Your Turn 5
Pop Up Playground
19 November 2015
Bella Union
popupplayground.com.au
Game shows are awesome. Live game shows are more awesome. Live game shows where the audience join in are even more awesome again. Live game shows with audience participation hosted by Ben McKenzie are the awesomest. Live game shows with audience participation hosted by Ben McKenzie where Melbourne clever-pants people make fools of themselves made by the Pop up Playground team? Invent your own superlative!
And be at the Bella Union on Thursday 19 November from 6.30 for Your Turn 5. Info here.
If you weren't at Your Turn 3, you missed the wonderful Ming-Zhu Hii and me win bronze. (Highlights above.)
On paper, we look like a winning team, but either we aren't as nerdy as we thought we were or are the sort of people who need a quiet room and thinking time. My personal highlight was not remembering that the fourth Young One was Vyvyan, making a toy diorama of Terminator 2 thinking it was Terminator – which Ming-Zhu still guessed correctly – and our team effort of not being able to pinpoint Washington on a map despite knowing that between us we could answer obscure plot questions about The West Wing and House of Cards.
You can also watch Ming-Zhu in The Ex-PM on ABC.
Your Turn 5 guests are:
Richard Watts from RRR's Smart Arts and Arts Hub
Yvonne Virsik from Monash Uni Student Theatre
Sarah Jones from shows like Jonestown
and
Marcus Westbury, who I don't know, but if he's as smart and funny as the other three, he'll be terrific.
Mostly Melbourne theatre reviews
Showing posts with label Ben McKenzie. Show all posts
Showing posts with label Ben McKenzie. Show all posts
11 November 2015
24 April 2014
MICF: Eric, Sammy J & Randy, and Ben
MICF
the last days
Eric
Vicious Fish & La Mama
comedyfestival.com.au
Difficult First Album Tour
Sammy J and Randy
Laughing Stock
comedyfestival.com.au
Ben McKenzie is Uncool
Shaloin Punk
comedyfestival.com.au
Was it only 26 days?
Eric's back!
Last seen in 2009, Eric's a one-person sketch show. He's not a character but a blank page everyman – a white, 40-something, straight, suit-wearing, aging-well everyguy – who performs 27 sketches about such men.
Eric is Scott Gooding who's directed by Scott Brennan, and The Return of Eric is written by Emilie Collyer, Dave Hoskin, Karin Muiznieks, Morgan Rose, Neil Triffet and Nic Vellissaris.
From stopping a PM from jumping to adopting a manchild to heading down the Nepean* to escape hipstergeddon, Gooding changes character on a pin head and gives every Eric the chance to show their heart or fall on their arse. And with so many sketches in less than an hour, Brennan doesn't allow for a second of wasted time and ensures that there are moments to reflect before landing the next joke and meeting a new Eric.
As a form, Eric stands alone. Without the personal reflection of stand up or the safe distance of detailed character, The Return of Eric is able to bite all the hands that feed and to snap at the many worlds where middle aged guys think they are in control.
* As someone who had to head down the Nepean (to escape dick landlords rather than the hipsters), I think Brighton is still doing a good job of stopping the approach to Zone 2.
Sammy J and Randy are launching their Difficult First Album album. You can buy it at their show, Difficult First Album Tour.
With favourite songs and moments from past shows, it's a night for fans to celebrate everything we love about the housemates from Ricketts Lane. If you, somehow, have yet to fall in love with the genius of the bald purple fuzzy guy and his tall skinny friend, this is a chance to catch up on their story but a best of show is never as wonderful as a complete story.
Ben McKenzie is Uncool is about passion, never being afraid to love what you love, and the difference between a nerd and a hipster.
It also has one more night in Brunswick Street's Provincial Hotel. The nerds will tell you to bring your friends and will soon be wearing "I'm as uncool as Ben McKenzie" t-shirts; the hipsters will tell you that the show was only really good back in week 2.
Uncool is Ben sharing his stories about being a nerd. He's so nerdy that there's a card game to choose which stories he tells. With unfinished degrees, <joke> HTML </joke> and a love of Stegosauruses, the Harry Potter books and Doctor Who, I glowed with the warmth of knowing I'm uncool, but Ben proves that I don't deserve to call myself a nerd.
Ben's knowledge and obsessive fandom puts me to shame. He makes me want to read more and stop playing Candy Crush, because it really is a crap game that requires no skill.
Without a hint of cynicism, Uncool is about redefining our definitions of cool and about loving what we love with the kind of passion that would make Fonzie want to be a nerd.
This was on aussietheatre.com.au
the last days
Eric
Vicious Fish & La Mama
comedyfestival.com.au
Difficult First Album Tour
Sammy J and Randy
Laughing Stock
comedyfestival.com.au
Ben McKenzie is Uncool
Shaloin Punk
comedyfestival.com.au
Was it only 26 days?
Eric's back!
Last seen in 2009, Eric's a one-person sketch show. He's not a character but a blank page everyman – a white, 40-something, straight, suit-wearing, aging-well everyguy – who performs 27 sketches about such men.
Eric is Scott Gooding who's directed by Scott Brennan, and The Return of Eric is written by Emilie Collyer, Dave Hoskin, Karin Muiznieks, Morgan Rose, Neil Triffet and Nic Vellissaris.
From stopping a PM from jumping to adopting a manchild to heading down the Nepean* to escape hipstergeddon, Gooding changes character on a pin head and gives every Eric the chance to show their heart or fall on their arse. And with so many sketches in less than an hour, Brennan doesn't allow for a second of wasted time and ensures that there are moments to reflect before landing the next joke and meeting a new Eric.
As a form, Eric stands alone. Without the personal reflection of stand up or the safe distance of detailed character, The Return of Eric is able to bite all the hands that feed and to snap at the many worlds where middle aged guys think they are in control.
* As someone who had to head down the Nepean (to escape dick landlords rather than the hipsters), I think Brighton is still doing a good job of stopping the approach to Zone 2.
Sammy J and Randy are launching their Difficult First Album album. You can buy it at their show, Difficult First Album Tour.
With favourite songs and moments from past shows, it's a night for fans to celebrate everything we love about the housemates from Ricketts Lane. If you, somehow, have yet to fall in love with the genius of the bald purple fuzzy guy and his tall skinny friend, this is a chance to catch up on their story but a best of show is never as wonderful as a complete story.
Ben McKenzie is Uncool is about passion, never being afraid to love what you love, and the difference between a nerd and a hipster.
