What Melbourne loved in 2019, part 11

My best of 2019 will be published on Monday.

Melbourne's most loved shows of 2019 are Daddy, Unwoman, Barbara and The Camp Dogs and Grand Finale.  

What an amazing selection! Two Melbourne indie shows, one Sydney/Melbourne company co-production show and one international festival production. (I haven't seen Daddy yet, but will do what I can to see it during Midsumma.)

Thank you so much to everyone who's been a part of the series this year and since 2012: I've loved doing it and love that so much theatre and so many artists can be celebrated and supported in ways that don't care about star ratings.

So let's finish with someone who has been here every year and whose ongoing support of independent arts and arts writing in Melbourne is unsurpassed: Richard Watts. (And me.)

Richard Watts
Performing Arts Editor at Arts Hub, presenter Smart Arts at RRR, bloody legend

Richard Watts at the Cliffs of Moher

As a result of taking long service leave from my day job at ArtsHub in August–September, I didn’t see as many shows as usual this year – I even missed the entire Melbourne Fringe for the first time in over 20 years, due to spending most of September holidaying in Ireland. I did see some great shows at the Dublin Fringe and Dublin Theatre Festival, but that’s a whole other entry

My many Melbourne highlights (not including the many shows I also saw interstate) included:

Barbara and the Camp Dogs. Co-written by and starring Ursula Yovich, this raw, electrifying, vital piece of theatre at Malthouse was skillfully directed by Leticia Caceres. One moment you were roaring with laughter, the next sobbing as an emotional gut-punch caught you unaware. Part sweaty pub rock, part theatre, and always thrilling.

Cock. Directed by Beng Oh at fortyfivedownstairs, this indie production featured the year’s most sensual sex scene – in which the actors kept their clothes on the whole time.

Mr Burns: A post-Electric Play. A triumph of independent theatre directed by John Kachoyan for Lighting Jar Theatre. Great performances, exquisite lighting by Richard Vabre, and Sophie Woodward’s sets and costumes were an absolute triumph.

Harry Potter and Cursed Child Parts One and Two. I went in cynical, I came out awed. Stunning stagecraft and some truly remarkable coups de théâtre which had the audience gasping – myself included. Yes, tickets are prohibitively expensive, but it really is worth it – and there’s always the Friday Forty lottery!

33 Variations. My god, wasn’t Ellen Burstyn amazing?

A View from the Bridge. Tension so tight you could hear the whole audience holding its breath, superb direction by Iain Sinclair, and judiciously minimal staging thanks to Christina Smith’s set and Niklas Pajanti’s lighting. Yes, there was a clear debt to Ivo van Hove's Spartan 2014 production, but instead of a stark white stage, here we got dark, brooding, electrifying minimalism. If Zoe Terakes and Steve Bastoni don’t get Green Room nominations for their performances in this production I’ll eat my hat.

Giantess. Cassie Workman’s imaginative, incisive and moving show at this year’s MICF was a thing of rare beauty: wryly funny, skilfully constructed and performed, and occasionally heartbreaking. So good I saw it twice.

The Aspie Hour. This clever cabaret about neurodiversity and musical theatre was another MICF highlight. If you missed it, it’s been programmed in Sydney Festival in January, should you fancy a trip north.

Magma. Also at MICF, Andy Matthews and Alasdair Tremblay-Birchall’s offbeat, intelligent and hilarious investment seminar was without doubt the funniest show I saw all year. I literally roared with laughter.

Neal Portenza is Josh Ladgrove. Bilge pumps! Bilge pumps! Bilge pumps!

Wake In Fright. My god, wasn’t Zahra Newman amazing?

Modern Maori Quartet. Initially this cabaret at Arts Centre Melbourne struck me as a trifle too slick for its own good, but about 15 minutes in it all clicked into place for me, and I was enthralled and delighted and crying and applauding rapturously.

Between Tiny Cities. Contemporary dance that’s inventive, technically adept, passionate and accessible. I love the fact that it was programmed as part of Arts Centre Melbourne’s family program – watching an enthralled circle of kids watching such virtuosic b-boying was an utter delight.

Come From Away. If you don’t like musical theatre ,then go see this show. If you love musical theatre go see this show. I wouldn’t be at all surprised if Gander in Newfoundland receives an immediate increase in visiting Melburnians as a result of this life-affirming, heart-warming production.

Overture. Comedy in dance? Jo Lloyd makes it work beautifully. I’m so glad that Jonathan Holloway programmed a return season of this work for his final Melbourne International Arts Festival.

High Performance Packing Tape. Thrilling contemporary performance at the Meat Market as part of MICF in which Phil Downing’s sound design played a critical part. Never has watching a balloon inflate been so anxiety-inducing.

Colossus. Choreographed by Stephanie Lake and created for the 2018 Melbourne Fringe, Colossus was remounted for MIAF, and what a delight it was. Featuring some 50 dancers on the small Fairfax Studio stage at Arts Centre Melbourne, this exquisite work explores everything from subsumed individuality and the frightening power of the mob to the sound of the body in motion – hissing breath, snapped fingers, pounding feet. Athletic and multi-sensory, courageous and profound, it can soon be seen at Sydney Festival in January and Perth Festival in February – don’t miss it.


