration 60mins, suitable all ages

Link: http://www.fringeworld.com.au/program/event/0ead7c3d-b635-405e-84b5-b96fec4201c9/

Review by Elli Gemmo

The Art Gallery of Western Australia plays host to Divalicious and the Impresario, freely inspired by the Opera The Impresario – one of Mozart‘s masterpieces – the play is a clever adaptation of the original text but for contemporary culture. It’s well written, funny and realistic with recognizable Mozart tunes and other music specifically created for the show by the company.

We are in Perth. Mr. Scruples is the West Australian Opera impresario. He’s very stressed because he has no idea of how to organize and support his new upcoming opera season. Luckily for him, his assistant and aspiring opera singer Mr. Basil has already thought about something that could really help him out this hectic situation. Financial problems and casting doubts will be both solved by a rich mining magnate whose generosity is going to bring 3.5 millions dollars as well as two not-so-fresh opera singers. The competition between the ladies for the primary role of Primadonna will lead the poor impresario to a suffered decision.

The mix of Opera music and comedy is very enjoyable. If you like Opera, laughter and most of all the beautifully performed music of Mozart, this is definitely the show to see. The brilliant performances from the cast and the wonderful music played will keep you constantly engaged and will be enjoyable even for those not very passionate about classic opera plays. The adaptation of the original story to the actual Perth scene give the last touch and prove this experiment as an excellent result.

When: Thursday 28th and Saturday 30th January 2016

Where: Art Gallery of Western Australia

Tickets: From $20

Info: Duration 60mins, Suitable all ages

Link: http://www.fringeworld.com.au/program/event/1298959a-012c-4ecb-aa7a-51ee27d5ecb2/

INTERVIEW:

We caught up with performer Penny Shaw and asked her how her FRINGEWORLD experience was going.

The Australia Times Theatre (TATT): Is this your first time performing at Perth Fringe? If so, is this also the first time you’ve performed this show?

Penny Shaw (PS): No, in fact this is our 4th year in a row! No peace for the wicked.

TATT: How did you get involved in the show, what inspired you to write/direct/act in the show?

PS: I was in a production of Mozart’s The Impresario in 1996 and ever since Fiona and I began working together in 2011, I have been dying for DivaLicious to do it. It couldn’t be more topical right now, being about funding in the arts and of course two rival sopranos.

TATT: Are there any characters you can relate to? Which one is closest to your personality?

PS: Of course not! The two sopranos in the opera are vain, bitchy, competitive, hate each other on sight and will stop at nothing to become Prima Donna. Nothing like either of us. Honestly! Oh…hold on…

TATT: Apart from your show, what would you recommend in Perth Fringe?

PS: I would recommend getting out of your comfort zone and booking tickets to something that you really don’t think is your cup of tea. Take a risk! You may be pleasantly surprised.

TATT: Favourite place to get a post-show drink?

PS: Fiona and I never seem to get far past the Urban Orchard I’m afraid, it’s just too gorgeous to leave!

TATT: What are your plans after Fringe?

PS: We are heading over to Adelaide Fringe so we will be frantically getting our License to Trill show up to scratch. Exciting!

Review by Laura Money

“Let them eat cake” – Marie Antionette

“A dingo ate my baby” – Lindy Chamberlain

Australia’s undisputed Queen of Burlesque, Imogen Kelly smashes into Perth’s FRINGEWORLD head on in a hilariously unabashed sexy romp through history. Herstory takes its cue from the most notorious women in history – likeable or not – and allows them to tell their story through a combination of dance, humour, and of course, striptease.

Hosted by the jaded and aging Marlene Dietrich, the whole show comes together with wit and aplomb – oh and plenty of raunchy bits thrown in! Kelly is flawless as the grumpy diva, Dietrich, bossing her assistant about, struggling to do day to day things like put her own wig on. All of the stumbling about is cleverly calculated – Kelly is the master of her craft. She provides a well-needed sense of humour in her multitude of costume changes – while it’s a little sexy, she allows for the audience to relieve tension by laughing at her antics. Her moment to shine really comes when she ‘forgets’ to change into her costume and is left in her granny-panties for all to see, singing a dirge-like version of The Good Ship Lollypop. Kelly has to be one of the sexiest women around, yet she looks daggy and ridiculous in her underwear. It is this acute sense of comedy that truly makes Kelly’s performance brilliant.

Whilst one never expected to see a sexy Lindy Chamberlain strip to the beat of the big bad wolf, nor did they expect for a dingo to, quite literally, emerge from her spread legs, Kelly makes it amazing. I can’t imagine what was going through her head when divising that particular routine, but it absolutely works. Cue other infamous women such as Karen Horney, Princess Diana, and Marie Antionette, and you have a well rounded show that uses the infamy of its subjects to scintillate its audience even more. Kelly is a wonderful talent. She not only explains a little about each person, but breathes life into them as real women, not just figures in history. She uses silks, slick costume changes, sexy dances, and of course – traditional burlesque.

Culminating in Kelly’s famous “Let them eat cake” routine as Marie Antionette, the show is sexy, raunchy, and surprisingly educational. Just don’t eat the cake afterwards!

When: 27th – 31st January 2016 (10pm)

Where: De Parel Speigeltent, Perth Cultural Centre

Tickets: From $15

Info: Duration 60mins, recommended 18+

Links:

Fringeworld- http://www.fringeworld.com.au/program/event/eade63cc-720f-4597-8cae-c1b32c54ef2c/

Website- http://www.imogenkelly.com.au/

Review by Brandon Taylor

A naked stage, a thoughtful artist, a solo violin performance and a few gadgets allowing sound to be recorded, looped and layered over itself. These are the sole components of Lost in the Looping Glass, but they are used to create something more – an exploration of time, echoes and atmospheres that tempts one to follow it into a place between them all.

Violinist and performer Helen Bower has been experimenting with looping technology for two years – a venture that has led her to embellish a series of soundscapes in collaboration with composer Charles MacInnes and build them from scratch in front of the audience each time they are performed.

The show begins with a darkened stage. The lights flick on to reveal Bower curled up in a ball next to a lone violin. She quietly unfurls, picks up the instrument and approaches a blinking array of foot pedals before her. Reaching out with her bare feet, she begins with birdlike precision to tap a series of buttons on the pedals. She then lifts the violin, raises her bow, rests it on the violin strings, and waits.

Only after a moment is the complete silence broken, and only by a single note drawn carefully from the instrument. The note is recorded, looped and sustained. Bower then begins to add harmonic tones over the top of it, and the sound grows. Then come textures. String plucks, tappings on the wood of the violin and isolated short notes. As more and more are layered, repeating, a rhythm becomes evident, and then a melody, and finally an entire landscape – in this case a lonesome and expansive chord like a night sky, peppered with plucked starlight and wandering thought-like tunes.

That’s Max Perryment’s Four Miniature Loop Compositions for Violin. Three more pieces are performed – They’ve all been developed and reworked from their original forms by Bower and MacInnes for this act. Grace Huie Robbins’ Landscapes calls to mind discordant storms and sighing birds, MacInnes’ Wall Fragments makes pickaxes of plucked strings, and Ade Vincent’s The Clockwork Owls creates something different again.

Though their characters differ widely, the pattern of silence, build up and eventual realisation of a theme is what Lost in the Looping Glass is all about.

When: 28th – 30th January 2016 (6pm)

Where: Four5nine Bar

Tickets: From $20

Info: Duration 40mins, suitable 18+

Link: http://www.fringeworld.com.au/program/event/ebdf54f9-a073-426b-862a-36b57746ef43/

Review by Kieran Eaton.

Guilt Ridden Sociopath is storytelling at its finest. Byron Bertram has an epiphany -he is not a Sociopath (as he first thought) just more of an anxious man. With – as it turns out – clinical Obsessive Compulsion Disorder! This ironic tale, delves deep into this comedian’s psyche.

Bertram opens with slide show pictures of himself as an innocent looking child. He explains that in theory he should be well adjusted because he grew up with open-minded artistic parents. The problem is that his mother was a Manic Depressive who still appears to have low expectations of her son. This feeling is compounded in Bertram when experiencing racism in high school for being white!

In parts, Bertram’s performance seemingly channels his mum and her occasionally manic energy. He portrays his inner dialogue as tagline to many of his punchlines. Bertram flawlessly displays hyper-awareness of the small but tightly packed crowd, using self-depreciation with expertise and flare. He often calls back to previous references, which shows how keen his mind and memory are. The main theme of self-loathing is in his love/sex life. To this Australian audience it shows relatability in our love for the battler and underdog.

The show was so amazing, it is hard to put into words. You can tell that Bertram has spent many years polishing his craft and now has the confidence to completely own a crowd. The irony is that Bertram appears to have strong beliefs about being naturally funny, yet harbours total anxiety about every other aspect of his life! If you need a laugh from the master of his craft, Guilt Ridden Sociopath is the show for you.

When: 28th January – 3rd February (8:30pm)

Where: Deluxe, Perth Cultural Centre

Tickets: $15 to $25

Info: Duration 60 minutes, 15+ recommendation.

Link: http://www.fringeworld.com.au/program/event/780a4c95-8509-4031-9849-ec8d81050e89/

Review by Kieran Eaton.

Jez Watts: Sex, Lies and Videogames is a solo stand up show. Well, that is not totally true because Jez Watts has a support act doing about ten minutes of comedy at the start. This night it’s Ben Mulvey whose self-depreciating style routine based on his Hipster look and being overweight is pretty good.

However, the star of the show is Watts. The audience gives him a rousing applause as he enters the stage – which only seems to boost his confidence. He shows gratitude to the crowd in a warm engaging way – exchanging in banter with a female audience member. She appears to really like his humour and laughs pretty hard. He jokingly flirts with her but unfortunately she is sitting next to her boyfriend. Watts is smooth and calm under pressure, however. He enjoys comedy so much, which is apparent as he laughs throughout – even making fun of himself!

Watts is a youngish man, who has done more than many other man his age. He has been in the Army, studied the sciences at Post Graduate level, tried a wide variety of illicit drugs, had many interesting sexual experiences, and has now given up his medical career to be in the stand-up comedy caper. To do this his current girlfriend, who he in met in university, is the main bread winner because she is a Veterinarian! Watts makes a lot of jokes about their relationship. The show achieves consistent laughter with variety of constant gags.

Watts is newish to the comedy scene – displaying occasional signs of nerves. Jez Watts: Sex, Lies and Videogames has some real laugh out loud moments, so the future is strong for this young comic.

When: 28-30 January (10pm)

Where: Ramen Room, Noodle Palace

Tickets: $8-10

Info: 55 mins duration, medium rating, 15 + recommendation

Link: http://www.fringeworld.com.au/program/event/ad209925-54c5-4091-9244-f241df08d8ef/

Review by Kieran Eaton.

Jon Bennett: Fire in the Meth Lab is a real life tale told in a comedic way. The real life story is of how Jon Bennett’s brother became a Meth Amphetamine addict. As Bennett knows this is a complicated concept therefore he explores ALL of his brother’s addictions in his life.

To do this Bennett returns to his childhood, growing up with a tanned Evangelical Minister of a father in rural South Australia. At first you think the brother must have gone through a big jump in experiences to get to where he is now (jail.) However, when Bennett describes the bullying of his big brother you see somebody who likes pushing things to the edge. This is at the expense of Bennett’s well-being, however as discussed with the audience this is quite a normal experience for younger siblings. This explains Bennett’s bonds with pets and farm animals throughout his life.

In this oral tale, Bennett writes letters to his brother asking for approval to do this show. The problem is that his brother is an angry young man, who says that he would bash his brother up if he goes ahead with the show. Bennett brings light to the show by telling about his brother’s love of Jason Donovan. Throughout, Bennett provides hilarious Power Point slides and an actual Jason Donovan Quiz Board Game! This is met with much laughter, especially when he reads some of the stupid questions it contains.

Bennett is an excellent storyteller with amazing charisma. He has the ability to make the craft seem easy, yet this very show would have failed with at the hands of a lesser skilled comedian. This is a polished production worth staying up for!

When: 26-31 January (10pm)

Where: Circus Theatre, Perth Cultural Centre

Tickets: $17 – $20

Info: Duration 60 mins, recommended 15 +

http://www.fringeworld.com.au/program/event/668fe844-31bd-4ed5-b379-8ba39ba1b746/

Review by Elli Gemmo.

If you are looking for an utterly enjoyable comedy that will make you forget about your daily struggles and troubles, that lets you spend a delightful evening look no further: Meow! is the perfect show for you.

You’ll be welcomed inside the studio of Ludi the “Cat” Artist where a journalist is desperately trying to get an interview. Ludi is the sterotype of the contemporary artist, and he has, obviously, a strong passion for cats. Main characters of all his artistic production they are all over his studio both as living presence and representation. Will journalist, Thom Barker (allergic to cat fur but very determined) be successful on writing her article, or will she be seduced by the artist and his intrusive sisters?

Barker, along with the audience, is carried away by this world of felines and odd circumstances, in a mix of vinegar-based alternative medicine, bongo playing, walnut spitting, weird dancing, martial arts and of course, Meows.

The play is such an amusing comedy and the characters so well created and staged from this talented group of four actors that you will soon find yourself really having a good time. Besides the fun and the cats, there’s also a sarcastic portrait of the contemporary artist where “Art is what gets you a cheque” and artist Ludi becomes a comic figure in the moment when he’s so serious about what he does. This smart and funny show by the great Hellie Turner is a must see in this Fringeworld Festival.

When: 27th – 30th January 2016 (8pm)

Where: The Blue Room Theatre

Tickets: From $25

Info: Duration 50mins, Suitable 15+

Links: Fringeworld- http://www.fringeworld.com.au/program/event/3138a1e6-361e-4af9-a8ab-5936ed919b4d/

Blue Room- http://blueroom.org.au/events/meow/

Review by Amanda Lancaster.

Welcome to the Garden of Eden where the serpent slithers its way gently into the minds of the unsuspecting; as does Dosh Luckwell’s cunning two piece performance – penetrating the deepest recesses of his audience’s imaginations.

With a beautifully executed prelude in the performance Snake, Luckwell not only embodies the movement of said serpent but also its ideologies, it’s a metaphor demonstrated in movement and dance. Slithering and writhing sensuously across the stage, the audience is drawn along into an overture of man’s basest animal inclinations.

The hunger, the want, the need for answers and for truth in whatever form. In this case the Apple. Circling in upon his prey, each layer is shed.

Peeled back, stripped bare, naked and vulnerable the flesh of both now lay bare before us. Man and truth exposed to the sinking of teeth, finding its centre. And it is here – drawn into the most intimate of cores – that the audience realises Luckwell has been playing with temptation all along.

If the first half of this performance can be described as the seduction of the senses and imagination, then the second part Bad Adam is definitely the brash, debasement of the psuedo-psychological norms attached to modern ideas about sexuality an its exploration.

Bad Adam serves as the depiction of physiological and psychological immersion and surrender of self into the realm of pleasure, obsession, experimentation, and all things considered sinful.

Luckwell’s poetry driven performance as Adam snakes into the audience’s mind coiling tightly around everything you think you know and understand about sex and love. The flagrant pornographic nature of some of the imagery mixed with pop styled prose leads the audience into a biting demonstration of how some of the uglier ideas about sexual inquiry and promiscuity, especially of the male/male persuasion, have the ability to both validate and degrade the self.

These two pieces together make a wonderful duet, the undertones of each snaking in and out of each other with both explorative and exploitative slipperiness, creating a tension that at time is almost palpable.

When: 27th – 30th January 2016 (9pm)

Where: The Blue Room Theatre Studio

Tickets: From $20

Info: Duration 50mins, suitablitiy 18+

Links: Fringeworld- http://www.fringeworld.com.au/program/event/50105681-e2d7-4f97-a049-3cc30c208d97/

Blue Room- http://blueroom.org.au/events/snakebad-adam/

Review by Laura Money.

With a show title like COSMOnaut one really expects to see a space man. Instead, Ryan Good stands on the stage of the tiny Deluxe tent in the Perth Cultural Centre. He scans the audience with a gleaming eye. Good is an anomaly – long hair, grungy t-shirt, and an absolute love of ukulele and kitsch. He boldly declares to be sick of young, white, male stand-up comedians bitching about how many pairs of shoes women own. He sets out to tell a story, an epic tale of love and loss, hilarity and pathos, and find a way to connect with other human beings – to find love in unconventional places.

Then comes the space suit. Good delights in creating a connection with people. He sets out to tell the story of his life after a break-up. To do this, he enlists the help of a fellow soul from the audience. It’s not that bad, though, he only has to be a sounding board for Good…for the time being! It’s interesting that Good claims to be over the typical white male comedian’s shtick, yet he still ends up talking about how women have hurt him, how lonely he his, how many times he has cried while masturbating…you know, the kind of stuff white male comedians joke about.

The show really heats up when Good discovers COSMOPOLITAN magazine and its questionable sex tips. What follows is a hilarious demonstration of some of the absolute worst sex tips printed in the history of COSMO (according to Good.) From creating a real burn, to snorting pepper, these tips will really get you laughing! Good uses these tips to go on a journey to find true love, the culmination of which is a real show stopper. The grand finale is heartfelt and hilarious – and worth every penny.

When: 22nd – 27th January 2016 (8:30pm)

Where: Deluxe, Perth Cultural Centre

Tickets: From $20

Info: Duration 60mins, Suitable 15+

Link: http://www.fringeworld.com.au/program/event/24ca22d4-7bb9-402c-822e-f3964a37ed43/

Review by Laura Money.

Are you ready for a night of fun where everything is made up and you can’t predict the ending? The Haircut; or The Barbershop Duet is the hilarious collaboration between Chris Turner and Alice Winn – a crack team of improvisers who work in synchronicity with each other. Turner and Winn are obviously friends. They have a great chemistry, and eagerness as they greet the audience before the show.

After getting suggestions from the audience, Winn and Turner weave all of the ideas seamlessly into a conversation had at the hairdressers. The two bounce off of each other very well, and there is a clear ripple of laughter and excitement when one of the suggestions is mentioned. The pair then switch from haircut to hatshop, in what appears to be a pretty tenuous link.

What follows are a variety of sketches, crazy characters, and surreal scenarios. While it seems that not all of the scenes are improvised – some of the scenes are pretty incongruous to the audience suggestions – Turner and Winn are masters of curious characters. They instantly develop some pretty unique situations and people, while communicating entire backstories to the audience.

One thing is for sure, Turner and Winn are a great team. They bounce off of each other brilliantly, and seamlessly transition from barbershop to classic comedy duo.

When: 22nd – 27th January

Where: The Stables, Perth Cultural Centre

Tickets: From $15

Info: Duration 60mins, suitable 15+

Link: http://www.fringeworld.com.au/program/event/63c9aa53-5ac3-431b-9f36-70e85d931c70/

Review by Brandon Taylor.

When one enters an improvised classroom-come-box theatre, sits down in a black plastic picnic chair and is greeted by three plain-clothes actors in their mid-20s on a stage they could fill simply by spreading their arms, one wouldn’t necessarily expect to be treated to an hour smartly packed with streamlined, lucid and genuinely hilarious theatre. Well, with Fish in the Sea, the unexpected is exactly what one gets!

From laughably awkward double-dates spiked with cocaine and unbelievable douchebags, to ironically cheesy music numbers about love and fantasy card games, to brief introspections about the human condition, Fish in the Sea is one of a kind. It also defines itself – the first production of Bastard Theatre – as delightful for its cheeky (often shocking) humour, confident acting and downright liquid stage play.

Essentially, the audience is whisked through the stages of a romantic plot in a ludicrous but occasionally earnest love-triangle between three eccentric youths. The plot is simple: Humphrey meets and falls in love with Susanna, leans on his friend Emma while navigating a halting and self-conscious courtship with the apple of his eye, and gets the girl – only to realise it’s Emma he’s wanted all along. What makes the act so much fun is the combination of wild characters, self-conscious observation and practiced execution.

The acting is well above average by Fringe standards: Jess Van Wyk (Susanna) has an excellent voice and great stage presence, Daniel Buckle (Humphrey) is hilariously neurotic as he drives the plot, and Nick Pages-Oliver (Emma, Susanna’s boyfriend Stanley, the Spirit of Reggae and two more parts) steals the show with his raunchy wit and absurdly frequent costume changes.

Put together, the comedy, farce and polished irrationality of Fish in the Sea are worth catching.

When: 23rd – 30th January (8:50pm)

Where: Hokkien House, Noodle Palace

Tickets: From $15

Info: Duration 60mins, suitable 15+

Link: http://www.fringeworld.com.au/program/event/ee35ef82-3f0e-476c-ba04-a0a9216da797/

The incomparable La Soiree returns to Perth FRINGEWORLD in a sensational new line-up. Featuring some classic favourites and fiery new acts, this incredibly unique show is perfect for the whole family. Already seen it? See it again – it will be a whole new experience.

Expect to see a comeback from the fabulous contortionist Captain Frodo – his comedic timing and rubber-like body make for the utmost entertainment; The English Gents – Denis Lock and Hamish McCann are also back, much to the delight of the female population of Perth, with their class strong-man duo act. They are also branching out on their own this year – McCann reprises his raunchy apparatus routine that will re-define the term ‘core strength,’ and Lock brings us a delightful moment of repose that merges the effervescent lightness of bubbles, magic and a level of class not dissimilar to Sherlock Holmes.

Newbies include Miss Frisky, a powerhouse vocalist with a larger than life personality; Mario: Queen of the Circus – a Freddie Mercury devotee and look-a-like and gravity defying juggler; vaudevillian clown Mooky whose comic timing is so clever, it’s from another era! There are spectacular feats of acrobatic prowess on hoops, straps and hula hoops, that will guarantee your jaw will remain permanently on the floor throughout.

The exclusive La Soiree Speigeltent is camped in the Museum Gardens and is a haven of cabaret, smoky bars, summer garden lights and refreshments. The Speigeltent really heats up as the scintillating show rocks, thrills, and gives you chills. This show will make you gasp in disbelief and delight at its unique blend of cheeky cabaret, sultry acrobatics, vaudevillian intrigue, and sheer showmanship.

Can’t get enough of La Soiree? This year, they also present the hottest going away party ever. Club Soiree is a one-off special wrap-up party to close out the season, with exclusive performances, mindblowing party tricks and a few other surprises not seen in La Soiree on Sunday 6th March at 9:30pm.

There really is something for everyone in this show. Bring the whole family – you won’t regret it!

When: 23rd January – 6th March 2016

Where: La Soiree Speigeltent, Museum Gardens, WA Museum

Tickets: From $35 (standing)

Info: Duration 2 hours (sometimes goes over), suitable 18+

Links:

Fringeworld: http://www.fringeworld.com.au/program/event/b2172b3d-0bf0-444a-aa2d-91d81c7bef17/

London site: http://www.la-soiree.com/

With a show title like Tessa Waters Over Promises one isn’t quite sure what is about to happen. Walking into Teatro 1 in The Pleasure Garden, you’re greeted with a completely empty stage. What? This is going to be interesting. Music blasts and the powerhouse performer that is Tessa Waters smashes through the stage, the fourth wall and into the audience’s faces. Waters is hilarious. She only has her body and sense of humorous movement to express herself. Her movements are cock-sure, caricaturistic and over the top. Opening with a little audience interaction, Waters’ obvious strong suit, she makes solid connections – and she barely speaks during this opening sequence. Parts of the opening are a little tedious, with a bit of unnecessary repetition, but all is forgiven as Waters is such an intuitive performer.

Waters is a naturally funny performer – her quirky and unique style is inimitable, and her crowd work untouchable. She brings people up onto the stage and gives them a crash course in mime. She doesn’t miss a beat when thrown an obvious curve-ball from an overzealous audience volunteer. Her quick-wittedness is so natural, it almost seems as though the bit was supposed to go the way it did!

There is flawless miming, relatable crowd work and above all else – a fabulous parody of serious theatre. In a one-woman mime show, Waters gives her all to produce the funniest satire of serious theatre you will see in Fringeworld. Her hammed up expressions, awesome miming (great table and chair work), and hilarious jumping back and forth between two characters will literally harden your abs in a way Pilates never will!

If you’re not sure what to see in Fringe but want a great laugh and to be genuinely entertained, Tessa Waters Over Promises is the show for you.

When: 24th – 30th January (9:15pm and 7:15pm)

Where: Teatro 1, Pleasure Garden, and The Boardwalk, Ormsby Terrace, Mandurah

Tickets: $22 standard

Info: Duration 55mins, audience interaction

Link: http://www.fringeworld.com.au/program/event/5a39497b-9b55-42d8-9005-804656d12e71/

Amelia Ryan is on a quest for liberty. She wants to be liberated from the constrictions and seemingly arbitrary restrictions that dictate society: and she want you to be liberated, too! Ryan starts the show being wheeled into the room – literally. Clad only in a bra and Statue of Liberty-esque bed sheet, she carries a bottle of champagne which she exuberantly opens, singing a bold ballad of hedonistic pleasure.

Ryan then attempts to pin down exactly what it means to be a liberated person. She finds several women to emulate, who she dubs LOLs (Ladies of Liberty.) The show that follows is a little fragmented. She pulls people up from the crowd and uses them to advance a costume change, in which she sings a heartfelt plea to Malcolm Turnbull about marriage equality. While I’m not doubting for a second that it is an issue very close to her heart, I feel that it is a little misplaced, and incongruous with the rest of the show.

Liberation comes in many forms, and Ryan goes through several ways she tried to achieve liberation to attain her ultimate goal: performing cabaret in New York. From eating kale to creating vision boards, from binge-drinking to one night stands, all of Ryan’s experiences are what shaped her – and created this witty and raw show. Ryan is highly talented. Her vocals are clear and she is able to perform with a physical humour that make her a consistent comedienne.

A truly relatable show, which is certainly demonstrated by the audience interaction, Ryan changes lyrics to songs and sings original pieces to tell the poignant story of her cabaret journey. Go and see it, just make sure you have enough to drink for your ultimate liberation.

When: 23rd – 27th January (7:15pm)

Where: Teatro 1, Pleasure Garden

Tickets: $20 standard

Info: Duration – 70 minutes, recommended 15+

Link: http://www.fringeworld.com.au/program/event/c9a69a0e-52d5-4a94-b579-e8a93eac9988/

A ripple of excitement runs through the audience as they wait in anticipation of Fever: The Music of Peggy Lee. On stage at De Parel Speigeltent sits a drum kit, an elegant double bass, and a solitary microphone stand. Something special is about to happen. And special it is, when the beautiful and talented Darling… Continue reading →

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Review by Kieran Eaton.

Ben Russell in the Tokyo Hotel is a fictional showcase of a multitude of characters. Russell explores these characters in his solo show with the basis that they live in this old school hotel, where all sorts of crazy shenanigans occur. When I say crazy: I mean CRAZY – it’s such a surreal world.

The set is simple. A solitary door in the middle of the stage. This is where Russell seamlessly transforms into the multitude of different characters. He showcases his imaginative acting skills using minimal props to convey different environments. Russell is so self-aware, even when he messes up the rapid changing of accents and characters he just gets more laughs. Even his facial expressions attract laughter.

The Tokyo Hotel appears to be one of those places that dodgy things just happen in. Russell demonstrates an extensive knowledge of 1950s B movies – all of his characters could have just walked off the set! This theatrical piece is artistically styled to perfection. From a film noir narrator to a piano-playing European, Russel does it all. He has the audience in the palm of his hands with his mad ramblings, off-beat and, at times off the cuff humour. Russel delights in the absurd.

What makes this show work is that Russell plays to his strengths. It is a clever concoction of weirdness and quirks – it may make you question why you are laughing, but you will laugh. Ben Russell in the Tokyo Hotel epitomises Fringeworld frivolity – get your tickets before they sell out!

When: 23 – 30 Jan (9:30pm)
Where: The Blue Room Theatre
Tickets: $18 to $20
Info: Duration 50 mins, medium rating, recommended 15+
Link: http://www.fringeworld.com.au/program/event/96796428-cb20-4b3f-b4a6-96f21735e15c/

Review by Kieran Eaton.

Want to know what the English think of us Aussies? Geordie/Yorkshireman Dan Willis tells his perspective, in his Fringeworld solo show – Australia: A Whinging Pom’s Guide. This show is a cheeky, relatable comedy that gives insights into being a working comedian in Australia. Willis opens by asking “Who here is a Pom?” A handful of people put their hands up. He then asks “Who here are Aussies?” Even fewer people raise their hands indicating that either we have a very multicultural crowd or half the crowd don’t want to be asked questions.

From the get go you can tell Willis is a professional comedian. He has a natural swagger and calm demeanor. He is wearing an English Cricket Team shirt which implies his deep English pride. Once he starts getting into his material, you can see his slick style has a bit of mania to it!

He asks the few Poms in the crowd how long they have been in Australia. Willis himself has not lived in Australia for long, as he states that this is his fourth year, after meeting his now wife (or who he cheekily refers to as his permanent visa) and has a baby with her. In his description of her he says that she is not a bogan but her family is! This leads to some pretty funny bogan tales.

This show is like Australia itself – it’s very easy going. It gives an insight into Willis’s personality, while connecting with the audience. Willis is quick and natural at crowd work, he deftly deals with a crowd member that makes some racist comments skillfully and smoothly. He uses this as a segue into a story about getting king hit by a racist during a comedy show.

If you’re after some light, fun entertainment, look no further than Australia: A Whinging Pom’s Guide.

When: 22 Jan – 21 Feb (7:00pm)
Where: The Brass Monkey – Red Room
Tickets: $15 to $25
Info: Duration 60 mins, mild rating, recommended 15+
Link: http://www.fringeworld.com.au/program/event/6bc5dbb4-13d1-4062-9d46-0c1b064101ba/

Review by Amanda Lancaster.

