What Melbourne Loved in 2017, part 7

"Let's do this! Let's be ambitious in everything we do!",  Joseph O'Farrell (Jof)

Let's all listen to Jof.

Eugyeene Teh
Designer

Eugyeene Teh. There aren't enough words to describe how much I love this photo.

Favourite moments in 2017
Melbourne theatre is very quickly being redefined by culturally diverse works, primarily from the independent sector. 2017 saw a major shift in how the theatre community and its audience perceive theatre that is not white. The effect of this has been exponential – inclusivity of artists and audience, being able to have dialogues about contemporary ideas with the previously muted others, and mutual respect and understanding in an effort to achieve equality and camaraderie across various intersectional communities. Suddenly, these works have weight, urgency and value. It’s about time, and it’s all very sexy!

Many of Melbourne’s strongest theatre in 2017 have come from bold diverse voices, including;

Romeo is Not the Only Fruit, a lesbian musical satire written and directed by Jean Tong, with predominantly Asian cast and creatives mostly from DisColourNation. Besides the fact that they opened on the night that Australia voted ‘Yes’ to marriage equality, this team defied common perception that great theatre can only be created by white-male-led teams.

In Between Two at Melbourne Festival, which allowed two Asian-Australian hip-hop artists, Joel Ma and James Mangohig to tell their stories and derive great empathy from a Melbourne Festival audience, simply by being beautiful humans.

Exquisite: An Evening with Mama Alto, which was exactly what it says on the tin. Her vocal prowess is only surpassed by her strong, poised resounding voice that fearlessly leads the way for intersectional communities of queer people of colour, among countless others. A role model who needs to be taken seriously by us all.

Under Siege at Melbourne Festival, created by Yang Liping with designer Tim Yip, is a spectacular exhibition of the historic battle Gaixia, with a focus on warlord Xiang Yu’s heartbreaking relationship with his concubine, Yu Ji, an elegant Chinese boy.

Merciless Gods allowed us to plunge headlong into the heady worlds of the perceived ‘others,’ redefining the term ‘Australian,’ challenging white values and honouring those of the shunned. It shows us that beauty lies in the souls of everyone, regardless of race, gender or their beliefs.

Asia TOPA, Stephen Armstrong’s new festival which reminded us that Asian culture is beautiful, intelligent, diverse and powerful.

Looking forward to in 2018
In 2018, I am excited about to Jean Tong’s Hungry Ghosts, directed by Petra Kalive with Emina Ashman, Jing-Xuan Chan and Bernard Sam; Michele Lee’s Going Down with Catherine Davies, Josh Price, Naomi Rukavina and Jenny Wu; Little Ones Theatre’s The Nightingale and the Rose directed by Stephen Nicolazzo with Jennifer Vuletic, Brigid Gallacher and Yuchen Wang; and The House of Bernada Alba by Patricia Cornelius, directed by Leticia Cáceres with Peta Brady, Julie Forsythe, Bessie Holland, Melita Jurisic and Candy Bowers, Candy Bowers, Candy Bowers!!!

SM: Every design of Eugyeene's is my favourite. Highlights of this year include creating a proscenium arch in La Mama in The Happy Prince, the amazing moss green of The Moors at Red Stitch, and the stage stabbing into the darkness of Merciless Gods.


Isabel Angus
Comedian, writer, performer

Isabel Angus

Favourite moments in 2017
Probably watching three bums talking into microphones in Wild Bore at the Mathouse Theatre.

Looking forward to in 2018
Having less FOMO by actually going to more theatre shows all year round - because there is actually always something on and more people should go! Also, delving deep into MICF 2018.

SM: I missed Isabel's kids show at Fringe,  so it's her being one of the wonderful team who created Do Not Collect $200. I look forward to a new show from her soon.


Joseph O’Farrell (JOF) and Sam Halmarack
Community development artists
Their new show, We are Lightning!, premieres at Arts House in December

Joseph O’Farrell (JOF) & Sam Halmarack. Photo by Sam McGlip

Favourite moments in 2017
JOF:  I was lucky enough to see Elbow Room's Niche at Northcote Town Hall on my first day back in Melbourne. To see an ambitious work of scale by an independent theatre company was REALLY exciting and inspiring.