It also has one more night in Brunswick Street's Provincial Hotel. The nerds will tell you to bring your friends and will soon be wearing "I'm as uncool as Ben McKenzie" t-shirts; the hipsters will tell you that the show was only really good back in week 2.
Uncool is Ben sharing his stories about being a nerd. He's so nerdy that there's a card game to choose which stories he tells. With unfinished degrees, <joke> HTML </joke> and a love of Stegosauruses, the Harry Potter books and Doctor Who, I glowed with the warmth of knowing I'm uncool, but Ben proves that I don't deserve to call myself a nerd.
Ben's knowledge and obsessive fandom puts me to shame. He makes me want to read more and stop playing Candy Crush, because it really is a crap game that requires no skill.
Without a hint of cynicism, Uncool is about redefining our definitions of cool and about loving what we love with the kind of passion that would make Fonzie want to be a nerd.
This was on aussietheatre.com.au
30 November 2013
Playtime rocks
This is a Door 13
Pop Up Playground
29 November to 1 December
Theatre Works
Go outside and play!
Well, go to Theatre Works this weekend and play!
The Pop up Playgrounders are the most brilliant people you'll ever meet, who have one goal: to ensure that everyone has fun.
And they succeed every time.
And you might get to be a Valkyrie (I was an excellent Valkyrie) or a spy (I was a really crap spy), or talk about an impossible book, or escape from a minotaur, or throw things at famous people.
Or there's lego poetry or cutting up paintings to make better paintings, if you need a quiet moment.
There are day and night sessions, so there's no excuse to not take kids, grandparents or strangers you meet on the way.
Here are some pics from last night (taken by Sayraphim and Rob).
26 November 2013
Play with the Valkyries
This is a Door – All Day Play Room
Pop Up Playground
29 November to 1 December
Theatre Works
theatreworks.org.au
popupplayground.com.au
Pop Up Playground are bloody wonderful.
Robert Reid, Sayraphim Lothian, Ben McKenzie and their gorgeous game makers realised that we weren't having as much fun as we should be and have been popping up all over the city with games for everyone.
A Pop Up Playground event is guaranteed to have you feeling happier than when you arrived.
And you get to play!
The second This is a Door is on at Theatre Works this weekend. Here's what we got up to last year.
And this was the Fresh Air Festival in February.
What I already love more than I can say about this year's Door (#tiad13) is this:
Pop Up Playground
29 November to 1 December
Theatre Works
theatreworks.org.au
popupplayground.com.au
Pop Up Playground are bloody wonderful.
Robert Reid, Sayraphim Lothian, Ben McKenzie and their gorgeous game makers realised that we weren't having as much fun as we should be and have been popping up all over the city with games for everyone.
A Pop Up Playground event is guaranteed to have you feeling happier than when you arrived.
And you get to play!
The second This is a Door is on at Theatre Works this weekend. Here's what we got up to last year.
And this was the Fresh Air Festival in February.
What I already love more than I can say about this year's Door (#tiad13) is this:
Being deep in the Ring Cycle, when I saw that Sarayphim had made her sewing machine into a Valkyrie, I said how much I'd love to play the Valkyrie game.
Sadly, the game didn't exist.
Until, I saw this on Twitter:
What?!
Then these:
The Valkyrie Game is real and I'm going to be playing it on Friday night.
12 July 2013
Magic Festival reviews
In 2008, The Australian Institute of Magic founded The Melbourne Magic Festival. There are 40 shows at this year's festival, at the Northcote Town Hall, and many are sold out.
Who doesn't love magic and I've never seen this town hall so crowded with happy punters.
During the day, there are plenty of school-holiday shows and at night there are family shows and ones just for adults.
The full program is at melbournemagicfestival.com.
(And yes, some serious wand waving needs to be done to make the website easier to use.)
Beat the Cheat
Nicholas J Johnson and Ben McKenzie
11 July
Northcote Town Hall
to 13 July
Giant dice, a community chest full of secrets and a board game big enough to walk on! Cool.
BUT to win, you have to beat Nicholas J Johnson, Australia's honest conman, magician and self-confessed dirty rotten cheat. It's not as impossible as it seems, especially as host Ben Mackenzie (who can quote the Dungeon and Dragons rule books) might be on your side.
The audience is split into two (I was on the Not Red team) and individuals play for the team (I would have volunteered if Scrabble, Mastermind or Mousetrap had come up). There are dozens of games that are chosen by the air toss of giant dice and Nick knows the rules for every one – and how to bend them.
With magic, games and nerdiness, Beat the Cheat is more fun than Star Wars Angry Birds or a Hungry Hungry Hippos marathon. And it reminds us that games are so much better when you play with real people instead of a screen. Who wants to come around and play Monopoly?
PS. The Not Red team lost by one point because a Red team member realised that it would be ridiculous to not cheat.
In Dreams
Tim Ellis
11 July
Northcote Town Hall
to 13 July
Magic shows are often put in their own category that brings up images of RSL clubs, kids parties and men in capes with awkward young women in sequins. A trip to the Melbourne Magic Festival will banish such regressive and dull thoughts (or at least restricted them to RSL clubs), because this festival is full of magicians and artists who are letting the hat rabbits run free and taking illusion to far more interesting places.
Tim Ellis is the Artistic Director of the Melbourne Magic Festival, he's won prestigious magic awards and is presenting two of his own shows at the festival.
If you're s a grown up who's stopped believing in magic, his 9 pm show, In Dreams, could change your mind.
In Dreams is about unrequited love and never giving up. Ellis is silent and bare foot as he tells a simple and heartwarming story about being in love and losing that love. He uses the same tricks that are seen in most shows, but adds original twists and their place in the story is more important than the illusion.
The result is a personal and moving story of heartbreak and hope told though flawless magic and the kind of love that defies illusion.
The Lucian Swift Chronicles: A tale of magic in Melbourne
Barking Spider Visual Theatre
6 July 2013
Northcote Town Hall
to 6 July
The Flinders Street Station lost and found room used to be in the clock tower. Here collected bags, boxes, brollies and cases that were lost by travellers coming to and leaving Melbourne. Some were united with their owners and some were left to collect dust, unable to tell their story because their person was missing.
A young woman looks through the lost and found treaures. We don't know if she's looking for something she lost, but she finds an old case that belonged to Lucian Swift, the Gentleman Trickster. Trying on his tails and top hat, she discovers his secrets and releases some of his stories that were lost and hidden for so many years.
