What I Loved in 2019: The best of Melbourne theatre. And thank you

This year I saw a lot of new work and emerging artists, which is how I started writing about theatre. Many of those artists and companies from the early days are now on our main stages, where indie criticism isn't as welcome and masthead criticsm is reduced to an adjective. I do both.

Seeing new work and watching companies and artists develop is one of the most satisfying parts of being a theatre writer. When you see something remarkable in a tiny room, you come back and see them again and again. Watching other people discover that same remarkable is amazing.

If you have to choose between seeing one big show or 20 small ones, see the small ones. You'll feel better.

There's such a demand for indie critics and writers because, no matter how tough it gets, our indie performers, companies and venues keep making work.

Independent and emerging performers, if you want people to see your work and write about it, find the voices or publications that you like and read or listen to or follow. There will be someone who totally gets your work and will be the voice that describes your art in ways that makes other people want to see you.

If you don't know who those reviewers they are yet, read, listen to and follow indie voices!

If you want to write about or talk about theatre, just start doing it. Don't rely on it being a paid job and don't despair if you're not read by thousands. Keep going; it'll happen. Keep seeing work. And when you find those shows and artists that you totally understand, your work becomes part of the community.

(And, keep an eye out because I will be running more writing workshops and publicity workshops next year.)

If you're on those big stages and see work on those stages and wonder why all you ever see is star ratings, ask why and speak up.


Sometimes Melbourne celebrates nearly 14 years of writing about theatre in Melbourne.

I don't know what's going to happen next year, but it's time for Sometimes Melbourne to have a break. It's a difficult decision but I don't have the resources or support to keep it going. I'll still write for other publications, teach and see as many shows as possible.

Thank you to every artists and show I've seen. You're all amazing. Thank you for the messages and conversations. Thank you for your work. You make a difference.


And here are my favourite shows and artists of 2019. I'd see every one of them again.

Outstanding artists 2019

WRITING

Zoey Dawson for Australian Realness at Malthouse

Emily Goddard, Chanella Marci. "Australian Realness" Photo by Pia Johnson

Bridget Mackey for Love/Chamberlain at Theatre Works

Rebekah Hill, Dana Miltins. "Love Chamberlain"

Special mention

Wil Greenway for Either Side of Everything at MICF

Will Greenway

DESIGN

Costume 
Gabriela Tylesova for Muriel's Wedding: The Musical, Global Creatures in association with Sydney Theatre Company

"Muriel's Wedding"

Set/lighting
Kate Davies/Emma Valente for Unwoman, The Rabble at The Substation

"Unwoman" by The Rabble. Photo by Pier Carthew

Lighting
Clare Springett for Oil at Red Stitch.

"Oil". Photo by John Lloyd Fillingham

PERFORMANCE

The cast of Anthem, Arts Centre Melbourne at MIAF

Maude Davey, Reef Ireland, Ruci Kaisila, Thuso Lekwape, Amanda Ma, Maria Mercedes, Tony Nikolakopoulos, Eryn Jean Norvill, Sahil Saluja, Osamah Sami, Eva Seymour, Carly Sheppard,  Jenny M Thomas, Dan Witton 

"Anthem" Photo by Pia Johnson

The cast of Unwoman, The Rabble at The Substation
Part I: Annalise Matthews, Toni Main, Robyn McMicking, Anna Nottle and Mattie Young
Part II: Dana Miltins and Mary Helen Sassman
Part II: Yumi Umiumare
Testimonials ead by Mila Jennings


Special mentions

Helena Dix as Norma in Norma, Melbourne Opera

Nick Simpson-Deeks as George in Sunday in the Park with George, Watch This

Christie Whelan Brown as Tania in Muriel's Wedding: The Musical, Global Creatures in association with Sydney Theatre Company

Helena Dix. "Norma"

Nick Simspson-Deeks, Vidya Makan. "Sunday in the Park with George"

Keep an eye on

Luisa Scrofani in My Brilliant Career, the Sir Zelman Cowen School of Music, the Centre for Theatre and Performance and Monash Academy of Performing Arts in association with the Jeanne Pratt Musical Theatre Artists in Residence Program.

Luisa Scrofany. "My Brilliant Career"

DIRECTION

Declan Green for Wake in Fright, Malthouse

"Wake in Fright". Photo by Pia Johnson

Everything they do rocks 2019

Everyone at The Butterfly Club for supporting, promoting and presenting independent cabaret, comedy, music and theatre more than anyone else in town.