MKA: Being Dead (Don Quioxte) is Ms Manderson-Galvin‘s self-confessed attempt to say “something!” Something about the search for identity within the ideas of culture, gender and literature. Ultimately however, this “something” turns out to be more of an intimate expedition into the inner workings of the feminine mindset, and particularly, Manderson-Galvin’s personal ideas surrounding the search to find a voice to give to this identified self.

The show is set out in a series of short chapters, each signalled by a projection onto the stage’s screen and then accompanied by a small diatribe of either text, music, or dance. Although we are led into the belief that these chapters allow the audience to follow a narrative plot of some kind, the erratic and disjointed behaviour of the show leaves the audience feeling as if they are unable to grasp more than the most tenuous of grips on what it is Manderson-Galvin is attempting to say. This makes for a perplexing viewing experience as the audience constantly feels as if they are on tenuous ground and unsure as to what it is they are meant to be grasping. Cleverly utilising both repurposed texts and lyrical elements from her own works and modern day social medias, Manderson-Galvin’s Don Quixote is the attempted fusion of Cervantes‘ original 17th century classic stereotypes with the more modern abstract ideals of today’s society. This creates a weirdly erratic visual narrative seeming to take us absolutely everywhere and nowhere all at once.

While a bit bumpy in its tempo, often pausing too long in places and too harried in others, it is Manderson-Galvin’s sheer charm and honest stage presence throughout the show makes this piece not only entertaining but also worthwhile. For instance, an opening scene in which Manderson-Galvin embodies the quintessential hero, Quixote as a modern day macho man attempting to explain just exactly what it is women want and what the perfect woman should be, treats us to an early look at just how razor sharp her wit and tongue can be.

Cleverly playing numerous alternating characters throughout the show with the use of minimal props and stagings, we are made keenly aware of one very unmistakable truth: that although there may be a number of characters seemingly at work here, these titles are little more than names given to the differing characteristics of a singular entity playing out its tempestuous battle on a singular stage. A stage set firmly within Manderson-Galvin herself.

Is Being Dead: Don Quixote a visual embodiment of the making and unmaking of voice and self or is perhaps Ms Manderson-Galvin merely tilting at windmills?

When: Sunday 24th and Monday 25th January (8:00pm)

Where: PICA performance space, Perth Cultural Centre

Tickets: $22 standard, $10 rush tix available

Info: Duration 60 mins, some nudity

Links: http://www.fringeworld.com.au/program/event/27e8442e-67f3-40d3-b035-c6ab92c48cec/

Review by Kieran Eaton.

Want to know what it is like to be homeless? English comedian, Sami Stone does this in her Fringeworld debut, Roof. The performance is candid, relaxed, storytelling that covers the challenges of not having your own house.

Stone opens by giving the crowd a disclaimer: she has never actually slept on the streets. Her homelessness is due to living couch to couch, hostel to hostel, therefore not having a ‘proper’ home. Her introduction is very laid back, making light of being a bit jet lagged.

At first you think Stone appears nervous in her commenting on how the microphone sounds funny. However, you soon realise that she is a natural performer. Her likeability is very obvious because almost instantly she has one person in the crowd laughing, at even lines that are not meant to be funny.

The start of Stone’s story is telling us she left school at fourteen. This sets up that the theme that she does not like authority and structure too much. She explains how many of her jobs have been pretty short lived for many different reasons. Sometimes the job did not suit her personality and other times it was just bad luck. Stone appears to see this as fate, and hopefully for a good reason.

Very honest is this show. It delves into the political problems of dealing with homelessness, in a mildly opinionated monologue. Stone’s writing does not have a typical ‘jokey’ style but it this works for her, as it keeps a realness to the show. This show is a good opportunity to have a good laugh, at a relaxed environment, about a serious topic.

When: 22-23 Jan (10:30pm) 24 Jan (9:00pm) 25 -26 Jan (8:30pm)

Where: The Moon Café

Tickets: $19

Info: Duration 60 mins, medium rating, recommended 18+

Link: http://www.fringeworld.com.au/program/event/d00e9c42-2687-4623-b650-12b1cfafde1a/

Review by Kieran Eaton.

Darren The Explorer: The Musical is a fictional parody of childhood shows. Instead of innocent childish adventures, the adventure is more … adult. I am serious because the main characters have to go to (drumroll) Northbridge!

However, it is real child-like adventure in that the main character Darren (played by writer Luke Bolland) has two friends: Map and Shoes. You wonder, why are the friends called Map and Shoes? Well, Map is a girl that has a map on her body and Shoes is a talking monkey that wears shoes. The adult part is Map needs a vagina and Shoes does not want a pregnant woman to give birth to his child! Darren’s issue is that his dad has never told how he is proud of him. Awww.

Darren and his friends have been told of a magic lamp in Northbridge which will give them three wishes! This is convenient because each character has an issue that they could wish to be solved. The problem is that they first have to spot some “adult things” and that causes more than a few challenges for these unlikely friends to solve. To keep their morale up, they sing songs created by Australian Idol’s Courtney Murphy. These songs have child-like tunes with an adult-like twist.

Part of this show’s charm is that all the characters are very different; from an Armadale bogan to someone slightly on the Autistic spectrum, this show is brilliantly conceptualised and written in a way that you are sometimes laughing because it is true! I highly recommend Darren The Explorer: The Musical – it ticks all the boxes for a truly enjoyable festival show.

When: 23rd January -6th February (7:20pm)

Where: Ramen Room, Noodle Palace

Tickets: $16.50 – $20

Info: Duration 60 mins, recommended 18 +

Link: http://www.fringeworld.com.au/program/event/7a981a13-3d7a-4e1f-95d5-5d495e240e58/

In Icons, London born Nigerian act Le Gateau Chocolat “explores his experiences as a cabaret artist, and drag performer, balancing that with his own personal identity at the end of the day.” He brings us the acts that inspired him as a young boy in a heartfelt and intimate cabaret that explores life, love, identity, loss, and frivolity.

Opening with a unique and glamorous rendition of Kate Bush’s Running Up That Hill, Le Gateau bursts into the Spiegeltent in a haze of sparkles. He effortlessly powers through the song with his deep, and rich voice. What follows is a candid, hilarious and incredibly moving show.

Taking the songs of true icons – from Whitney to Elvis, Madonna to Gershwin and quite a bit in between – Le Gateau strips his life bare, and examines the songs that shaped him into the stellar performer he is today. Le Gateau is hilarious as he re-lives the frenzied energy of early Madonna and the hits of the 80s.

He jumps between stories from his youth, his early adulthood and how the present drag act became what it is today. Singing and dancing with his sister to Whitney et al in the embryonic stages of Le Gateau, and relaying that it has come full circle – he now dances with his niece. finding and losing the love of his life – at the impressionable age of 14 – and grappling with how to channel pain into performance.

There are simple moments of repose – a haunting and emotional moment of stillness when singing about a lost friend, a rich and heavy aria. There are moments of frivolity and fun, and moments of utter brilliance. Le Gateau’s finale has the whole audience singing along, reveling in the kitsch and glamour of cabaret.

Le Gateau is absolutely flawless. For someone with no hair, he rocks a wig like a true diva! That voice, that perfect, rich, fruity and delightful voice! His performance will stay with you forever. Le Gateau makes you ask yourself: don’t you wish you could be that fabulous?

When: Sunday 24th – Sunday 31st January

Where: De Parel Speigeltent, Fringe Orchard, Perth Cultural Centre

Tickets: $32

Info: Duration 60mins

Links: http://www.fringeworld.com.au/program/event/c36aa70e-4dcf-4260-a8a3-eb2e9f641e42/

Review by Elli Gemmo.

Walking into the completely sold Blue Room Theatre for Hobo the atmosphere created by the cast of three actors is immediately engaging. As you make your way inside and take your seat there is an acustic guitar playing in a corner and what looks instantly like a peculiar character sitting in the middle of the stage, staring at the audience.

The play is a captivating drama about the positive and negative sides of being homeless. There is a good mix of humor and drama whilst the two main characters, Tank and Fred, share their drinks and stories. Both of them give us hints about their problems and what brought them to the street. Both are willing to share the few things they own, especially Tank who rescued Fred when he first make his apperance on stage. Tank is generous and an alcoholic, Fred is an alcoholic as well, but greedy and stubborn. Their friendship becomes their home although the differences between them will soon have an influence on the story. Everything happens around this spot on the street that the two vagabonds has begun to call home.

Suddenly the atmosphere changes and the play has an unexpected detour, focusing on one of the main characters – jeopardising our view and feeling about what the play has been showing previously. It’s an unpredictable ending that leaves us feeling incomplete, a lot of questions about the past, present and future remain unanswered and you feel like the story telling should have kept going. One is hungry for solutions.

Yet, this is what a good play should do: let your mind fill in the gaps and make you think about the message underneath the main plot.

When: Sunday 24th and Monday 25th January (9:00pm)

Where: The Blue Room Theatre, Perth Cultural Centre

Tickets: $26 standard, $11 rush tix available

Info: Duration 40mins, recommended 15+

Links:

Fringeworld: http://www.fringeworld.com.au/program/event/e6d394af-8700-45ff-9556-cd5fabcbb938/

Blue Room: http://blueroom.org.au/events/hobo/

“Welcome. Come on in. Sit by the pool, have a cocktail. Read a magazine and watch time flow by. You’re fine now. You’re at a resort.”

Resort Apocalypse is the fictional resort where besties Chelsea and Jane are having the holiday of their lives. Literally. It’s actually the end of the world, and they are happy to bury themselves in the sand – like most of us when it came to contributing to the end itself.

It’s a true romp through cultural phenomenons and how humanity processes endings; the conclusion? We don’t. Opening with an energetic, slightly frenzied dance to the Friends theme tune – enthusiastic clapping perfectly timed – the ladies are idyllic in white ‘resort’ outfits, compete with coconut bra and grass skirts! They gossip and giggle about Channing Tatum’s fabulous abs, which celebrity in on point, personal grooming, all while sipping fabulous cocktails and sunning themselves in the white deckchairs by the pool.

Except the pool no longer exists. Nothing really exists anymore. Chelsea and Jane are in a big cloud of denial. Behind them is the exquisite projection art of the fabulous Freya Pitt. It shows the resort in all its apocalyptic glory – fire balls and crumbling infrastructure, whales beaching themselves, planes falling from the sky. Pitt’s work cleverly walks the line between delight and destruction, whimsy and horror, and beauty and pain.

Part best-friend romcom, part post-apocalyptic instruction manual, part feminist manifesto, all brilliant, Resort Apocalypse confronts the audience with the world’s apathy about the environment, humanity’s absolute anathema to end a story. You’ll laugh, you might cry and you’ll be absolutely touched by the witticism, pathos and solidarity of frienship within this quirky and original play.

When: Sunday 24th and Monday 25th January (6:30pm)

Where: PICA performance space, Perth Cultural Centre

Tickets: $26 standard, $23 group (6+), $11 rush tix available

Info: Duration 60 minutes, recommended 15+

Links:

Fringeworld: http://www.fringeworld.com.au/program/event/5a99a455-d2a9-44e3-b2e3-99bc0e281c1c/

Pica: http://pica.org.au/show/resort-apocalypse/

Review by Kieran Eaton.

Want to know how a baby can change a person’s life? Well, veteran Perth comedian, Jeff Hewitt does this in his 2016 solo Fringeworld show, Rad Dad Redemption. This performance is an honest story, with a few lawyer based dick jokes thrown in!

Before Hewitt became a dad he was a bit of lad and we witness this first hand with a strong visual introduction to his personality. However, when he comes on stage he wants to be a likeable comedian, so he warms our hearts with some self-depreciating humour.

The start introduces Hewitt in 2001: A Space Odyssey style, mixing the theme tune with images of his bachelor days. This is hilarious, as it makes you wonder how this wild man became a dad! Though when he finally arrives on stage you realise: actually, he’s pretty normal.

Hewitt starts off with a bit of one-liner humour, then blends this with some crowd introduction. This eases us into his agenda: he will become a ‘hero’. This concept of becoming a hero is explained with a humorous interpretation of the different stages of hero development in an average legend style tale via Power Point slide visual.

The show is very candid, Hewitt describes his ‘sex, drugs and rock and roll’ life style interfering with his successful law career. Watching the show, you can see his strong writing in his ability to give lightness to dark topics. In the end Hewitt makes you smile at how love concurs all, giving raw insight into how he met the mother of his child and how he transformed into a loving father.

When: 22-23^rd January, 27-30 Jan @ 930pm. 23 and 30 Jan @ 530pm.

Where: Pho Barn @ Noodle Palace.

Tickets: $20

Info: Duration 55mins, medium rating, recommended 15 +

Link: http://www.fringeworld.com.au/program/event/1a8b9195-695f-4206-b74c-3c6c91d2c0b4/

How does one describe the insanity that is Adrienne Truscott’s a One-Trick Pony? The show is a feminist masterpiece disguised behind dick-jokes and partial nudity. It’s brilliant!

Truscott is (rightly so) obsessed with and in adoration of comedic legend Andy Kaufman, and she realises that comedy isn’t for the faint of heart. She’s been accused of doing more of a feminist art piece than a comedy routine, but boldly declares that being funny and a feminist aren’t mutually exclusive!

Opening the show splayed out on the floor, bare bum in the air, you know this is going to be a unique experience. Truscott literally hangs a dress on her torso rather than wears it. As she moves, the audience is gifted to cheeky glimpses of her body – something which gets even more hilarious as she tells a riotous story from a time in her past.

Truscott falters on stage after telling a few hilarious jokes. She declares that she has used up all of her material, so how will she continue for another 40 minutes? After a light bulb moment, in which she reveals that Andy Kaufman actually never told a joke during his whole career, Truscott emulates her hero and settles down to tell the audience about her life as a performance artist.

Funny, frank and incredibly candid, Truscott tells us about her poverty-stricken college period and how she raised the money to attend a pretentious sounding acting/movement course and the hilarious adventures that came about at that time in her life. Jumping between the story and how that moment shaped the current show, Truscott muses on feminism, femininity, comedy, dignity and everything else in between.

When: 23rd – 28th January 2016 (7:15pm)

Where: The Stables, Perth Cultural Centre

Tickets: $33 standard, $29 group (6 or more)

Info: Duration 55mins, Medium rating, recommended 18+

Links: http://www.fringeworld.com.au/program/event/c9dd409c-86f9-4ce6-8709-83b6d656be09/

Immerse yourself in the magical labyrinthine world of a living, breathing (and sometimes snorting) hedge maze. The 300 square metre hedge maze will transport you into a world of mythology, humour, and visual art with a healthy does of landscape gardening thrown in!

Brought to you by Sun Smart and dotComedy, the Get Lost Maze is nestled within the hectic bustle of The Pleasure Garden in Northbridge and is a fun romp for children – old and young alike! There are a few rules – but the main one is “You cannot exit the way you entered.” Walking into the cool surroundings, it feels like you’re diving into The Secret Garden or Alice’s Adventures in Wonderland. It’s terribly confusing, right from the start!

Inside the maze you will encounter a shell-shocked tour guide who seems to have gotten lost himself, giant topiary teapots and saucers, a family straight out of a Ladybug classic story (complete with vintage picnic rug and stuffed Irish Setter!), and some strange voices calling to you as you make your way through the cool, dark leaves.

The fairytale element switches to mythology as you find a tarot reading gypsy in a web of wool (major undertones of Theseus and the Minotaur!), around the corner a hag will give you a piece of hedge and then you are truly lost as you encounter a simple gardener and his shed.

But how to get out? And what is that mysterious baying and snuffling sound? Why do parts of the hedge move? These questions will follow you as you try to uncover the mystery of the Get Lost Maze.

When: 22nd January – 21st February 2016 (6pm M-F, 3pm WE)

Where: FRINGEWORLD Pleaseure Garden, Russell Square

Tickets: $15 standard. Children under 4 free (with adult ticket)

Info: Each session runs for 45 minutes. (You might leave earlier, depending on the level of interaction)

Links:

http://www.fringeworld.com.au/program/event/43de130c-7325-43d3-ab44-f499d52a4b92/

http://getlostmaze.com.au/

Well, it’s that time of year again, theatre lovers! FRINGEWORLD has opened in Perth with a splash – and that’s not just the famous mermaids we’re talking about.

Fringe is that unique time of year where the summer is glittered with tents, performers and excellent vibes for 31 days of entertainment. Between 22nd January and 21st February, Perth is transformed into a buzzing festival atmosphere with the Cultural Centre, Northbridge and even Fremantle, Midland and debuting in Geraldton magically becoming a hub of theatre and arts venues. As the sun sets and the carnival atmosphere sets in, head over and check out all that is going on. Catch a comedy show, get your peepers on a burlesque cabaret or see some seriously great theatre and allow yourself to be immersed in 21 days of Perthect!

Keep your eye out for our reviews and also recommendations during FRINGEWORLD. For more information and to be kept in the loop, check out the FRINGEFeed or the Fringe website: https://www.fringeworld.com.au/

If you’re stuck for ideas, here are some of the shows in Fringe that we’ve seen in other places:

A Star is Bored

http://www.theaustraliatimes.com/melbourne-fringe-a-star-is-bored-review-5-stars/

La Soiree

http://www.theaustraliatimes.com/theatre-la-soiree/

Totre e Morte: Songs of Cake and Death

http://www.theaustraliatimes.com/melbourne-fringe-torte-e-mort-songs-of-cake-and-death/

Luminous

http://www.theaustraliatimes.com/melbourne-fringe-luminous-review-4-stars/

Review by Sarah Gill.

Thrill Me – The Leopold & Loeb Story is currently being performed at Chapel Off Chapel in Prahran, Melbourne as part of the The Midsumma Festival. The show is presented by Ghost Light in association with Moving Light Productions and the book, music and lyrics are written by Stephen Dolginoff.

Thrill Me is set in Chicago in 1924 and in Joliet Prison in 1958. It tells the story of the relationship between Nathan Leopold and Richard Loeb, two wealthy and privileged young law students living in the 1920’s. In their time they became known to be the ‘thrill killers’ after kidnapping and murdering a young boy named Bobby.

The story follows Nathan’s point of view and is told through his recollection of the events leading up to the murder in 1924. He tells his story during his parole hearing in the Joliet Prison in 1958.

As the plot unfolds the audience watches the way Nathan and Richard interact with each other and we learn just how far Nathan will go to appease Richard, and how far Richard will go to appease his desire for the thrill and to be the ‘superior man.’

Through a series of songs and exposition the two reveal their inner most desires. Nathan wants Richard, and Richard wants to be superior in every way.

The two commit small crimes together like arson and burglary all to ignite the fire in Richard. He manipulates Nathan to help him with each of the crimes. Nathan follows Richard through it all, because he gets what he wants after the crime. He gets to be with Richard.

When Richard becomes bored with the smaller crimes he talks Nathan into helping him with the ‘ultimate perfect crime’, and the two devise a plan to kidnap and murder a random young boy.
The show depicts Nathan’s helplessness and complete devotion to Richard, as he believed he had no choice and had to follow him no matter what. It also illustrates Richard’s madness in that he genuinely believed he would not get caught because he was ‘a superior man.’

This is a captivating story and what makes it more intriguing is that it is based on true events. Through the 80 minute running time I was kept engaged and was completely taken in to the 1920’s with Nathan and Richard.

Thrill Me – The Leopold and Loeb Story is playing at Chapel Off Chapel as part of Midsumma from 20th – 31st January 2016.

Tickets available: https://www.outix.net/booktickets/event/ThrillMe

Midsumma – what’s it all about?

Since 1988, Midsumma Festival has been Victoria’s premier gay and lesbian arts and culture festival, presenting an annual community celebration and encouraging the development of innovative artistic content and a unique cultural experience.

This year, 2016 – Midsumma is bigger and better, spanning from 17th January to 7th February the program is full of Cabaret, Comedy, Circus, Theatre, Dance, Music, Spoken Word and more. Here’s an insight into what it’s like to be a part of Midsumma:

Interview With Terence O’Connell:

O’Connell is the director of Midsumma show Thrill Me: The Leopold and Loeb Story, a musical based on the real life story of lovers Leopold and Loeb who went on a murder spree in the 1920s. It’s a serious tale with a rollicking soundtrack. We caught up with director, Terence O’Connell and asked him about his Midsumma experience.

Laura Money (LM): How did you come to be involved in the project?

Terence O’Connell (TO): I wanted to work with Vincent Hooper and Stephen Madsen and this show was the perfect fit.

LM: What drew you to Thrill Me?

TO: It’s based on real characters and events. It’s a thriller. It’s dynamic. And as the New York Times said: ‘it’s like a well placed punch!’

LM: You’ve directed a lot of big shows in the past, how does Thrill Me compare to the large scale of, say, Rocky Horror?

TO: Well, it’s obviously a much more intimate experience in that little theatre. The actors can sing accoustically and you’re right there with them. There’s no dancing!

LM: What are the challenges of directing a musical? You obviously have a lot of experience, but how is directing a musical different to a straight play?

TO: There are usually a lot more departments: musical direction, choreography and it takes an awful lot of pre-planning and organisation. Actually, Thrill Me in its construction more resembles a straight play, though it isn’t.

LM: Thrill Me deals with some pretty intense themes, how are they approached in the show? Is it dark or is there a sense of humour running throughout?

TO: Well it has flashes of dark humour but it’s a pretty moody show. It’s not depressing, however, it moves with great speed and energy and has a pulsing score.

LM: Are there any characters that you identify with especially?

TO: I hope not, these guys are narcissistic psychopaths!

LM: Is this your first time directing a show for Midsumma?

TO: Yes it is and I have a cracker of a show for next year, too.

LM: How does Thrill Me fit into the Midsumma agenda?

TO: It’s bent and its characters are in a relationship, albeit a rather strange one.

LM: Apart from your show, what do you recommend as part of Midsumma?

TO: Elegy (Gasworks), Michael Griffiths-Cole (45 Downstairs) and Songs of Laura Myro (Ruby’s Music Room)

LM: What’s next for you?

TO: I go to Sydney to revive my Lionel Bart show Reviewing The Situation which stars the fabulous Phil Scott, I’m doing Around the World in 80 Days in Melbourne and then off to Hobart for Antarctica – The Musical.

Check out the full MIDSUMMA program here: https://www.outix.net/website/2016MidsummaFestival

Black Swan Theatre Company bursts into 2016 with a strong Double Bill of new writing, nurturing emerging artists, and fitting in perfectly with FRINGEWORLD. The Bridging Company is Black Swan‘s most recent initiative that shows the pathway professional artists in WA can take. It consists of an ensemble of seven graduates from WAAPA’s 2015 graduating program. All of the artists get the oppportunity to work in ‘The Lab” bringing life to new plays.

Girl Shut Your Mouth – 4.5 stars

Mean Girls meets Malala, this sharp and crackling script is practically flawless. Everything seems bright and happy in the sugar-pop world of Katie’s bedroom, three girls vacillate between fantasising about moving to a ‘country club’ style new residence, and cattily ostracising another who supposedly wronged them – presumably over a boy or something seemingly innocuous. Everything is so hyper-real and seemingly superficial that is cleverly masks the actual content of the play.

The writing is so clever, it really shows Gita Bezard is a force to be reckoned with. She takes the controversial and uncomfortable subject matter of women in warzones, denied education and oppressive regimes that deny women and teenage girls of their rights. Instead of placing the action in a cliche war-torn, ISIS driven rubble of a foreign country, the action occurs mostly in the teen-driven world of bright clothes, puffy skirts and talks of boys and crushes.

The acting is a touch over the top, and slightly amateurish but this clearly comes from the newness of the actresses. Their youth is intrinsically bound to the script and they certainly warm up as the show goes on. Their light and high-pitched tone is juxtaposed with the serious nature of the content. Bold, fierce and razor sharp, Girl Shut Your Mouth is the show that everyone should see.

Tonsils and Tweezers – 3 stars

So much is going on in Tonsils and Tweezers, it’s difficult to pin down what happens. Tonsils (Lincoln Vickery) spends the entire play in his undershorts and holding a green apple. (Sometimes he eats the apple and has to get a replacement.) Tonsils acts as narrator, telling the story in a non-linear, frantic and frenzied way. He describes his friendship with Tweezers as aligned with the theory of binary stars (quite a poetic way of fusing art and science.)

It is Hoa Xuande as Tweezers, though, who steals the show. His acting is flawless as he mercilessly grills his old school-colleague Max in a way that borderlines crazy but never quite loses it. Tweezers is a cleaner who is followed around by and continually lectures Tonsils, yet he also uses him as a confidante and great friend. He quirkily irons Tonsils out, makes up a story about a gun and expresses his deep emotions as the play progresses.

There is a feeling, however that Tonsils and Tweezers is trying too hard. It is fast paced, non-linear and has surreal moments that nod to a Brechtian influence (cue Megan Wilding as storyteller, giant toothbrush mascot uniform, and the whole story of the gun interlude.) The self-aware reciting of Shakespeare and breaking down of actor’s techniques and directing also seems a little over the top. It is the ‘big twist’ at the end, though that is handled in the most confusing way. It’s too frenzied and makes it difficult to relate to the main characters at the height of their emotional turmoil. It’s a play that is attempting too much and just needs to be pared back.

Tonsils and Tweezers is certainly worth it for the acting (although it would have been great to see more of Wilding) and the emotional journey of the characters. It will definitely leave you asking, what if?

LOADED: A Double Bill of New Plays is playing at the Studio Underground, State Theatre Centre of Western Australia until 7th February 2016.

Get tickets here: http://www.bsstc.com.au/season-2016/loaded/

Spare Parts Puppet Theatre right on the footsteps of Fremantle Train Station has a great reputation for providing great entertainment for children. Sitting outside on a hot summer’s day, children are running around, slapping their slap band tickets on and off their arms – waiting to get into the air-conditioned theatre. Entering the theatre, bits of feather boa scattered all over the floor after the kids have been playing with them, the stage is set up with a set of steps and a beaded doorway. A sign next to the doorway says “Miss Lily’s Tropical Holiday House.”

This is Michael Barlow’s adaption of Margaret Wild’s picture book Miss Lily’s Fabulous Feather Boa. The production shows the true talent of Spare Parts veterans Shane Adamzack and Bec Bradley and newcomer Nick Pages-Oliver and they are hilarious from the start. The puppetry and costuming by Iona McAuley, is simple and elegant. The three actors come on stage wearing koala head hats. They hilariously portray a mother, father and son who are obsessed with cricket. Giggles erupt from the children as Pages-Oliver plays the bumbling koala kid with a cold.

The koala hats are replaced with wombat hats to depict the footy-obessessed family of father, mother and son. They truly are hilarious and are able to use the agility of their bodies and their voices to capture the essence of Australiana: Footy or Cricket? After the families are introduced, we meet the last Potooroo. He is a diminutive hand puppet, manipulated by Adamzack, and is an identifiable character. A hilariously choreographed attempt to lift a suitcase almost bigger than him up the stairs has children giggling uncontrollably. The final puppet is Miss Lily herself – a full-bodied crocodile operated by Bradley and voiced in a hilarious campy tone, she is clearly the winner in the show.

Some beautiful puppetry occurs in Miss Lily, including a mesmerising sequence in which the feather boa dances ala Muppet style, and a creepy dream including a monstrous cannibalistic suitcase. Irreverent and hilarious, the ending literally garners an audible ‘awww.’

Miss Lily’s Fabulous Feather Boa is playing at Spare Parts Puppet Theatre in Fremantle, Perth from 4 – 30 January 2016.

http://www.sppt.asn.au/programme/view/misslily

The Australia Times Theatre is taking a short break over Christmas. The latest edition will be out shortly to add to your festive reading list. Until then, TAT Theatre would like to wish you all a Merry Christmas and a Happy New Year!

The world’s favourite musical is returning to Australia. The lavish London Palladium production of The Sound of Music has opened in Sydney at the Capitol Theatre on 13 December 2015. It will be followed by seasons at Brisbane’s Lyric Theatre from 11 March, Melbourne’s Regent Theatre from 13 May, and Adelaide’s Festival Theatre from 9 August 2016.

The Australian production will be led by Amy Lehpamer (Dirty Rotten Scoundrels, Once, The Rocky Horror Show) as Maria Rainer and Cameron Daddo (Legally Blonde, Big River) as Captain Georg von Trapp, starring alongside Marina Prior (Mary Poppins, The Secret Garden) as Baroness Schraeder, Jacqueline Dark (Opera Australia’s Aida, Don Giovanni) as Mother Abbess, Lorraine Bayly (Calendar Girls, The Sullivans) as Frau Schmidt, Philip Dodd (Jolson, Mary Poppins) as Franz and David James (Playschool, Avenue Q) as Max Detweiler. Liesl will be played by Stefanie Jones (Once) and Rolf by newcomer Du Toit Bredenkamp. The ensemble cast includes Annie Aitken, Johanna Allen (Sister Sophia), Eleanor Blythman (Sister Margaretta), Sophie Cheeseman, Connor Crawford, Colin Dean, Tony Farrell, Steven Grace, William Groucutt, Anthony Harkin, Daniel Humphris, Dominica Matthews (Sister Berthe), Katie McKee, Kathleen Moore, Meredith O’Reilly, Ashleigh Rubenach and Sophie Weiss.

Producers Andrew Lloyd Webber, John Frost, David Ian and the Really Useful Group are thrilled with their superb cast. “We have assembled a sensational cast to play these iconic roles. Cameron Daddo will be a wonderfully strong and stern Captain, and Amy Lehpamer, already with several musical roles to her name, will leap to stardom as Maria. We’re very pleased to be working with Marina Prior again, and to bring Lorraine Bayly to musical theatre audiences. And we’re especially pleased to bring acclaimed opera star Jacqui Dark to the musical stage.”