With alchemy akin to ice cream and sprinkles, magician Jo Clyne worked with director Penelope Bartlau and members of Barking Spider to create this captivating show that combines magic with story and sends love back though Melbourne's history.
It's festival run was short, but let's hope that we see it again – and how amazing would it be to see it performed in Flinders Street Station.
PS. Until seeing this show, it hadn't occurred to me just how many magicians are men and was told how difficult it is to buy magic props for women. Hmmm. To help fix this balance, I've already taken a 5-year-old girl to see a show and she's promised to show me a trick the next time I see her.
Lucien photos by Sarah Walker
Who doesn't love magic and I've never seen this town hall so crowded with happy punters.
During the day, there are plenty of school-holiday shows and at night there are family shows and ones just for adults.
The full program is at melbournemagicfestival.com.
(And yes, some serious wand waving needs to be done to make the website easier to use.)
Beat the Cheat
Nicholas J Johnson and Ben McKenzie
11 July
Northcote Town Hall
to 13 July
Giant dice, a community chest full of secrets and a board game big enough to walk on! Cool.
BUT to win, you have to beat Nicholas J Johnson, Australia's honest conman, magician and self-confessed dirty rotten cheat. It's not as impossible as it seems, especially as host Ben Mackenzie (who can quote the Dungeon and Dragons rule books) might be on your side.
The audience is split into two (I was on the Not Red team) and individuals play for the team (I would have volunteered if Scrabble, Mastermind or Mousetrap had come up). There are dozens of games that are chosen by the air toss of giant dice and Nick knows the rules for every one – and how to bend them.
With magic, games and nerdiness, Beat the Cheat is more fun than Star Wars Angry Birds or a Hungry Hungry Hippos marathon. And it reminds us that games are so much better when you play with real people instead of a screen. Who wants to come around and play Monopoly?
PS. The Not Red team lost by one point because a Red team member realised that it would be ridiculous to not cheat.
In Dreams
Tim Ellis
11 July
Northcote Town Hall
to 13 July
Magic shows are often put in their own category that brings up images of RSL clubs, kids parties and men in capes with awkward young women in sequins. A trip to the Melbourne Magic Festival will banish such regressive and dull thoughts (or at least restricted them to RSL clubs), because this festival is full of magicians and artists who are letting the hat rabbits run free and taking illusion to far more interesting places.
Tim Ellis is the Artistic Director of the Melbourne Magic Festival, he's won prestigious magic awards and is presenting two of his own shows at the festival.
If you're s a grown up who's stopped believing in magic, his 9 pm show, In Dreams, could change your mind.
In Dreams is about unrequited love and never giving up. Ellis is silent and bare foot as he tells a simple and heartwarming story about being in love and losing that love. He uses the same tricks that are seen in most shows, but adds original twists and their place in the story is more important than the illusion.
The result is a personal and moving story of heartbreak and hope told though flawless magic and the kind of love that defies illusion.
Make your parents disappear
Luke Hocking and Alex da la Rambelje
9 July 2013
Northcote Town Hall
to 12 July
It's tough to argue with a 5-year-old, but I have no reason to disagree with my theatre companion, Ella, who thought the best bit of Make your parents disappear was when they "went outside for no reason", but generally thought it was "really good".
So good that she convinced her mum that she needed their magic book so she could learn some tricks at home and impressed me all afternoon by pulling a plastic pink ring out of my ear.
Magic rocks! Luke and Alex are best-known for their adult shows as two thirds of A Modern Deception, but once they were in grade 5 and grade 3 at magic school and didn't want to go to bed when their mum told them to. They know some tricks, but need something spectacular to keep them out of bed. Luckily the audience suggest that they could make their parents disappear!
As the kids (3–10) sit on the ground and the groan ups sit on chairs, Alex and Luke need help from the audience to do their tricks – and they tend to attract an extremely talented audience – without forgetting that those up the back need to be entertained and are usually determined to see how a trick is done. With these two, they might start believing that it really is magic.
Make your parents disappear is super fun and magictacular. I'd go so far to disagree with Ella and say that it's "really, really good".
The Lucian Swift Chronicles: A tale of magic in Melbourne
Barking Spider Visual Theatre
6 July 2013
Northcote Town Hall
to 6 July
The Flinders Street Station lost and found room used to be in the clock tower. Here collected bags, boxes, brollies and cases that were lost by travellers coming to and leaving Melbourne. Some were united with their owners and some were left to collect dust, unable to tell their story because their person was missing.
A young woman looks through the lost and found treaures. We don't know if she's looking for something she lost, but she finds an old case that belonged to Lucian Swift, the Gentleman Trickster. Trying on his tails and top hat, she discovers his secrets and releases some of his stories that were lost and hidden for so many years.
With alchemy akin to ice cream and sprinkles, magician Jo Clyne worked with director Penelope Bartlau and members of Barking Spider to create this captivating show that combines magic with story and sends love back though Melbourne's history.
It's festival run was short, but let's hope that we see it again – and how amazing would it be to see it performed in Flinders Street Station.
PS. Until seeing this show, it hadn't occurred to me just how many magicians are men and was told how difficult it is to buy magic props for women. Hmmm. To help fix this balance, I've already taken a 5-year-old girl to see a show and she's promised to show me a trick the next time I see her.
Lucien photos by Sarah Walker
18 May 2013
Beat the Cheat video
Beat the Cheat
July 9–13
Melbourne Magic Festival.
Beat the Cheat is about games and swindles and magic, and with SM fave's Nicholas J Johnson (who's Today Tonight, Tomorrow the World was one of my favourite MICF shows) and Pop Up Player, Splendid Chap and uber nerd Ben McKenzie, you know it's going to be more fun than playing Words With Friends with weird strangers.
And if you're not convinced, watch this.
July 9–13
Melbourne Magic Festival.
Beat the Cheat is about games and swindles and magic, and with SM fave's Nicholas J Johnson (who's Today Tonight, Tomorrow the World was one of my favourite MICF shows) and Pop Up Player, Splendid Chap and uber nerd Ben McKenzie, you know it's going to be more fun than playing Words With Friends with weird strangers.
And if you're not convinced, watch this.
08 February 2013
Fresh Air Festival: BEST FUN EVER!