Everyone includes:
All staff who program, promote and organise.
All the front of house.
All the bar staff.
Anyone I missed.
And everyone involved with Enter Closer, Crowded and the other managed venues during festivals.

The Butterfly Club. Photo by Stano Murin

The Butterfly Club celebrated its 20th birthday this year. After moving from South Melbourne, it's now tucked away in a three-level wonderland in Carson Place in the middle of the city (boxed by Swanston, Elizabeth, Collins and Bourke streets).

Every night there are between two and eight different shows that include regular nights, independent shows and venue-produced shows. They support indie artists from the application process to front of house staff and help with promotion and media.

Artists who perform there talk about being welcomed into a family.

Audiences love the place. From the changing menu of cocktails to hanging around and analysing at the minimalist decor*, it's a joy to be there.

(And one day, there will be some funding to deal with the access issues of a very old building with lots of stairs.)

*not minimalist. My favourites are the art deco cat lamp, the Ginger and Fred series of photos, and the framed and stuffed kitten tea towel.


and


Lessons with Luis

Lessons With Luis

I genuinely don't understand how Luis and his family aren't international superstars.

When I see a Lessons with Luis show, I forget about being a reviewer because I am so happy to be there. The work is so complete that the line between character and performer doesn't exist and they tell a truth about families and grief that is so real that I don't want to be confronted with the idea that it's a performance.

And Luis likes cats. 

This year I saw Stickin' Together at MICF and went to Yadna's 47th Birthday.

Outstanding productions 2019

MUSICAL

Come From Away, multiple producers

"Come From Away". Photo by Jeff Busby

Special mention

Polygamy, Polygayou, produced by Clare Rankine at Melbourne Fringe

"Polygamy, Polygayou". Photo by Ling Duong

COMMERCIAL

Harry Potter and the Cursed Child, parts one and two, multiple producers


COMEDY

Cassie Workman, Giantess at MICF

Cassie Workma

Special mentions
Patrick Collins Mime Consultant at MICF

Joshua Ladgrove pumps your bilge at MICF and Melbourne Fringe

Completely Improvised Potter, Soothplayers at MICF and Melbourne Fringe

Frobert and Ladgrove

"Patrick Collins Mime Consultant"

"Completely Improvised Potter". Photo by Mark Gambi

CABARET

BOOBS by Selina Jenkins at Melbourne Fringe

Special mention

Garbage Monster by Alice Tovey, Hot Mess Productions and The Butterfly Club at MICF

Selina Jenkins

 

Alice Tovey

DANCE

Collossus, Stephanie Lake Company, Arts Centre Melbourne at MIAF

"Collossus"

OPERA

Norma, Melbourne Opera

Best of the best 2019

The Butch Monologues, Theatre Works and Stage Mom at Midsumma

cast of "The Butch Monologues"

Harry Potter and the Cursed Child, parts one and two, multiple producers

"Harry Potter and the Cursed Child"

Keep, Daniel Kitson at MICF

Daniel Kitson

Barbara and the Camp Dogs, Malthouse presents a Belvoir production

Elaine Crombie, Ursula Yovich. "Barbara and the Camp Dogs". Photo by Pia Johnson

Waterloo by Bron Batten at Melbourne Fringe

Bron Batten. "Waterloo". Photo by Theresa Harrison

My favourite show of 2019

The Living Room by Amrita Dhaliwal and Gemma Soldati at Melbourne Fringe

Amrita Dhalial and Gemma Soldati. "The Living Room"

 Which is coming back for comedy festival!

Past favourites.
2018

2017
2016

2015

2014

2013

2012

2011 

2010 

2009 

2008 

2007

What Melbourne Loved in 2019, part 8

Today we hear from Charlotte, Beng and Christopher.

There's still time to contribute, but not much; it's not going all the way through the month this year. The form is linked on all the early parts. Or all the info is here.