“The Sound of Music is an iconic musical, probably the most loved musical of all, and contains all the elements which make a show magical,” added John Frost. “It is exciting that Australian audiences will see a production of this quality, which has entertained so many people across the globe. I’m very much looking forward to the auditions to find three fantastic sets of von Trapp children for each city.”

Inspired by the lives of the actual von Trapp family, The Sound of Music tells the uplifting story of Maria, a fun-loving governess who changes the lives of the widowed Captain von Trapp and his seven children by re-introducing them to music, culminating in the family’s escape from the Nazis across the mountains from Austria. It features an unforgettable score that includes some of the most famous songs ever performed on stage, including “My Favorite Things”, “Edelweiss”, “Do-Re-Mi”,” Sixteen Going On Seventeen”, “The Lonely Goatherd”, “Climb Ev’ry Mountain” and the title song, “The Sound of Music.”

Can cheating ever be fair? If so, when? If when, how? From what angle? And on what planet?

These are the questions poised to audience members watching Affair Play. The Freshly Ground Theatre production is about four people, two couples and one awkward dinner party. It is a humorous glimpse inside the world of infidelity as the men swap partners for a night (or maybe more?) As writer Sam Floyd describes, “You discover immediately that one affair is already on the boil. Another is on the brew.” Floyd stars alongside Remy Coll, Anthea Greco and Lucy Norton in Affair Play.

Audiences will immediately notice the interesting brown paper backdrop and props that constitute a living area and kitchen. Brown paper chairs, fridge, oven and front door are included. Once Greco and Floyd knock on Coll and Norton’s door, the reason behind the play’s name becomes apparent. Coll and Greco have an intimate moment, unbeknownst to their spouses in the other room.

What follows is a burnt casserole and some tense scenes as each character’s life is examined around the kitchen bench. Couples turn on each other and into another’s embrace before the ultimate climax. Although there were many serious moments, these were expertly interspersed and sprinkled with witty and humorous comments. This balance is what gives Affair Play its edge and individuality.

Floyd says the show is a “disastrously perfect mess of impulses,” which is a fairly accurate description. In movies based on similar situations, it is easy to choose your favourite characters from the victims and villains. But in the play, there is technically no one “in the right.” This interesting and honest take is what makes Affair Play the right show to see this week in Melbourne.

Affair Play is on at the Mechanic’s Institute Brunswick from 9th – 19th December 2015.

Tickets available: http://freshlygroundtheatre.com/#/affairplay/

About Hayley Simpson

Profile: View Hayley's profile here

Email: hayley.simpson@www.theaustraliatimes.com.au

Review by Laura Money

Aah, the Blue Room Theatre…there is a slight haze greeting the audience as they are serenaded by the sultry strumming of a double bass while taking their seats. A jazz quartet wearing various combinations of black and white start dooby-doobing and clicking their fingers to the beat. This is not what an audience expects to see in a show titled Multiverse Theory in D.

The show has been developed in conjunction with The Ground Floor Program (Stages WA and The Blue Room Theatre) and the performers are all relative newcomers. Under the mentorship of veteran actor Humphrey Bower, they are able to give a memorable and unique performance.

The show is far from polished but it is the rough and ready and a bit unsure of itself nature that gives charm and added uncertainty to the main plot line. At the beginning of the show, the actors discuss the multiverse theory and how one could potentially live out any number of scenarios in other universes. It is slightly incongruously delivered as the fake smiles seem tight on the faces of Erin J Hutchinson and Esther Longhurst but it does set up the premise rather nicely.

On the eve of her 30th birthday, Naomi seemingly suffers a mid-life (quarter-of-a-century) crisis. She then fantasises about how her life may have been different in various multiverses. She lives out her life as a high-flying successful career woman, an earth mother with a hippy husband, and as a jazz singer who specialises in sultry versions of 90s tunes. (My personal favourite being a heartfelt rendition of You Were Meant For Me by Jewell.)

There is a lot going on and it could have been pared down more, however, Multiverse Theory in D is still worth a viewing for its uniqueness and quirkiness. Plus, a night out at the Blue Room is always a great Perth experience!

Multiverse Theory in D is playing at The Blue Room Theatre until 5th December 2015.

Tickets available: http://blueroom.org.au/events/multiverse-theory-in-d/

About Laura Money

Profile: View Laura's profile here

Email: laura.money@www.theaustraliatimes.com.au

Review by Bridget Conway

As part of the quirky Village Bizarre festival being held at Sydney’s historic epicentre, The Rocks, there is a captivating theatre production being shown that is unlike any other. We Are the Ghosts of the Future is part performance art, part meditation, part exhibition, and wholly a piece of the jigsaw puzzle that makes up the great history of Sydney.

Presented by Blancmange and 7-On, We Are the Ghosts of the Future is set in the Rocks Discovery Museum, an 1858 sandstone building. The locale is set against a particular date, The 13th of November 1935, which is the day, that local Sydney pilot Charles Kingsford-Smith was declared as officially missing during his trip across the ocean from London to Sydney.

The show opens when the pre-event wait begins to set in. The audience sits in a small courtyard in a narrow laneway tucked behind the buzz and hype of the festival’s markets, food stalls and street performances. We hardly know how or why, but we suddenly begin to file down a stairway into the opening sequence, where we find two women hanging up clothes on a line.

We approach these women on an average afternoon during 1935 and are immediately drawn into the mundane yet aspirational domesticity of their actions, their hopes, and their fears. We are then drawn inside to our stage, a 1930s boarding house that holds a variety of lodgers who are mourning the loss of Kingsford-Smith and are dealing with their own hopes and hardships. We are led up into the cavernous, dusty, and ghostly area of the top floor of the museum. From here, audience members break away from each other, as each piece of action in front and around them draws them in.

About Bridget Conway

Bridget is a feminist, cat lady, Trekkie, and a passionate reader and writer. She spends her days cuddling her cat and her nights studying, working, and going out on the town. Originally hailing from small-town USA, she moved to Sydney in 2007 with only a few dollars in her pocket and has since then solidified her place into her new Aussie home.

Profile: View Bridget's profile here

Email: bridget.conway@www.theaustraliatimes.com.au

At the launch of the National Theatre of Parramatta, TAT Theatre caught up with Executive Producer of National Theatre of Parramatta (NTofP), Joanne Kee

1. Why did you decide to launch a theatre company in Paramatta? Did you feel there was something missing?

We wanted a professional theatre company in the geographic heart of Sydney. Currently there is an imbalance in location, between professional performing arts companies and venues, despite Parramatta and Western Sydney having a larger population and indeed being the fastest growing centre in Australia.

We believe that our location is a microcosm of this country and by launching a theatre company in Parramatta, we are Putting the Nation on stage.

2. All of your directorate have impressive arts backgrounds. What do you think you each bring to the table?

They bring a wealth of experience from international and large-scale commercial performances through to fine grained relationships with artists and the community in Western Sydney and beyond. Their strengths are their diversity. For example, S. Shakthidharan as well as being a writer and director of theatre and film, has also received a Kirk Robson award for his work in relation to social justice and community. Annette Shun Wah has been an actor, writer, producer and broadcaster in TV and her performance works as EP of Performance 4a featured in last year and also this year’s Sydney Festival. Paula Abood also has a wealth of experience in the creative and cultural community as a writer and director. Wayne Harrison has produced and directed theatre, large-scale performances and international touring productions.

3. You state that the National Theatre of Paramatta “aspires to create bold, contemporary works that draw their inspiration from the rich diversity and untold stories of Western Sydney and beyond” how does your 2016 season reflect this?

Telling Tales is focused on the stories of Parramatta and Western Sydney. We will be presenting large-scale work alongside intimate story telling with an opportunity to break bread and have a coffee.

Our opening work Swallow is a new play written by Olivier award winning playwright Stef Smith. The story is universal in nature and we feel it will have a resonance with audiences not only in Western Sydney, but also beyond. We are very excited that Kate Champion has agreed to direct this work.

4. The Telling Tales storytelling festival is a great idea, can you explain why storytelling is important to the National Theatre of Paramatta as a format and not ‘traditional plays?’

This festival will comprise both traditional theatre “stories” and will also present story telling where the audience can be part of the experience. Additionally we are holding a story telling competition for young people, another opportunity for involvement. More will be revealed on these next year.

5. Since this is a local company and you really want to stake your claim in the Western Sydney arts scene, how important is it to foster local creatives? Does your company emphasise the work of Sydneysiders?

Of course we want to nurture and support creatives from Western Sydney. This will happen through presenting plays inspired and created by people of this region, but it will also happen through presenting the best and most inspiring works, with artists of the highest calibre with no geographical boundaries. When this takes place, we shall ensure that there are learning and development opportunities for local artists and theatre professionals.

Additionally, embedded in everything we do is building capacity within the sector. National Theatre of Parramatta will offer internships, mentorships, playwriting salons and creative development opportunities, for these we will absolutely focus on the community in Western Sydney.

6. Describe the National Theatre of Paramatta in 3 words?

Bold, diverse, the future.

National Theatre of Parramatta bursts onto the theatre scene creating theatre that reflects contemporary Australia and Western Sydney in all its diversity and complexity appealing to both new and existing theatre audiences. National Theatre of Parramatta is putting the nation on stage.

It is not every day that a new Australian theatre company opens its doors, but after many years of planning, National Theatre of Parramatta was launched November 19 as a major contributor to the nation’s artistic landscape. As well as offering entertaining and innovative programs, National Theatre of Parramatta will champion artist development, educational opportunities and mentoring programs.

Resident at Riverside Theatres, National Theatre of Parramatta will join the existing and vibrant Western Sydney artistic community. It will be a principal arts organisation contributing to the dynamic growth of Western Sydney – the fastest growing region in Australia. In recognition of the creative capacity of Western Sydney, National Theatre of Parramatta has received financial investment from Arts NSW, Parramatta City Council and Crown Resorts Foundation.

Leading National Theatre of Parramatta is a directorate of four arts professionals with a wealth of creative and cultural experience. They are: S. Shakthidharan (currently founder and Director of CuriousWorks and Associate Artist at Carriageworks), Annette Shun Wah (currently Executive Producer of Performance 4a), Wayne Harrison AM (currently Chief Creative Officer for Spiegelworld International) and Paula Abood (community cultural development writer and creative producer). The team is joined by international producer, Joanne Kee (former Artistic Director for Sydney Improvised Music Association, Business Manager for Programming at Sydney Opera House) as Executive Producer.

“National Theatre of Parramatta aspires to create bold, contemporary works that draw their inspiration from the rich diversity and untold stories of Western Sydney and beyond, adding to our cultural landscape a company that truly reflects the nation on stage,” said Annette Shun Wah.

National Theatre of Parramatta will raise the profile of performance and engage the imagination and creative ideas of Western Sydney, across the nation and ultimately internationally.

4 stars

Review by Laura Money

Entering the large and exposed set in the Heath Ledger Theatre at the State Theatre Centre WA one is immediately intrigued by the sleek looking family home of the Goodmans. The curtains are open, the kitchen set shines like an island in the blackness of the large stage, almost swallowed by it. This is a perfect metaphor for what we are about to see – a no-holds barred, exposure of a perfect loving family – warts and all. Mental health and dysfunction are stripped back and shown to the whole world in Next To Normal. As the set spins around and around we get a glimpse into the world of Diana Goodman (Rachael Beck) whose whole existence seems to spin around and there are no grounding forces keeping her from understanding reality.
Next To Normal tells the story of the Goodman family who are all dealing with the fall-out of Diana’s mental breakdown and mental health issues. It tells of her initial heart-wrenching episode, her humorous take on the pshychology/psychiatry industry – “I don’t feel anything anymore.” “Patient stable” Not only does the play address these issues, it does it through song and dance. The Tony Award winning combination of Tom Kitt and Brian Yorkey is not afraid to tackle controversial topics, such as electro shock therapy, teenage drug use, and even marriage disintegration and tension yet it is all done with a rocking soundtrack bursting with humour and pathos.
The cast are absolutely phenomenal here: Shannen Alice is the perfect combination of teen angst and vulnerability as the “Invisible Girl” the daughter Natalie, James Bell’s performance as the phantom son is so present and memorable, as he straddles the line between rock star and musical character. Michael Cormick is hilarious as the sexy rock-star pshchiatrist. He bursts out into these larger than life epic motifs and then pulls back to the serious guy flawlessly. Joel Horwood is a real talent as the free-thinking love interest for Natalie. His kindness shines through in his voice – which is a hard task to manage without tapering off. Yet it is Brendan Hansen as the husband and father who gets the most sympathy from me. He is consistently confused and torn between his love and the vows he made and his own mental health. Hansen gives the most heart-felt and tragic performance of the whole show and one sees the pain in his eyes sparkling through the tears. Of course, Beck is fantastic as the confused and tortured figure of Diana and she really throws everything into her amazing performance.
Clever, humorous and absolutely tragic with a rocking and catchy soundtrack, Next To Normal will certainly always stay in your mind.

Black Swan Theatre Company’s Next To Normal is on at the State Theatre Centre WA until Sunday 22nd November 2015.

Tickets available: http://www.bsstc.com.au/season-2015/next-to-normal

Words: Kelly Sargent

Allelujah! Ladies, I’ve found her!

I’ve found the woman who has taken to the stage to remind us of simple truths; love is hard, men are desirable (but complicated), and vodka does help everything.

Ziggy Clement’s To Sing & Dance of Love While Shooting Yourself in the Foot, is a celebration of all those awkward, hilarious moments that occur when you’re searching for love, topped with enticing cabaret, and my what a voice! That. Voice.

Anybody with a hint of musical interest will enjoy Ziggy’s show; even if the heavily female-directed content is not your taste, do yourself a favour and listen to a unique stellar voice shake your being; it’s truly an experience. Oh, and take note on the contents, lads, this a crash course on what not to do, and it should help us all.

Ziggy contemplates all the tough questions; how much is too much to give of yourself in a relationship? Why do couples get a registry and millions of gifts unattainable to (the surely needier) singles? Right ladies? Amen.

While her singing is incredible, Ziggy’s gorgeous voice is enjoyable to listen along as she chatters away reminiscing on all her socially awkward (but not uncommon) encounters.

Should I be able to make Ziggy miniature and place her on my shoulder to sing sweet nothings into my ear, I would. I’ll settle for life size Ziggy and a night out on the town, thanks. Ziggy’s that great value and slightly messy-at-life-friend or part of ourselves we all have; no matter your adventures, she’s there the next day picking your sorry arse up or bringing wine to continue the party.

Instantly likable and enjoyable; Ziggy commands the stage, and her persona is just so damn endearing and sexy. Ziggy is all things sugar and spice telling the tales of the not so nice; however, she’s far from crude (that is all too common), she’s classy and witty. Win win.

To Sing & Dance of Love While Shooting Yourself in the Foot, will likely hit a couple of (good) nerves and have you laughing every other moment; you’ll love her, or at least that soulful voice. My.
That. Voice.

To Sing & Dance of Love While Shooting Yourself in the Foot

Dates: 20^th-25^th of October

Time: 8pm (Tues, Wed and Sun), 9pm (Thurs, Fri & Sat)

Cost: $25-38

Venue: The Butterfly Club, 5 Carson Place, Melbourne

Tickets: thebutterflyclub.com

“Ugh, he was a nightmare, but do you have to be single?”

love from mum.

Musical theatre’s Ziggy Clements loathes love songs. Best known as the time-poor, shopping crazed lawyer, Brooke, in two Australian tours of Motherhood the Musical, Clements has a resume dating from her start in pro musicals while still at high school, to national tours of Les Miserables & Mamma Mia!. But her dating resume, she laments, is not quite so flash.

In her comedy cabaret, To Sing & Dance of Love While Shooting Yourself in the Foot, the audience are invited in for a slightly sneaky peek at those awkward & cringeworthy dating moments in Ziggy’s quest to find love in a life lived out-loud and on-stage.

Want to know what’s on in the Theatre world around Australia? Well look no further:

SYDNEY

A Steady Rain

A dark duologue filled with sharp storytelling and biting repartee, A Steady Rain explores the complexities of a lifelong bond tainted by domestic affairs, violence and the rough streets of Chicago.

A Steady Rain is playing at the Old Fitzroy Theatre, Woolloomooloo, SYDNEY from 22nd September – 17th October.

www.oldfitztheatre.com/a-‐steady-‐rain

Ride and Fourplay

In Ride, two strangers wake up in bed together, naked and hung over, with no idea how they got there. Through hazily reconstructed memories, they begin to make sense of what may – or may not – have happened between them.

Fourplay is a serendipitous story about four city dwellers finding intimacy, friendship and love in unlikely places.

Ride and Fourplay are on at the Eternity Theatre, Sydney from 4th September – 4th October 2015.

http://www.darlinghursttheatre.com/whats-on/ride-and-fourplay

LUMINOUS - (back) Chris Wilshire - Juggler, (Middle) Greta Rose - Contortionist, (Front) Adam Malone Aerialist

For the majority of us, life is totally grounded in the ordinary, rational and often mundane. So it’s a treat to step outside our sensible daily routines and instead have our minds totally blown and our perception of reality expanded through a display of theatrics, tricks, physical feats and acrobatics only possible at the Circus.
Produced by champion body painter, Jessica Watson Miller, Luminous, for the most part, captures this spirit and energy, while adding its own surreal spin on traditional circus arts.
On offer is a basic and safe circus line-up that includes juggling, contortion, hoop jumping, acrobatics, aerial silk and trapeze. The four extremely talented performers accomplish these acts flawlessly (albeit a couple of dropped balls and hoops), but rarely produce that ‘wow-factor’ or jaw-dropping reaction that’s so typically synonymous with circus, possibly due to there being rarely any stakes or risks taken in any of the acts.
What really then elevates the whole experience and makes the performance stand-out is its presentation and visual effects.
On a pitch black stage the performers are illuminated under UV lights thanks to being painted from head-to-toe with fluorescent paint. Each also bears their own beautifully crafted, distinctive and animalistic appearance, with a cast consisting of an orange-glowing beast with full-body paint and spiky crest; a green amphibious lady who notably had an inverted leering face on her backside and whose own face is unsettlingly peering out from what resembles the jaws of a Venus flytrap; a lizard-like figure with a tail; and an old man with a featureless face who in one very memorable scene chased his disembodied foot around the stage.
An alien-setting is enhanced through a hypnotic soundtrack and by the black-clad crew, who remain relatively invisible on the unlit stage while manipulating props, such as a moving plant or strange fish-like creatures that regularly attack the performers.
All these factors allow Luminous to successfully combine visual art, acrobatics and even dance elements with copious amounts of fluorescent paint to produce a visually unique and stunning spectacle. While the show’s actual circus acts might seem a little basic, its beyond-talented cast are mesmerizing to watch and through their precise and expertly executed performances they transport the audience to a fun, trippy, neon-lit world in which the show’s 50-60 minute duration will fly-by way too quickly.
Luminous is on as part of the Melbourne Fringe Festival at The Boardwalk Republic, Gasworks Arts Park 21 Graham Street from 16th September – 4th October 2015.

About Paul Campobasso

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Email: paul.campobasso@www.theaustraliatimes.com.au

Review by Laura Money

If you are looking for something different to do with your children this school holidays, go and see The Red Balloon. Presented by Black Swan Theatre Company in conjunction with the Awesome Festival, this enchanting tale of friendship and love will lift the hearts of all who see it.

Based on the Academy Award winning short film of the same name, The Red Balloon follows the story of Parisian schoolboy, Pascal (Dylan Christidis and Rory McLaughlan) who befriends a large rubber red balloon – that seems to have its own sentience. He charmingly takes us through his life and hometown with balloon in tow, proving that there is beauty in everything.

Set and costume designer India Mehta‘s designs really tie everything together, as it is such a visually impressive piece of theatre. The set consists of two simple structures that act as housing, the school, and the church; a few rubbish bins, and a backdrop with simple clouds and sky projected on it to indicate Pascal’s journey through his city. The aesthetic is truly sensational, especially when the costumes of the cocky and brash cat, the laid back pencil-mustachioed rat, and the carrier pigeon pigeon. Complete with 1950s human clothes, the look is both romantic and enduring.

Hilary Bell‘s adaption of The Red Balloon is the perfect injection of art, humour, love, courage, friendship and escapism for children and adults alike.

The Red Balloon is playing at Studio Underground, State Theatre Centre of Western Australia in conjunction with the Awesome Festival from 1st – 17th October 2015.

Tickets available:

http://www.bsstc.com.au/season-2015/the-red-balloon/prices-and-dates/

Awesome Festival:

http://www.awesomearts.com/

Review by Laura Money

Spare Parts Puppet Theatre are the masters of children’s entertainment! With a track record that includes The Velveteen Rabbit, The Little Prince and The Arrival they are an impressive force in storytelling through puppetry. Walking in to their Fremantle headquarters, you are immediately greeted by large puppets and maquettes from previous shows. It has a real sense of fun and creativity about it – children are encouraged to draw at a table and play with abandon.

Fox is the world-premiere of a timeless tale of friendship and caution. Adapted from the award winning book by Margaret Wild and Ron Brooks, Fox tells the story of Dog and Magpie and their friendship, which is almost comprimised when Fox enters their lives.

Walking in, there’s not a lot on the stage – just two little cane cage-like structures. As the images of rain, lightning and thunder are projected onto the stage, the dancers take the cane and shake it violently to emulate a storm. The accompanying music and sound effects are so convincing, a child in the audience calls out: “I’m not scared!” After the rain comes the lashing of flame and fire. Dancer Rachel Arianne Ogle uses orange silks that wave and billow in a balletic display of fire catching everything in its wake – including the wing of Magpie (Jessica Lewis.)

When Dog (Imanuel Dado) comes along and tries to help, she resists at first but begrudgingly and delightfully accepts his friendship. Lewis and Dado are brilliant as the anthropomorphic representations of these animals. The kids laugh wholeheartedly as Dog scratches and runs about enthusiastically. Magpie and Dog play together, delightfully coarsing through the scrubland and ochre deserts of our great land.

Accompanying the charming, funny and beautiful dancing are the illustrations from the book projected onto a screen at the rear of the stage. This screen becomes the backdrop for the capricious nature of the weather – becoming silver and pocked with rain drops, and orange and punched by the Fox’s shear rage.

Ogle’s portrayal of Fox is not only visually stunning, she literally traces the story in the air as though writing caligraphy, but fierce and noble. She sinuously slides around the stage like the dangerous creature she is, corrupt and beautiful at the same time. The children really respond to her, warning Dog and Magpie with their hushed whispers, yet at the end, when asked what their favourite costume/character is, they answer overwhelmingly: Fox.

Director of Fox and Associate Director of Spare Parts, Michael Barlow says “Fox [is] a dynamic and moving production exploring friendship, belonging, temptation, and risk.”

It truly is a beautiful, enduring tale of friendship and caution. If you want something different to do with your children this school holidays, head down to Fremantle for a great family show. At 45 minutes and suitable for all ages, especially six and above, performances are scheduled daily at 10am and 1pm (except Sundays and public holidays).

Fox is on at Spare Parts Puppet Theatre, Fremantle from 26th September – 10th October 2015. Bookings are essential and tickets can be booked online 24/7 at www.sppt.asn.au or by calling 9335 5044.

If you’re looking for fun family entertainment for your children over these school holidays, then Carnival of the Animals is a worthy contender for your time and money.
Named after, inspired by and suitably matched to Camille Saint-Saëns’ beautiful fourteen movement composition, the entire performance is bursting with colour, humour, and most importantly, some pretty amazing circus performances.
True to the show’s name, the cast take on the behaviour of individual creatures, such as butterflies, cats, dogs, fish, caterpillars, chickens, kangaroos, zebras, fleas and more, with the performers generally incorporating some of these creatures’ characteristics into the jumping, tumbling, balancing, juggling, spinning, clowning, swinging, twirling, skipping and aerial antics that unfold.
The seven cast members are absolute pros in their acrobatic and gymnastic abilities and their playfully energetic, innocent and overly-cheery delivery ensures that they’re always engaging and fun to watch. There’s a fair amount of slapstick comedy through the show and as clumsy, wacky clowns the ensemble quickly earn the adoration of all those in the theatre. As acrobats, however, they constantly awe and amaze children and adults in the audience alike, as they clamber over each to create human towers or at one point even a lumbering dinosaur consisting entirely of circus performers!
Accompanying the incredible skill on display here are cartoonish and totally enjoyable animations that set the scene for several of the acts, including memorable ‘under water’ and ‘cacoon’ sequences.
The show isn’t perfect, however. A prolonged section in which inflatable sharks are carried through the theatre kissing children, left the audience confused and wondering whether the totally empty stage indicated that the show had finished. Another moment saw several cast members unnecessarily and playfully pummel the audience with balloons and large inflatable balls, distracting everyone from the impressive physical feats occurring behind them.
Overall though, Carnival of the Animals is an incredibly fun and wacky experience. While the show is effectively oriented to a child audience, it’s not overly patronising for parents and on several occasions I found myself, and nearby adults, exclaim amazement at what was occurring on stage. If you have children it’s definitely worth checking out.
Carnival of the Animals is a CIRCA Production, showing at the Arts Centre Melbourne from 28th September – 4th October 2015.

About Paul Campobasso

Profile: View Paul's profile here

Email: paul.campobasso@www.theaustraliatimes.com.au

Review by Bridget Conway

George’s Marvellous Medicine at the King Street Theatre, in co-production with Epicentre Theatre Company, is one of three Roald Dahl shows currently playing in Sydney, along with the musical Matilda and Revolting Rhymes & Dirty Beasts. With such a heavy line-up of big theatres producing stories inspired by Dahl, the competition for an audience is high. Yet, with grace and flair, the adapted co-production of George’s Marvellous Medicine lights up the stage and is a worthy delight for both young and old audiences.

The show has completely sold out its 10-day long season, but I had the chance to head along to one of the evening shows. Although the crowd wasn’t as rowdy as I expect the 10am Saturday shows would be, it was still a joy to sit in a crowd of young kids and watch as they interacted with the performers with glee.

If you are in Sydney and looking for a piece of gritty and heartfelt theatre, look no further than Jane Bodie‘s double bill of Ride and Fourplay presented by Darlinghurst Theatre Company showing at Eternity Playhouse from 4th September – 4th October 2015.

In Ride, two strangers wake up in bed together, naked and hung over, with no idea how they got there. Through hazily reconstructed memories, they begin to make sense of what may, or may not, have happened between them.

Fourplay is a serendipitous story about four city dwellers finding intimacy, friendship and love in unlikely places. Richly human and cleverly wrought, Fourplay is humorous and authentic.

Constellations director Anthony Skuse is thrilled to return to Eternity Playhouse to direct two of Bodie’s works. “Jane has a wonderful ear for language, rhythm and cadence,” said Skuse. “Fourplay and Ride were written independently of each other, but they complement each other beautifully. Both plays are concerned with how we negotiate our relationships and how we use language to conceal desires or needs as much as reveal them.”

Ride features Emma Palmer (Constellations, War Horse) and Tom O’Sullivan (Wonderland, Cat on a Hot Tin Roof)

Fourplay features Gabrielle Scawthorn (The Young Tycoons, Stop Kiss) and Aaron Glenane (Orphans, Deadline Gallipoli)

TAT Theatre asked playwright Jane Bodie a few questions regarding the show, and she was kind enough to talk to us.

TAT: How did you develop the show and what was your inspiration?

Jane Bodie: I wrote both these plays over ten years ago, and though they work well together as a pair, and share common themes, they were written at different times. I wrote Ride as I wanted to explore an extreme one night stand, where neither of the two people in the morning remembered each other, and so were forced to examine each of their memories from the night before, to make sense of what brought them together and why – it’s an exploration of memory and intimacy pushed to the extreme. Fourplay is about love failing and new love taking its place – and a new kind of love being found in the oddest of places. I was a hopeful romantic back then!

TAT: Do any of the characters resonate with you personally?

JB: All of them in some ways, I like to think that I put a little bit of myself in all my characters – even sometimes the ones I don’t like. I love language, words and I tend to give some of my characters that quality, and I tend to give the women (in this case, Elizabeth in Ride and Alice in Fourplay, my sense of humour – a kind of black irish humour, when all seems lost and doomed, an ability to laugh when the shit comes down – as well as giving them a dose of my old hopeful romanticism.

TAT: What should people walk away with after seeing the shows?

JB: A window into humanity, a feeling they’ve been up close and personal to these six characters for a few hours and seen into their souls, and in doing so, perhaps looked into their own souls a little deeper – and asked themselves some tough and important questions. And a friend of mine, said the plays made her want to go out, get drunk and have sex! Which I’ll take credit for too.

Ride and Fourplay are on at Eternity Theatre, Sydney from 4th September – 4th October 2015.

Tickets and information here:

http://www.darlinghursttheatre.com/whats-on/ride-and-fourplay

What would you do to save an endangered species? Recycle more? Downsize your range rover to a smartcar? Switch to solar power? What about get into bed with big coal? Extinction takes the issues of climate change and its effects, namely the extinction and endagering of species and puts it to the front of your mind.

Dr Piper Ross (Hannah Day) is a research assistant from the USA assigned to work on koalas in Australia. She has extremely strong convictions regarding the plight of animals, especially endangered Australian specimens. Her lover, Andy Dixon (Myles Pollard) also believes strongly in preserving the environment and our natural resources. When Piper meets Harry Jewel (Matt Dytinsky) on a rainy night after he hits an endangered tiger quoll with his range rover, her morals are called into question. Piper and Andy’s sister, Heather, (Sarah McNeill) the head of her university project are both charmed by Harry who turns out to be the CEO of a mining company. When they agree to a project funded by him, tensions run high as all the characters are forced to question where they draw the line in the sand.