Fresh Air Festival
Pop Up Players, Federation Square
8 February 2013
The Edge, Federation Square
to 10 February
Saturday and Sunday: 1.00–4.00 and 6.00–9.00
It started tonight (Friday) and runs through to Sunday. And it's all FREE.
I played Chuck a Barbie, well that's what I called the Hummingbird Rally game.
BEST FUN EVER!
And there are lots of other games: some crafty, some physical, some about being clever, some about luck, some about being a superhero and all about having fun. They are inside Fed Square in The Edge and outside in the square. They are for every age and it's not possible to not have fun.
Pop Up Players, Federation Square
8 February 2013
The Edge, Federation Square
to 10 February
Saturday and Sunday: 1.00–4.00 and 6.00–9.00
All weekend, the totally wonderful and gorgeous Pop Up Players (who created This is a Door) invite everyone to play at the Fresh Air Festival: the International Festival of street games and constructive play.
It started tonight (Friday) and runs through to Sunday. And it's all FREE.
I played Chuck a Barbie, well that's what I called the Hummingbird Rally game.
BEST FUN EVER!
And there are lots of other games: some crafty, some physical, some about being clever, some about luck, some about being a superhero and all about having fun. They are inside Fed Square in The Edge and outside in the square. They are for every age and it's not possible to not have fun.
09 January 2013
Chat: Splendid Chaps live podcats
Splendid Chaps: A year of Doctor Who
Ben McKenzie and John Richards like Doctor Who, so they've decided to celebrate the 50th anniversary of the telly show by being Splendid Chaps and hosting a year-long performance and podcast project.
Starting this Sunday, 13 January, they're recording a live podcast each month until November. Each month is dedicated to a specific doctor, has a new theme and is at a different venue. This month is about the First Doctor, William Hartnell, explores authority and is at Trades Hall (The Annex, Bella Union). You can book here.
Each visit, hosts Ben (Dungeon Crawl, Pop Up Playground) and John (Boxcutters podcast, Outland – really ABC, why hasn't this been repeated and where is Series 2?) and companion Petra Elliott will be joined by special guests. First up are Lee Zachariah (The Bazura Project, Hell Is For Hyphenates podcast), Nerida Haycock (3RRR), Alexandra Tynan (Sandra Reid) who designed the original Cybermen, and musical guest Geraldine Quinn with an updated version of her "Doctor Who's Assistant".
More info and episode zero of the podcast is at splendidchaps.com.
(Before anyone, including me, has a hissy: "We realise chaps is a gendered term, but with a podcast titled Splendid Chaps, we don’t imagine we’d get away with calling ourselves anything else." And the Brigadier said it.)
Meanwhile, Ben answers some questions.
What episode do you watch any time you get a chance?
Ben McKenzie and John Richards like Doctor Who, so they've decided to celebrate the 50th anniversary of the telly show by being Splendid Chaps and hosting a year-long performance and podcast project.
Starting this Sunday, 13 January, they're recording a live podcast each month until November. Each month is dedicated to a specific doctor, has a new theme and is at a different venue. This month is about the First Doctor, William Hartnell, explores authority and is at Trades Hall (The Annex, Bella Union). You can book here.
Each visit, hosts Ben (Dungeon Crawl, Pop Up Playground) and John (Boxcutters podcast, Outland – really ABC, why hasn't this been repeated and where is Series 2?) and companion Petra Elliott will be joined by special guests. First up are Lee Zachariah (The Bazura Project, Hell Is For Hyphenates podcast), Nerida Haycock (3RRR), Alexandra Tynan (Sandra Reid) who designed the original Cybermen, and musical guest Geraldine Quinn with an updated version of her "Doctor Who's Assistant".
More info and episode zero of the podcast is at splendidchaps.com.
(Before anyone, including me, has a hissy: "We realise chaps is a gendered term, but with a podcast titled Splendid Chaps, we don’t imagine we’d get away with calling ourselves anything else." And the Brigadier said it.)
Meanwhile, Ben answers some questions.
Who’s your doctor?
If I had to pick a top three, it’d be Troughton, Davison and Smith. But I really do like them all.
If I had to pick a top three, it’d be Troughton, Davison and Smith. But I really do like them all.
What episode do you watch any time you get a chance?
Not an
episode, but a story: The Caves of Androzani. Still my favourite, though some
have come close in recent years. The first episode of The Talons of Weng-Chiang
is pretty great too. A Christmas Carol
is probably my favourite from new Who.
Can you remember the first episode you saw?
I can’t
remember a time when I wasn’t watching Doctor
Who, so no! Probably middle period Tom Baker, that seems to be what was on
the ABC around the time I would have started. The first book was Terror of the Autons. Frightening cover!
The first video I obsessed over was The
Five Doctors. I know it off by heart.
How many Doctor Who toys do you own?
I have a
few Dapol action figures and a TARDIS from back in the day, and a couple of
sonic screwdrivers and pocket watches; not that many toys! It’s the books I
collected. I have hundreds of them!
If the TARDIS landed in your living room, where/when
would you ask to go?
Dinosaurs.
And space. And aliens. The future, to learn how we answer the questions and
solve the problems of today (spoilers!). Oh, just everywhere, I reckon. But mostly
dinosaurs.
Photo by Robert Young
Kissing and crying in Doctor Who. Discuss.
I don’t
think there should be a taboo against the Doctor doing either, but when you
make him a romantic lead, you lose the unique position the show used to occupy
in not having one. It made him much more anyone’s hero; a character any of us
could be. Now he likes pretty young girls just like every TV hero. Hardly
ground breaking stuff there! I thought it was sweet the way Paul McGann did it;
Ecclestone’s made no sense to me; nearly everything since seems a bit
gratuitous.
Torchwood or The Sarah Jane Adventures?
The Sarah Jane Adventures.
It's everything her appearance in new Who should have been and more. I loved it.
Though special mention to Torchwood:
Children of Earth for being quite brilliant, in sharp contrast to the other
series of Torchwood.
What other TV shows are you obsessed by?
Doctor Who was my gateway into UK
television, and I still love Press Gang,
Monkey, Sapphire and Steel, The Prisoner, Maid Marian and Her Merry Men, and
Blackadder, of course. The Goodies was hugely influential on me, it was far superior
to Flying Circus in my book – I wish they’d release the whole series, not just
bits and pieces. Hmmm…not much new on that list! I do love Lexx, but that’s a bit of a guilty pleasure. It’s delightfully weird.