Looking forward to in 2020.
So much! Joel Bray’s Daddy, Selina Jenkins’s Boobs, Campion Decent’s The Campaign and You & I by Casus Circus at Midsumma; Kim Ho’s The Great Australian Play at Theatre Works; Grey Arias, the long overdue mainstage season of Patricia Cornelius’s Do Not Go Gentle... , and, especially, Loaded at  Malthouse; Benjamin Law’s Torch the Place, Dan Giovannoni’s Slap. Bang. Kiss., Fun Home and, especially, Andrea James’s bio-play about Evonne Goolagong, Sunshine Super Girl at the MTC; À Ố Làng Phối, Metal and Black Ties at Asia TOPA – and so much more. Most of all, I’m looking forward to seeing our beloved La Mama rising from the ashes as construction of the restored and future-proofed theatre gets underway.

SM: Richard is the hardest working arts journalist that I know. He sees as much as he possibly can, writes about the issues that no other publications write about, is the chair of the La Mama board, and has been on RRR on Thursday mornings for Smart Arts for FIFTEEN YEARS – as a volunteer.

How cool would it be if for his every show of 2020, a different delicious cake, a strong morning coffee and a cold post-show cider (he doesn't like beer) were waiting for him at the station. This isn't a joke.


Anne-Marie Peard
Arts writer

Anne-Marie Peard at Lakes Entrance

Favouirte moments of 2019
Lou Wall as Satan in Oh No! Satan Stole My Pineal Gland! at Melbourne Fringe.

Joshua Ladgrove as Satan in The many names of Bilge Pumps at MICF and Melbourne Fringe and, especially, dealing with the crappest microphone ever at the final fundraising performance in Decemeber.

Gender Euphoria with Mama Alto and the most incredible casts at Midsumma and MIAF. If the absolute joy generated by this show could be shared, the world would be a much better place,

Harry Potter and The Cursed Child: The relief and complete toe-tingling joy at the first cape swish and knowing that it was going to be as good as I imagined it could be. It was better. One day, I'll win the lottery and get to see it again.

The now-gone gun in Bron Battern's Waterloo and watching audience members make a choice that would swear they would never make.

Nikki Viveca's bee dance in Wasp Movie at Melbourne Fringe.

Break up by New Zealand's Binge Culture at Melbourne Fringe. This year, I watched more of this five-hour impro show than I did last year, and want to sit through all of it one year.

Running workshops with indie artists and seeing them get media coverage as a result. 

Seeing students get published.

What I'm looking forward to in 2020
Asia TOPA,  Po Po Mo Co's Summer of the 17th Doll, and seeing all those first shows that introduce new artists to the Melbourne arts community.

But what I'm most looking forward to is that significant companies, funded organisations and commercial producers SUPPORT INDEPENDENT MEDIA.

There are many amazing independent critical voices out there and so many more emerging voices wanting to be heard and wanting to be advocates and supporters of the arts in Melbourne.

But these voices are rarely supported by the companies and organisations that have the resources to offer support. 

The best funded and supported companies in our town don't support independent voices, including  online sites, podcasts, radio shows, student publications and social media wonders. 

Writers aren't invited to shows, and if they do see work, their considered commentary isn't shared. 

I know where I'm welcome when I write for mastheads and not welcome otherwise.

There is lots of love about these companies in indie writing; none of which is shared by the companies with their audience. All the positive and supportive things said about any company with funding in this series hasn't been shared, liked or, possibly, even read by companies. 

None. 

I reckon that subscribers, sponsors and the artists would love to know that their work was among some people's favourite moments of the year.

These companies are also missing the opportunity to have commentary from people who see so many shows that they can write about the big picture over many years. There isn't room for this type of reflection in 300-worder in a masthead. They miss the voices of people who were  there when some of the biggest names on our stages were performing in tiny venues. These writers were the early support and encouragement and can write about work with an understanding and a history that can't be summed up in a star rating.

They miss out on being part of the history and the archive that indie coverage offers.

They miss out on writing that is more than a quoted word or phrase. 

By focusing on the potential short-term benefit of a review, they miss out on the long-term gains.

And what about all the new writers? Writers need to see work and need to write and be read. If they aren't welcome at shows, what does this say about your company?

If all you want is stars and adjectives, here:

****

Quote away.

I know how important indie voices are to artists; they talk to me and sometimes those messages and conversations are enough to keep writing.

So, here's to a year where every funded company invites EVERY indie voice, says yes to every student and emerging artist who would like to see shows, reads what they say and shares those voices.

SM: A-M spends a lot of her year convincing me to keep doing this. She reads the emails and messages. She buys me dumplings and convinces me to see another show each night during a festival.

But it's time to say goodbye.  

I look forward to passing on the torch, teaching and mentoring new voices and putting my hand up as a date to shows.

What Melbourne Loved in 2019, part 1

What Melbourne Loved officially starts in December, but let's get started now. OK, this is a reminder to write your contributions. Fill in this form.

And what better way to start than with three of my favourite people, artists and creators who all put perspectives, concepts, point of views, writing and artists that are STILL dismissed or ignored on our stages. This is why we keep coming back to theatre.