Extinction brings all of these issues to the fore but takes the focus off of communities and places it squarely onto the relationships and tensions found in the family unit. The award-winning playwright, Hannie Rayson is the master of relationships. She interweaves the big themes and questions of the day (like climate change and death) and gives them a believable metaphor within the common squabbles and nuances of four people who not only share blood, but also love, passion and commitment either to each other – or the community. Loyalties shift and change, power plays are formed and love is bandied around as the quartet duck and weave with each other.

The sets are beautifully simple, keeping the focus on the characters rather than the glitz of the theatre. Each scene reads like a chapter unfolding in a mystery novel – usually characters are one on one, though sometimes all four of them are onstage, providing a feeling of secrecy, conspiracy, confidence and intimacy. All of the actors are phenomenal, though a special mention must go to Matt Dytynski, who is able not only to charm his fellow actors but the audience also.

Extinction is the perfect mix of family tension, drama and comedy. It will make you wonder if you’re doing enough. You will contemplate how you feel about life and death, and you will leave with a smile on your face.

Extinction is presented by The Black Swan Theatre Company and is playing at The Heath Ledger Theatre, State Theatre Centre of Western Australia from 19th September – 4th October 2015.

Tickets: http://www.bsstc.com.au/season-2015/extinction/prices-and-dates/

Review by Bridget Conway

Last night, on a strangely cold and stormy spring evening in Sydney, I made my way from work to a small suburb nestled in the outer ring of the CBD. There, I sat down to Laura Jackson’s one-woman play Handle It, presented as part of the Sydney Fringe Festival. Jackson is an incredibly talented actor and writer and holds a Bachelor of Performance and a Masters of Creative Writing.

The play is all about the hostile world of the Internet and shows us what happens when girls and women venture into the online world. The result is, as you can expect, not pretty. Jackson tells us the story of Kelsey Armitage, a university student who goes out partying one night only to end up the next day beaten, betrayed, and raped. Jackson portrays the people in Kelsey’s life, such as James (the guy she goes home with), Alexa (Kelsey’s older sister), and Jane(Kelsey’s younger step-sister). Jackson also portrays a sexologist, Jasmine Roberts, a Policewoman, Sal Fitzgerald, and a junior lawyer, Lucy Delaney. We follow Kelsey’s story as photos of her doing a strip tease for James go viral online. Kelsey then tries to take James to court, claiming that he raped and abused her.

It’s only at the very end do we encounter Kelsey herself. Kelsey does not speak to us, though, and stands before us hurt and afraid, yet incredibly keen to move on. She posts a Facebook status update, which we see on the projection behind her. She tells us that she’s going out partying because she’s had enough of the cyber bullying. She leaves us, and the curtain closes.

Handle It evokes all sorts of questions – most of which are left unanswered for a good reason. Jackson forces us to think about the role we play in the story presented, and the result is a thought-provoking night well spent at the Sydney Fringe.

Review by Kelly Sargent

Line up ladies and gents, FAG/STAG performing at the Melbourne Fringe Festival is the average guy exposed, and it’s as relatable and funny as that sounds.

There are three sides to every story, and FAG/STAG will expose you to (the fag) Jimmy, straight and love struck (stag) Corgan and the story in-between.

FAG/STAG is a compelling and truthful insight into the modern guy’s mind, and it makes for typical and hilariously viewing. It covers the intertwined stories of two best mates, who ultimately discover what it means to be human in this complicated, difficult modern life.

Being a young female I’m not often privy to the male mind, so FAG/STAG was particularly enjoyable (predictable?) and hilarious.

It ought to be no surprise young men face similar issues to young women, only they talk about it less. The show is a great reminder to the universal truth; everyone has some hidden struggle that is not always obvious to themselves.

It is incredible storytelling delivered in a compellingly simple way; actors Jeffrey Jay Flower and Chris Isaacs have faultless delivery and enduring stage presence.

The minimal props (two chairs) is a testament to the stellar performance of both actors as I walked the streets of Perth with them, visited the clubs and played Donkey Kong on Nintendo.

Without reading the prelude, I first thought the two boys were different thoughts of the same character; however, it was soon apparent the mates were taking different views on events.

It is an authentic performance, and their angst is real and relatable; I felt the anguish of the Tinder experience (swipe right), the fights with friends, the forgiveness, the life events, and ultimately, the trust.

Both likable characters; Crogan and Jimmy are fallible and lovable, yet not remarkable which is the brilliance of Fag Stag. Two ordinary mates are navigating a complicated world and more difficult feelings.

The best live theatre immerses you into their world, so you leave your problems and self behind; indulging in the comic issues of Corgan and Jimmy in FAG/STAG at the Melbourne Fringe Festival was the perfect escape; go lose yourself for an hour in this compelling and authentic show FAG/STAG.

FAG/STAG is playing as part of Melbourne Fringe Festival at the North Melbourne Town Hall from 18th September – 3rd October 2015.

Tickets:

https://www.melbournefringe.com.au/program/event/view/a5d5fb42-bf90-4996-9723-b150938077af

Review by Brodie Paparella

F*cking with Gender is like a tarot reading you get in the middle of a city street: if you really engage in the moment and invest in the thrill, it can be a truly intimate and indulgent experience. If you’re a cynic or refuse to go with the flow, you’re not going to get it.

Scratch Warehouse is a bespoke space, the charm and calibre of which is rare these days, and a welcome change in the Fringe universe; a true sanctuary of cheek and charity. It appears they have put together a program that has something for everyone so I recommend stepping beyond your expectations and further beyond your comfort zone to see what delights might attend to your innermost guilty pleasures. F*cking with Gender certainly brings focus to the more ramshackle elements of the space with its bawdy bedlam.

If you’re not into audience participation then this might not be the experience for you – if you are into audience participation then wear all the spangly, sparkly, sequined garments you possess!

Although F*cking with Gender is a hilarious delight, the chaotic delivery leaves many a question unanswered, and not in an open-to-interpretation kind of way. Anyone seeking a sensitive addressing of the gender discourse and politics might walk away a bit frazzled, especially with the focus being much more on sexuality and social pressures than tropes or trials – although it was refreshing to see some fun poked at an issue taking itself very seriously of late (with good reason, but still).

Titillation and belly laughs abound in this reveling experiment, but ultimately the content and execution struggles to generate true empathy or a means for the audience to do as the title entices.

F*cking With Gender played as part of Melbourne’s Fringe Festival at the Scratch Warehouse from 16th – 26th September 2015.

It’s always a good time in Melbourne when the Fringe Festival is on. There are so many great shows to see and just not enough time to see them all!

A Star is Bored is currently playing at the Butterfly Club in Melbourne. The stand up comedy cabaret show stars Nick Eynaud, who tells of his first world problems and his desire to be rich, famous and powerful. Since he was 7 months old, he has known he wanted to be a star. He wants to be famous and not have to work too hard to get it – it’s not too much to ask for after all.

With clever and hilarious musical parodies and entertaining stories, Eynaud shares the tale of how he moved from Melbourne to Perth to get his Bachelor of Arts in Music Theatre to pursue his dream of being famous. But it all goes awry when being broke forces him to move back to the family home, in Reservoir.

To make matters worse, his parents get Foxtel and this sends him into a vicious spiral of being a couch potato spending every waking moment watching everything from Masterchef to Extreme Cheapskates, though he still wants more.

Through his obsession with Foxtel, Eynaud finds his calling and chance to make him famous – reality TV. To succeed in his quest, he decides that he would be best suited to Toddlers and Tiaras and the audience gets to see his hilarious audition tape, I was in tears of laughter.

The show proved better than I expected and included songs about Foxtel, Netflix, living in Reservoir and also a beautiful rendition of Sesame Street. From glitter to dancing to rewritten reality show scenes, I was laughing the whole time. I could really appreciate the work that Eynaud put into this show, and it was all in an hour! If all of his shows are like this, then he may very well see his dream of stardom one day realised!

A Star is Bored marks the Melbourne premiere for Nick Eynaud, having previously performed his original cabarets Liza & Judy: Together Again and B.O.Y.

A Star is Bored is playing as part of Melbourne Fringe at The Butterfly Club from 23rd -27th September.

About Sarah K.Gill

Profile: View Sarah 's profile here

Email: sarah.gill@www.theaustraliatimes.com.au

Exchange a palette of dance moves for football footwork and ball skills and you have the remarkable SDS1. This extraordinary performance work brings the world of football onto the stage and in doing so asks us to look more closely at, not only the physical prowess and skills of the players, but also at the ‘meaning’ of football and its place within society.

Ahilan Ratnamohan sweats, breathes and dances within a confined in-the-round space at PICA, and in turn impresses, challenges and confronts the audience. The orange football at his feet is flipped, turned, dribbled and bounced with brilliant skill, but there is still a constant tension throughout. Will he make a mistake? How much further can he push himself physically?

Accompanied by his rhythmic breathing and glistening beads of sweat he moved to a soundtrack that evoked the tribal and primitive elements that underlie this sport. This solo performance work is a trail of strength and endurance, and how we as an audience still make heroes of our gladiators.

SDS1 played at PICA in Perth from 22nd – 24th September 2015.

About Vivienne Glance

Vivienne Glance is a playwright, poet, performer and scholar. Her plays have been produced in Australia and overseas, and have been showcased at The International Playwriting Festival in London. Other plays have won prizes or been shortlisted in competitions. Vivienne works with Sudanese writer, Afeif Ismail, co-transcreating his plays into English, including the AWGIE nominated, The African Magician. Vivienne's poetry has appeared in literary journals and anthologies and she has won places and commendations in competitions. She has published two collections: The Softness of Water (Sunline Press) and A Simple Rain with photographer, Perdita Phillip (Lethologica Press). Vivienne has over two decades experience as a professional performer for stage, television and film. She has a PhD in Creative Writing from the University of Western Australia where she is currently an Honorary Research Fellow. She has been a writer in residence with several organisations including the Djerassi Resident Artist Program in California, USA, and has been an invited guest at many writers festivals.

Profile: View Vivienne's profile here

Email: vivienne.glance@www.theaustraliatimes.com.au

Review by Bridget Conway

With only three performances in Sydney at the Hayes Theatre Co, Dash Kruck’s I Might Take My Shirt Off might just be an easy show to miss; however it definitely isn’t one I’d recommend skipping.

I managed to catch the Sydney opening of Kruck’s cabaret: a one-hour dive into the life of Lionel, a man on the edge of heartbreak and despair after being broken up with by his boyfriend. Lionel has been forced into doing a cabaret show by his aggressive psychologist, and so appears before us as a timid and tender man who says he knows nothing about cabaret except what he’s learnt through Wikipedia entries.

What results from this is 60 minutes of touching and hilarious moments that push and pull the audience in multiple directions. This doesn’t, however, result in confusion or chaos, but instead becomes an expertly crafted story that we can all relate to. After all, we are not all black and white creatures: our stories are in fact diverse, unique, strange, and yet still beautiful.

The only moments that feel off is when Lionel himself feels off. At first this comes across a tad confusing. The awkwardness of Lionel seems so real that we aren’t sure whether the performer really does know what he’s doing. But, this ends up resulting in a great discovery. We come to realise we are not all perfect, and there’s nothing wrong with that.

Kruck’s portrayal of this self-conscious and heartbroken man is presented to us in fluctuating moments of self-hatred, then boisterous and sexy performance, then in sadness and betrayal, finally ending in a happy-go-lucky finale that leaves you feeling warm and satisfied. If you’re after a cabaret show that pushes the boundaries of what you thought cabaret was all about, then rest assured I Might Take My Shirt Off will deliver.

I May Take My Shirt Off is playing at Hayes Theatre Co in Sydney on Sunday 20th, 27th September and Sunday 11th October. More details: http://www.hayestheatre.com.au/now-playing/i-might-take-my-shirt-off-2.html

5 stars

Review by Brodie Paparella

See Minnie & Mona Play Dead. See it. Seriously, now. Go.

Alright, I’ll elaborate!

The issue with plays-that-have-plays-within-them is that my sense of empathy and reality is disconnected, my safe spot as an audience member is compromised, my attachment to the content made all the more volatile. This is a device used so exquisitely in this production, I felt a lot of nauseous inertia afterward.

There wasn’t a single second of this show I did not like. I haven’t laughed so hard in a theatre ever before, and the juxtaposition of randomised sport against the “I don’t want to play anymore” sucker-punch that pinpoints the feeling of trauma like a harpoon left me raw. There is a terrible freedom in laughing at the most horrific event in human life: it’s premature and purposeful conclusion. Gita Bezard and Arielle Gray as Minnie and Mona respectively give flawless representations of how we approach our own demise, and how we might be so fascinated by its prospects that we expedite it. Writer Jeffrey Jay Fowler and director Kathryn Osborne are beautifully infused in the action, while Alissa De Souza’s design makes the shifts in space effective, allowing subtler moments room to echo.

I strongly recommend taking as many friends to see this as you can, if for no other reason than it is quotable for all the right reasons #unicornwithacheekysecret. But more so because mental illness, depression, suicide are all topics we fear to tread too heavily upon. Perhaps we’re more afraid of being thought of as morbid than as uncaring, more afraid to hear that someone is not OK than to plead ignorance. Congratulations to The Last Great Hunt for opening up the ribcages.

So see Minnie and Mona Play Dead. Call Lifeline on 13 11 14 after if you need.

Minnie and Mona Play Dead is on as part of Melbourne Fringe at The North Melbourne Town Hall from 18th September – 3rd October.

Lawrie Fildes and Tegan Jones as Jenny and her Dad

4 stars

Review by Brodie Paparella

To find a play that is as entertaining as it is poignant, charming as it is clever, is rare these days, but Boutique Theatre have a true gem in The Intelligent Design of Jenny Chow. We meet the protagonist Jenny Marcus as she tries to negotiate the recovery of a robot-proxy of herself designed to help her locate her biological mother. Tegan Jones as Real Jenny carries the show with great sincerity and strength. Kim Ko as Robot Jenny executes artificial intelligence flawlessly.

We are introduced to a broad cast of characters who live within and around Jenny’s domestic universe, outside of which her Obsessive Compulsive Disorder and agoraphobia prevent her from treading, much to the frustration of her career-crazy mother (Angelique Malcolm) and understanding father (Lawre Fildes). Although she has a friend in Todd (Roby Favretto), who is basically all our high-school crushes rolled into one, Jenny finds most authenticity within her room and routine, as well as those she interacts with online (all played by Sam Lavery).

Commendations to directors Emma Caldwell and Samantha Cunningham for a great job enclosing so much action and interaction into a small space – in itself a good sensory device to empathise with Jenny’s spatial needs – but the dynamics of the play unfortunately lack the precision to stop some moments from feeling cramped; the story and performances truly deserve a bigger space, which might give some of the actors more freedom to commit to their characterisation and some of the more raw emotion.

Commendations to Favretto for absolutely nailing it, to Lavery for peerless comedic chops, and both Jones’ for doing pure justice to the conditions, including genius, she engendered real and necessary empathy for.

The Intelligent Design of Jenny Chow is playing as part of Melbourne Fringe at Brunswick Art Space from 17th September – 3rd October. Get tickets here:

https://www.melbournefringe.com.au/program/event/view/35d6f19b-1d7a-43f3-882f-19ec95e28a33

3 Stars

Review by Brodie Paparella

You’ll laugh your heads off!
…
That’s a decapitation joke. Bear with me.

This cabaret overload has got to be one of the most marvellous curiosities ever encountered by Melbourne Fringe-goers, a feat of continuing sensory peaks presented in the glittering Melba Spiegeltent.

If Kate Bush and Kate Miller-Heidke had a baby, then beat it over the head with a copy of Dante’s Inferno, sold it to Christina Ricci’s portrayal of Wednesday Addams with no worldly possessions but a can of UV paint and a ukulele, you’d have Anya Anastasia. Her depiction of the self-indulgence, bouffon, and delusions of grandeur we’ve come to associate with Marie Antoinette in this modern retelling of her death was as precise as it was entertaining.

With comedic timing to die for, Anastasia gives us cabaret by-the-book, her one-liners executed brilliantly and to hoots from the audience. It was that and her remarkable original songs that guided the audience through her revelations on death, sex and extravagance that really made the show something worth investigating. I’d urge anyone who is interested in cabaret but never sure what they should see, this is the rawest form of the method I’d ever seen. Her fluctuations of costume, character and voice really lend themselves to the knife-edge balance of satire and saccharine she walks with convincing confidence.

Anastasia was masterful at song-crafting and instrumentation, and though some of the more adventurous vocals cost the audience catching the lyrics, no cost came to the laughter enjoyed at her perfect puns and tenacious turn of phrase. Anya’s ability laugh at herself should also be commended, as this was certainly a performance of bravado and hyperbole. There were gimmicks aplenty to keep the ball rolling, in a performance that I could only describe as “outrageous”.

Torte e Morte: Songs of Cake and Death played as part of Melbourne Fringe at the Melba Spiegletent from 16th -20th September.

September is full of theatre options all across Australia. Here are a few Spring highlights:

SYDNEY

Anything Goes

Caroline O’Connor leads the all-star cast as evangelist turned nightclub singer Reno Sweeney. Set aboard an ocean liner traveling from New York to London you’ll laugh, cry and sing along to the madcap antics of the brilliant cast. Featuring the familiar songs ‘I Get A Kick Out Of You’ and ‘De-lovely’ Anything Goes is the toe-tapping musical of the year.

Anything Goes is on at The Sydney Opera House until 31st October. Tickets available:

http://anythinggoesmusical.com.au/tickets/sydney/

I May Take My Shirt Off

Be entertained amongst the stars! Between Solar Systems, written and directed by Scott MacArdle, is a delightful and well-presented 75 minutes show. On a silver clad stage with computer screens and flashing lights, we are placed inside a familiar spaceship interior (set designer Sara Chricilli). Vincent (Nick Maclaine) is a typical spaceship captain in his figure-hugging Star Trek-like clothing. Ably assisted by ‘V’ (Jo Morris), the disembodied voice of the ship’s computer, Vincent has a set routine and not a care in the world, until… With the appearance of (imagined or simulated?) ‘The Woman’ (Emily David) Vincent questions his reality and asks bigger questions such as, who is really in control, and who needs whom to give their existence purpose?

Presented by Second Chance Theatre & The Blue Room Theatre Between Two Solar Systems is playing from 8-26 September 2015 7pm at the Blue Room Theatre, Perth

Tickets: http://blueroom.org.au/events/between-solar-systems/

About Vivienne Glance

Profile: View Vivienne's profile here

Email: vivienne.glance@www.theaustraliatimes.com.au

With a title like this it’s hard not to be intrigued. Straight out of the fire that was Fringeworld in Perth, Sophie Joske has a brief interlude before heading into the frying pan of the Melbourne Fringe Festival. Her one-woman show has been tweaked and she heads to the familiar ground of The Brisbane Hotel where she is a regular part of improvisational comedy troupe The Big Hoo Haa.

Walking in, the tiny brick-wall lined stage is set up with a flow chart, projector and a few seats. This is Sophie’s final exam in how to be a functional adult. She nervously awaits the Logan’s Run type voiceover that has been teaching her how to shirk her stupid childhood ways – enjoying cereal, cartoons and Bill Murray – to being what is deemed a ‘functional adult’ – liking asparagus, wine and salad. Joske tackles tough issues like sexuality, dating and femininity really stripping bare the preconcieved notions that society holds for all of us.

Joske is the master of sarcastic awkwardness. She declares to us all that prior to attending the institute, she was in possession of an arts degree. Her wide-eyed manic laugh says it all – this is a show where you can laugh with abandon and recognise yourself in the antics of its poor, awkward protaganist. Of course, trying to be something you’re not inevitably fails and Joske deftly tackles this idea head on and with incredibly funny results.

If you don’t feel like a real adult and want a great laugh, head over to Melbourne to catch Become a Functional Adult in 45 Minutes and you will leave with a good sense of your place in the world.

Become a Functional Adult in 45 Minutes will play at Club Voltaire in North Melbourne from the 23rd to 28th September 2015 as part of Melbourne Fringe.

In olden days a glimpse of stocking was all you needed to put on a semi-decent musical, but nowadays a production needs more than a good wardrobe manager. Today’s musical theatre audiences walk into the Sydney Opera House to see Dean Bryant and Andrew Hallsworth’s version of Cole Porter’s Anything Goes expecting a set that transports them into the world of the play: tick (and the segue for the audience is beautifully achieved by having the onstage barman ask everyone to make sure the only phone that rings is his one). They sit back in their seats, eagerly awaiting strong singing: tick (and all done with fabulous New Yoik accents). They look for convincing acting: double tick – the background acting is phenomenal. (Whether this is down to the cast themselves or extremely attentive directing I cannot know, but either way, it is brilliant.)

But the triple tick goes, toes down, to the choreography. From the comedic duet between Reno and Martin to the frenetic applause-worthy full company eponymous number just before the interval, whenever you spot a cast member wearing tap shoes you know you are in for a treat. And it is not just the chorus: while in any other show they would shine as the strong dancers, in this one they serve rather to accompany the triple-threat leads – some of the finest performers I have ever seen grace a stage.

This is, quite simply, a toe-tappingly terrific piece of theatre. From start to finish you will smile, laugh and be dazzled.

So though I’m by no means a dancer I now cannot help but answer: my favourite show? Anything Goes!

Anything Goes is on at The Sydney Opera House until 31st October 2015 and features musical legends Caroline O’Connor and Todd McKenny.

About Fiona Hart

Fiona studied theatre at the University of Glasgow and also the University of California, San Diego, and has worked as an Assistant Stage Manager at the Edinburgh Festival. Since moving to Australia in 2011 she has greatly enjoyed exploring the Sydney theatre scene. Follow her on Twitter @missfmp or catch her blog on originalchatterbox.blogspot.com.

Profile: View Fiona's profile here

Email: fiona.hart@www.theaustraliatimes.com.au

Elena - Queen Mary, Caroline - Anna, Philip Calcagno - Tabolt

Review by Sarah Gill

Gaetano Donizetti’s Mary Stuart (Maria Stuarda) has not been seen in Melbourne for more than 40 years. The new production, directed by Suzanne Chaundy is being shown at the Athenaeum Theatre in Melbourne and is led by acclaimed Donizetti specialist conductor, Richard Divall.

The dramatic and tragically beautiful opera depicts the rivalry between Queen Elizabeth I and Queen Mary Stuart. In reality the two queens never met, Donizetti’s opera tells the story of what would happen if they did.

This historical opera exposes the fighting cousins and shows that they each had their own set of strengths that were very different from each other. Mary is free spirited and thinks with her heart; Queen Elizabeth is very proud and lives for her country.

Gaetano Donizetti’s Mary Stuart (Maria Stuarda) is a captivating and beautifully crafted masterpiece.

Mary Stuart (Maria Sturdata) plays at the Athenaeum in Melbourne from the 2nd – 12th September 2015

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Imagine a world where people said what they really thought. You know, were really honest about their intentions, motivations and prejudices. Imagine a world where people give away Human Rights in a gameshow arena and try to save lives via an LED counter. Imagine four people in extremely revealing gold jumpsuits and you have All That Glitters. This is a remarkable new piece by independent theatre company The Last Great Hunt, featuring and devised by the uber-talented Chris Issacs, Adrianne Daff, Jeffrey Jay Fowler and Arielle Gray.

At the beginning, it appears that this is going to be quite absurdist and a little pretentious – each character enters in single file cradling and soothing imaginary babies. The audience is hushed. Cue Taylor Swift’s hot new classic Bad Blood booming from the speakers and a hilariously choreographed dance. The audience settles as it becomes apparent that this will be funny and self-aware, not a bunch of precocious rubbish. The ‘Hunters’ launch into a game show style introduction where they give away a full set of Human Rights. Well, it turns out we all have them, actually.

It’s a fantastic premise; an exploration of asylum seeker’s stories, ideas and attitudes towards them, and how the arts have tried and sometimes failed to make a difference. The four Hunters split off into two couples in a parody of awkward and banal dinner parties, chatting about everything from the big game to making crumble in a bread maker. It’s sharp, witty and clever dialogue perfectly timed and acted by the ensemble. It’s at the end of the conversation, however, that the real story comes out. Irene has purchased an art piece by a child from a war torn country. The others are uncomfortable being confronted by the piece and are subsequently accused of being racist.
As hilarious as the tone and delivery is, the accusation cuts straight to the bone. There is a brilliant analogy regarding not helping ‘brown people’ because they knocked on the resident’s back door and not the front. A great commentary on burying one’s head in the pop music of Taylor Swift – but in the end the audience is asked: can you really just ‘shake it off?’

All That Glitters is a witty, intelligent and extremely funny play that tackles the hard issues head on, in gold jumpsuits.

All That Glitters played at The Blue Room Theatre from the 11th – 29th August 2015.

At last month’s star-studded Helpmann Awards ceremony at Sydney’s Capitol Theatre hosted by Todd McKenney, the new John Frost/Opera Australia production of Anything Goes was presented with three Helpmann Awards. Caroline O’Connor won Best Female Actor in a Musical, Alex Rathgeber won Best Male Actor in a Supporting Role in a Musical, and Andrew Hallsworth won Best Choreography in a Musical.

Opera Australia Artistic Director Lyndon Terracini AM and leading Australian theatre producer John Frost AM were thrilled. “We are extremely proud of Anything Goes, and very happy for this well-deserved recognition for Caroline, Alex and Andrew” they said. “The show was acclaimed by critics and audiences alike in Melbourne, and we can’t wait to open to Brisbane audiences tonight.”

The Age gave Anything Goes four stars, saying “Riotously entertaining. Anything Goes is a must-see for musical theatre fans … Caroline O’Connor thrills as Reno Sweeney… she delivers everything you could want – a big, bold, brassy performance full of vocal splendour, impeccable comic timing, and show-stopping tap routines danced with dynamic flair.” The Herald Sun, also awarding four stars, claimed the show is “Stylish… exuberant… Anything Goes is still De-lightful, De-licious and De-lovely.” The Australian cried, “Goodness knows, Anything’s pure gold … A joyously energized production.”

HIS MAJESTY’S THEATRE
29, 31 October and 3, 5, 7 November
at 7.30pm

Conducted by Brad Cohen
Director David McVicar
Revival Director Bruno Ravella
Set Designer Charles Edwards
Costume Designer Brigitte Reiffenstuel
Lighting Designer Paule Constable
Choreographer Michael Keegan-Dolan

Sung in French with English subtitles

West Australian Opera’s critically-acclaimed 2015 Season will conclude with Charles Gounod’s grand opera, Faust, a fittingly lavish production from Scottish director David McVicar for the Royal Opera House, Covent Garden.

The storyline behind this masterpiece is one of the most enduring in literature: a bargain with the devil and the subsequent battle between good and evil with an intriguing mix of temptation, romance and betrayal. The richness of Gounod’s music underscores the drama of this tragic tale and includes one of the most famous arias in the opera repertoire: Ah, je ris de me voir (the Jewel Song) as well as Gloire immortelle de nos aïeux (the Soldier’s Chorus).

Celebrated US tenor Patrick O’Halloran will make his debut with West Australian Opera as the ill-fated Faust. Teddy Tahu Rhodes, who needs no introduction to Western Australian audiences, will appear as Méphistophélès while Armenian-Australian soprano, Natalie Aroyan will sing the role of the hapless Marguerite, the innocent maiden who is the object of Faust’s infatuation.

Also appearing on stage will be baritones Samuel Dundas performing the role of Marguerite’s brother, Valentin, together with Mark Alderson as his fellow soldier and friend, Wagner. Fiona Campbell will sing the role of Siébel with mezzo soprano, Ileana Rinaldi, one of West Australian Opera’s Mentored Artists for 2015, appearing as Marguerite’s guardian, Marthe.

Brad Cohen, Artistic Director of WAO, makes a welcome return to Perth to lead the West Australian Symphony Orchestra in this production which will also feature the West Australian Opera Chorus.

About Laura Money

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Review by Hayley Simpson

Picnic is a one-man show that begins on a picnic rug and ends with a kite blowing in the breeze. Gerard Van Dyck of The Collapsible Man fame is the star of the show, which is currently being held in the basement at Melbourne’s Forty Five Downstairs. Picnic is a collection of interpretative dances, audience interaction and monologues. It expertly uses the naïve, humble picnic setting to delve into the adult world. It is a show that will have audiences reminiscing long after they leave the theatre.

Picnic is written by acclaimed Australian writer and broadcaster Marieke Hardy and Alistair Macindoe is the composer. Van Dyck’s performance is unique, in that he presents adult “grown up” material in a childlike manner. Picnic features a few intermittent vlogs, from day one when he quits his office job to day 200 when he is sleeping wherever his body falls. But this adult life is interestingly contrasted with childlike wonderment. Following the video monologues, he happily eats an ice-cream while dancing across the stage and flies a kite, which blows in the non-existent breeze.

The audience interaction implemented is a welcoming element to the performance. At the beginning, Van Dyck invites the audience to check under their seats for food. He is consequently thrown a packet of sausages, potato salad and Red Rock Deli chips. Near the end of Picnic, the audience is asked to retrieve a pencil and piece of paper from under their seats. Each spectator is asked to write a love letter to themselves. An esky is then passed around and the audience places their memo inside, to then choose someone else’s at the end of the performance.

I didn’t expect personal reflection when I entered the theatre, but Picnic is a show full of surprises.