I am very keen on Game of Thrones,
though I question it in some respects. The modern Sherlock is good, I’m a Holmes fan too from way back, so I’m also
interested in Elementary. I was a
huge Red Dwarf fan back in the day
and I was incredibly (if pleasantly) surprised to find that the latest series
is actually pretty good! The only show that has engendered anything like Doctor
Who level devotion from me, though, is Community.
Love every second.
Russell or Steven?
Steven,
but only when he’s got his eye on the ball (and not working on twenty different
things at once). I’m really interested to find out who’ll be next and what
they’ll do, since we’ve seen several years of both these guys now.
Cyberman or Dalek?
I think
they’re both equally interesting – when writers choose to make something of
them. They’ve not been terribly exciting in recent history, with the notable
exception of Rob Shearman’s Dalek.
Why should SM readers come to the live recording of
Splendid Chaps?
Doctor Who is a show with a vibrant and
wonderful fan community, and we’d love to share that with an audience. Plus,
the live show will be around 90 minutes (with a break), but the podcast will be
under an hour – so you’ll get bits you won’t hear on the podcast!
28 July 2012
Must for THIS weekend
This is a Door
Pop up Playground, Theatre Works
27 July 2012
Theatre Works
to 29 July
There are rumours that Cameron Woodhead and I tried to exchange a pash last night.
I'm not confirming or denying anything because what happens at Play Club, stays at Play Club.
But I know that it was the most fun I've had in a theatre and I want to go back and do it all again.
Pop Up Playground are Robert Reid (serious playwright), Sayraphim Lothian (public art guru) and Ben McKenzie (uber geek). They've been playing about town for the last few months and This is a Door is an unmissable chance to join in with a weekend of games and play at Theatre Works.
It's time to run away from the computer and play with real people. Turn off your phone and play with real friends. Just join in and play.
The playground is Theatre Works space that's decked out as a carnival. Games Master Ben welcomed everyone in a top hat, tails and Dr-Who-as-owls t-shirt and introduced the Game Runners who will guide and help and tickle you if you're not laughing*.
Some games are easy, some involve thinking and strategising, some are cooperative and us competitive types are well catered for.
And if you need a break or just want to watch, there are craft tables. Craft tables!
I want craft tables at every theatre now. We could make stuff while waiting for friends to arrive, craft is more fun than drinking at interval and how better to express your true feelings about a show than through craft. In fact, no more wordy dull reviews. Can someone just sit us down at a craft table at the end of an opening night (with a glass of wine, of course) and let our inner-children show what we really think. Forget the blog, maybe I should just have a theatre scrapbook.
But back to the games. Last night I got to ruin a gay wedding, pitched a big watermelon tourist attraction, was second runner-up for Prom Queen (and if I'd listened more carefully to the rules, I would have made it!), was turned into a zombie and ingeniously initiated into a cult.
And that was only a taste of the games on offer. I missed the intrigue of London's Burning (I was at the craft table) and so wanted to play the one with glow sticks and fluro vests and the one with balloons.
Today's 11.00 session has already started,
But there's 1.30, 6.30 and 9.00
Or tomorrow (Sunday) there are 11.00, 1.30 sessions and Playful Salon (arty discussion of games and playing) at 3.30.
As grown ups, we sometimes forget how much fun it is to play and how much better we feel when we have real fun with real people.
All the details are here. I promise you'll love it. And if you know someone who really needs to smile and laugh, buy them a a ticket as well.
* This also may or may not be true.
Pop up Playground, Theatre Works
27 July 2012
Theatre Works
to 29 July
There are rumours that Cameron Woodhead and I tried to exchange a pash last night.
I'm not confirming or denying anything because what happens at Play Club, stays at Play Club.
But I know that it was the most fun I've had in a theatre and I want to go back and do it all again.
Pop Up Playground are Robert Reid (serious playwright), Sayraphim Lothian (public art guru) and Ben McKenzie (uber geek). They've been playing about town for the last few months and This is a Door is an unmissable chance to join in with a weekend of games and play at Theatre Works.
It's time to run away from the computer and play with real people. Turn off your phone and play with real friends. Just join in and play.
The playground is Theatre Works space that's decked out as a carnival. Games Master Ben welcomed everyone in a top hat, tails and Dr-Who-as-owls t-shirt and introduced the Game Runners who will guide and help and tickle you if you're not laughing*.
Some games are easy, some involve thinking and strategising, some are cooperative and us competitive types are well catered for.
And if you need a break or just want to watch, there are craft tables. Craft tables!
I want craft tables at every theatre now. We could make stuff while waiting for friends to arrive, craft is more fun than drinking at interval and how better to express your true feelings about a show than through craft. In fact, no more wordy dull reviews. Can someone just sit us down at a craft table at the end of an opening night (with a glass of wine, of course) and let our inner-children show what we really think. Forget the blog, maybe I should just have a theatre scrapbook.
But back to the games. Last night I got to ruin a gay wedding, pitched a big watermelon tourist attraction, was second runner-up for Prom Queen (and if I'd listened more carefully to the rules, I would have made it!), was turned into a zombie and ingeniously initiated into a cult.
And that was only a taste of the games on offer. I missed the intrigue of London's Burning (I was at the craft table) and so wanted to play the one with glow sticks and fluro vests and the one with balloons.
Today's 11.00 session has already started,
But there's 1.30, 6.30 and 9.00
Or tomorrow (Sunday) there are 11.00, 1.30 sessions and Playful Salon (arty discussion of games and playing) at 3.30.
As grown ups, we sometimes forget how much fun it is to play and how much better we feel when we have real fun with real people.
All the details are here. I promise you'll love it. And if you know someone who really needs to smile and laugh, buy them a a ticket as well.
* This also may or may not be true.
06 October 2010
Review: McGuffin
MELBOURNE FRINGE 2010
McGuffin
Shaolin Punk
1 October 2010
The Loft Fringe hub
season finished
A scruffy man hands me a business card. It says: One briefcase. No memory. Three rules. Haven't you always wanted to write a TV show?
Yes I have.
McGuffin was a seven-episode Aussie TV drama series, but it was like watching TV in a time before re-runs and VCRS – miss it and it's gone. This was TV on stage and it was improvised.
Ben McKenzie and his company Shaolin Punk call it hybrid improvised theatre. The structure of each episode was created in advance, but the dialogue, character development and plot were created on the night by the performers, the directors (McKenzie and Sean Fabri) and the audience – who were asked to suggest the pivotal turning points and reveals for each episode.