I was also lucky to tour with Madeleine Flynn and Tim Humphrey to UK and EU this year where I saw them open their work 5 Short Blasts in two different cities on the same weekend.

Let’s do this! Let’s be ambitious in everything we do!

SH: We recently saw Cracker La Touf play. They’re a young band that we first worked with as part of our new show’s development in 2016. To watch them play and be complete rock stars blew me away!

Looking forward to in 2018
JOF: Next Wave. I LOVE this festival and its approach to a more inclusive and progressive arts sector. Can’t wait to see what the team have been working on.

SH: I am from London, so I’ll leave town after the show and not sure when I’ll be back, which is a really sad realisation. I love this city.

I’m really looking forward to touring We Are Lightning! to Mayfest in Bristol. It’s one of my favourite festivals and I can’t wait to share this crazy show with the city

SM: I didn't see JOF or Sam perform this year, but Sam's last show in Melbourne was one of my favourite moments from 2014, and the last Suitcase Royale show I saw JOF in, Zombatland, won my Favourite Comedy in 2012. So, I'm totally looking forward to We Are Lightening!.

part 6
part 5
part 4
part 3
part 2
part 1
2016
2014
2013
2012

How to Fringe 2017: Isabel Angus

Isabel Angus
Comedian, writer and about to make my first foray into kids comedy 

Fizzy Kids!
26–30 September 26 - 30
Gasworks Arts Park – Studio Theatre

SM: I trying (and failing) to find a night to see EDGE! the year it won Best Fringe Comedy in 2013;  I saw at the comedy festival. But I first saw Isabel at the Short and Sweet festival; I remember the glitter.

Harley Hefford & Isabel Angus. Fizzy Kids. Photo by Angel Leggas, 3 Fates Media

If you could invite anyone to your show (and you knew they would come), who would it be?
Definitely Kristin Wiig.

The Melbourne Fringe in three words.
Sparkly. Innovative. Joyful.

A favourite Melbourne Fringe memory.
Doing my first ever Fringe show EDGE! in 2013 (with Rachel Davis) and realising what a wonderful festival the Melbourne Fringe Festival was (and still is).

What is your experience as an independent artist being part of the Melbourne Fringe?
Putting up a new show and getting people to see it can be challenging as an independent artist; however, in my experience, the audiences at Melbourne Fringe are some of the most welcoming and are open to new experiences.

What makes the Melbourne Fringe unique?
The multi-disciplinary nature of Melbourne Fringe makes it unlike any other festival in Melbourne. It is basically an explosive celebration of creativity, diversity and originality in Melbourne town.

What’s your advice for choosing what to see in the Melbourne Fringe?
I think if something about a particular event’s picture or event write-up appeals to you in any way, you should follow that instinct and take a punt on that new show. You never know what you will discover, and supporting emerging talent is a wonderful thing to do.

Do you think there’s a better system than star ratings for reviews?
I think the star rating system could be better if it were accompanied by a disclaimer of sorts, where the reviewer lists their personal interests and tastes – favourite films, books, theatre, TV shows etc. That way, readers can have an idea of the reviewer’s unique sensibilities, which might then help them gauge whether the show is for them or not. For instance if the reviewer lists Donald Trump as a personal interest/favourite, and gives a show two-stars, some people might chose to disregard that particular reviewer’s opinion; just a thought.

Five shows/events that you will not miss at the 2017 Melbourne Fringe.
Geraldine Hickey: It’s My Show
Pee Stick
Let’s get Practical! Live. Presented by The Very Good Looking Initiative
Tessa Waters: Volcano
Betty GRUMBLE: Sex Clown Saves the World

Mini review: Do Not Collect $200

Do Not Collect $200
11 July 2017
24 Moons Bar
to 14 July
Facebook event page

Do Not Collect $200 opened on Tuesday night and there's already a black market developing to get hold of sold-out tickets. Capitalism, you always find a way...

Developed from an original idea by Harley Hefford, Do Not Collect $200 is a live and immersive  game of Monopoly.

And it's so much fun!

In the darkness of the 24 Moons club in Northcote, groups sit around tables with modified Monopoly boards and play like they play on a holiday – do we ever play Monopoly when we're not on a holiday? Roll the dice, move your piece (a lolly; don't eat it) and hope to land well.