Charlotte Strantzen Bair
Actor, presenter, theatre-maker and mother to two amazing humans

Charlotte Strantzen Bair

Favourite moments in 2019.
I'm thrilled that 2019 held more highlights than lowlights for me, with some really bright spots. My musical theatre picks for the year were Muriel's Wedding and Come from Away. I wasn't sure how I'd feel about Muriel.  Would the film translate to stage? Will it have aged well? Any cynicism in me was quickly washed away by the sheer joy of the show, with Kate Miller-Heidke and Keir Nuttall's music being ably performed by a fabulous cast (including, I discovered while watching, the wonderful Caleb Vines, whom I shared a stage with many times in the early 2000s in school holiday pantomimes! It made my year to see him all grown up and working in such a successful show). Come From Away was everything it was cracked up to be and more. It felt especially personal to us as my husband was in the USAA and away from family on September 11, so the emotional reaction was strong. I'm enjoying listening to the soundtrack now!

I saw some excellent kids theatre with my children, including ROFLSHALBOWCO by The Listies (not just for children!) at the Malthouse and Mad as a Cute Snake by Amelia Evans and Dan Giovannoni at Theatre Works. It's a real treat to see companies produce work that respects their young audiences and pushes the boundaries without making a big deal of it.

In comedy, I loved Keep at MICF by Daniel Kitson – I could listen to his storytelling for hours (and have!) – and Hot Donkey by Northern Ireland's Paul Currie, which takes on particular significance this week after the death of his hero, Caroll Spinney. Months later, I still find myself randomly breaking out into "Pandas for hands, I've got pandas for hands!".

My heart was warmed to see my friend and colleague Andi Snelling back on stage with Happy-Go-Wrong, which, as  already  mentioned in this series, is a great achievement. And, whie it didn't hit all the marks for me, I really enjoyed Raw Material and Traverse Theatre Company's What Girls Are Made Of as part of the Melbourne Interntional Festival of Arts.

Looking forward to in 2020.
Harry Potter and the Cursed Child, at long last! My brother and I are taking Mum for her 70th birthday...totally selflessly, of course! And, in a not-strictly-theatre sense, I am hanging out for My Dad Wrote a Porno in January and Tim Minchin's encore tour of Back in March.

SM: There are people who are always working and performing but we don't see them in our reviews and on the big stages. Charlotte makes theatre in homes and at parties and events. She (and her husband and colleauges) do murder mystery parties and theme parties and children's parties. They get to know their audiences in ways that few performers do. They make events become "the best day of my life". That's pretty great.

(PS. Are we allowed to start a count down to #MelbournePornoDay?)

Beng Oh
Director and theatre maker

Beng Oh

Favourite moments in 2019.
I didn’t see as much as I would have liked to this year but having said that, stand-outs for me include:

Ars Nova’s production of Underground Railroad Game at Malthouse. A funny, subversive and disturbing look at race relations with fully committed performances. Troubling in a good way.

Samah Sabawi’s Them at La Mama was beautifully directed by Bagryana Popov with a strong cast. It’s on the Victorian Premiere’s Literary Awards 2020 drama shortlist and is coming back in 2020 at the Arts Centre.

Also at La Mama, Rory Godbold’s When The Light Leaves was a timely piece as assisted dying laws came into effect. It’s a moving production that’s coming back for Midsumma 2020.

Declan Greene’s production of Wake in Fright at  Malthouse with Zahra Newman was simply brilliant and sucked you in right from the word go.

Opera Australia’s production of Aribert Reimann’s Ghost Sonata was a knockout. The singers sang some extremely tricky music with aplomb (and excellent diction) and Greg Eldridge’s production, in surreal designs by Emma Kingsbury, brought a really difficult piece to life.

Stephanie Lake’s Colossus with nearly 50 dancers was hypnotic and entrancing and I would have been happy to immediately watch it a second time. Still on dance, Hofesh Shechter’s exhilarating Grand Finale at MIAF really felt like the culmination of their work to date.

Anthem directed by Susie Dee at MIAF skilfully wove together five writers and a large cast into a memorable piece of theatre.

Last, but not least, Laurence Strangio’s The Year of Magical Thinking had a luminous performance by Jillian Murray coupled with exquisite lighting by Andy Turner.


Looking forward to in 2020.
Lots of things, not least of which are the Mozart Requiem by Romeo Castelluci, Robert Icke’s The Doctor, and Enter Achilles by DV8 (I can’t see it but I’m still excited by it) at Adelaide Festival.

Two shows in Melbourne stand out though. I missed it first time round and am excited about seeing Joel Bray’s Daddy. It’s queer, indigenous work with the lot. And sugar, lots of sugar. Not to be missed.