I only saw the last episode, but – like any good telly story telling – I was hooked into the mystery of the Sanchez Cross and those who sought it. It was a bit like the Da Vinci Code meets Dr Who and Offspring.
Fabri was joined on stage by Gina Morley, Chris Broadstock and Kate O'Neill, who know the rules and style of TV storytelling so well that they must spend many wonderful house on the couch watching the box.
McGuffin was far from slick high art, but it was never meant to be. It was a lot of fun (for the creators and the audience) and the next time they do a series, I'd try to be there from episode 1.
The TV show is over, but Shaolin Punk are presenting three performances of Dungeon Crawl at the Fringe. Impro Dungeons and Dragons. Yes, it will be geeky.
10 October 2008
Eric
MELBOURNE FRINGE 2008
Eric
Vicious Fish Theatre
10 October 2008
Dancing Dog Cafe
Eric is one of those Fringe shows that was over
before people began to hear about it.
With content as diverse as reality TV
pitches (Are you sexier than a fifth grader?), a speed dater who brings his own
semen sample, and a Bond villain despairing that his minons dipped his
echidnas in poison, Eric is sure to
tickle most funny bones – while finding some unexpected new ticklish spots.
Eric is an experiment in form that started when Scott
Gooding wanted to do a character comedy, but couldn’t come up with a solid idea
for one character. Fortunately, he forged ahead by asking his favourite
playwrights to contribute scenes, and the one person sketch show emerged.
Fortunately,
he also called upon the directing talent of Scott Brennan. Best known for his
work on television sketch shows, Brennan combines the tightness of TV sketch
with the freedom, spontaneity and intimacy of theatre. With some clever
structuring and measured pacing, he reins in Gooding’s excessive tendencies
and knows when to let him loose.
Gooding’s
comfortable physicality and genuine likability makes for a thoroughly enjoyable
evening, and his performance demonstrates a mightily impressive comic range.
All of his characters are unique, authentic and recognisable, and at times it
was easy to forget that there was only one person performing. His uncanny channelling
of a blow up doll is almost haunting and no one who sees Eric will ever be able to book a brothel appointment without
picturing him in a blonde wig.
With ten
different playwrights (including Adam J A Cass, Robert Reid and Ben McKenzie),
the comedy includes physical, joke, character, commentary, word play and a
sobering dash of absurdist black. The Scotts successfully maintain and balance
the different voices, without ever letting the differing styles and forms
distract from the overall experience.
The Dancing
Dog Café in Footscray is a terrific space for a show, but it meant that Eric missed the spontaneous ticket purchases
at the Fringe hub or a better known venue. Hopefully Eric will return, because he deserves to be widely seen and welcome
some adoring minions of his own.
This review appeared on AussieTheatre.com
04 October 2008
Set List
MELBOURNE FRINGE 2008
Set ListShaolin Punk
4 October 2008
Trades Hall
Set List is one of three improvised musical shows at this Fringe
(that I know of). It has
a fresh and enthusiastic, Micky and Judy, “let’s put on a show” feel about it,
but needs to go back to the barn for a some more development
Set List is described as a band
that “revels
in the nuances, characters and stories behind one genre of music – with every
note and lyric made up from audience suggestions”. This show was jazz – of the cheap motel, lounge act variety.
The Set List crew are all undeniably talented and extremely
likable performers. Highlights
such as “You make me feel so nauseous”, the ballad about Sean the
Anthropologist and the vocal musings about the devil’s condiment, prove the potential
for a terrific show, but this performance felt so unprepared.
The ongoing
success of shows like the wonderful Spontaneous
Broadway is based on intense rehearsal, perfect characters and an obsessive
knowledge of (and love for) the genre they are parodying. The Set List characters were very unclear
(apart from Ben McKenzie’s band leader) and their stories could have applied to
any band that happened to be perpetually touring the world (and not aging) for
the last 40 years.
It is uncomfortable
to watch performers break character and joke with each other. Even more so to
watch them compete against each other, try to upstage (you know who you are) and
– it really looked and felt like – bicker with each other. The onstage
characters weren’t defined or developed enough to behave like that; it was
clear what was character and what was performer.
Finally – I
may just be being obsessive and picky, but if you are promoting your show as a
completely improvised set list – DON’T tape the typed and organised set list in
clear view of the audience. It kind of destroys the mystery.
This review appeared on AussieTheatre.com
12 December 2007
Short and Sweet 07 Week 2 Top 10
Short and Sweet 2007 Week 2 Top 10
12 December 2007
The Arts Centre, Fairfax Theatre
Short and Sweet’s Week Two Top 10 were a mixed bag. There were the expected mix of enjoyable, but tasteless jubes, overly sweet clinkers and rubber band textured snakes - but every now and then a delicious hand crafted dark chocolate appeared, filled with a bitter marzipan or creamy ganache.
The Replacement Son
The program blurb gave away the plot. Actually the title gave away the one sustaining joke. Steven Hounsome structures well and the joke was a good one, but he gave limited, almost stereotyped characters. There’s dumb Aussie sheila, dumb country farmer and angry young art student with red hair - with offstage good boy geek thrown in for balance. The characters need to be fleshed out and made real if we are to care about them and their fate. It was never clear why the parents rejected their son. And why do poor struggling artists write about poor struggling, talentless artists? Why not give Shaun an original and interesting reason to go to the big smoke.
The Critics
Another serve of bland “seen it all before” character. This time – it’s a critic. Do you really take what we say seriously? Ian Grody has actually written a bloody funny piece about actors and their egos, but hidden it behind a buffoonish critic. It plays with form and is full of in jokes. The staging needs some tightening and it would have been nice to see the direction explore the works inherent theatricality. But, of course, I’m one of that breed of semi-evil, talentless wanna bes - who “obviously don’t know one thing about who does what in the theatre.”
Lobster Tales
This was physical, fun, theatrical and took us into the expected and the totally unexpected. It’s about belief and faith and short memories and what blokes talk about when they’re alone. Michael A Strang knows his lobsters (and his blokes).
Gravity
It’s hard to cut your writing. But sometimes you have to lose good stuff to give a piece strength and impact. The metaphors in Mark Andrews piece got in the way of the story – like a cat (who got out of the fridge) and a dog (with bared teeth) running in front of the television. There were some powerful and incredibly moving images in this work, but one would have had more impact than the many. The direction and ultimate performance started too intensely, giving it no where to go emotionally and I did not believe that this person was suffering from post traumatic stress. Perhaps a little bit more research would have helped.