There are physical chance cards that can send you to the bank for a bonus, but the properties you buy are tickets to interactive performances and experiences created by the team of over 30, including SM favourites like Isabel Angus and James Jackson. 

The one-on-one and small-group experiences are about our relationships to money and a reminder that this game was originally made to criticise and question capitalism – until players embraced the greed.

You might score and buy a trip to the exculsive Club 2050 (the blue Mayfair square) or get sent to Centrelink. Both are recommend, but there are so many I missed and it's easy to want to go back to experience it all.

The game is designed to take away any concerns about playing with strangers (yay for rules) but what takes it to a level of awesome is the app – developed by Adam Whiteside –  that manages the experience.

Players download the app (that's easy to access on a website) to their phones and are given a personal code on entry. The app manages your banking (the rent flows in) and when you physically land on a square on the board, you click the corresponding square on the app and follow the instructions. You can buy or rent  or are sent to the likes of Relationship Counselling or Jail. When it's your turn to go to an experience, the app gives you a message complete with directions to the performance space.

The app is brilliant is ready to be used for what could easily become an ongoing event with new experiences in new places.

And unlike the official game rules, there are opportunities to break the system and do some good.

Meanwhile, keep an eye one the Facebook page for news about tickets and hold onto any that you have.

What Melbourne loved in 2016, part 2

There have been a couple of significant international events this year when people thought that their contribution didn't count. The best way to get Melbourne's arts community telling us what they loved, is to do yours and then tag, poke and remind your favourite artists/creators/writers that you want to hear their favourites.

What was your favourite moment in Melbourne theatre in 2016?
It could be a show, a performance, an overheard comment in an interval, a thought the next day or anything that gave you that jolt that says "this is why we do this".

What are you looking forward to in Melbourne theatre in 2017?
It could be something that is programmed to happen or something that you wish for.

Email your answers and attach your favourite photo of you and credit the photographer.

Today we hear from a writer-performer, an editor and a lighting designer.

Isabel Angus
comedian, writer

Isabel Angus (as Penny Parsins) feeling happy about Melbourne theatre. Photo by Hannah Cantwell. 

IA's favourite moments in Melbourne theatre in 2016: I have seen such amazing performances in Melbourne this year: Zoe Coombs Marr's Trigger Warning at MICF, Sixxters Grimm's Lilith The Jungle Girl, Zoe Dawson's Conviction, The Listies Ruin Christmas (SM note: which hasn't opened yet, but we both know that it will be awesome) and so many more unique, hilarious and captivating shows.

However, my hands-down favourite theatre moment would have to be watching Backstage in Biscuitland at Melbourne Festival. My mind was literally burst open, not only by the show itself, but also by the discussion that followed afterwards about relaxed and inclusive theatre and breaking down traditional barriers and preconceived expectations surrounding theatre.

What IA is looking forward to in Melbourne theatre in 2017: Seeing even more weird and interesting things, hearing from diverse voices and experiencing unique ways of making performance. I'd like to witness the barriers between what is and isn't traditionally considered theatre, continually challenged and expanded.

SM: Isabel's Bliss at Melbourne Fringe was one of my many favourite comedies this year. She had me from the moment she left chips for the audience and took them away! But my favourite moment was finding The Jono Show on YouTube and watching a lot of them when I was meant to be writing reviews.

Brendan Jellie
lighting designer and operator

Brendan Jellie

BJ's favourite moments in Melbourne theatre in 2016:  In terms of theatre it was a tremendous year for me. I landed work with Adelaide Fringe Festival and stepped up a rung to supervising tech at one of my venues and fulfilled a dream of teching LX for the Melbourne Fringe Club at Arts House. But there are two shows that I remember the most.

Pursued by Bear's First Date was a hoot. It came at a time when I was down and disenfranchised by theatre and the world, having seen and worked on a bunch of heavy-themed productions. First Date was so light-hearted, it was put together really well with some hilarious moments. I particularly loved the way they transformed the Chapel (at Chapel off Chapel) into a working cafe for the pre-show and had the band subtly dispersed through the cafe. It reignited the creative side of my brain; instead of working to create isolation on stage, this was a show of "let's have fun with this" and it made me wish I'd been a part of it.