Susie Dee and Patricia Cornelius teaming up once more on Do Not Go Gentle... at Malthouse. I first saw the play in Julian Meyrick’s production at fortyfivedownstairs in 2010 and can’t wait to see what this latest production is like.

SM: I really enjoyed Beng's direction of Daniel Keene's Wild Cherries at La Mama, but what I remember most is how he let us see Cock though the hearts of the characters and brought a new reading to the well-known play. It was soooo hot that night in fortyfivedownstairs and, even while we melted, the audience were totally gripped by the story.

Christopher Bryant
Playwright, academic, sometimes performer

Christopher Bryant. Photo by Sarah Walker

Favourite moments in 2019.
I saw Barbara and the Camp Dogs and Underground Railroad Game at Malthouse in the same week and nine months later, I'm still thinking about them both. They both expertly navigated hilarity through some really dark places, and were all the more affecting for it.

The end of Working With Children by Nicola Gunn. I'd watch her eat cereal (but like, not in a creepy way), so, of course, I loved her performance. But the way it ended – kind of, leaving the audience in all these questions she'd raised, watching all these machine-based optical illusions work in silence – was oddly touching and a little bit magical. I didn't feel like the veil of "theatre" lifted until hours later.

House Sisters by Michelle Lee and the Monash Centre of Theatre and Performance: hilarious and kind of sickening in parts and genuinely kept me unsure where it was going to end up. Just really well made and written, directed and performed by some wonderful young actors.

Daddy by Joel Bray. Beautiful, beautifully made, and again, sat on the knife's edge between camp ridiculousness, intelligence and a deep well of hurt. He also navigated audience involvement/interaction incredibly well.

Looking forward to in 2020.
Loaded by Dan Giovannoni and Christos Tsiolkas (directed by Stephen Nicolazzo) and Prima Facie by Suzie Miller (directed by Lee Lewis) at Malthouse.

The Feather in the Web by Nick Coyle (directed by Declan Greene) and Orlando by Sarah Ruhl (directed by Stephen Nicolazzo) at Red Stitch.

The Great Australian Play by Kim Ho and Wellbless by Debra Thomas and Ella Roth Barton at Theatre Works.

SM: I got to see two new productions of Christopher's plays in the same week: The Other Place at Theatre Works and Disinibition at MUST. Both approached and directed in such different ways; both sharing his writing and themes and emotions in such different ways. What an amazing way to get to know a writer and their work. What an amazing experience for a writer!

MICF: Keep – Daniel Kitson

MICF
Keep
Daniel Kitson
21 April 2019
Coopers Malthouse – Merlyn
to 21 April
comedyfestival.com.au

Daniel Kitson

I was always going to finish MICF with Daniel Kitson. It was tempting to go earlier, but it's hard to follow Kitson.

He doesn't do media or have a media night any more, even if some review him anyway. Instead he does lots of shows in a good-sized theatre and sells tickets at an accessible price. I don't think there were many spare seats for the entire season, and everyone I spoke to who saw it said that I had to see it and that they weren't going to say any thing about it. And that's without him giving out #KeepTheSecrets badges.

As a media, it's sad to not create a wordgasm about him and see a quoted row of stars that I assigned.

As a media, it's a fucking relief to not even have to try to summarise the complexity of the structure and interweaving themes and the goddam joy of spending over two hours with a middle-aged man who has listed every thing he owns and typed them up on cards in an old library card catalogue.

I haven't written much about Kitson, but I always see his work and his work inspires me when I want to walk away and never write again.

And I need something to link to when I list it as a favourite at the end of the year.

The Ballad of Roger and Grace

Back in 2008, my favourite show of the year was The Ballad of Roger and Grace by Daniel Kitson and Gavin Osborn.  I don't remember detail, but I know I loved it.

But look what I just found on Bandcamp: Daniel's site and the Ballad is there. Buy it here. I just did.

Daniel Kitson and Colleauges

MELBOURNE FRINGE 2009
Daniel Kitson and Colleagues
8 October 2009, and into 9 October
Fringe Hub, Lithuanian Club

As this isn't an offical media review, I can be concise and say:

Daniel Kitson and Colleagues was fucking awesome. Laughed in ways I'd forgotten I could laugh in. How and why it wasn't sold out is beyond me. Sucked in to everyone who missed out.

Longer Fringe 2009 reviews.

