MELBOURNE CABARET FESTIVAL
Sunglasses at night: The 80s apocalypse sing along cabaret
27 June 2014
Chapel off Chapel
to 28 June
"We are young
Heartache to heartache
If you're now singing and frightened that you remember those dance moves but can't remember how to unlock your phone, you need to get to Geraldine Quinn's Sunglasses at night: The 80s apocalypse sing along cabaret. Sadly, she's only doing two performances at the Melbourne Cabaret Festival – last one TONIGHT – but it will be back. It has to be back because there are too many people who were teenagers in the 1980s who need to see this and sing along.
SING ALONG! Not sing under your breath and annoy the people near you, but loudly and proudly and in fear of a microphone being put in your face if you don't.
But with bonus Pat Benatar video here.
But wait ... there's more
19 June 2014
Circus Oz Big Top, Birrarung Marr
to 13 July, then touring
It's impossible not to love a night in the heated Circus Oz tent, and if seeing them in winter in Melbourne with a bag of hot doughnuts isn't a tradition for your family and friends, start it now.
The Melbourne-based, world-adored company have a new permanent home in Collingwood and But wait ... there's more is the first show created in the space.
Red Stitch Actors Theatre
15 June 2014
to 12 July
See Grounded for Kate Cole's performance or for the writing or to be reminded how theatre can creep into your heart with a mixture of hurt and happiness that makes you feel a little bit more alive.
Grounded is a monologue about an American fighter pilot who is already far away and thinking about drinking with the boys when the bombs she drops explode. For her it's about the speed and the blue, and when pregnancy, love and marriage intervene, she isn't put back in the sky and her blue is replaced by the grey of a screen as she flies a drone from a box in a desert base not far from Las Vegas.
The King and I
Opera Australia and John Frost
12 June 2014
to August 2014
This production of The King and I was first seen in 1991 in Adelaide. It toured Australia and found its way to New York in 1996, where it won some Tonys, and to London in 2000. It was a lavish, extravagant re-working of the Rogers and Hammerstein's 1950s Broadway hit – and still is.
There's not much that hasn't been said about the Brian Thomson's set and Roger Kirk's costumes, which won a couple of those Tonys. The Thai-influenced, outrageously sparklie, elephants-on-the-stage, hoop-skirted, bare-chested, gold, gold and gold stage is magnificent. It's an impression of 1860's Bangkok that could only exist on a music theatre stage.
As this story might only be able to exist on a music theatre stage.
13 June 2014
|Photo by Sebastian Bourges|
Angus Cerini scares me.
In a good way.
In a way that I know his work is likely to disturb and confront me and make me want a glass of wine and some alone time after a show.
His company, Doubletap, are next in this year's NEON Festival of Independent Theatre with a piece written and performed by Cereni, with dramturgy by Susie Dee, where it's impossible to take you're eyes away from him.