The other memorable moment was GoD (Gentlemen of Deceipt) at the Sydney Opera House. It had all the elements of a great story: five friends staying in a two-bedroom Airbnb, early starts and late nights and the surrealism of working at the most famous venue in the country. 

The crazy thing? Once we'd signed everything and we'd bumped in and were rehearsing for the show, I thought, "this is just like every other venue, just everything works"; it was really satisfying. The world is good, but maybe just in pockets :).

SM: A couple weeks ago at the Malthouse, Brendan tapped me on the shoulder to make sure that I turned around to see 70's-and-80's-rock-legend Ross Wilson dancing to Madonna with a handful of 40-something women. I'm so glad I saw that.

Katie Purvis

editor, Joy 94.9 presenter, occasional reviewer

Katie Purvis

KP's favourite moments in Melbourne theatre in 2016: Hard to beat Alan Cumming Sings Sappy Songs (Arts Centre Melbourne) right at the beginning of January – it set the bar for 2016, and what a high, saucy, wickedly funny bar it was. His storytelling, choice of songs, charm and easy rapport with the audience were wonderful to behold.

Other shows that came close to or got over the bar for me were:

• Ladies in Black (MTC) – a show for which the word 'delightful' was invented.
• Liza's Back! (Is Broken) (Arts Centre Melbourne) – in which Trevor Ashley delivered his best and most accomplished solo show yet.
• Matilda (Princess Theatre) – I loved this dark, funny, brilliantly staged show so much that I saw it twice even though I couldn’t really afford it.
• Mother's Ruin: A Cabaret About Gin (Butterfly Club) – a superbly performed and extremely funny and educational show featuring Maeve Marsden and Libby Wood from Lady Sings It Better, and musical director Jeremy Brennan.
• Switzerland (MTC) – Joanna Murray-Smith's suspenseful play imagining the author Patricia Highsmith (played by Sarah Peirse) devoured by her own Ripley character (Eamon Farren) was marvellously spiky.
• Our Ladies of Perpetual Succour (Melbourne Festival) – raucous, joyous and unapologetically feminist.

What KP is looking forward to in Melbourne theatre in 2017:  I can't wait to see what Dolly Diamond gives us in her role as new artistic director of the Melbourne Cabaret Festival.

At MTC, I'm looking forward to Lally Katz's Minnie and Liraz, directed by Anne-Louise Sarks and starring Virginia Gay, Nancye Hayes, Sue Jones and John Leary. And I’m hoping that Life Like Company stages another piece of music theatre that continues their record of excellent productions, and that they keep putting women in charge (for 2016's The Light in the Piazza, the director, musical director and choreographer were all women).

SM: Every time Katie sends me a message late at night because she's seen a typo on a review. I love her so much for that.

part 1
2014
2013
2012

Review: Bliss

Melbourne Fringe

BLISS!

Isabel Angus

Courthouse Hotel

to 25 September

melbournefringe.com.au

My review is on The Age/SMH. 

Isabel is doing character comedy (and gender analysis) like no one else.

PS. Remember that I'm tweeting piles of #melbfringe @sometimesmelb.

And here's  The Jono Show to watch at home. 

MICF: EDGE!

MICF 2014
EDGE!
Isabel and Rachel
27 March 2014
Tuxedo Cat
to 8 April
comedyfestival.com.au

Isabel and Rachel's EDGE! won Best Comedy at the 2013 Melbourne Fringe and they won Audience Favourite at Melbourne's 2013 Short and Sweet Theatre. EDGE! has since been to the Perth and Adelaide Fringes and is back home at the Tuxedo Cat so that everyone who couldn't get a ticket at the Fringe can see what the fuss was about.

Just book now, in case it sells out again.

Stella is 11. She had a viral hit on YouTube when she was 8 and her mum is trying to make her a star – even if she's in LA and talking to her daughter on the phone. It's one thing to sing about clouds and marshmallows, but it's time Stella grows up and becomes like other famous internet stars.

It was strange to see it the day after seeing a real life Stella in Bryony Kimmings's Credible Likeable Superstar Role Model performed with her real-life 11-year-old niece and addressing the reality of everything about Stella.

Isabel and Rachel are a fresh, original and adorable new voice who are sprinkling glitter and light on the frustrations and ironies of girls and young women aspiring to be famous for being famous.

I also wrote about this show on AussieTheatre.com.