Melbourne 2008 - What I Liked

The 2008 AussieTheatre Melbourne Awards

There are no shiny trophies, no need to frock up and no one semi-famous to read out the nominations. In fact, there’s no prize at all, except knowing that this is the remarkable work that has inspired me over the last 12 months.

Theatre in Melbourne: even if I could go out every night, I would still miss something worth seeing.

Overall, I wish I wasn’t disappointed by so many commercial productions and wish that people who see commercial shows would also take a chance on the small, independent productions. It’s always going to be hit and miss, but this is where the best theatre continues to be created and it hurts knowing that it’s only seen by a lucky few.

That’s not to say it’s all been good, but it isn’t hard to remember the great stuff. These artists and companies challenge with their content, re-invent form, respect the intelligence of their audiences, and refuse to be bland. Some of them were visiting us from interstate and overseas, but most of this incredible theatre has been created here in Melbourne.

Before the drum roll, let me thank Jo, David, Laura, Karla, Kim and John (the wonderful team of Melbourne reviewers for Aussie Theatre) for their knowledge, their passion, their style and their from-the-heart opinions.

And thank you to everyone who lets us know that you appreciate reading what we have to say.

Outstanding Artists 2008

WRITER
Adam Cass for Oasis Oasis
and
Sarah Collins for Nothing Extraordinary Ever Happens in Toowoomba. (Ever)

DIRECTOR
Benedict Andrews for Moving Target, Malthouse Theatre
and
Yvonne Virsik for Nothing Extraordinary Ever Happens in Toowoomba. (Ever)

DESIGNER
Anna Tregloan for Venus and Adonis, Malthouse Theatre

SOUND DESIGNER
David Franzke for Venus and Adonis, Malthouse Theatre

LIGHTING DESIGNER
Paul Jackson for Moving Target, Malthouse Theatre

NEVER TO BE MISSED CREATOR/PERFORMER – female
Melissa Madden Grey,  Venus and Adonis, Malthouse Theatre and Vamp, Malthouse Theatre

NEVER TO BE MISSED CREATOR/PERFORMER – male
Daniel Kitson, The Ballad of Roger and Grace  and The Impotent Fury of the Privileged

FESTIVAL DIRECTOR
Kristy Edmunds for her final, unforgettable Melbourne International Arts Festivals.

Outstanding Productions 2008

CABARET
Reuben Krum's Naughty Show, Reuben Krum
and
A Suicide for Winter , The Tiger Lillies
and
Lea Delaria is Naked, Lea Delaria

MUSICAL
Spontaneous Broadway

COMMERCIAL PROGRAM
Blackbird, Melbourne Theatre Company

DANCE
Three, Batsheva Dance Company

COMEDY
Sammy J In The Forest Of Dreams
and
Cell Block Booty, Sisters Grimm

THE BEST OF THE BEST
Ollie and the Minotaur, foogle and 9minds
and
An Oak Tree, Tim Crouch/Melbourne International Arts Festival
and
Romeo and Juliet, OKT/ Melbourne International Arts Festival


The show that will stay with me from 2008 is:

The Ballad of Roger and Grace, Daniel Kitson and Gavin Osborn

(2012 update: Buy the ballad here.)


This story originally appeared on AussieTheatre.com.

Roger and Grace and Deadshits

MELBOURNE INTERNATIONAL COMEDY FESTIVAL 2008
The Ballad of Roger and Grace
Health Franklin’s Chopper in Make Deadshits History
27 March 2008
26 March 2008
Bosco Theatre, Federation Square
Umbrella Revolution, Federation Square

The sublime to the ridiculous is a cliché I’d prefer to avoid, but 24 hours at the Melbourne International Comedy Festival took me to such extremes. I experienced the most perfect, poignant and beautiful and the most dull, ignorant and offensive.

There is nothing ostensibly remarkable about The Ballad of Roger and Grace. Two unassuming blokes sit on two chairs. One reads us a story and the other plays his guitar and sings us some songs. That is all and it is exquisite.

Tell me a story. Tell it simply. Tell it truthfully. Tell it with love. Tell it with care. Tell it with passion. Please make sure that your mastery of language and structure is on par with the likes of Wilde and Dickens and you have detailed map of the human psyche.