PICNIC is playing at Fortyfive Downstairs from the 18th – 30th August 2015.

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By Paul Campobasso

4/5 Stars

If you’re in the city on the first Thursday of the month and in need of a laugh, take a stroll down the obscure, dimly lit alleyway of Carson Place (in Melbourne’s CBD) and head into the friendly yet aesthetically confusing Butterfly Club. Here, you may be lucky enough to witness a bout of comedic trivia, titled Paul Culliver Controls the Media, which delivers a lot of fun and plenty of humour.

Although the crowd is small, I feel like I’m sitting in a full house once the show begins; the audience’s laughter filling the room to capacity. It’s a fitting reaction to a line-up of comedians and their intelligent, random and even informative humour.

Taking the familiar format of a quiz show, the performance features two teams of comedians with Andy Matthews and Bec Petraitis on one side; Angus Hodge and Anthony McCormack on the other. Comedian Paul Culliver sits between the two teams, coordinating the show and introducing the game categories, all of which revolve around recent news events and headlines.

The friendly, comedic and neurotic chemistry between the participants makes the entire panel likeable and fun to watch, while the way they acknowledge and encourage audience participation and interaction, without ever forcing it, keeps the whole event random and engaging.

Though the line-up of comedians constantly changes, if this month’s quiz is any indication of how funny the others will be, then Paul Culliver Controls the Media will provide a great hour of entertainment that’s topical and enjoyable.

Paul Culliver Controls the Media shows the first Thursday of every month at The Butterfly Club, Carson Place, Melbourne, VIC, 3000.

Perth Theatre Company has cancelled the remainder of its 2015 season including major drawcard Of Mice and Men that was to star Jai Courtenay and Gary Sweet after being unable to secure adequate corporate funding to make the plays financially viable.

The board was forced to cancel the shows when it became apparrant that they would not reach the sponsorship targets set. PTC chairman Saliba Sassine indicated that Of Mice and Men alone required $500, 000 to produce meaning that the company would certainly risk going into deficit if the production were to go ahead as planned.

Dr Sassine noted that in the last few months companies large and small seemed less willing to donate to the arts in Western Australia. With the cancellation of Of Mice and Men and the smaller play Yourseven the company has a chance of breaking even and providing full financial security for its full time staff members.

A review of sponsorship for 2016 is currently underway and ticket holders for both cancelled shows will receive full refunds.

Rewview by Paul Campobasso

4 1/2 stars

The art of dance can be a fairly diverse art though rarely have Melbournians been treated to anything quite as exotic as Kuda Lumping, a traditional Javanese ritualistic dance showing at The Arts Centre Melbourne, as part of Supersense – A Festival of The Ecstatic (August 7^th-9^th ).

Attending the festival’s opening night, the evening begins navigating the twisting hallways beneath The Arts Centre before finally arriving on stage at The State Theatre, where my attention is quickly drawn towards the ritualistic headsets and assortment of mostly percussion instruments placed in front of me.

After a few minutes, members of the Padepokan Gunung Ukir troupe, all dressed in traditional attire and barefoot, silently enter the performance space and take their place on stage. Some begin to play away at the instruments producing an entrancing, tribal-like melody that I find hauntingly hypnotic and almost ominous.

This is occasionally enhanced by the native vocals of a single female singer. Though I have no idea what she’s singing about, her voice is undeniably beautiful and adds to the emotion of the music.

I’ve heard it frequently stated that participants of Kuda Lumping enter “a frenzied state of possession”. I find this to be an accurate description once the dancing begins. Groups of performers dance around the stage in various costumes and on bamboo horses, cracking whips and even chomping on razor blades and what looked like fluorescent tubes and coconuts while also eating, dancing and rolling around in piles of glass.

Sometimes there can be too many things happening at once and with hundreds of spectators on stage watching the performance up close, I found that it was sometimes easy to miss certain elements. Otherwise though the entire performance was addictive and fascinating. A truly unique experience that we should all hope makes a return to Australia soon!

Padepokan Gunung Ukir’s Kuda Lumping played at the Art Centre, Melbourne from August 7^th-9^th as part of Supersense – A Festival of The Ecstatic.

It has been a while since the Heath Ledger Theatre has sported traditional red velvet curtains, but sitting there knowing the action is about to unfold staring up at these sumptuous curtains there is an excited buzz rippling through the audience. The play opens to the beautifully rendered sweeping interior of the Condomine’s wealthy front room – supposedly rendered bare due to the war – but the furnishings are still opulent and the large French doors and window drips of glamour. It’s crackling and witty from the start. Adriane Daff who was fantastic in Black Swan Theatre Company‘s Flood plays the sharp-tongued, quick-witted Ruth Comdomine, second wife to Charles (Adam Booth) she sparkles with dry wit as she quizzes Charles on his plans for the evening and of his feelings for his decesed ex-wife. Ruth is scathing towards the maid (Ella Heatherington) who, after being told to slow down, walks in a deliberately egagerated fashion, which is funny at first but soon gets tired. The dialogue is Noel Coward at his finest – it is sharp, clever and banter-filled leaving the audience in stitches.

Charles is a writer, and enlists the help of his wife and friends Dr and Mrs Bradman (Michael Loney and Michelle Fornasier) to summon the eclectic and mockable Madame Arcati for a seance – the idea is to mock her and write a book about a charlatan psychic. Enter Alison Van Reeken as Madame Arcati – filling in last minute due to the late-notice withdrawl of the previous actress. Van Reeken is marvellous. At first, her performance seems very similar to her previous Black Swan role in Dinner (this is the smallest of criticisms considering she only had two rehearsals to learn the role!) however, she breathes a life and soul into the quirky and slightly formidable medium.

In true farcical fashion, it’s all fun and games until someone’s dead wife is summoned from the grave. Jo Morris a solid performer on the Perth stage is hilarious as the flighty spirit of Elvira and plays beautifully off of Daff whose facial expressions are second to none.

If you are considering going to see Black Swan Theatre Company‘s production of Blithe Spirit, ask the stars…all signs will point to yes!

Blithe Spirit is playing at The State Theatre Centre Perth from the 18th July – 9th August.

The Songs of Mackenzie-Spencer and Strano in Concert

5 Stars

Review by Hayley Simpson

Loclan Mackenzie-Spencer. Andrew Strano. The two talented musical men behind The Songs of Mackenzie-Spencer and Strano. As a newbie to the Melbourne musical scene, I soon realised this duo are quite famous in the local theatre circuit. After this performance, I now understand why and may even begin to call myself one of their groupies.

The Songs of Mackenzie-Spencer and Strano is a compilation of songs the duo have written and produced over the past year. Strano introduces the show, which instantly makes the performance feel more personal. Mackenzie-Spencer directs the four-piece band as he plays the piano exquisitely for each song. In front of the band are six music stands, six music books and six microphones. From here the audience is treated to the six cast members’ voices singing together, individually or as a duet.

The cast includes more Melbourne musical royalty, including Fem Belling, Andrew Broadbent, Stefanie Jones and Rob Tripolino. The set list is an excellent combination of songs that tear at the heartstrings, make you smile and induce a laughing fit. There are songs about love, loss, Tiger Air, plant genitalia, Harry Potter and incest.

I particularly enjoy the number entitled, “Crack Babies.” The entire audience was singing along to the chorus by the end. The song about the inefficiency of Tiger Air seems to cause flashbacks for some audience members too. But perhaps the song about a man being in love with his twin sister because they have “so much in common” is the funniest of them all.

The variation in the songs and the stories they tell perfectly highlights the talents of Mackenzie-Spencer and Strano. First stop: in a Chapel off Chapel. Next stop: on a street named Broadway.

4 ½ stars

Review by Laura Money

Mozart’s The Marriage of Figaro is the quintessential opera, a big title in the opera world with a tradition that spans the ages and an overture that conjures the majesty and experience of a night at the opera. WA Opera’s 2015 season reflects this classic approach to opera favourites and comedies. Off the back of Rossini’s The Barber of Seville where many of Figaro’s characters were introduced, Neil Armfield’s production of The Marriage of Figaro brings the hilarious characters back into a larger than life complicated plot-line riddled with the minutiae of the ‘opera buffa.”

In the grand setting of His Majesty’s Theatre the eighteenth-century stylings of the set fit right in. The ‘curtain’ and backdrop consists largely of a crumpled brown piece of cloth that closely resembles the vellum parchment the original manuscript would have been written on. Alongside some opulent rooms, sweeping windows and hilarious hidey-holes that only add to the farce later, there are also some items that are seemingly incongruous to the era – an ironing board, electric iron, electric vacuum cleaner, and 60s style curling machine – which only adds to the kitsch appeal of the production. It is clear that the props are a cheeky nod to the humour of the whole thing.

In fact, humour is the main drawcard of the show, as demonstrated by the amazing talent of the actors. James Clayton shines as Figaro, a role he sings effortlessly and acts perfectly. Clayton’s Figaro sparkles with the wit and cheek of an eighteenth century Bugs Bunny – at one point he halts the harpsichord player to complete eating a chocolate bon bon. Emma Pearson and Elvira Fatykhova are the perfect comedy duo as Susanna and her mistress and of course Fiona Campbell is flawless in the pants role of Cherubino – the hormone-driven young buck in love with anything in a skirt.

Armfield’s directorial vision brings together the tradition of a classic opera with all the calamities and hilarities of a traditional work and the modern world of self-awareness and kitsch in the perfect marriage of productions. As I overheard a conversation between two ladies in the line to the bathrooms saying that opera is all about the experience – it’s not just the show itself, it’s the whole thing from being in an opulent theatre to seeing the hallmarks of Mozart’s era. The Marriage of Figaro absolutely embodies the traditions of the opera giving it a thoroughly modern twist that means the ‘experience’ of the opera will continue to live on.

The Marriage of Figaro is on at His Majesty’s Theatre in Perth from the 14^th – 25^th July 2015.

4 stars

Review by Laura Money

Walking into the intimate space of The Blue Room Theatre is always a pleasantly surprising experience as it is such a versatile space. This time it is transformed into soft-lighted cabaret style bar complete with small red-clothed tables as the audience seating, complete with soft guitar strumming coming from the corner. All of the actors are on “stage” as the bar is the setting. Songbird tells the story of Brooke, Leon and Mike who were inseparable in their formative teenage years until Mike’s tragic, untimely death.

Years later, Leon bumps into Brooke again in his hometown pub. It seems an innocent and chance enough meeting on the surface s they reminisce and laugh together but it is obvious that something had happened between the pair in the past. Bethany Cooper, Zao James, and James Taylor are flawless as they vacillate between scenes of the past and Brooke and Leon’s present meeting in the pub.

Songbird is a haunting and beautiful lesson in love, camaraderie, deep affection and connection. It is about forging intense relationships and the strong emotions that align with that. It features live songs that are heartfelt and irreverent and are guaranteed to elicit tingles. Cooper’s voice is sweet and soulful and the sentiment behind the songs create an emotionally rich experience.

This is not Shakara Watley (Director) and Yirra Yaakin’s first collaboration with The Blue Room Theatre and it shows. The show is slick, professional and, more importantly, intimate and relatable. It speaks of the fine line between curiosity, anger and forgiveness and it will make you want to go home and hug your loved ones tighter.

Songbird played at The Blue Room Theatre, Perth from the 7^th – 18^th July 2015.

Perth Theatre Company presents the award winning John Steinbeck classic tale of drifters Lennie and George, on stage at the Heath Ledger Theatre 4-20 December.

Joining rising Hollywood star Jai Courtney (Terminator: Genisys, Divergent, The Water Diviner, Unbroken and Felony) is Gary Sweet (Police Rescue, House Husbands, Charlie’s Country) as Slim, and Ian Meadows (The Moodys, Rake, The Pacific) in the main role of George.

Other cast members include Steve Turner, Luke Hewitt, Josh Brennan, Igor Sas and Rose Riley. Featuring live music from award winning Perth band Stoney Joe, Of Mice and Men offers a high impact showcase of talent in this unique theatre experience.

Described as ‘the conscience of his country’, recognised and loved across generations and cultures, John Steinbeck, winner of the Nobel Prize for Literature, has secured a place in hearts and minds the world over with this iconic piece of fiction.

Of Mice and Men explores male friendships, transient workforces and class divides in a compelling and enduring tale that has an astonishing resonance today.

Artistic Director Melissa Cantwell says of the production:

“It’s a wonderful moment when a classic text finds such relevance in the contemporary

world. I think the play will resonate with West Australian audiences – the culture of

transient workforces; of working on and with the land; dreams of owning a piece of it and

making a better future for ourselves. So many of the themes in this piece run deep in our

society. It is an ageless work that has a real synergy with the specifics of our time and

place.”

Jai Courtney will play Lennie Small, a mentally disabled man who travels the countryaccompanied by his friend, George. Jai says:

“I’m thrilled to be coming back to Perth to

stomp around on stage again. Mel and I have wanted to work together for years and I’m so

excited the opportunity has finally arisen. Of Mice and Men is such a timeless text and a

story I can’t wait to help tell. The vision for this production is groundbreaking and we’re all

committed to creating something special that audiences will be hard pressed to

forget. Perth Theatre Company gave me my start in this industry and its such an

honour to be asked back.”

OF MICE AND MEN STARRING JAI COURTNEY

***4 – 20 DECEMBER ***

CAST AND CREW

DIRECTOR Melissa Cantwell

SET/COSTUME DESIGNER Zoe Atkinson

LIGHTING DESIGNER Matthew Marshall

SOUND DESIGNER Will Slade

MUSIC/COMPOSITION Stoney Joe

FEATURING

Jai Courtney

Gary Sweet

Ian Meadows

Steve Turner

Josh Brennan

Rose Riley

Luke Hewitt

Igor Sas

VENUE

Heath Ledger Theatre, State Theatre Centre of WA

DATES & TIMES

Preview | 4 December

Season | 5- 20 December

Tue-Fri: 7.30pm

Sat: 2pm & 7.30pm

TICKETS

$30-80

Online at ticketek.com.au; Phone 1300 795 012; In Person at any Ticketek agency.

Corporate hospitality packages available on request.

Gala Opening Night event $200. Contact PTC to purchase.

DURATION

Approx 2 hours 20 minutes (including interval)

Review by Laura Money

Upon entering the grand and sweeping space of the Heath Ledger Theatre at the State Theatre Centre WA one thing becomes clear: there is a beautiful and irreverent feeling of respect for the Australian landscape. The natural wood and staggered earthy toned chairs of the audience blend perfectly with the minimalist and naturally curved set. There is a wooden structure, reminiscent of a whale skeleton, a boat, a wicker chair and some fishing paraphernalia. To the right of the stage is a beautiful representation of a midden and a wooden post. This is the world of Storm Boy.

A soundscape of the ocean reaches fever pitch. Two Aboriginal figures don the stage, in traditional poses. A didgeridoo begins to play and a great feeling of connection to land and the anticipation of a dreamtime story falls on the audience. The play starts with the young “Storm Boy” (Otis Pavlovic) scouring the beach for debris after a particularly bad storm. He is warned by his overprotective father (Julian Garner) not to be seen but fails when he meets an Aboriginal man, Fingerbone Bill (Jimi Bani.)

They form an unlikely friendship and all three of them help to rehabilitate three pelicans who were orphaned during the storm. Storm Boy is a poignant coming of age tale, it hearkens to nature, man’s place within it, familial relationships, growing up, resisting and accepting change, and embracing one’s identity.

Barking Gecko Theatre Company and Sydney Theatre Company come together to provide the perfect balance of fun, simplicity and beauty. The puppetry is flawless, the pelicans really have distinct personalities! Anthony Mayor and Phil Dean Walford are more than puppeteers, they perform intimate dances as the birds, it looks and feels like a spiritual duet played with the hilarity and dignity of the moment.

Beautiful, sad, funny and with a great amount of bum jokes, Storm Boy has children giggling at one moment and sniffling at the next. Oh, and the adults, too.

Barking Gecko Theatre Company and Sydney Theatre Company presents Storm Boy playing at the State Theatre Centre WA from 4^th – 11^th July 2015.

Smarter than Smoking presents Barking Gecko Theatre Company and Sydney Theatre Company’s sell out production of Colin Thiele’s Storm Boy, one of Australia’s best-‐loved stories, returning to WA for a strictly limited season at the Mandurah Performing Arts Centre 2-‐4 July and the Heath Ledger Theatre at the State Theatre Centre of W.A. 8-‐11 July.

A boy’s last childhood summer before beginning the long trek to adulthood is spent with his reclusive dad Hideaway Tom in the wild freedom of South Australia’s Coorong. Storm Boy roams the savage landscape, navigating the waters and searching for debris and wildlife. Along the way he picks up some unlikely friends including the enigmatic Fingerbone Bill and a family of orphaned pelicans, including his favourite, Mr Percival.

This adaptation by Tom Holloway and directed by Barking Gecko’s outgoing and groundbreaking Artistic Director John Sheedy has been refreshed for 2015, featuring a stunning cast including Julian Garner as Hideaway Tom; Jimi Bani in the role of Fingerbone Bill; and extraordinary new talent Kai Lewis and Otis Pavolic sharing the performance of Storm Boy.

Whether you are returning to the story as an adult, or introducing it to a new generation, we look forward to sharing with you afresh the wonder, sadness and hope of this homegrown classic.

This production is proudly presented by Healthway promoting the Smarter than Smoking message and supported by the Minderoo Foundation.

By Vivienne Glance

The worlds of land and under the sea are beautifully brought to life in this return season of Blueback, a Spare Parts Puppet Theatre classic. Adapted by Peta Murray from the Tim Winton children’s story of the same name, it follows the life of Abel Jackson from boyhood to fatherhood, and his deep connection to his home by the ocean. Touching on themes of love and loss, this wonderful production enchants and questions how we relate to the sea, its perils and its gifts.

Director, Phillip Mitchell, will be ‘In Conversation’ with Peta Murray at Spare Parts Puppet Theatre on 8^th July after the 6.30pm show, discussing themes and issues raised by Blueback so be sure to catch that if you can.

Blueback is on from 4-18 July, details on the Spare Parts Puppet Theatre website:

www.sppt.asn.au/programme/

Review by Fiona Hart

“Do you hear the people sing?”

Well, yes I do – but I do not always hear what the (largely very talented) people are singing about. And that is the crux of my problem with the current Sydney production of this much-loved show.

Now, I love a good piece of musical theatre. I therefore forgive the overly dramatic renditions inherent in this art form, but while some songs are beautifully performed (standouts are “A Little Drop Of Rain” and “Bring Him Home”), at times even I feel the singing is a bit forced. Denying the vocal light and shade loses some of the characters’ vulnerabilities, causing a rather linear emotional journey through “I Dreamed A Dream” and “On My Own” in particular.

A more important loss in this production, however, is the narrative. As a musical entirely devoid of speech the storytelling parts of the songs are phenomenally important, but are too often rushed through.

Should you buy a ticket? It depends. Les Mis veterans who would like to be swept up in the music and the melancholy once more: yes. The heart of the show is still intact. But complete newbies: sit tight, and wait for your next trip to London. The original is still the best.

Les Misèrables is playing at the Capitol Theatre until 30^th August

Craig-McLachlan-Richard-OBrien-and-Brendan-Irving-3-c-Shane-OConnor (1)

By Freedom Chevalier

Rocky Horror producers Howard Panter and John Frost announced that the show’s creator (and Riff Raff in the film version), Richard O’Brien would be stepping into the role of Narrator for one week, starting 30^th June.

Panter and Frost, who have helmed the show in Adelaide, Sydney, Perth and now Melbourne, are “thrilled” that O’Brien will be joining the cast for a few performances. “To have the creator of this iconic musical as part of the production for a short time is a dream come true, and I’m sure Rocky Horror fans will flock to Melbourne to see this unique opportunity.”

And, I can understand the sentiment. For fans of the show, O’Brien holds a special place in that wildly syncopated universe. He is a symbol of courage for those confronting personal prejudices in their day to day living. The Melbourne performances are an uncommon occurrence for the 73 year old, and audiences are in for a treat. As someone who interviews celebrities for a living, I tell you truthfully that when you look behind the curtain too often you really wished you hadn’t. O’Brien is a rarity in entertainment and in life – an accomplished creative who has become an icon, not only for his artistic expression, but for doing something so few of us have the capacity to do so: to live a life true to himself, and invite others in along the way.

Richard O’Brien will perform: June 30, July 1, 2, 5 (5.30pm only), 7, 8 and 9. For more booking information: www.rockyhorror.com.au for details.

Review by Kristie Giblin

4.5/5 stars

The small venue at Fresh in Launceston, Tasmania, was completely packed out on a minus three degree night, to hear the comedy greatness of Nazeem Hussain.

After selling out all of his shows at the Melbourne International Comedy Festival earlier this year, my expectations for the evening were high, and boy were they met.

With the Boags XXX flowing from the bar and a four comedian line up as well as Fresh regular host Stewart Bell who all warmed the crowd up with their mixture of love for Daryl Braithwaite, ‘why I don’t want kids… yet’, and mathematical and local humour.

After a short break we then got onto the main event. Nazeem opened by telling how he had just been on the phone to his friend who asked what he was doing in Launceston as there are only white people there. This pretty much set up the rest of the show as his ethical humour caused a few to writhe in discomfort as Nazeem isn’t afraid to break down racial boundaries.

Delving into issues of ISIS and being questioned by ASIO, were juxtaposed against lighter content like how he acquired his drop crutch pants from a dancing sales assistant and being asked for an easier name to pronounce when ordering his mocha at a cafe.

At a time in Australia where issues of race and religion are often being talked about, the way Nazeem spoke about them really brought it all back down to reality.

A night where we were able to laugh at our own stupidity whilst also gaining a better understanding of what it’s like for a Muslim in Australia, I highly recommend Legally Brown for people of all races and ethnicities.

www.facebook.com/nazeem.m.hussain

Catherine McGraffin in Educating Rita, photo by Clare Hawley

Review by Fiona Hart

They say you can’t judge a book by its cover, but I think you can make a pretty good guess about a play by its cast. I have watched Catherine McGraffin in several different plays now, and she chooses her work well: they have been some of the strongest productions I have seen in Sydney. But it is as this eponymous heroine that she is her most endearing, her most talented, and her most enchantingly watchable. It is no wonder that Frank, Rita’s educator, is charmed by her – who wouldn’t want this Rita at your dinner party?

That is not to take anything away from Mark Kilmurry’s portrayal of Frank. Stepping into the role at the last minute when the original actor’s head was turned by a television offer, as the play’s Director (with a long string of acting credits to his name), Mark was an obvious choice. His Frank is clearly sharp, learned and infused with a love of literature, but at the same time pitiful enough for the audience to understand why Rita cannot take his affectionate throwaway comments seriously. Indeed, when the two meet outside of the scheduled tutorial times it is only ever successful when it is at Rita’s invitation – despite her deference to Frank as the authority figure, it is Rita who holds all of the power from the start. The staging reflects her slow awareness of this beautifully: initially Rita sits on the floor to write, or curls herself up into a small figure at the desk as she scribbles away while Frank lounges back in his chair, or conducts his teaching while standing. But as the play unfolds Rita’s posture does too: she sits proudly at the desk, talks of standing to ask questions, and ultimately physically directs Frank, telling him where to sit.

This play is a little gem in the heart of Sydney. The dialogue flows effortlessly, the set and lighting create the perfect ambience, and, while McGraffin undoubtedly steals the show, Kilmurry playing a drunk Frank is a delight to be seen.

—

‘Educating Rita’ is on at the Ensemble Theatre, Sydney until 28^th June 2015

(3 ½ stars)

Review by Kieran Eaton

This Lockwood Productions show, directed and written by Damon Lockwood has a great Blue Room Theatre vibe to it. Opening with Big Hoo Ha performers Shane Adamczak, Andrea Gibbs and Nick Pages-Oliver and has a strong comedic feel to it, right from the get-go! It’s like a sketch comedy except with flow and an actual story line.

As it is performed by experienced improvisational actors, it has a very natural feel to the play, even though it is a scripted performance. What impressed me is that all the actors give energetic performances that breathe life into their characters. These six actors all wear black so they can all perform as different characters during the show.

The real Jesus is played by Shane Adamzack, who displays realistic qualities of how Jesus would feel if he was seen as a desperate, weird, young man. This suits the actor who plays a quite geeky version of the prophet, with good effect. Another good performer is Andrea Gibbs, who plays Mary dating God on the side. Joseph, played by Nick Pages-Oliver takes the role of a sexually frustrated step dad in an amusing style of a loser dag of a husband, who naturally feels a bit inferior to Jesus’s real dad. The drop-dead-Dad of god himself is Damon Lockwood on a booming microphone in the background.

The other actors are characters trying to sell an idea of a movie that is bigger than any god and it happens to be Jesus, though Jesus himself is unable to get the role, however the actor then takes it on and starts seeing himself as a prophet. However the fame from the movie can only actually get the actor cheesy commercial roles!

This theatre show takes the absurdity of religion (even the ritual of crackers being the body of Christ) and makes the performance an interesting way of looking at Christianity. I recommend this production to be watched by anybody with an open mind to religion and theatre.

JESUS: No Ordinary Life is playing at the Blue Room Theatre in Perth from the 16^th June – 4^th July.

(4 stars)

Review by Laura Money

Walking into the beautiful and intimate set in the Studio Underground at the State Theatre Centre WA one is immediately drawn into the personal, comforting and dishevelled world of Christian – the pianist with a passion for life and light. He sits there staring back at the audience in the dark as the seats fill.

The Song Was Wrong is Melissa Cantwell’s masterpiece. As Artistic Director of the Perth Theatre Company she dons the hat of writer and director to produce a play that is unique, heartfelt and wonderful. It straddles the space between the independent theatre of the Blue Room and the big budget productions of the Black Swan Theatre Company.

The play tells the story of a great love between two artists, their initial infatuation and epic romance and their eventual dramatic break-up. It tells of the loss one feels when dealing with the grief of abandonment using blindness as a beautiful metaphor.

Cantwell has teamed up with an impressive bunch of talented people including up and coming Perth actor Jacinta Larcombe whose portrayal of the optimistic and deeply happy florist is enhanced by her emotional and graceful interpretive dance performances. The costumes were designed by Aurelio Costarella and Fleur Kingsland and are absolutely stunning. Fusing the metallic aesthetic of robotic coldness with the soft floral canopy of nature the costuming is just as important as the characters.

Witty, irreverent and optimistic at the start, and deeply melancholic, symbolic and visual at the end, The Song Was Wrong will keep you entertained throughout.

Perth Theatre Company’s The Song Was Wrong is on at the State Theatre Centre WA until Saturday 20^th June.

Melbourne Opera presents

Gioachino Antonio Rossini’s

The Barber of Seville

Starring Sally-Anne Russell

25 & 27 June & 3 July at The Athenaeum Theatre Melbourne

10 July at Monash University’s Alexander Theatre

Melbourne Opera is proud to present a restaging of their highly successful production of The Barber Of Seville, Rossini’s hilarious and widely popular opera.

Considered the most popular comic opera of all time, The Barber of Seville remains one of the most performed operas in the world.

Hugh Halliday returns to direct the production after directing two productions for Opera Australia.

“The Barber of Seville is fast action, it doesn’t stand still for more than five seconds. It’s a farce, a real situational comedy – perhaps one of the world’s first sit-coms!” says Hugh.

The Barber Of Seville tells the tales of an overprotective guardian outwitted by his daughters love with the help from the conniving barber Figaro. First performed in 1818, it was one of the first opera buffas, or comic operas. It is loosely based on a play by French playwright Pierre Beaumarchais.

Hugh and Melbourne Opera have once again assembled a wonderfully high calibre cast to perform this deliciously fun opera.

By Freedom Chavalier

The Rocky Horror Show took its first jump to the left at the Royal Court Theatre, upstairs, on 19 June 1973. Its run consisted of 2,960 shows, with a final curtain coming down on 13 September 1980. But that would not be the last the world would see of Dr. Frank-N-Furter and his Unconventional Conventionalists.

The celebrated show is the brainchild of writer, actor, musician and performer: Richard O’Brien.

Born Richard Timothy Smith in Cheltenham, Gloucestershire, England on 25 March 1942, the self-described “runt of the litter” of four children, had a Sword of Damocles hanging over his own head from the start. As often befalls one-of-a-kind creations, delicate for their exceptionality, it was feared the sickly infant would not live to see his first sunrise. He, of course, did see it and many more English mornings but when he turned 10, at his father’s urging, the family traded life in the city for a sheep farm in rural Tauranga, New Zealand.

Young Richard was often to be found at the local cinema losing hours watching back-to-back showings of genre classics, like Dr. X and The Day The Earth Stood Still. What we absorb in our youth will often take hold and proffer great influence over adult choices, and farmer Richard was no different.

In 1964, he supplanted agricultural arts for more artistic ones and moved back to England. In London he worked at a series of smaller jobs until his horseman skills, cultivated on the pastures of Tauranga, landed him a gig as a stuntman for local film productions. But that desire to create was already gnawing within him. Soon his decision to pursue acting found him studying the Stanislavsky acting method locally and, like all actors before and ever since, he availed himself of whatever paying gigs came his way.

Suddenly you get a break.

It wasn’t long before better opportunities started to come his way. He found work in Gulliver’s Travels in 1968. In 1969 he was invited to join the cast of Hair, where he first met fellow actor Tim Curry (appearing in his first professional role.)

Whole pieces seem to fit into place.

His casting as Herod’s understudy in Jesus Christ Superstar would prove to be one of the most fortuitous jobs of his career. Although his time with the rock opera was short lived, it brought him together with Australian director, Jim Sharman for the first time.