Cable Car of Death
This is the kind of fabulous original writing that appears in this festival. Nathan Curnow had me from the opening moment. Development at Crash Test Drama has obviously tightened and perfected the humour, the drama and the characters in this piece. Who would have thought some facts about Houdini’s death would lead to a work set high above the Alps? Each character has their own problems to face and resolve, there are great one liners hidden in the dialogue and no one is predictable.
49 Stories about Brian MacKenzie
I loved this play. It was sweet, emotionally real and poignant. The actor never said a word. We watched slides and listened to a perfect soundtrack. James Henderson’s music reminded me of Hal Hartley’s first films. Alix Stirling gently directed Gregory Hardigan’s unique script to its moving climax. Nicholas Bendall’s non-performance was the most generous and moving performance of the night.
Protest
And we’re back to our list of well known characters. This time it’s angry young woman at protest and young cop rethinking his career. Tom Taylor wrote a great ending, but his characters spent too much time mouthing statements rather than telling us about themselves. The dialogue never sounded authentic and I didn’t care what happened to either of them.
On the Cards
Scott McAteer always surprises with his plots. He never lets the audience get ahead of him. What do you do if your drunk psychic has predicted the love of your life will break your heart? Do you still meet them? Good characters, original plot and a damn good laugh. The direction could be a bit tighter and the author could research tarot and divination a bit more to create greater authenticity.
The Neils
Meet Neil, Neil, Neil, Neil, Neil and Patrick. Miles Blackford’s script is bizarre, surprising and one of the night’s favourites. Shiralee Hood’s direction used movement superbly and let the work build to its inevitable violence. The performers may need to step away from their characters for a bit though. It was coming across a bit too much like a competition to see who could be the funniest Neil.
The Lobotomist
If this doesn’t win the People’s Choice award, I’ll be surprised. When theatre in decay get it right – they get it right. Robert Reid writes damn fine satirical musical theatre. The music is spot on, the content perfect (lobotomy is usually treated far too seriously) and there’s a mad doctor to balance out the straight love interests. Robert Lloyd has found the character he has was meant to play and Ben MacKenzie lets him revel in the madness. Unfortunately Madeline Asbry gets lost amongst these two. Her character may need to be strengthened to perfect the work. Just remember that “a dream can only hurt you if you let it get away.”
This review originally appeared on AussieTheatre.com.
12 December 2007
The Arts Centre, Fairfax Theatre
Short and Sweet’s Week Two Top 10 were a mixed bag. There were the expected mix of enjoyable, but tasteless jubes, overly sweet clinkers and rubber band textured snakes - but every now and then a delicious hand crafted dark chocolate appeared, filled with a bitter marzipan or creamy ganache.
The Replacement Son
The program blurb gave away the plot. Actually the title gave away the one sustaining joke. Steven Hounsome structures well and the joke was a good one, but he gave limited, almost stereotyped characters. There’s dumb Aussie sheila, dumb country farmer and angry young art student with red hair - with offstage good boy geek thrown in for balance. The characters need to be fleshed out and made real if we are to care about them and their fate. It was never clear why the parents rejected their son. And why do poor struggling artists write about poor struggling, talentless artists? Why not give Shaun an original and interesting reason to go to the big smoke.
The Critics
Another serve of bland “seen it all before” character. This time – it’s a critic. Do you really take what we say seriously? Ian Grody has actually written a bloody funny piece about actors and their egos, but hidden it behind a buffoonish critic. It plays with form and is full of in jokes. The staging needs some tightening and it would have been nice to see the direction explore the works inherent theatricality. But, of course, I’m one of that breed of semi-evil, talentless wanna bes - who “obviously don’t know one thing about who does what in the theatre.”
Lobster Tales
This was physical, fun, theatrical and took us into the expected and the totally unexpected. It’s about belief and faith and short memories and what blokes talk about when they’re alone. Michael A Strang knows his lobsters (and his blokes).
Gravity
It’s hard to cut your writing. But sometimes you have to lose good stuff to give a piece strength and impact. The metaphors in Mark Andrews piece got in the way of the story – like a cat (who got out of the fridge) and a dog (with bared teeth) running in front of the television. There were some powerful and incredibly moving images in this work, but one would have had more impact than the many. The direction and ultimate performance started too intensely, giving it no where to go emotionally and I did not believe that this person was suffering from post traumatic stress. Perhaps a little bit more research would have helped.
Cable Car of Death
This is the kind of fabulous original writing that appears in this festival. Nathan Curnow had me from the opening moment. Development at Crash Test Drama has obviously tightened and perfected the humour, the drama and the characters in this piece. Who would have thought some facts about Houdini’s death would lead to a work set high above the Alps? Each character has their own problems to face and resolve, there are great one liners hidden in the dialogue and no one is predictable.
49 Stories about Brian MacKenzie
I loved this play. It was sweet, emotionally real and poignant. The actor never said a word. We watched slides and listened to a perfect soundtrack. James Henderson’s music reminded me of Hal Hartley’s first films. Alix Stirling gently directed Gregory Hardigan’s unique script to its moving climax. Nicholas Bendall’s non-performance was the most generous and moving performance of the night.
Protest
And we’re back to our list of well known characters. This time it’s angry young woman at protest and young cop rethinking his career. Tom Taylor wrote a great ending, but his characters spent too much time mouthing statements rather than telling us about themselves. The dialogue never sounded authentic and I didn’t care what happened to either of them.
On the Cards
Scott McAteer always surprises with his plots. He never lets the audience get ahead of him. What do you do if your drunk psychic has predicted the love of your life will break your heart? Do you still meet them? Good characters, original plot and a damn good laugh. The direction could be a bit tighter and the author could research tarot and divination a bit more to create greater authenticity.
The Neils
Meet Neil, Neil, Neil, Neil, Neil and Patrick. Miles Blackford’s script is bizarre, surprising and one of the night’s favourites. Shiralee Hood’s direction used movement superbly and let the work build to its inevitable violence. The performers may need to step away from their characters for a bit though. It was coming across a bit too much like a competition to see who could be the funniest Neil.