Daniel Kitson tells us a story – in fact the greatest love story ever told. Trying to describe the unique perfection of this story will only do it an injustice. The journey is profound and epic, visiting unexpected places, emotions and dreams. I want to read Daniel Kitson. He is a damn fine stand up comedian and a mighty fine storyteller, but I also want to snuggle up at night with a tome of his words.

Gavin Osborn sits on the other chair and tells his story trough song. Original and archetypal images of young love fill our minds, as he gently finds the profound in the mundane and the heroic in the ordinary. The song cycle contrasts and supports Daniel’s prose and they come together to create moments of pure theatrical bliss.

Being part of the laughing festival, this is a funny show. The ballad produces the kind of laughter that warms your heart and awakens your soul, as it that lets you cry and makes you want to entwine fingers with someone you love.

Daniel Kitson and Gavin Osborn created The Ballad of Roger and Grace for an open-air dusk performance in London. Midnight performances followed at the Edinburgh Fringe and it has quietly accompanied Kitson’s Australian tour of The Impotent Fury of the Privileged.

I was lucky to catch the last Melbourne performance. Kitson said it might be last time they perform it. Please don’t be so. There are so many people out there who love theatre, who love music, who love stories or just plain love – they all deserve to experience something so wonderful.

The night before Roger and Grace restored my faith in theatre, love and stories, I saw Health Franklin’s Chopper in Make Deadshits History.

Chopper Reid himself isn’t keen on Franklin’s character. Never thought I’d be saying this, but I’m on Chopper’s side.

I’m going to give Franklin full benefit of the doubt here. I’m pretty sure he’s going for satire. I think he’s trying to point out that the likes of Mr Reid are not worthy role models and that violence, rapey rapey (his sweet words) and personal terror are not good. There is some very clever writing hidden among the fucking jokes. I think the concept of making deadshits history is very funny, but disappointed that he had to explain the joke in detail to the audience. I laughed at the Bindy Irwin doll that says, “I want a father figure”, but this material could be said by anyone. It wasn’t Chopper specific and this is a Chopper specific show.

I got the impression that Chopper’s audience are laughing with him – not at him. The satire isn’t working – the audience are laughing at the humour inherent in violence and abuse… (Perhaps I just don’t like the people who pay to see this character.)

Franklin’s Chopper is a naughty, chubby, cuddly teddy bear with a moustache and glasses. He isn’t dangerous or threatening and fails to represent anything near the level of violence and hatred that Mr Reid embodies. This Chopper seems like a nice bloke and I don’t understand why. If he were called Barry the Bonza Bogan, the show would be the same. This Chopper is so coy he can’t even say cock.

I believe there is a clause in the Comedy Festival registration agreement that says you will use the word cunt at least once in your show. (Kitson does so in Fury, thus negating the need for it in Ballad.) There’s a disproportional amount of power in that short word. Women are slowly reclaiming that combination of letters, but the cunt issue is still there. Calling someone a cock can be friendly ribbing. It’s a bit naughty, but you can always tone it down to dick. Calling someone a cunt is still regularly viewed as the most disgusting, vile, horrendous, offensive thing you could name. I don’t think cunts are offensive (about half the people in the world have them). There are men and women in this festival who use cunt superbly in their shows. They understand that the word can be laced with irony (or power) and it’s clear that they do indeed admire, respect and love cunts. Chopper doesn’t. He calls his penis his doodle or “whistle whistle”, but he calls a man a fucking cunt if he spits in his beer and in the audience-participation part of the night, he tells a woman to “Say the C word”. He couldn’t even say, “Say cunt”. Perhaps Franklin is trying to show that Chopper is a compulsive masturbator, has a small penis and never seen a vagina that isn’t on the internet or stapled. Unfortunately, the rest of the show doesn’t support this theory. Chopper makes a woman say cunt because it the naughtiest of all the naughty words and fuck just doesn’t cut it anymore.

This is the type of laughter that tears away at other people’s souls and makes your heart feel grey and slimy; as you avoid contact with the person you came with and hope they don’t try to hold your hand.

If you tend to like what I say about shows, I’d recommend giving Deadshits a miss. (I really thought it was poo – crap filled poo, covered with shit.) I’m devastated that you won’t be able to see Ballad – but you can still see the wonderful Daniel Kitson in The Impotent Fury of the Privileged. You can probably see Heath Franklin in the pub (unless the other Chopper gets to him first).

This review originally appeared on AussieTheatre.com.

Winner - What I Liked in 2008.