Friday 22^nd May – Country Club Casino Launceston

By Kristie Giblin – 4/5 stars

Arj Barjer is a veteran when it comes to laughs. Having travelled to Australia for years, his style of comedy is familiar and always entertaining.

He is relevant and relatable to an Australian audience, with his shouted punch lines always going down well.

In a smaller town like Launceston, it is appreciated when a visitor learns a bit about the place and incorporates this knowledge into their show, which is exactly what Arj did.

Anecdotes about the flasher up ‘the Gorge’ and bagging out Hobart (our biggest rivals), are always sure to go down well with a Launceston crowd.

Any comedian who is able to relate to their audience is going to be a hit. With stories of how selfish kids are, wanting to tell you all about themselves, mixed in with coy remarks about his success, made for a good mixed bag of jokes which brought on many laughs.

I’ve seen Arj many times over the years he has been travelling down under, and I’m never disappointed.

With dates popping up all over Australia, be sure to get along to see a comedy legend who guarantees a good night out for people of all ages.

www.arjbarker.com

In the not too distant future audio description of visual content for people who are blind or have low vision will become part of main stream culture.

Just as people who are deaf require subtitles, people who are blind or have low vision need audio description to follow TV shows, movies and live theatre.

Below is a story about a blind year 10 girl, Micaela, who is a student at Rutherglen High School. Micaela is off to see The Lion King with her class later this month. The session she will attend will have live audio description so she can enjoy the show with her friends and classmates. Audio description is a free service provided by Vision Australia to people who are blind or have low vision.

Once We Were Kings (3 ½ stars)

Review by Laura Money

Third Culture Kids presents Once We Were Kings, an intimate series of stories of struggle and disillusion that illuminate the real yearnings of young Muslims.

Beginning with a male and female figure rendering their faces blank by holding up white canvases to cover them. When the lights go down, a multimedia show is projected onto the canvas, projecting western ideas of Muslim identity onto the silent figures.

A young man tells his story of immigration, a young girl smokes and taps her sparkly red heels together, another dreams of the comfort she misses from family. They are angry, loud, soft, kind, jovial and traumatised.

The show is drawn from real stories of young Muslims living in Australia whose stories are often silenced or closeted. They highlight the fact that they don’t fit in either culture, especially a young homosexual man, the ideas that Australians have of them that are wrong but mostly what it is to be a ‘crescent shaped peg in a southern cross shaped hole.’

Once We Were Kings is on at The Blue Room Theatre, Perth from the 12^th – 29^th May 2015

Review by Bridget Conway

Right in time for the ANZAC Centenary comes Rotunda, presented by The New Zealand Dance Company. A fresh and elegant dance celebration that isn’t afraid to highlight all the aspects of war: love, loss, freedom, loneliness, and strength.

Riverside Theatres has done it again: a graceful and powerful dance piece that shakes right down to the bones. Rotunda has the element of surprise, the professionalism, and the beauty to live up to the history it talks about. We follow eight dancers, all in tip top shape for the challenging and emotive movements ahead, and our ears are tantalised by the City of Holroyd 24 piece live brass band conducted by Marc Taddei with special guest on percussion, Cameron Lee. All eight dancers exemplify those young men and women who were affected by the war. They are at a bright young age, full of enthusiasm and youthfulness, and we watch this progress downwards and into full maturity.

3/5 Stars

By Lauren Shearman

Paul Culliver is among the world’s greatest oddballs. His comedic mind works in fascinatingly unique ways, often running off on strange tangents or unplanned quips. His debut solo stand up performance Paul Culliver is the best newcomer is sure to delight a modern, generation Y audience.

By Paul Campobasso

(3.5/5 stars)

The art of making a light, sugary creamy cheesecake becomes a progressively heavy, bitter, reflective and soul-searching experience in Helen Duff’s ‘Vanity Bites Back’.

If that description makes her routine sound strange, it’s because it absolutely is. Duff’s show is very unusual, but thankfully this is mostly in all the right ways. Though her humour can be a little hit-and-miss at times and probably won’t appeal to everyone, what’s undeniable is that Duff’s unique performance is always interesting, largely entertaining and definitely memorable.

Making her grand entrance to the stage from under the table, Duff is immediately engaging in her portrayal of ‘Jill’, a self-important and snobbish but exceedingly cheerful and extremely energetic TV personality. Reminiscent of a stereotypically dolled-up 1950’s housewife with an unwaveringly happy and somewhat naive demeanour, ‘Jill’ proceeds to distribute biscuits to her intrigued audience, before explaining that she’ll be showing us how to make cheesecake as part of a fictional television program.

By Revelly Robinson

Zahra Newman cements her status as one of the country’s most entertaining stage actors.

Peter Evans’ interpretation of As You Like It is a light hearted romp into the magical forest of Arden. The actors give spirited performances in this fun Shakespeare play, but nonetheless there is something lacking in the cohesiveness of the piece. The characters drift dissonantly from scene to scene with little integration of their roles with each other. This incongruity mirrors the disparate narrative which almost seems to comprise of individual skits broken up by comedic and musical interludes.

One of Shakespeare’s iconic comedies, As You Like It contains the infallibly humorous elements of assumed identities and hapless romantics that make the bard’s plays so accessible. When the filial Rosalind is banished by her uncle, Duke Frederick, she assumes the identity of a man, Ganymede, to seek out her father in the forest of Arden. Accompanied by her cousin, Celia, posing as Ganymede’s sister Aliena, the protagonist uses her newfound identity to taunt and play havoc with the characters she meets along the way. Despite falling desperately in love with Orlando before leaving the court, upon encountering the melancholy Orlando in the forest, Rosalind under the guise of Ganymede takes the opportunity to taunt him into revealing the depth of his feelings for her.

City_of_sydney_from_the_balmain_wharf_dusk_cropped2

By Shannyn Warren

The new autumn chill in the air has given Sydney-siders the perfect opportunity to take refuge in the theatres of Sydney – not that they need an excuse. This month, some interesting talent has presented itself on the stage. The impressive performance entitled ‘Frame of Mind’ (Sydney Dance company) is an incredibly choreographed and deeply personal arrangement of dances to celebrate the human body in all its states of movement.

Moving down to wharf two, Sydney Theatre Company has shown us a captivating insight into the humour and fearlessness of the Irish in their production of ‘Riverrun’. For a more deeply dramatic flavour, the tragedy ‘Electra/Orestes at Belvoir’ boasts a clever cast in a play about love, revenge, and death. While at New Theatre, When the rain stops falling presents an unmissable performance about a boy retracing family history in Australia, and the quest to heal the past through the journey into the future. And perhaps most importantly, ‘Les Miserables’ has premiered at The Capitol Theatre to great success. It shows until May and is a rich and popular piece that has been loved by all onstage and on screen, and now it is before us, live in Sydney. Wherever the theatre, there is a play to warm us on any chilly evening.

Photo source: Wikipedia

(4 stars)

By Paul Campobasso

What’s it like to be a native English speaker (or Anglophone) living in Paris?

Comedian Jacqueline Mifsud knows, as she does away with all the stereotypes and shares her own unique comical insight into the City of Lights as part of the 2015 Melbourne International Comedy Festival – and it’s a good thing too because her latest show, The Anglophone and Other Offensive Instruments, is lively and funny.

By Revelly Robinson.

The retelling of a story that shows why its never too late to remember history. If there was ever a more resounding endorsement for a show it would be its ability to render a Minister speechless. And that’s exactly what happened on the opening night of Black Diggers at the Canberra Playhouse on Wednesday, 25 March.

From the Rubble (4 stars)

Review by Charlotte Guest

From the Rubble is, primarily, about ‘transmission’. Inspired by the war correspondence of Western Australian journalist Sophie McNeill, this performance-piece constitutes a response to global events that are narrated by to us newsreaders and reporters. From the Rubble concentrates on correlations between the lives of civilians in conflict zones and the manner in which we digest these stories in distant and comparably stable societies.

Dinner (2 ½ stars)

Review by Laura Money

Picture an elegant dinner party with the finest table settings, glamorous outfits and private waiter-cum-butler in full tuxedo. Now consider that you have been hand-picked for the evening and forced to reveal your deepest thoughts and feelings – expose yourself at the merciless hands of the host. How much do you think you’d divulge? So begins Dinner by Moira Buffini. Originally performed in London’s National Theatre before transferring to the West End in 2003, Dinner made its Australian premiere in Melbourne 2004. Buffini takes the idea of the sadistic dinner party orchestrated by a manipulative host and runs with it – serving up inedible dishes that force her guests into making moral decisions and looking hard at their own lives.

SINGLE WHITE FEMALE COMEDIAN MAKES FUN OF THE FRENCH; COMPLAINS, SWEARS, PASSES GAS
Everybody loves to hate the French, with their snooty accents, pencil-thin moustaches, silly hats and propensity to surrender.

Jacqueline Mifsud, though, was obsessed with them, their fancy-pants culture and poetic language. So much so, she decided to move to Paris in 2009.

The Parisians didn’t want a le bar of Jacqueline and were too le tired to bother teaching her to become a classy French fille.

What was it like living in Paris for four years?

“Trés cool” Jacqueline will tell you, through gritted teeth and suppressed memory.

THE LIES MUST END!
Jacqueline’s story must be heard!

This show is her tell-all tale of what it’s really like for an English speaker to live in the city of lights; a filthy thorn among a city of perfectly-manicured roses.
“Learning French is like trying to suck your own penis” Jacqueline imagines, “It can be done but you have to crack a few ribs along the way.”
Experience the occasional highs and undignified lows of being an Anglophone girl in a Francophone world.
You’ll laugh, you’ll cringe, you’ll cringe some more and you might laugh again.
“Occasionally crude, but always charming” – Crikey
*This show is perfect for both lovers and haters of Ze French!

Venue: Loop Project Space & Bar. 23 Meyers Place, Melbourne VIC 3000
Dates: MARCH: Thurs 26th,
APRIL: Wed 1st, Thurs 2nd, Wed 8th, Thurs 9th, Wed 15th, Thurs 16th.
Tickets: $15 Preview, $20 Full
Times: 9pm
Bookings: trybooking.com,

For more information about this wacky woman please visit www.jacquelinemifsud.com or click on various other icons and some digital nonsense should happen.

FRINGEWORLD 2015 WRAP-UP

Well, FRINGEWORLD is over for yet another year, and what a season it was! From the pink flag bunting taking over the Perth Cultural Centre, Russell Square, Midland and Fremantle, to the circus tents and roving artists, it was certainly a festive atmosphere. There were many late night gatherings, burgers eaten in the Urban Orchard, beer consumed everywhere, rickshaw rides, giant ears of corn on the cob, and of course extra-late cabarets, burlesque, circus, comedy and theatre.

Of course, what festival would be complete without awards?

“FRINGE WORLD Awards are given to the best show in each genre category with winners receiving cash, development support and direct touring opportunities as part of their award.

The top prize awarded on the night, the Martin Sims Award recognised the best new West Australian work in the Festival. Highly coveted, this award gives the winning artist(s) access to $10,000 and touring opportunities to build their career internationally at other Fringe Festivals through the World Fringe Alliance.

In 2015 the Martin Sims Award went to Monroe and Associates, presented by The Blue Room Theatre Summer Nights and The Last Great Hunt.”

Monroe and Associates was held in a small caravan parked outside of The Blue Room Theatre and was quite the fixture during FRINGEWORLD. The Great Last Hunt collective are the team that brought us Bruce and Elephents which TAT Theatre reviewed below.

Other notable winners include:

Cabaret Award: La Soiree

Children’s Show Award: Lords of Strut (The Family Edition) (JOINT)

The Bookbinder

Comedy Award: Trygve Wakenshaw: KRAKEN

Music & Musicals Award: Sam Perry Live
Theatre Award: Fake It ‘til You Make It

WA Emerging Artist Award: (JOINT) Mikaela Westall (Moving On Inc.)

Clarence Ryan (Metalhead)

Felicity McKay (Venus in Fur)
For the full list of award winners and nominees head to www.fringeworld.com.au

Until next year, friends! Now it’s time to go and get some well-deserved sleep…

Ned: Ideas You’ll Never Have (2 ½ stars)

Review by Laura Money

Comedian Dylan Cole is all about parody. On the back of his successful parody of workplace training in Safety First, Cole is in familiar territory with Ned. The format is simple, yet effective – the parody of Ted.com combines theatre and stand-up comedy to highlight the ridiculousness of motivational speaking and poke fun at academia and lectures. Cole plays three characters; speakers who are given just fifteen minutes each to share their knowledge.

Cole begins as an American academic talking on the Science of Possibility. The character is clearly a parody of the shy, reclusive and possibly Asperger’s afflicted professor. While what he says in the actual lecture is fairly funny, the preamble and introductory section is too slow paced and relies far too heavily on a funny voice and inflection than actual jokes. (It could just be me, but I’m also over the whole ‘Sheldon Cooper’ I just don’t get people so it’s funny trope.) Cole is highly talented and can mimic pretty much anyone, so it is disappointing to see him lose what had the potential to be a great character.

Next, comes a parody of the Dalai Lama – or at least a highly spiritual person with Eastern philosophies – sponsored by Coca-Cola. This is a great idea and is hilariously alluded to in a way so subtle it’s like being hit over the head by a sledgehammer. It works, though. He talks about choice being bad in such a convincing way that when he turns it all on its head, the audience all but scratches its collective head. There are a few running jokes that get a few polite laughs but not enough to really bring the show together.

Finally, the most redeemable character is that of an English art academic. This is by far the strongest part of the show and demonstrates exactly what the art of parody is and should be. The lecture on what constitutes art is truly hilarious and well thought through. The awkwardness felt by the academic character as he imparts his wisdom is excellent and familiar. There are a few funning jokes that just go too far, however, I understand that they are supposed to tie the show together but none of them are strong enough to carry through. It does feel a little like flogging a dead horse.

Ned: Ideas You’ll Never Have is a strong concept and has so much potential. Cole is a great performer and I’m sure we will see great things from him in the future.

Ned: Ideas You’ll Never Have played in the Pleasure Garden as part of FRINGEWORLD 2015 from the 18^th – 22^nd February.

I Am An Emotional Creature (3 stars)

Review by Laura Money

Eve Ensler’s bold new script is The Vagina Monologues for a new generation. Focusing on the perspectives of young survivors of violence, abuse, sexual violence and the plights of young girls from around the world, it covers the feelings teenagers are encountering today. Ensler is no stranger to feminist issues and I Am An Emotional Creature certainly doesn’t shy away from confronting the audience with the statistics and stories affecting disenfranchised girls. Yet, it seems a little stale. Ensler uses the same language and same tropes of confrontation as she did 19 years ago. What was fresh and new has become boring and predictable. The only sad consistency is that the violence and issues have not been resolved.

The girls performing in I Am An Emotional Creature are certainly talented – their capacity to learn lines and retain every statistic and story given to them is commendable – especially when one considers their ages. The words do seem a little incongruous coming from their mouths, though. They speak the words of a second wave American feminist and at no point in the play does it seem like they are their own words. I have no doubt that the girls feel the sentiment and are impassioned by what they are delivering, however, it just doesn’t gel.

Overall, though, the message is strong and pertinent. When are people going to realise that there are so many ways of performing the role of ‘girl’ in society? The stage direction is bold and immersive, and at several points when the girls are in formation (almost as though they are Amazonian warriors ready to take on the world) a real sense of burgeoning achievement blossoms in their eyes. These girls are extremely talented, young and passionate and are excellent ambassadors for whatever wave of feminism we are now supposedly in.

I Am An Emotional Creature played at The Noodle Palace as part of FRINGEWORLD 2015 from 18^th – 21^st February.

By Abigail King

“The story’s been told, but not quite like this…”

There’s no denying that in this day and age, Shakespeare is seen as an elite art form – beautiful but inaccessible. It’s easy to forget that the Bard was at the cutting edge of his generation, entertaining the educated and illiterate alike with works designed to appeal to the masses. Othello: The Remix may not be every theatre-goers cup of tea, but it’s clear from the moment one enters the auditorium that this is going to be Shakespeare like you’ve never seen before.

Commissioned by the Globe Theatre, The Q Brothers have created something far beyond the overdone trope of restaging of a classic in a modern setting- Othello: The Remix is a 90 minute rap opera where the words come thick and fast. On the surface it has the trappings of a typical Fringe production – set & costumes are minimal and all members of the cast switch between multiple characters with the help of a handful of props (co-writer JQ deserves particular mention for his dexterity, flicking between his roles with dizzying speed). Beneath the carefully cultivated rough veneer however, this is a slick production. The performers work with assurance to carry their audience through the tale of MC Othello and his crew, aided by some understated but extremely effective lighting design (Jesse Klug). The show takes place in the world of a hip hop label, days before the release of their latest album. When Othello chooses pretty-boy rapper Cassio over his long-time friend (but less commercially viable) Iago, the inevitable cogs are set in motion.

GQ’s Iago moves from overlooked underdog to scheming villain with the dark charisma required from such an iconic role, spitting out his words with almost tangible vile. Jackson Doran plays both his Cassio & Emilia with an adorable charm while Postell Pringle builds his Othello as a lovable leader, then navigates O’s landslide descent into a broken man with a dexterity that suggests a full-length ‘Classic’ Othello wouldn’t be far out of his reach. The four are ably backed by DJ Clayton Stamper, an ever-present figure on his raised scaffold at the back of the stage who somehow still manages to get in on some of the action.

While the comedy is laid on heavily, Othello: The Remix doesn’t shy away from the dark core of its source material. It takes skilled storytellers to bring an audience half-filled with restless high schoolers to breathless silence, but in the final moments you would be hard-pushed to tell if the audience was still breathing- I know I wasn’t.

Shakespeare has always been known for his rhythms, but in Othello: The Remix, the Bard has been cut up, chewed up & spit out into something that will hopefully open the doors to a new generation of theatre goers. If you missed them this time, cross your fingers that a return visit from The Q Brothers won’t be far away.

Rating: 4.5/5

Othello: The Remix

Location: Arts Centre Melbourne, Playhouse

18-22 February

Tickets: $29-49

http://www.artscentremelbourne.com.au/event-archive/2015/theatre-drama/othello-the-remix

Photo: Arts Centre Melbourne

Following rave reviews, nightly standing ovations and packed houses, FRINGE WORLD Festival’s headline act La Soiree will extend its season by two weeks. The season will now run until Saturday 7 March.

“It’s an extraordinarily vibrant time of the year to be in Perth and the company are certainly enjoying the enthusiastic response of Perth audiences”, says Creative Producer Brett Haylock. “They have embraced the spirt of the show, and indeed, some returning for a second time, bringing groups of friends.”

For a sneak peek check out: https://www.youtube.com/watch?v=ZSg21GjW-Ss

See our original review below!

La Soiree (5 Stars)

Review by Laura Money

What can one say about La Soiree? This is an absolute must-see! Part of Fringeworld 2015, I would consider La Soiree with its mix of acrobatics, comedy and pure entertainment the cherry on top of the Fringeworld sundae.

This award-winning show will astound and amaze, I spent the majority of the show with my jaw on the floor and my hands clapping with delight. It is truly spectacular and I would recommend La Soiree to anyone willing to try an evening of sheer entertainment.

The diverse cast put on a variety act like nothing you’ve ever seen before: from the hilarious puppetry of Cabaret Decadanse with its mix of deft manipulation and hilarious self-awareness, puppetry has never been so alive, to the English Gentlemen who are rather adept at acrobatics, sitting on top of one another whilst reading the newspaper and giving the V for Victory sign, from hoola hooping to contortionists, magic stripped bare (literally) and everything in between there truly is something for everyone in this show.

Come down to La Soiree to witness the tongue-in-cheek athleticism that includes a man in a bath who will leave the audience wet with his unique blend of rope skills and a certain sexiness, a pole dancing performance like no other and of course the energetic and completely divine acrobatics of the manic duo David and Fofo.
La Soiree is a triumph – the perfect blend of comedy, artistry and back to basics entertainment. This is what entertainment is all about.

La Soiree is on as part of Perth’s Fringeworld 2015 in the Pleasure Garden from 28th Jan – 7th March

The Mercy Seat 3.5 Stars

Review by Laura Watts

When the world around you is thrown into terrorism related turmoil and you’re busy getting a blow job from your mistress instead of attending a meeting in a building that has since been reduced to rubble, do you a) tell your wife and children that you’re safe, knowing you’ll have to face hard questions about why you weren’t at work? or b) run away with your mistress and make fresh start, leaving your heartbroken spouse and kids to think you’re dead? This is exactly the predicament Ben Harcourt (Christopher Sansoni) finds himself and his lover Abby Prescott (Russya Connor) in when Perth’s CBD is rocked by a series of fatal explosions in 2020.

Ben sits motionless in an apartment as his phone rings again and again. It is clear that he is distracted, despondent, and entirely unwilling to talk to whoever it is trying so desperately to reach him. To the sound of an opening door, a woman shuffles into the flat among a flurry of fine dirt that has blown in from outside. From under a dusty coat and scarf, a futuristic looking Abby is revealed. Her silvery clothes and flaming red hair are striking when juxtaposed with her ordinary looking apartment. She comments on the destruction across Perth city centre – the hundreds of ‘missing’ posters which line the barren streets and the countless dead and missing citizens – while images of terror flood the screen of a TV in the room in which she and Ben now stand.

Ben, described as having ‘an absolute commitment to being a flake’, is selfish, inarticulate, unemotional and often unresponsive. He considers the post-attack panic and confusion as ‘having unlimited potential’, potential which could see him fake his own death and run away with his lover without the responsibility of being accountable for his adulterous actions. Abby seems rather more intelligent than her boyfriend, somewhat more realistic and does show a degree remorse for the twosome’s questionable bedroom activities. However, just as Ben darts between ideas of going home to his wife and staging his own death, Abby flits between hurling insults at her ‘piece of ass’ and desiring him with great desperation. One minute she is kissing him fervently, the next she is smugly recalling ‘making lists’ during any number of their sexual encounters.

As the emotional counterpoint to Ben’s cold persona, Abby encourages Ben to pick up any one of the many phone calls from his despairing wife, and questions the real implications of running away – does Ben realise he can never return? As Ben’s boss, will Abby be required to speak at his funeral? Will she be able to lie? What will happen if she leaves her high-paying job? Does Ben really love her? Would he give up his life for Abby if roles were reversed and she asked him to leave? Many of these questions are nutted out by the pair during their banter. However, just as many are left unanswered. Even with these doubts in mind Abby is, at least momentarily, seduced by the idea of absconding, but the potential future the pair has conjured up comes to a shattering halt at the end of the play when the clever, provocative twist in the plot is revealed.

Sansoni is perfectly dislikeable in his role as Ben, conveying the self-interested character with ease. Connor is similarly well cast in her portrayal of Abby, the temptress-cum-clinger. However, especially in Ben’s case, the play does not allow for much character growth. The actors’ talents are obvious, but with few opportunities for character development, their performances somewhat constrained by the writing.

The Mercy Seat was written by American playwright Neil LaBute as a response to the 9/11 terrorist attacks. This adaptation by Big Budgie Productions has changed the landscape to a more recognisable Perth setting with permission from LaBute himself, replacing famous NYC landmarks with rather contrived references to our own sleepy city. References such as ‘the Narrows Bridge’ and ‘St George’s Terrace’ give the play a geographically relatable framework, but don’t sound at all natural rolling from the mouths of the characters. Although the local feel is reinforced by other Australian references (such as Ben’s exclamation that the nation would remain in mourning until ‘Australia wins the Ashes again’), it is countered by historical American references, including a spiel about Audie Murphy, one of America’s most decorated World War II combat soldiers. For the sake of consistency and believability, it may be better to include recognisable heroes from our own current context.

The Mercy Seat is a combination of light hearted banter and torturous moral questioning. At times it is clever, sharp and witty, and others tedious. Despite the criticism, it is still a performance well worth watching.

The Mercy Seat played at The Blue Room Theatre as part of its Summer Nights program for FRINGEWORLD 2015 from the 3rd – 7th February

A Circle of Buzzards

Review by Vivienne Glance

An interesting take on the drive for power and money, but like the birds of its title, this play lacks the sharp talons to rip into the heart of the story.

Gerry (Austin Castiglione) sits at a bar table nursing a bottle of beer. The bar seems unfamiliar with an ornate wooden bar, and a worn, exotic rug on the floor. The Man (Jeremy Mitchell) comes into the bar, and talks at Gerry rather than to him. They discover they are both Aussies abroad, but the relationship is strained. Gerry wants to be alone. The Man, whose name we never learn, says he is waiting for his Wife (Ella Hetherington) to come and join him. Apparently she is fussy over the clothes she wears, and puts on layers of make-up – all of which take her a very long time. Despite the lack of engagement from Gerry, the Man persists, with conversations ranging over many seemingly disconnected subjects. After a time, the Man’s wife joins them and the story becomes more engaging. The Man then reveals he knows Gerry’s name, and that much of what he has previously told him has been a lie. When Gerry is forced to admit he stole $900,000 from a mining company in Western Australia, the crux of the story becomes clear. The Man and his Wife have been paid by the mining company to take their revenge on Gerry.

A Circle of Buzzards is a beautifully looking production given the constraints of the fast Fringe turn-a-rounds between shows. The simple set suggests much more than the individual components, and atmospheric lighting subtly changes to reflect mood and action. The production is directed by Joe Lui, but with no programme available, the lighting designer is unknown. On the whole, the actors put in good performances, but at times the script is overly verbose and dragged down by exposition. There are too few clues to their character leaving them with little to work with. Gerry is the most fleshed-out character, revealing feelings of being exploited and helpless. At one point he looks out the window at a castle in the distance and admits it makes him dream of being a king, of having power. However, the Man and Wife are less complex as people, revealing only a single purpose in life, and in the play.

The first twenty minutes of the play meander conversationally without much dramatic action between the two men. Mitchell tries hard to bring light and shade to the Man, causing him at times, to over state emotionally. But even this did not stop a few heads in the audience from nodding onto chests, perhaps also due to the 9.30pm start time. When Hetherington enters, the play takes off. This is as much to do with the writing pushing forward the narrative as her performance. She understates the emotion and draws us into the cruelty of her words. In particular, the Wife’s final speech is very chilling. Castiglione also uses an understated, almost filmic, performance style but does allow his character full throttle towards the denouement of the play.

Unfortunately, the writing is the weakest part of the whole production. Moncrieff has the talent to tell a story and is not afraid to explore the darker side of humanity. However, the first thirty minutes of A Circle of Buzzards feels just like that – watching a circle of birds flying in the sky. Perhaps that was the intended performative metaphor he was experimenting with, but it risks failing to capture the imagination and emotion of the audience. Sustaining curiosity around an image for this long is very difficult and Moncrieff does not quite achieve this lofty aim. Once the final outcome is revealed, the play ends, as it should, but I was left feeling detached from the characters. The moral ambiguity the play was striving for was only partially teased out. Ultimately, having characters only doing something for the money is not enough to make this play the epic it hopes to be.

A Circle of Buzzards is playing at PICA as part of their Summer Nights program for FRINGEWORLD 2015 from
16- 21 Feb 9.30pm

Elephents (4 stars)

Review by Charlotte Guest

Never have I seen a show elicit such impassioned approval from its audience. The guffaws, gasps, yelps and shrieks that ricocheted off the walls of Teatro 1 were sounds of uproarious delight at the onstage happenings of Elephents, presented by Perth-based theatre company The Last Great Hunt. It may surprise you to hear that the world of Elephents is a dystopia presented as a possible (if not ‘probable’) future for the planet we currently inhabit: it forecasts acid rain, an increase in temperatures, riots, explosions, implosions – in short, the apocalypse. The subtle references to climate change touch a nerve and remind us that the world of the play is an all-too-real possibility for us (one need only think of the recent tsumanis and earthquakes to fall into despondency.)

Elephents is the brainchild of Jeffrey Jay Fowler, who wrote the script, composed the songs and performed one of the lead roles. It is a masterful piece that manages to be both vivacious and poignant. The set, designed by Tarryn Gill, was clever in the way it evoked innocent childhood memories of Dumbo animations amid a very adult mess. And indeed, this is a very adult play that hinges on satirising the sources of our discontent.

Interestingly, the apocalypse merely provides the backdrop to a domestic dramedy where the characters choose to ignore the fact the world is ending. Impending doom is merely added to the pile of unsaid, unacknowledged things – just another elephant in the room. In Elephents, the people of Tuskville must sing the things they cannot say. Social trappings and perfunctory rituals are maintained for no real reason; monogamous, heterosexual relationships are “contractual” and apparently mandatory. There is the preacher who simply wants to make his father proud by saving at least one soul before judgment day. There is the woman from pottery class who wants to give birth to the reincarnation of her grandmother. There’s Annabelle, whose true love is an elephant, Carabou, and whose true hate is her partner, Horton; there’s Horton, whose primary concerns are renovating and procreating; Nellie, who is tired of repetition; her partner Roger who wants to write her ballads but can only manage jingles, and his brother Manny who is burdened by singledom and unrequited love. We follow these tangled, tragic lives as they tiptoe around truths, say what they think should be said and sing what they actually mean.

The elephants in the zoo are dying because the refrigeration in their enclosure packed up, but their figurative counterparts thrive in the sphere of human follies and foibles. There is an elephant in every house, every room, and every mind.

Intelligent and extremely entertaining, Elephents should be on everyone’s FRINGEWORLD To See list. The show runs every evening to Sunday 22nd February.

Review by Shannyn Warren

The audience is thrust into a dark room looking at a television, spun around via flashes of light and beckoned into rooms deeper inside a labyrinth of secrets as dark as the rooms at the wharf theatre – and just between us – it’s wonderfully exciting.