The Lobotomist
If this doesn’t win the People’s Choice award, I’ll be surprised. When theatre in decay get it right – they get it right. Robert Reid writes damn fine satirical musical theatre. The music is spot on, the content perfect (lobotomy is usually treated far too seriously) and there’s a mad doctor to balance out the straight love interests. Robert Lloyd has found the character he has was meant to play and Ben MacKenzie lets him revel in the madness. Unfortunately Madeline Asbry gets lost amongst these two. Her character may need to be strengthened to perfect the work. Just remember that “a dream can only hurt you if you let it get away.”
This review originally appeared on AussieTheatre.com.
10 October 2007
A Record or an OBE
MELBOURNE FRINGE 2007
A Record or an OBE
Shaolin Punk
10 October 2007
Caz Reitops Dirty Secrets
Fortunately A Record or an OBE is more than a fan tribute (and Rob is a better Tim than I ever was). The show opens and closes with a voice over giving some well chosen Goodie facts, but it also tells us that what we are seeing isn’t true. They ask what could have happened if Bill had left in 1975? Could two Goodies be better than three?
I really liked that neither performance was an impersonation of Tim or Graeme, but reflections of the possible characters that both were off screen. However far too much is based on the audiences’ established understanding of who they were. We still need to care about and understand THIS Tim and Graeme. I could see that the actors knew their characters, but this understanding and empathy wasn’t clear on the stage. There was a bit too much telling and not enough showing.
Fans, of course, are missing Bill (there’s no live via satellite link). Those who don’t know Bill have a limited concept of who is missing. He is a vital offstage character who has really only been described as a scruffy wanna be rock star. The impact of his loss isn’t clear through the characters or the direction. We needed to see the empty space/ the missing limb/the emotional impact of this loss.
Gooding’s direction sensibly times and shapes the show like a Goodies 30-minute episode (complete with voice overs and a very funny Beanz add). The performance space is tiny and has the atmosphere of an intimate BDSM soiree. I really would have liked to see this show take more advantage of the space and make it work for them. Perhaps constrict the staging more and really play with the conventions of 70s TV camera shots. Make it look and feel even more like sitting in the lounge room watching a tiny box.
There is a very witty moment when the duo devises a Bill-less Goodies episode. Graeme stresses that Tim’s idea is not a plot, it’s just a mood – they need action and a story. Is this is a post-post-structuralist-introspective-ironic commentary on the actual script? If yes – it’s a delightfully self-satirical moment. If not...please listen to your own advice. My concern with this script is lack of action and drama. It’s witty and funny, but we don’t see goals and journeys and changes. Dramatically “Part Two” is far more interesting than “Part One”. Break ups are real and will always resonate with an audience.
So, should this show speak to non-Goodies fans? I took someone who didn’t know the Goodies. She didn’t get it. Without the assumed knowledge, the combination of fact and fiction is very confusing and ultimately makes you question the credibility of the whole piece.
As a piece nostalgic-fan-fiction-theatre I enjoyed A Record or an OBE. If you were a Goodies geek – don’t miss it. If you have no idea who I’m taking about, don’t remember the 80s or used to watch the news at 6pm – perhaps wait for Shaolin Punk’s next show.
PS: Why do I have the feeling that next Fringe Neil is going to walk out of the share house?
This review originally appeared on AussieTheatre.com.
A Record or an OBE
Shaolin Punk
10 October 2007
Caz Reitops Dirty Secrets
There are enough Goodies fans in Melbourne to make sure that A Record or an OBE sells out this Fringe. It’s full of shameless Goodies gags and references, Brit comedy name dropping and all the little details that only Goodies nerds will understand. But does it work if you don’t know this trio?
Tim Brooke-Taylor, Graeme Garden and Bill Oddie worked together as The Goodies from 1970 to 1982. The Shaolin Punk trio of Ben McKenzie (Graeme), Robert Lloyd (Tim) and Scott Gooding (director) obviously spent many, many, many half hours in the early 80s sitting on the couch at 6pm watching the ABC. So did I. I also remember playing The Goodies with my friends Sam and Michael in the 70s. I always had to be Tim, because he dressed up as a woman.
Fortunately A Record or an OBE is more than a fan tribute (and Rob is a better Tim than I ever was). The show opens and closes with a voice over giving some well chosen Goodie facts, but it also tells us that what we are seeing isn’t true. They ask what could have happened if Bill had left in 1975? Could two Goodies be better than three?
I really liked that neither performance was an impersonation of Tim or Graeme, but reflections of the possible characters that both were off screen. However far too much is based on the audiences’ established understanding of who they were. We still need to care about and understand THIS Tim and Graeme. I could see that the actors knew their characters, but this understanding and empathy wasn’t clear on the stage. There was a bit too much telling and not enough showing.
Fans, of course, are missing Bill (there’s no live via satellite link). Those who don’t know Bill have a limited concept of who is missing. He is a vital offstage character who has really only been described as a scruffy wanna be rock star. The impact of his loss isn’t clear through the characters or the direction. We needed to see the empty space/ the missing limb/the emotional impact of this loss.
Gooding’s direction sensibly times and shapes the show like a Goodies 30-minute episode (complete with voice overs and a very funny Beanz add). The performance space is tiny and has the atmosphere of an intimate BDSM soiree. I really would have liked to see this show take more advantage of the space and make it work for them. Perhaps constrict the staging more and really play with the conventions of 70s TV camera shots. Make it look and feel even more like sitting in the lounge room watching a tiny box.
There is a very witty moment when the duo devises a Bill-less Goodies episode. Graeme stresses that Tim’s idea is not a plot, it’s just a mood – they need action and a story. Is this is a post-post-structuralist-introspective-ironic commentary on the actual script? If yes – it’s a delightfully self-satirical moment. If not...please listen to your own advice. My concern with this script is lack of action and drama. It’s witty and funny, but we don’t see goals and journeys and changes. Dramatically “Part Two” is far more interesting than “Part One”. Break ups are real and will always resonate with an audience.
So, should this show speak to non-Goodies fans? I took someone who didn’t know the Goodies. She didn’t get it. Without the assumed knowledge, the combination of fact and fiction is very confusing and ultimately makes you question the credibility of the whole piece.
As a piece nostalgic-fan-fiction-theatre I enjoyed A Record or an OBE. If you were a Goodies geek – don’t miss it. If you have no idea who I’m taking about, don’t remember the 80s or used to watch the news at 6pm – perhaps wait for Shaolin Punk’s next show.
PS: Why do I have the feeling that next Fringe Neil is going to walk out of the share house?
This review originally appeared on AussieTheatre.com.
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