13 December 2012

What Melbourne loved in 2012, part 6

The worst thing about this is discovering that I missed some really great performers (like Dr Brown and Tim Spencer); the best is being reminded of the brilliant folk I didn't miss.

Bron Batten
performer, producer

photo by Max Milne 

BRON: There have been so many great things I've seen this year I couldn't possibly choose just one!

I though Nicola Gunn's Hello, My Name Is was the most exciting thing I've seen in a long time. Full of ideas that I wish I'd thought of and a structure that shows an intimate knowledge of and attention to theatrical craft.

Similarly Tim Spencer's Show Me Yours, I'll Show You Mine was elegant and restrained, intricate whilst accessible and possessing a very dry wit. The performance of Not Nick was extraordinary and I actually gasped during the show – which rarely happens to me at the theatre.

Some other highlights include The Suitcase Royale's Zombatland, Dr Brown's Befrdfgth and all of the artists I get to work with, present and produce as part of the Last Tuesday Society. Youse are all inspirational and ace.

SM: Bron is half of the mad genius that produces the Last Tuesday Society.  I grew up imagining life as a boho arty person: LTS is better than my dreams. Seriously, if you haven't been to a Last Tuesday gig, what are you doing? OK, so I miss a lot cos they are on Tuesday nights and I'm asleep when the good stuff happens, but I made it to the Xmas Office party and never has a better Xmas party been had.

Without a second's hesitation my favourite Xmas party moment was the rat running across the rafters. It wasn't a performance; a rat ran across a beam over the stage. It was brilliant. But was it as brilliant as Bron's lithurgical-cum-rock-eisteddfod-nativity jazz ballet? Nah. And I don't know that any Xmas performance will ever be so glorious.


photo by Sarah Walker

CELESTE: I am the kind of person who lurks around in the shadows of comedy shows desperately hoping not to be seen or acknowledged, watching other poor suckers get picked on for their glasses or laugh or job... My favourite moment this year was having Dr Brown completely turn this fear on its head. I saw Dr Brown's Befrdfgth four times this year in its festival tour and found myself completely drawn in and actually desirous of being noticed by the irreverent clown and wanting to become a part of the ridiculous world playing out in front of me. It wasn't a fanatic thing either, as speaking to Phil (Dr Brown) doesn't make my knees knock or lips tremble. It is the feeling that I am enjoying myself so much that I am so much a part of the scene in front of me that I find it hard to hold myself back from becoming a part of it. Thanks Dr Brown!

SM: Celeste's inspired and beautiful direction of Choir Girl ensured that the girl was joined by a choir (it was written as a solo piece), and the finals gala of the Short and Sweet Theatre program showed just how much she'd re-invigorated this program. Keep an eye an her.

Daniel Kilby
cabaret artiste, Eurovision tragic

Wild Duck. Anita Hegh's breakdown was absolutely devastating.
An Enemy of the People. An almost shockingly timely play (particularly given its extreme age) and profoundly affecting.
Lipsynch.  Nine hours of theatre in three (?) different languages. It was spectacle that packed an emotional punch.
More Sex Please, We're Seniors. If only because it mitigated how utterly terrible the other major new musical which premiered in Melbourne this year was.
Show Me Yours, I'll Show You Mine. A breathtaking exploration of the world's oldest profession: entertaining.
Pompeii L.A. Everyone else has cast their billets doux on this show; so, what they said.

SM: Glitter and bad pop can bring the world together and at Dan's Fringe show, Eurotrashed, I got to sit in in a room with people who also wanted to sing along to "Euphoria" and make Jedward jokes.

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