The production sees eleven monologues created by a group of talented folk under 25 and performed by some promising adolescents. It’s about coming of age, leaving the innocence of childhood behind, and mostly – how secrets, above all else, are what seem to make us grow up.

One of the most poignant aspects of the play is perhaps the setting, designed by Melanie Liertz. The audience is consistently moved around an obscure curtained space via subtle stage manoeuvres or hints from the actors. Liertz’ set works remarkably well in making us feel uncomfortably involved in the messiness of other peoples business. The way the audience is positioned with the actors means that we are painstakingly present, and even sometimes in the way. It acts as a constant reminder that secrets are ever present and in our faces – even if they are the secrets of others – and are not something we can escape or move away from.

Bruce (4 stars)

Review by Laura Money

Have you ever laughed so hard you get that feeling of when water goes up your nose? Choked back tears because you know it’s silly to cry at a cliché? No? Then you haven’t seen Bruce the hottest ticket at FRINGEWORLD 2015. Bruce himself is just a foam block with a gap for a mouth and Ping-Pong ball eyes but it is through the artistry of crack-duo Tim Watts and Wyatt Nixon-Lloyd that he truly comes alive.

Walking in to the steaming hot tent that is Teatro 1, there is music playing – “Don’t bring me down” by ELO (which has a famous misheard lyric of ‘Bruce’) and Watts and Nixon-Lloyd are standing casually in their black Lycra, singing along. The foam block that will become Bruce lies slightly unceremoniously on the floor. Nixon-Lloyd dons his white gloves and the audience simmers down. Watts picks up Bruce and they pull their face masks on – black out and the show begins.

The light focuses on Bruce himself, a floating foam block with white-gloved hands, swimming through space. It’s hard to believe that all of this is created by just a foam block, clever puppetry and great lighting. Watts performs the entire monologue as characters switch back and forth between Bruce’s lover, an old man, a Russian ex-policeman and a host of extra characters, while Nixon-Lloyd provides a flawless soundtrack of effects. The two work in perfect harmony to tell the fascinating and slightly far-fetched story of Bruce’s life.

The plot is kitsch, complex, and full of every pop-culture reference imaginable. This is where Bruce shines. It is essentially homage to the space race, action-adventure, cop film, Twilight Zone and of course every time travel tale ever told. Bruce is a live-action B-movie told with puppetry and it is exquisite. Also, the exit music – “Power of Love” by Huey Lewis and the News and being waved off by an exuberant Watts and Nixon-Lloyd is the cherry on top!

Bruce played two shows only as part of FRINGEWORLD 2015 on the 13th and 14th February.

Review by Laura Money

Melbourne’s Quiet Little Fox team of Fleur Kilpatrick and Perth born Roderick Cairns bring to FRINGEWORLD 2015 a tale of beautiful people getting very, very ugly. In this one-man show acted by Cairns and written by Kilpatrick, a former model, Cairns adopts the dual roles of Peter – a brash, arrogant Aussie photographer, and Emmy – a shy, unsure, philosophical, yet naive American model. Their different worlds collide when Peter takes a photo of Emmy in a fashion shoot and something indescribable connects between them.

Walking in to The Blue Room, it looks like everything is set up for a photo shoot. There are white umbrellas covering lights, white draped curtains and a lone chair. In a series of camera flashes, Cairns changes positions to create flashes of himself on the back of the audience’s retinas. When he starts talking, we can’t tell he is initially playing a woman. With his beard and masculine clothing, the assumption is it is a male model he is portraying. He abruptly switches from the slightly unsure Emmy, regaling us of her journey to London and her first impressions to Peter, the brash loud and obnoxious Australian photographer.

Cairns is phenomenal. His face transforms perfectly to settle into the features of each character and you can truly see Emmy poking out from behind the beard. His physical nature is used to its full advantage in the nude scenes, he is Peter when standing naked over the chair (representing Emmy.) Turning around, however, he is Emmy with his slim hips and shoulders and top bun he could easily be taken for female. The fluidity of gender, sex, consent, identity and even insecurities is epitomised in Cairn’s capacity to play both characters. Something would have been lost if it had been played by two separate actors.

Yours the Face is a thought provoking, intelligent and somewhat whimsical work that will make you question notions of identity and the irresistible pull we sometimes feel towards each other.

Yours the Face played at The Blue Room Theatre as part of its Summer Nights Program for FRINGEWORLD 2015 from the 3^rd – 7^th February.

Photo: Sarah Walker

Guest review by Chantelle Mitchell

FRINGEWORLD’s Deluxe venue provided the ideal location for Tatterdemalion, a charmingly disheveled mélange of mime, magic, puppetry and spooky theatrical departures. Sole performer, Henry Maynard of Flabbergast Theatre, emerged as a bleary eyed, Rip Van Winkle-esque figure, and charmingly clowned about while making use of the intimate space which placed most audience members within reach of his playful grasp.

As his travelling case emptied, the audience became participants, holding an assortment of props for later use (a boxing glove, a one-legged doll, a sack of rice), tricked into marriage proposals, or embarking on surprise piggyback rides. Maynard, as a tattered and delightful clown, careered about on stage, through a series of silly, unconnected vignettes. Parts of Tatterdemalion were riotously funny, although explorations of futility sometimes lead members of the front row to mutter amongst themselves, or verbally provide solutions. Yet this existential refrain, while perhaps drawn out, led to a subtle and unexpected crescendo twice during the hour-long performance.

In these departures from lighthearted physical comedy, the lights were dimmed and music, caught between nostalgic fugues and low-fi ambient sounds, permeated the small venue. It was here that the heart of the work was briefly exposed. It was a clever and startlingly beautiful act of puppetry with a white shirt that left the audience speechless, with its sad, slow magic. A later departure had the potential to become a frightfest, but Maynard cleverly steered it into sweet territory, through his deft handing of a skull-faced puppet. In amongst the silliness of Tatterdemalion, these meditations on loneliness and death shone.

Although frayed around the edges, Tatterdemalion unfurled as an endearing, existential gem, an enchanting mixture of playful humor and startlingly beautiful dreamscapes.

Tatterdemalion was presented by Flabbergast Theatre and played at the Pleasure Garden’s Deluxe Theatre as part of FRINGEWORLD from 2^nd – 8^th February.

Photo: Flabbergast Theatre

Review by Charlotte Guest

Edie and AJ are a young couple getting it all wrong: marriage, parenthood, life. On the brink of separation, the couple decides to dedicate a weekend to ‘restarting’ their relationship. The two begin a video game – AJ gleefully and Edie begrudgingly – in order to rekindle the fun that has been lost from their partnership. But when an electrical storm transports the couple from their hotel room into the pixelated Persian Empire and into the bodies of their computer-generated counterparts, Edie and AJ must fight for an empire as well as their relationship.

By Alanah Parkin

Since 1989, Melbourne’s Midsumma Festival has provided weeks of invigorating entertainment to hundreds of thousands of arts enthusiasts each year. 2015’s lineup has yet to disappoint, once again embracing the city’s queer culture by showcasing a plethora of exciting new visual art, theatre, music, comedy and cabaret.

Following a successful stint at the New York Musical Theatre Festival, cabaret hot-shot Will Hannagan returns to Melbourne to debut his brand new show at Midsumma. An intimate piece that’s both hilarious and heartbreaking, Hannagan’s AFFLUENZAis perfectly suited to the snug performance space at The Butterfly Club. It’s apparent from the moment we walk in to the darkened venue – complete with disco ball dangling from the ceiling – that we’re in for a delightful night. Hannagan makes use of the entire theatre -stage, aisle and tech desk in what is a thrilling and audience-inclusive adventure. His writing is divine, an effortless blend of witty and empowering, and is complemented by a brilliantly risqué electro-pop score.

Particularly charming about AFFLUENZA is the way in which the audience becomes a part of its deliciously scandalous plot. We are the viewers of Shades of Beige with Robbie Sinclair, eagerly anticipating the launch of former child-star Will Hannagan’s new album and subsequent return to media attention. One unsuspecting audience member becomes Hannagan’s lover and is approached, sat upon and serenaded in one of many amusing and memorable moments in this all-round unforgettable production.

In a contrastingly sinister twist, we’re thrust “behind the scenes” of Robbie Sinclair’s clichéd Hollywood talk show. Here, Will and Robbie drop their fake American accents and become “themselves” as they attempt to falsify Will’s life story, the goal being to accumulate mass media attention. Shocking and devastating tales of drugs, love, lust and murder begin to surface and this initially light-hearted piece suddenly develops into an insightful social commentary, reflecting upon the frightening extremes to which people will go in order to achieve fame.

The two-man cast consists of Will Hannagan and Robert Ten Eyck, who plays exceptionally flamboyant talk show host Robbie Sinclair with great finesse. He’s careful not to upstage Hannagan, and it’s his excellent chemistry with the star that makes him the quintessential supporting player. Hannagan is remarkable, his soulful vocals uniting effortlessly with intelligent lyrics in an array of songs that range from fun to beautifully evocative.

Unfortunately, at times it’s difficult to understand Hannagan’s lyrics on account of poor microphone quality and an overbearing sound system, but his smooth tone and effortless falsetto more than make up for this. Also sometimes disappointing is the production’s lighting. While the design itself is befitting of AFFLUENZA’s minimalistic performance style, the venue is unable to achieve full blackout, obliterating the illusion of scene changes that would otherwise have been quite poignant. It’s a bit of an anticlimax, but on the whole AFFLUENZA is a treat – a highly engaging, thought-provoking and unconventional evening at the theatre.

Review by Laura Money

Edgy, contemporary and full of slick sick beats, CONCRETE: heartbeat really amplifies the pulse of city life. It could be any city – they’re all the same. Following on from successful shows in Brisbane, Adelaide and Sydney kdmindindustries bring their mixture of Def-jam soundscapes and visual aesthetics inspired by graphic novels to Perth. Created and performed by the talented Mark Haslam what you get is a punch in the guts to all senses.

The performance space is tiny – a small room in the heritage listed Perth Institute of Contemporary Art. There is a single microphone stand, and blue milk crates seemingly stacked at random. A large projected image fills the corner of the room – CONCRETE: heartbeat. The milk crate motif even stretches to the seating as the audience file in and perch somewhat uncomfortably on cushioned milk crates. This is truly an immersive experience.

A large countdown appears and stops at 6:20am. Two words fill the wall: THE NURSE. So begins Haslan’s rendition of the nurse’s story. The beauty of a large city unfolds in each person’s story as if each person’s perspective adds to the pages of an ever-expanding book. Each vignette is full of energy, noise, manic passion, and sometimes is imbued with a sense of sadness. The time dictates the tone and Haslan is able to slow down or speed up his performance based on the person whose story he is telling. Haslan doesn’t act as the character – rather he is a conduit for their story. For within each tale or perspective is the pulsing character of the city itself. This is the city’s story just as much as the people’s.

Through the creative images of street scenes, people, thought bubbles, text messages and even a dive bar for cockroaches all developed by Melvin Montalban the city comes alive as it is obvious that it in actual fact, is always awake. Upbeat, clever, funny and moving this show will get into your veins just like the concrete that will get into your minds.

CONCRETE: heartbeat is playing at PICA as part of FRINGEWORLD 2015 from 5^th – 14^th February.

Review by Laura Money

According to the pamphlet: “Bryony Kimmings is a Sex Idiot. Following her very first STI test, Bryony discovered she had a common sexual disease. Not one for looking back, she was faced with the arduous task of retracing her sexual footsteps to see where she had contracted her little problem.” What follows is Bryony’s hilarious journey through all of her sexual relationships and how they responded to her probing inquiries. Firstly, Bryony highlights how quickly a common STI can be spread and it is immediately clear that she is not ashamed or even regretful that she has contracted one. Girl power!

Kimmings begins by demonstrating the similarities in mating rituals between birds and humans. They are strikingly similar and she really shows just how silly we all look when trying it on, so to speak. She lets us into her intimate world and we really feel her let down when the negative responses from her past lovers arrive. Unfazed, Kimmings launches into a love song dedicated to the vagina (and all of the euphemisms for it – including the delectable “cat with its throat slit.”) After this follows a hilarious journey back through numerous one-night stands and long term relationships that didn’t quite work out.

She gives each encounter its own piece of performance art – from songs to dances, smearing make-up to blowing up condoms Bryony keeps all of it together with her chatty nature and recital of email/telephone transcripts that make you feel like you’re on the couch with a good friend. Sex Idiot is a hilarious and unapologetic account of one woman’s sexual journey but it is so much more than that. It is a story of finding and losing love, over and over, of being a 21^st century chick, making mistakes and living life. Bryony is fun, friendly, sexy, daggy, genuinely funny and incredibly intelligent and Sex Idiot is full of her unique and ineffable charm.

Sex Idiot is part of Fringeworld 2015 running from 29 January to 6 February.

Review by Laura Money

Theatre of Abandon as presented by Abandon Theatre Players is a self-confessed “revolutionary new style of theatre, theory and actor training. A theatre without the play!” Walking in to The Velvet Lounge all that is there are two rows of seats facing each other in gallery style. There are a few other random seats scattered about but it is obvious that the action will not be taking place on the built in stage, but in the space that would traditionally be the aisle. Abandon Theatre Players are, however, anything but traditional. Yet it is the traditions of theatre that they draw upon to create the vignettes they present as a 21^st century spin on four thousand years of theatre.

The scenes are confusing as they don’t follow a linear structure. This is done in a Brechtian way but seem to be a little unpolished. The cast are truly amazing in their capacity to recite the sheer volume of lines they have learned, however it did feel that this was the main achievement, rather than bringing their characters to life. Everything is covered – from Greek theatre, to Shakespeare, to Tennessee Williams and revolutionary orators.

The concept of bringing to an audience the bare bones of theatre without the trappings of the actual stage is cleverly brought to life through the use of roving lighting. The other actors hold torches and spotlights and follow the actors in a hand-held camera fashion creating a frenzy that heightens the drama of the scenes unfolding. Theatre of Abandon is a great concept that is almost there and is acted competently. Special mention goes to the Australian bogan rendition of Macbeth and the interwoven speeches of great thinkers and revolutionaries during the revolution scene.

Theatre of Abandon is playing at The Velvet Lounge as part of Perth’s FRINGEWORLD 2015 from the 3^rd – 8^th February.

Review by Laura Money

This charming and original work was first performed intimately to an audience of just fifteen in the back room of a second-hand bookshop. After taking New Zealand by storm the team at Trick of the Light went on to win Best Theatre, Best in the Fringe, and the Tiki Tour Ready Award at the NZ Fringe awards. It is a truly intimate and romantic work that will delight old and young alike.

Sitting in the darkened room with soft, golden lamplight illuminating the single figure of Ralph McCubbin Howell dressed as an old-fashioned bookbinder, slumped on a cluttered desk snoring loudly it is easy to feel the comfort and familiarity of childhood. Those adventure stories recited or created under the comforts of bed-sheets, blankets that transform ordinary furniture into forts and womb-like structures are evoked by the gentle storytelling McCubbin Howell launches into. He has a glint in his eye and a playful smile hints on his lips – the story is of a young bookbinder’s apprentice and how he got lost in a good book – quite literally.

As the story unfolds it takes on those mythical qualities we are all familiar with. A young boy leaving his family to seek his fortune, it is a coming of age in the era of guilds and craftsmen. McCubbin Howell’s lilting voice seamlessly switches from character to character and you are transported to the bookbinder’s shop. The cautionary tale is beautifully enhanced by the use of stunningly elaborate paper pop-ups and simple puppetry. It draws you in and immerses you for 55 minutes into a world of comforting familiarity and also the adventure of the unknown.

Charming, witty and beautifully presented this is a show for anyone who grew up hearing tales of intrigue, adventure and fable. Or, if you are encountering them for the first time, this is the perfect tale to dip your toes into. The Bookbinder is exquisitely timeless.

The Bookbinder played at the Blue Room Theatre as part of FRINGEWORLD 2015.

By Laura Money

Bryony and Tim are a couple. She is a bold and fearless performance artist. He is her boyfriend who until recently worked in advertising. He also suffers from clinical depression. Fake it is the story of their journey through Tim’s depression. Through sound recordings of Tim’s recollections in dealing with his depression and vignettes of moments as a couple struggling together Bryony and Tim reveal to the audience how they have coped as a couple.

Bryony is a seasoned performer who is not afraid to put her body on the line and bare her soul. Bryony and Tim begin the show wearing unflattering boring underwear (think shape wear and tighty whities) and covering their heads with lampshades. They then highlight the statistics of people suffering silently from mental illness. The show is beautifully rendered. Bryony is open about her reactions to Tim’s depression, her own thoughts and fears.

They tell their story through reciting emails, creating a beautiful tent to represent their home, interpretive dance and song. Tim is afraid to look the audience in the eye so he wears an ingenious array of headpieces including a stunning representation of his thoughts – a tangled rope. This is an honest and open show that really gets to the heart of relationships, regardless of mental illness. There are moments that resonate deeply with the audience including a sequence involving Bryony attempting to engage Tim in fun couple activities and Tim being listless, dragging his feet.

Fake it ‘til you Make it is the perfect show to see as a couple. It boldly takes the seed of a relationship and germinates in front of an intimate audience. The sheer pathos will stay with you forever and some of the songs may even become part of your internal playlist and enter your collective vernacular. This is a top show, worth every one of those 5 stars.

By Laura Money

FRINGEWORLD 2015

Fringe is here

The sky is blue

Woah woah woah

(Check out our latest FRINGEWORLD reviews down below!)

Birds all sing

As if they knew!

That’s right, ladies and gentlemen, it is FRINGEWORLD time in Perth. The time of year when for 31 days Perth’s Cultural Centre, Public Gardens and even suburbs are transformed in to cabaret, circus, comedy and performance venues not to mention bars, food vans and did I mention bars? Now in its 5^th year, FRINGEWORLD 2015 brings artists from all over the world and the other side of Australia to perform in over 500 shows! There’s something for everyone and you’re guaranteed to find something you’ll enjoy.

This year, FRINGEWORLD expands further than it ever has – to Midland, Fremantle and regional locations. There is a new comedy venue tucked neatly away behind the State Theatre Centre of Western Australia and Central Tafe opens its doors and rooftop to become this year’s Noodle Palace. The Urban Orchard has had a facelift providing latecomers with open air bars and food and of course, the Silent Disco. But the main attraction this year is the aptly named Pleasure Garden. This is where you can come for a breezy read in the outdoor library, enjoy the open atmosphere of outdoor bars, smell the charred wonder of corn on the cob and other yummy foods or even be transported around Perth on an open air rickshaw. (I’m not kidding, they really have those!)

So, if you’re confused about what to see and do during FRINGEWORLD just relax – we have you covered. Check out all of our reviews as they happen and also, hit us up on Facebook – we’d love to answer your Fringe questions.

Laura Money

Review by Vivienne Glance

“With participatory theatre the more you engage the more you’ll get back. ‘FRIENDQUEST’ makes it very easy to jump on board. Along with your newly-met friend you’re taken on a journey though Northbridge, where you meet more new friends and become part of something bigger than yourself. Full of positive vibes, this sell-out show weaves different paths for each pair of ‘questors’ until you all reunite at a dance party. FRIENDQUEST left me full of positive vibes about the power of connection and how easily we can make friends if we really want to.”

By Vivienne Glance

VICTORIA HALL, FREMANTLE

7.30pm

25^th January 2015

90mins

Presented by Skylight Ensemble

This is a tragic story of love and loss, imaginatively staged, with a mainly young cast. What it occasionally lacks in pace, it makes up for with its depth of ideas and some good performances.

This show embraces the wonder and pride Fremantle’s Victoria Hall has in the imagination of many. Seated cabaret-style, the audience follows the contemporary and past lives of residents of this coastal city who were associated with the history of this nineteenth century hall, which has at times been a music hall, church hall and is now a theatre.

The play begins with a modern day tragedy and weaves towards reconciliation by opening up an imagined world of ghosts and memories. Each historical character, including soldiers, the architect who built the hall (played by a stately Chris Wortham), a local stonemason’s family, and many others, recalls their attachment to this building and how they cannot leave.

The staging uses the whole space with actors walking amongst the tables and on the stage, and effectively brings the hall itself into the story as a character. Members of this talented cast at times, dance, sing and play piano, and the atmospheric lighting provides a dreamy quality.

The momentum is occasionally hampered by each character’s monologue recounting their own story, even though the writing has moments of lyricism.

The cast of mainly young people performed very well. And it is through the eyes of Johnny, a decorator, that we are introduced to this other world, peopled by the past. This role is alternated, and I saw the talented Obe Oldmeadow perform. Kira-Che Heelan as Skyla, his girlfriend, overcomes the limited emotional range her character is allowed, and gives a nuanced performance.

There are moments of lightness provided by the two decorators, Jock (Kai Arbuckle) and Bill (James ‘Fish’ Gill), but this ambitious play mainly focuses on the tragic effect of losing a loved one. However, it allows for the hope that there is a place full of love beyond death.

By Vivienne Glance

YOU TOOK THE STARS

By Cat Commander

Circus Theatre Bus Bar

23^rd January 2015

55 mins presented by Fire Curtain Co., Melbourne

The top deck of a bus creates an unusual, but well staged, space for this intriguing love story. Through a series of vignettes, delivered quite conversationally, the beginning, development and end of a relationship is mapped out, serenaded by a singing monkey. Even though the writing is beautiful in parts, engaging with strong metaphors, this play is not quite quirky enough to forgive the limited dramatic action, or emotionally rich enough to sustain the engagement it seeks.

Review by Vivienne Glance

THE LIST by Jennifer Tremblay

GUILD STUDIO, EAST PERTH

8.30pm

seen on 27^th January 2015

60 mins

Presented by Fragmented Artists

The newly decked out Guild Studio, with it’s small, funky bar, hosts ‘The List’ written by French-Canadian playwright, Jennifer Tremblay. Performed by Gemma Cavoli, this tight script is at times funny, insightful and painful as it reveals the inner world of a woman trapped in the isolation of a small village and motherhood.

The newly decked out Guild Studio, with it’s funky bar, opens its 2015 Fringe World with ‘The List’ written by French-Canadian playwright, Jennifer Tremblay. A simple but imaginative set of net curtains across the stage, behind which are four windows, creates the hidden interior space the unnamed narrator exists within. The isolation of this woman, at home all day with young children, unable to connect to neighbours in the small village she and her husband now live, is well supported by this flimsy symbol of privacy.

‘The List’ is a poetic monologue that slowly unravels the story of a friendship emerging from this isolation between the narrator and another mother, Caroline. They are polar opposites. Caroline is artistic and messy; her children draw pictures on the wall and leave sticky marks on the table. The narrator wipes her own children’s faces, tidies up the toys each night and orders her life by constantly making lists.

These lists are the crutch that hold her up against her inability to cope; they are her ritual to get though the day. But ultimately, they stop her from truly reaching out and connecting with Caroline.

The central tragedy of the story is about inaction, covered up, like the windows, by futile actions. It reveals that if only we could figure out the important things we need to do from the trivial ones, then we might create friendship, connection and meaning in our lives.

There were times, when the narrator, played by Gemma Cavoli, could reveal more beneath the cracks in her composure as she tries to hold onto order in her life, but on the whole this powerful script is well performed. Suzanne Ingelbrecht’s direction does not impose on the text, but allows it space to reveal its complexity, if at times at the expense of pace.

This is a fascinating insight into a woman’s inner world that reveals much, and is certainly worth seeing.

Review by Charlotte Guest

Too Much Light Makes the Baby Go Blind is a mammoth performance disguised as a lowbrow theatrical romp. What the Neo-Futurists packed into a 60-minute show was nothing short of colossal, ranging from slapstick comedy and mind-boggling word play to social commentary with gravitas.

Too Much Light is designed to never be the same show twice. Upon arrival, audience members are handed a “menu” on which is listed the titles of that night’s thirty two-minute plays, and from which, when cued by the code word “curtain,” the audience shouts, pantomime-style, the number of the play they want to see next. It is explained that each show after opening night will begin with the rolling of a die, and the number rolled will be the number of plays cut and replaced from the menu. This means that, in the words of performer and Artistic Director Ryan Good, “if you’ve seen the show once, you’ve seen the show once.” What ensues is a complex and deliberate chaos, a fine-tuned breathlessness.

The term “menu” made me imagine the show as a thirty-course degustation, which turned out to be a useful metaphor as there was so much to digest. Dadaism, Futurism, Modernism and Meta-Modernism are evidently sources of inspiration for the Neo-Futurists, much of the experimentalism being upfront nods to these movements (and, of course, acknowledged on their website). This is not to say that Too Much Light is simply pastiche, but rather that it masterfully utilises the styles and practices of these schools as vehicles through which to address contemporary issues. Each two-minute play ‘touched upon’ (in the bodily, kinetic manner this phrase suggests) a topic with acerbic wit and sincerity, ranging from the ill founded yet common disdain for breast-feeding in public to the way music can make everything epic. In one moment you are listening to the theory that the Boko Haram are Vikings who travelled through time, the next you are considering the pros and cons of altering the Gregorian calendar so that every month has twenty-eight days.

Too Much Light Makes the Baby Go Blind is an ever-evolving exposé of the absurdities of modern life. It unfolds like a kaleidoscope of culture. It meets needs you didn’t know you had. It raises questions as answers to questions you have harboured but never articulated. The Neo-Futurists will have you laughing, recoiling, and above all else, thinking. Highly recommended.

Too Much Light Makes the Baby Go Blind is part of Perth’s Fringeworld festival 2015, playing at Teatro 2 in the Pleasure Garden from 2^nd – 4^th February.

Review by Laura Money

Black Swan Theatre Company begins 2015 with a bold, intelligent and provocative work that just shouldn’t be missed. Part of several key initiatives including their “Black Swan Labs” and “Emerging Artists” the show has been developed to encourage emerging artists in Perth. One such artist is lead actress Felicity Mckay as Vanda. As far as debut roles go, this is a challenging and demanding one, requiring her to not only portray two main characters but the nuances and changing roles within them. Her performance is near perfect and she really carries the show.

Thomas Novachek (Adam Booth) is an aspiring playwright hosting auditions for his magnum opus: an adaptation of a novel that struck such a deep chord with him, it’s almost as if it had been written for him. Disillusioned by the cookie-cutter young actresses auditioning for the role of his perfect character Vanda, he starts packing up. There is a knock at the door. It’s Vanda. Rather Vanda Jordan (Mckay) a brash, loud and bold girl who happens to bear the name of the character she desires to play. What follows is an impromptu audition that slowly emerges into something more real than either party care to admit.

Novacheck is the perfect combination of neurotic writer and perfectionist. In his overwhelming desire to achieve perfection for the play he adopts the role of Severin himself and it fits like a glove. Vanda initially appears to be desperate for any acting job but as her audition continues it becomes clear that she was very prepared to take on this role. Mckay is flawless in her rendition of all levels of both Vandas personalities. She remains enigmatic, sexy and always in control – even when she is supposed to be submissive.

Vanda and Thomas’ ‘audition’ spirals darkly and rapidly, questioning gender and societal hierarchies, submission, masochism and the true nature of desires. It is bound by the golden threads of art history, literature, Greek philosophy, Roman mythology and of course, the nineteenth-century Russian penchant for creating flawed and ugly/beautiful characters. Venus in Fur blurs the lines of reality and fiction, character and person, and of course, gender and societal roles in a beautiful and thought provoking show.

Venus in Fur is playing at the State Theatre Centre Western Australia in conjunction with Fringeworld from 15^th January – 8^th February 2015.

By Laura Watts

A pair of siblings breaks into a long-abandoned house and stumble across 12 year old Dom (Jordan Holloway) who is dealing with the physical loss of his father to a plane crash and the emotional loss of his mother to mental illness. Dom is followed by a shadow, a black morph suit clad Daley King, who mimics his movements and occasionally serves as a vessel by which the oft silent Dom’s emotions are expressed. What follows is the story of Dom’s attempts to bring back his father from the dead via a “loophole” that can apparently be generated by the successful winning of two out of three games played with the outspoken sister (Violette Ayad) and her mellow, guitar playing brother (Sam Stopforth). Using a combination of shadow play, puppetry and audience participation, the production seeks to explore themes of childhood, mental illness, loss and the wonders of the imagination.

The death of Dom’s father is well described when the shadow figure flies a Lego plane around the darkened room, and subsequently crashes it, to the sounds of thunder and flashes of lightning. Simultaneously, a silhouetted man on a hand held radio portrays a captain trying to steady the doomed plane. The effectiveness of this scene is countered by the following, in which Dom runs around the dimly lit stage playing with his Lego, the shadow figure knocks over a few objects, and nothing of significance happens for rather a long time.

Cue the siblings arriving on the set and Dom scrambling to hide motionless under a sleeping bag. Upon first encounter, the pair seems to be nothing more than argumentative teens with a rebellious streak. Ayad is fiery and feisty, while Stepforth is more the laid back, surfer type, going along with his sister’s plans to explore the abandoned house. However over the course of the play, their roles become a lot more convoluted and difficult to pin down. In later scenes, Ayad introduces the audience members to Dom as ‘souls in limbo’ and begins interacting with them via audience participation games, while Steforth’s concurrent remarks seem to indicate that she had cooperated with ghosts previously. It seems as though the pair serve a kind of spiritual, other-worldly purpose, but the purpose never becomes clear, and dissolves even more into confusion during the final scenes where the dialogue negates the previous actions of characters in the play. When viewing these scenes in the context of the performance description, it is unclear whether the interactions with the otherworld are indeed real or imaginary. On his Pozible crowdfunding page, King states that the play seeks to ‘explore the idea of losing one of your parents to the shadowy figure, and what a confrontation with Death (and all her friends) might entail, in the quest to bring that parent back’. Does this suggest that Ayad plays Death, and if so, why is she visible to Dom? What purpose does her brother serve? Has she, and the beings in limbo, just been imagined by a despondent Dom, or is she real and merely an excellent actress, able to convince the lonely boy that she has higher powers?

Another end left loose is the story of the shadow figure. As the siblings enter and before Dom is discovered hiding, the shadow figure acts as a playful poltergeist, scaring Stepforth by pulling his hair and plucking his guitar strings, and it seems that duo is unable to see the ‘ghost’. However in the following dialogue, Ayad points to the now visible ‘ghost’ and calls it a shadow, and the confusion about the actual identity and purpose of the shadow figure begins. At first it appears as though the shadow figure is going to represent the spirit of Dom’s father, which would explain the fact it is able to move independently from Dom himself or chose to follow him, but Ayad’s announcement that it is in fact a regular shadow makes little sense given the shadow’s previous activities.

Dom’s dialogue and journey really begin once the siblings have arrived. Jordan Holloway is obviously a very talented young actor, however he fails to convince as a 12 year old boy. His ability to reason, rationalise and to be deeply introspective is far beyond his 12 years, which is a fault more of the script than of his ability. Perhaps if Dom had been 14 or 15, his words and interactions would have seemed more appropriate. Alongside Ayad, Holloway delivers the only emotionally charged scene in the play. Given the title and theme of the play, it is a curious that there was not more of an exploration of grief. Again, there is a lot of potential here but the moments which could have been poignant and beautiful are replaced instead with a series of interactive games that don’t quite fit the mood of the rest of the performance.

This is an interesting premise with so many opportunities for real impact and raw emotion, but with just as many loose ends. With a bit of tweaking, Death Stole My Dad could be a really sincere, challenging and thought provoking play. For now, it remains a little unconvincing.

La Soiree (5 Stars)

Review by Laura Money

What can one say about La Soiree? This is an absolute must-see! Part of Fringeworld 2015, I would consider La Soireewith its mix of acrobatics, comedy and pure entertainment the cherry on top of the Fringeworld sundae.

This award-winning show will astound and amaze, I spent the majority of the show with my jaw on the floor and my hands clapping with delight. It is truly spectacular and I would recommend La Soiree to anyone willing to try an evening of sheer entertainment.

Come down to La Soiree to witness the tongue-in-cheek athleticism that includes a man in a bath who will leave the audience wet with his unique blend of rope skills and a certain sexiness, a pole dancing performance like no other and of course the energetic and completely divine acrobatics of the manic duo David and Fofo.

La Soiree is a triumph – the perfect blend of comedy, artistry and back to basics entertainment. This is what entertainment is all about.

La Soiree is on as part of Perth’s Fringeworld 2015 in the Pleasure Garden from 28^th Jan – 7th March.

Melbourne Opera's Der Freischutz - starring Sally Wilson PLEASE CREDIT Zoe Scoglio for video still

31 January, 5 & 14 February at The Athenaeum Theatre Melbourne

13 March at Monash University’s Alexander Theatre

Melbourne Opera is proud to present a new production of Weber’s Romantic masterpiece, the powerful Der Freischütz/The Marksman, not performed in Melbourne since 1969.

As You Like It - Lucy Gransbury (Phoebe), Mark Dickonson (Jaques), Louisa Fitzhardinge (Rosalind), Charlie Sturgeon (Orlando) and Claire Nicholls (Celia) (MED RES) - PLEASE CREDIT MATT DELLER

“All the world’s a stage, and all the men and women merely players.” – As You Like It’s melancholy Jaques.

Australia’s largest independent theatre company the Australian Shakespeare Company (ASC) is delighted to announce a colourful new production of the bard’s satirical musical comedy As You Like It.

From New Years Eve until 14 March 2015, the Royal Botanic Gardens will be transformed into a Shakespearian festival of fantastical fun.

Before the show, garden revellers can explore the Love Letter Labyrinth – a meandering maze into the depths of the gardens, and the Shakespeare Hub, a pop up bar of naughty and nice delights.

Tickets are on sale now via Ticketmaster or www.shakespeareaustralia.com.au.

New Australian play explores reasons a woman stays in a violent relationship.

A provocative new Australian play by actor-writer-producer Rachael Blackwood is set to debut at Revolt Artspace, Kensington in December, for a two-week run.

Opening on Wednesday 3 December, Kindred lays bare the ‘shiver and shade’ of falling in love with someone whose initial loving behaviour becomes increasingly manipulative and abusive. Featuring a cast of seven, six of whom play different and often conflicting aspects of the main (female) character, Kindred reveals the torment and uncertainty behind the discovery that your partner’s violence is not going to stop—in fact, it’s going to get worse.

The play takes audiences on a roller-coaster ride of falling in love, dismissing early warning signs of abuse, and experiencing the confusion, terror and constant questioning that characterises an abusive relationship. It probes a question commonly asked by people outside the relationship: ‘Why doesn’t she just leave?’.

Directed by Lisa Treloar, it is a raw and unflinching insight into the development of an abusive relationship, and one that will stay with audiences long after it is over.

As a passionate feminist and advocate for women’s rights, Rachael Blackwood has partnered with the Women’s Domestic Violence Crisis Service of Victoria (WDVCS) for this project.

WDVCS is a state-wide not-for-profit service providing emergency accommodation, a free 24-hour crisis line, outreach and advocacy services, working collaboratively with police and the criminal justice system to enable women and children to become, and stay, free from violence and abuse. Ten percent of gross ticket sales will be donated to WDVCS and additional donations will be collected via charity tins at the venue.

Family violence affects people from all walks of life regardless of age, culture, sexual identity, ability, ethnicity, religion or socioeconomic status. In Victoria alone, the WDVCS crisis line receives 50,000 calls every year. With the increasing level of media coverage that this issue deserves, demand for their services is greater than ever.

KINDRED THE PLAY – SHOW DETAILS

Venue: Revolt, No. 12 Elizabeth Street, Kensington

Dates & times: Wed 3 Dec 7:30pm (OPENING NIGHT)

Thurs 4 & Fri 5 Dec 7:30pm

Sat 6 Dec 2pm & 7:30pm

Sun 7 Dec 6pm

Tues 9 to Fri 12 Dec 7:30pm

Sat 13 Dec 2pm & 7:30pm (CLOSING NIGHT)

Further Info

Bookings

NB:Kindred has a Trigger Warning for domestic violence. It contains strong language, and scenes and material that may upset or offend.

This play serves as a stark reminder of the horror that unfolded on 11 March 2009 in Winnenden, Germany. The mental and emotional instability of a single person resulted in the destruction of 16 other innocent lives. The victims will never have a chance to describe the terror that struck them the moment that the gunman raised a 9 mm Beretta semi-automatic pistol to their heads. This play endeavours to capture those dark and truthful moments in a narrative which includes every perplexing detail of the events that unfolded that dreadful day.

The play touches upon the turmoil in the life of the murderer, Tim Kretschmer, and tries to make sense of his bizarre and inexplicable deeds. To this day, the motives behind his killing spree remain a mystery. Some state it was his over-protective mother and others propose that it was a mental condition which was undetected. What triggered his desire to kill? Why did he do it? What did he hope to achieve? Unfortunately, we may never know.

Sondheim & Lapine's PASSION - Silvie Paladino as Clara, Kane Alexander as Georgio and Theresa Borg as Fosca - PLEASE CREDIT MATT DELLER (MED)

A rarely performed scene from Stephen Sondheim and James Lapine’s Tony Award winning PASSION will be added to Life Like Company’s new production, playing four nights only at Arts Centre Melbourne from 5-8 November.

New seats are on sale now via Arts Centre Melbourne Box Office 03 9281 8000 or www.passionthemusical.com.au

By CRAIG WRIGHT

Can You Turn Back The Clock and Unload 20 Years of Baggage?

(For Immediate Release) For the first time in Australia, renowned playwright Craig Wright’s The Pavilion will be presented by Melbourne’s Boutique Theatre company 30 October – 14 November at the Abbots-ford Convent.

A bittersweet comedy of lost love and what might have been, Peter returns to his hometown of Pine City, Minnesota and his twenty-year high school reunion with dreams of winning back Kari, the girl he left behind at seventeen after an unexpected pregnancy. Standing in his way is the wedding ring on Kari’s finger, the fact that he still hasn’t grown up, and a narrator hell-bent on telling Peter and Kari’s story her own way. As the night progresses, both Peter and Kari are forced to face the consequences of choices made long ago and face life with newfound strength and bittersweet resolve.

Hailed by critics as Thornton Wilder’s Our Town for our time, The Pavilion is by turns poetic and comic, romantic and philosophical. Punctuated with hilarious dialogue dredged from the universal experience of high school angst, the characters also find themselves deeply entrenched in the melancholy of “what might have been.”

American playwright Craig Wright is an Emmy-nominated television writer, known especially for his work on Six Feet Under, Lost and cult hit Dirty Sexy Money.

Directed by Herald Sun theatre critic and theatre director Byron Bache and produced by Emma Jane Caldwell, co-founder of Boutique Theatre and seasoned theatre, television and film actress. Starring Tim Constantine, Katherine Innes and Claire Pearson.

VENUE The Abbotsford Convent, 1 St. Heliers St., Abbotsford

DATES Thursday 30 October – Friday 14 November 2014

TIME 8pm (120 min)

TICKETS $28 Full / $25 Concession

BOOK www.boutiquetheatre.com.au

FOLLOW www.facebook.com/BoutiqueTheatre

(No Shows Sunday–Tuesday)

Reviewed by Fiona Hart

I have a confession to make: I have a slight obsession with Luke Mullins. Ever since I saw him perform in Angels in America last year, I have followed this truly transfixing actor from play to play, and so when I learned he would be teaming up once more with Eamon Flack (his Angels director) for The Glass Menagerie this spring, I knew I would be in for a treat.

The much anticipated Queensland premiere season of Disney’s landmark musical event THE LION KING will officially open in Brisbane tomorrow night Friday 26 September 2014.

THE LION KING will play in the Lyric Theatre, Queensland Performing Arts Centre (QPAC) until Sunday 25 January 2015, making it the longest running show at QPAC in over a decade.

Director Julie Taymor’s vision of the African savannah comes to life in this locally-crafted production, featuring the most multicultural cast of any Australian-produced stage musical to date.

This Australian production is the tenth production of THE LION KING running concurrently around the world, with shows on Broadway and on tour across North America, Tokyo and on tour in Japan, in London’s West End and on tour throughout the UK, and in Hamburg, Madrid, Sao Paolo and now Brisbane.

by Fiona Hart

For a play that has been a Pulitzer Prize finalist, a Tony nominee and has won a number of awards, this latest production from the Ensemble Theatre carries a curiously unarresting title. Indeed, the phrase only features once, when Brook explains that she often wishes she could drive straight past her hometown and instead follow the sign to ‘Other desert cities’. It is only by the end of the play that we understand the absolute genius of the wording, as this is in fact a play all about misdirection.

Stephen was a really fat kid. Who became an even fatter adult. And is now a slightly less fat adult. But still a little bit fat. Join him as he shares stories and songs of his ‘weight loss journey’ from a chubby childhood to his tubby teen years and beyond. Fat Boy Slimm…er offers a little something for the food lovers and fitness fanatics alike. This show is served up with the lot – extra fun, a double scoop of laughs, a side serving of sadness, a drizzle of hope …and more fat jokes than you can poke a hot dog at!

Created and Performed by Stephen Valeri

Produced and Directed by Sara Grenfell

Check out our competition on Facebook for your chance to win tickets!

Wed 17 – Sun 21

Wed 24 – Fri 26

9pm (6pm Sun)

Downstairs at The Noble Experiment

284 Smith Street

Collingwood

In an alternate reality, where India governs Australia, honking is mandatory, chai is pulled not poured, and Next Gen cross-cultural hipsters are born. Kwality Chai offers an immersive experience, drawing audiences into the lifestyle of this new world. This extraordinary performance revolves around the making and serving of tea. Excite your tastebuds, listen to new world sounds, and read about the latest happenings in Kwality Times. Come experience a new world of chai in a new world order! Be immersed in this uncanny realityThis interactive and immersive Live Art performance from Melbourne-based artist Sapna Chandu that premieres this September at the Melbourne Fringe Festival.

Sapna Chandu is an emerging artist/curator. Currently working with site-specific installations, her art explores cross-cultural narratives.

TAT Deputy Sydney Theatre Editor Fiona Hart reviews Nora.

Boldly naming their play after Ibsen’s tragic heroine in A Doll’s House, Kit Brookman and Anne-Louise Sarks set out to explore the character of Nora from a modern perspective.

The start seems promising. An interesting set gives us full view into the family dynamics, and the glow from Torvald’s iPad immediately confirms that we are in the present day. A few subtle changes in the narrative seem perfectly acceptable – two children instead of three, the elder of whom is a girl, plus no appearance from any of the secondary characters from Ibsen’s script, mean we are free to focus on Nora in her role as wife and mother – which, after all, is the role that seems to cause her all of her distress.

But instead of really uncovering the root of her unhappiness, this production leaves both my companion and me even more puzzled as to what is actually the matter. Not only does Belvoir’s Nora engage much more with her children than Ibsen’s does and even does so when she is under a cloud of depression, but the constant fear of her fraud being discovered is barely present. And we are quite bemused by Nora’s request for a nanny to help in the afternoons when at the beginning the script makes it quite clear her children are both at school.

All this can be overlooked however when we come to the second half, and the stage is graced by Linda Cropper. Playing Nora’s confused but gracious hostess on her first night away from Torvald, Cropper’s acting is sublime: her telephone conversation is timed so impeccably we truly believe there is someone on the other end of the line; her facial reactions are highly expressive but small enough to be perfectly authentic; and even when she is awkwardly placed with her back to the audience we are still drawn more to Cropper voice than to Blazey Best’s (Nora’s) angst-ridden visage. Indeed, as the two women gently poke around each other’s problems it is as though Sarks herself is more interested this new character, allowing a story to slowly unfold which takes the focus away from Nora for a while. And while it is a fascinating and engaging aside, unfortunately it does little to help us learn more about the woman after whom this play is named.

So see this play for Linda Cropper. See this play for the set. Or even see this play to recognise a modern-day Torvald – a well-defined twenty-first century version of a hard-working family man who clearly cares about his family but is a poor communicator. The play might be called ‘Nora’, but in this production she is, once again, merely a figurine.

—

Nora is playing at the Belvoir until 14 September.

TAT Deputy Sydney Theatre Editor Fiona Hart reviews Face to Face.

What do you get when you combine one of Australia’s best known playwrights with the Artistic Director of the Ensemble Theatre, and throw in an actor who was so famous in Neighbours that this reviewer recognised him over twenty years later? The promise of a great show.

Face to Face, playing at the Chatswood Concourse this September, runs for ninety minutes with no interval – and as the script spans one continuous, real-time act it is clear that the format suits the play perfectly. So too does the auditorium, with the beautifully wide stage used perfectly by Sandra Bates to allow the characters to be, quite literally, face to face with each other as well as the audience.

My Neighbours friend plays a relatively minor role, and so I watch with interest as the cast around him slowly reveal themselves at the instigation of our protagonist, Jack Manning (effortlessly embodied by Glenn Hazeldine). The sense of voyeurism is delightful: without giving too much away about the setting, in real life we are taught to do anything but stare at other people in such a situation, but right from the quietly stylish opening our curiosity is deliberately piqued, inviting us to confront the characters from the comfort of the fourth wall as they confront each other from the coolness of their clinical plastic chairs.

The intense preparation that has clearly gone into developing each of the individual characters is enough to conceal a few minor scripting anomalies – the odd phrase is repeated unnecessarily, and Jack contradicts himself at least once when he tells one Glenn it is unreasonable of him to expect an immediate answer from Greg, only moments later to demand that same answer from Greg himself. And the wrap-up is all rather neat; that said, despite the fact that the narrative touches on some dark themes it is such a light-hearted piece that we audience members would feel cheated if Williamson were to leave too many loose ends.

A colleague who has never been to the theatre asked me the other day for a recommended entry show, and I told him that this would be the perfect play for his first foray. Amusing, accessible and perfectly packaged into a nicely paced hour and a half, so long as you are happy to have your interval ice cream either before or after the action instead (wonderfully the parlour across the road is still open when the show ends), Face to Face is a treat of an evening’s theatre. Oh, and did I mention there is a guy from Neighbours in it?

—

Face to Face is playing at the Chatswood Concourse until 27 September.

More informatin visit ensembletheatre.com.au

The Seagull

By Laura Money

Anton Checkov’s acclaimed play The Seagull comes to Perth via the Black Swan Theatre Company. Playing at the
grand State Theatre Centre WA, the well-known play features mother and daughter duo – Greta Scaachi and Leila George as potential rivals in love. It is classic theatre at its best. The crew at the Black Swan Theatre Company knows how to deliver a professional and charming productioce of nineteenth-century Russian theatre to life are the grand and sumptuous blue curtains covering the stage.

They are reminiscent of the era and quite a rarity these days in contemporary theatre productions. As the audience simmers down, the curtains draw open to reveal a set that continues the beautiful azure blue throughout. A stunning photographed backdrop projected onto the back of the set shows the beauty of the lake and glorious surrounds. A makeshift ‘stage’ complete with wooden platform, twiggy saplings holding up white muslin curtains and crude oil lamps burning, coupled with the bohemian scattering of an assortment of chairs and benches, cushions and blankets all facing the ‘stage’ are simple, yet effective. This is the country estate of retired judge, Peter Sorin (Michael Loney) who
staggers out onto the stage, doubled over with age on his walking stick, sitting on a bench. He talks with his young
nephew, Konstantin (Luke McMahon) who is anxious about putting on the play he wrote. He is tormented by the fact
that he wants to write deep Seagull 2-1 and meaningful work, not the sort of thing that his mother acts in. He is also rather obviously infatuated by Nina (George) who is to be acting in his magnum opus.

As the other characters arrive, we glimpse a moment into their various lives. There is young Masha, the lovelorn and depressed figure after Konstantin’s affections. She wears a Victorian style mourning dress, black and not dissimilar to that of the famous queen. Dorn, a middle aged doctor, the facilitators of Sorin’s estate and of course, we learn more about Sorin himself. Scaachi as Irena Arkadin sweeps onto the stage, almost flouncing with the young and handsome writer Trigorin in her wake. They take a seat and Konstantin’s play begins. Watching this play within a play, the audience can feel a sense of internal analysis on Checkov’s part. The characters speak of a need to withdraw from the vacuous plays common at the time and to move towards a real use of language. They also debate the role of the theatre, some seeing it as a force for change, others as a way to escape the real world for a few hours of light entertainment. As the debate heats
up, it does feel as though the audience is being challenged to continue this debate after the show over a coffee.

Brooding away the next day, Konstantin shoots a seagull to garner the affections of Nina. They sit together on a
beautifully craft Seagull 3-1 ed swing-chair and wisps of white flicker in front of the clear blue sky. McMahon’s tragic rendering of Konstantin is expressed through his frustration and angst. He leaves and Tragorin enters, saying that he overheard
their exchange and thought that the seagull would be a perfect metaphor for a girl in a story. He sets about confusing and seducing Nina, who throws herself at him willingly. The tension between the youthful and bright Nina and the aging and fading Irena is palpable, Scaachi’s expressive eyes flicker dangerously at George as they both battle to
control the pace of the swing.

The sets change to reveal such opulence in the form of a grand dining room, complete with chaise lounge and candelabras. Despite the veneer of refinement, the characters are laid bare in their folly. Irena comforts and berates her son in a tender, yet dangerous moment of intimacy. Masha reluctantly accepts the young teacher, Medvedenko’s proposal – although she doesn’t pull any punches by saying that it’s not what she actually desires. This scene has a
feeling of the fin-de-siècle about it; we can see the bonds of the ‘family’ begin to unravel.

The final scene takes place a few years later. The audience sees what became of each of the characters. This is beautifully
rendered as m Seagull 4-1 ost plays ask the audience to continue the players’ stories in their own heads. Checkov lays it out for all to see. The haunted atmosphere begets a feeling of impending doom. The furnishings are now sparse, the lighting dim and the characters all appear a little washed out. The play has an ending that will haunt you for life.

The Seagull is a classic for a reason. It’s a well rendered, simple yet effective play. Each character has so much behind them; they could fill volumes on their biographies. If you want to see how contemporary theatre was informed and influenced, go and see The Seagull.

The Seagull is showing at the State Theatre Centre WA from the 9^th – 31^st August 2014.

19-30 September at The Athenaeum Theatre Melbourne

4 October at Monash University’s Alexander Theatre

Melbourne Opera is proud to present a new production of French opera The Pearl Fishers (Les Pêcheurs de Perles) conducted by Richard Divall. Richard has conducted over a dozen productions of the opera over a period of more than 35 years.

The Pearl Fishers is an opera in three acts by French composer Georges Bizet (Carmen) to a libretto by Eugène Cormon and Michel Carré. It was Bizet’s first operatic success, originally performed on 30 September 1863 at the Théâtre Lyrique in Paris, but achieved worldwide recognition in the mid 20^th century.

Highly respected conductor and musicologist, Richard Divall, spent twenty-five years as the Music Director of the Victoria State Opera and five years as Principal Resident Conductor of Opera Australia. He conducted the first opera ever staged in the State Theatre at the Arts Centre Melbourne and is an internationally recognised music scholar.

“The Pearl Fishers is a vastly successful opera, featuring the most glorious vocal music and an incredibly exotic story. Bizet was a young man writing about young love,” says Divall. “It is an opera with instant charm and magic, I have never tired of it.”

Set in ancient times on the island of Ceylon, the opera tells the story of how two men’s vow of eternal friendship is threatened by their love for the same woman, whose own dilemma is the conflict between secular love and her sacred oath as a priestess.

Tickets to this powerful production are selling fast via Ticketek.

The Pearl Fishers is directed by Melbourne Opera’s Director of Productions Hugh Halliday, who has directed for all of Australia’s state opera companies, after seven years as director for the English National Opera. He will direct two casts in four strong roles, working with some of Melbourne’s most accomplished singers.

Leila, priestess of Brahma, is played by sopranos Lee Abrahmsen and Barbara Zavros, with tenors Brenton Spiteri and Robert Barbaro sharing the role of fisherman Nadir. Playing Zurga, the head fisherman and third element of the love triangle are Phillip Calcagno and Michael Lampard. Eddie Muliaumaseali’i and Matthew Thomas will perform the role of Nourabad, the high priest of Brahma.

Lee, Barbara and Brenton are the three most recent winners of Australia’s most prestigious singing competition, the Herald Sun Aria. Melbourne Opera continues in its mission to bring the best of Melbourne’s young talent to the forefront.

Characters Nadir and Zurga sing the magnificent friendship duet “Au fond du temple saint”, a celebrated rare male duet, generally known as “The Pearl Fishers Duet”. It is one of the most famous numbers in Western opera, and featured in iconic Australian film Gallipolli (Peter Weir, 1981), expressing male mate ship and loyalty between a pair of doomed soldiers.

The orchestral parts of the duet are repeated throughout the opera, depicting the triangular relationship between the three protagonists, communicating the value of friendship between the two men, higher than their love for the woman.

Melbourne Opera is Victoria’s busiest professional opera company, performing Fidelio, The Merry Widow, La Traviata, Cosi Fan Tutte and a sell-out Australian premiere of Wagner’s Rienzi in 2013. Rienzi was repeated in February due to popular demand, followed closely by a restaging of their critically acclaimed production of Madame Butterfly.

Season dates

The Athenaeum Theatre, 188 Collins Street, Melbourne

Friday 19 September 7.30 pm (opening night)

Thursday 25 September 7.30 pm

Saturday 27 September 2.00 pm

Saturday 27 September 7.30 pm

Tuesday 30 September 6.30 pm (anniversary performance)

Alexander Theatre, Monash University, Clayton

Saturday 4 October 8.00 pm

For more information visit www.melbourneopera.com

Life Like Company is proud to announce a new production of Stephen Sondheim and James Lapine’s widely acclaimed, Tony Award winning musical PASSION, playing four nights only at The Playhouse, Arts Centre Melbourne from 5-‐8 November, 2014.

The complex landscape of the human heart is the subject of PASSION, a haunting, intensely emotional musical by the uncompromising creators of Into The Woods and Sunday In The Park With George.

The original Broadway production of PASSION received 10 TONY Awards including Best Musical, Best Book of a Musical and Best Original Score.

Life Like Company is born of the team behind ife Like Touring, firmly established as one of Australia’s leading family theatre producers, with their productions touring the USA, Middle East, Asia and Europe.

PASSION represents the company’s first major foray into the mainstream adult world of musical theatre, launching Life Like Company with a provocative and captivating premiere production.

Tickets are on sale from Tuesday 8 July from Arts Centre Melbourne Box Office (03) 9281 8000 or via www.passionthemusical.com.au

First presented by Birmingham Repertory Theatre Company and Traverse Theatre Company in association with Paines Plough at the Traverse Theatre, Edinburgh on 31 July 2009, Orphans tells the story of Helen and Liam, a sister and younger brother orphaned in childhood after a horrific fire, and the strong familial ties that bind them as a result of growing up alone and together in the ‘system’. With Helen now happily married to Danny, with a young son and another on the way, Liam arrives on their doorstep, covered in blood, frantically telling the story of a young lad he desperately, and futilely, tried to help when he discovered him, beaten and badly injured, on the street.
Helen and Danny try and understand and calm the frantic Liam, and piece together what happened and what they will do about it. Things get complicated when inconsistencies begin to appear in Liam’s story, by which point events have been set in motion that will have lasting impacts on all their lives.
Masterfully directed by Douglas Montgomery and starring Shian Denovan, Pat Moonie and Gavin Williams, we are delighted to bring you this award winning play. Book your tickets here.

Director: Douglas Montgomery
Cast: Shian Denovan, Pat Moonie and Gavin Williams
Introducing: Ethan Oppy

Season: (All shows 7:30pm unless otherwise indicated)
Week 1: Fri Aug 8th, Sat Aug 9th (3pm & 7:30pm)
Week 2: *Tue Aug 12th, Fri Aug 15th, Sat Aug 16th (3pm & 7:30pm), Sun Aug 17th (3pm)
Week 3: **Mon Aug 18th, *Tue Aug 19th, Thu Aug 21st, Fri Aug 22nd, Sat Aug 23rd (3pm & 7:30pm)

Where: The Mechanics Institute
Location: 270 Sydney Rd Brunswick (cnr Glenlyon Rd)
Tickets: $28 Adult / $24 Concession / $20 Groups (9+)
* $20 Cheap Tuesday (12th/19th)
** Pay as you feel (Monday 18th) Reserve your tickets here for this special event.

Bookings: Here

Award-winning New York harpist and musical theatre actor, RITA COSTANZI, brings her
acclaimed show A Score To Settle to Australia in July, appearing at the World Harp
Congress in Sydney and The Butterfly Club, Melbourne for a strictly limited season.
Described as a ‘tell-all tale of music, passion—and a very large instrument’, A Score To Settle is a
funny and poignant musical monologue based on Ms Costanzi’s life.
By turns sensuous, hilarious and deeply moving, A Score To Settle shares her story from growing up
as the musically gifted child of a famous violist father to training as a concert harpist and performing
with orchestras across the world, to performing for dying patients in palliative care, confronting her
own mortality and, finally, reconciling her art and life.
Ms Costanzi seamlessly integrates the compelling dialogue
(written by Canadian playwright, KICO GONZALEZ-RISSO) with
the virtuoso harp playing for which she is internationally
renowned, featuring original compositions as well as famous
classical works written for harp.
The show is directed by ARTHUR MASELLA, a long-time
associate of Hal Prince (arguably America’s most successful
Broadway theatrical producer-director) and a distinguished
Broadway show director in his own right.
After premiering at Vancouver International Festival with rave
reviews, Ms Costanzi performed A Score To Settle at The Ottawa
International Festival in 2010 and at its award-winning, sold-out
New York debut at The United Solo Theatre Festival (the world’s
largest) in 2011. Performances in New York, Boston, Toronto,
Vancouver, Ottawa and Brazil have elicited rapturous responses
from critics and audiences such as: ‘hilarious, compelling,
engaging, inspiring, sensuous and mesmerizing.’
‘There doubtless have been evenings with a pianist who
intertwines a narrative with keyboard playing, but as far as I
know, there is nothing remotely like the tour-de-force that
harpist-actress Rita Costanzi pulled off. What makes this show
extraordinary is not only the quality of Costanzi’s acting, but her
exquisite harp playing, which I found compelling and beautiful.’—
Boston ArtsFuse.

A Score to Settle – Australian dates

Friday 25 July, 7:00pm, Harp Lounge, 12th World Harp Congress, Sydney
Sydney Dance Lounge, The Wharf Pier, 4/5 Hickson Road, Walsh Bay NSW
Wednesday 30 July to Sunday 3 August, The Butterfly Club
5 Carson Place, off Little Collins Street, Melbourne thebutterflyclub.com/show/a-score-to-settle

The Australia Times wants theatre writers to join its theatre team!

The Australian Times is a free, magazine based, non-aligned, grassroots, national online publication. We are a blend of professional and citizen journalism creating online content for specialist groups and the community at large.

Each month the TAT Theatre magazine covers in-depth features, reviews and news articles about the Australian theatre scene.

If you’re passionate about theatre and would like to be published in a national online publication- email kelly.sargent@theaustraliatimes.com.au

**Submission does not gaurentee publication. Joining the TAT theatre team as a writer is a voluntary position. Reviewers do get press passes to attend shows and events.