Stephen Nicolazzo 
Director
Little Ones Theatre

Stephen Nicolazzo

Favourite moments in 2019.
The works that really stayed with me this year were a combination of fierce feminist performance art, dance and fiery theatricality. My all-time favourite moment of 2019 was Bitch on Heat by Leah Shelton at Theatre Works. It was pure genius: violent, sexy, disturbing, visually arresting and genre bending. One of the most glorious examples of how heightened physical performance can touch the soul, be critical and have a vital and unique pulse. I have not stopped thinking about it.

Other works that shook me were Antony Hamilton’s sensual, expressionistic masterpiece Token Armies for Chunky Move and the Melbourne International Arts  Festival, The Rabble's poignant and darkly humorous Unwoman, Bron Batten’s deeply confessional and arresting Waterloo at Melbourne Fringe,  Adena Jacobs’s horrifying and nightmarish Titus Andronicus at Bell Shakespeare, and two shows in New York (which I know are not Melbourne but too good not to mention!): Heidi Schreck’s deeply moving political meditation What The Constitution Means to Me directed by Oliver Butler, and Jacquiline Novak’s feminist manifesto about giving head, Get On Your Knees at Cherry Lane Theatre.

A personal highlight was meeting camp and queer theatre legend Charles Busch (writer of Psycho Beach Party) in New York City and getting the chance to spend a day with him talking about queer theatre history, the significance of comedy and his run in with Paul McCartney. I also had the pleasure of attending the 2019 Director’s Lab at Lincoln Centre Theatre. It gave me a new love and appreciation of Melbourne theatre and all of the vital and exciting work we create. Also, directing the INCREDIBLE Joel Bray in his work Daddy, which was presented as part of Yirramboi Festival, Liveworks and Brisbane Festival. AND FINALLY, getting to reunite The Happy Prince team after two and a half years at Griffin Theatre Companyin Sydney. Truly nourishing.

Oh! And getting to do Merciless Gods at Arts Centre Melbourne was the single greatest theatrical experience of my life?!

Looking forward to in 2020.
Asia TOPA's presentation of The Seen and Unseen, Jenny Kemp's production of Anatomy of a Suicide at Red Stitch, Paul Capsis and Michael Kantor's Go To Hell at Malthouse, K-Box at Malthouse, Triple X at Queensland Theatre/STC, and anything at Arts House, Dance House and the many exciting shows and events for Asia TOPA and the new Melbourne Festival.

SM: Stephen convinced me to go ahead with this again this year. As I see everything he does, I'd already seen the work he got to remount this year, except Daddy. I tried both seasons and sometimes it's not possible. But there is another chance next year.


Mama Alto
Jazz singer, cabaret artiste and gender-transcendent diva

Mama Alto. Photo by Alexis Desaulniers-Lea

Favourite moments in 2019.
I loved seeing the virtuosic piano performances of Andrea Katz deftly incorporated into the Cameron Lukey and Gary Abrahams's vision of 33 Variations.

I loved the absolute triumph of Queen Kong during Midsumma: Sarah Ward and her incredible band, with fully integrated Auslan with interpreter Kirri Dangerfield and Deaf interdisciplinary artist Asphyxia, on a journey through the cosmos and the interior universe of the human psyche, confronting so many of our contemporary issues through glam rock cabaret. And that powerhouse voice!

Looking forward to in 2020.
I am looking forward to hopefully seeing even more; one of the hardest things, for me, about working in the arts is that sometimes you miss out on seeing things because you're also doing a show!

SM: The absolute gut-felt joy of Gender Euphoria at Midsumma will be a life-long favourite moment. Then multiplying that again at Gender Euphoria at the Melbourne International Arts Festival. I feel better about life just by thinking about it again. As a critic, I get dismissed for criticising shows that dismiss how they perpetuate fucked-up and hurtful ideas about gender, race and sexuality (last week, I saw an opera that still has people onstage in unnecessary slanty-eye make up). So when artists like Mama and Maude Davey and producers like Daniel Clarke make and support shows that show us how the world should be, our community shares a sigh of relief. Is it really so hard to think about the impact your art has on your audience? Of course, it is easier to not invite people who might not shower you with meaningless stars and to encourage an audience who all look and think alike.

But nothing was quite as good as the look on Mama's face when she arrived at her surprise-birthday-party-cum-intimate-performance-spectacular, organised by Creatrix Tiara. 


Robert Reid
Playwright, game maker, critic

Robert Reid. Photo by Sarah Walker

Favourite moments in 2019.
MDLSX by Motus at Arts House.  Okay, I guess if I had to pick one thing, then it would actually be this because this is the first thing I think of every time I think of filling in this form. Incredible solo performance, and incredible use of tech, sound, light, story, meta narrative.  Hard, fast, brutal, honest, smart... yeah, MDLSX was my fave, I guess.

BUT, Barbara and the Camp Dogs at Malthouse comes a close second. Terrific night in the theatre; never felt for a moment the show didn't care if I was there or not; told the story we need to keep hearing; not a dry eye in the house; rock and roll theatre.

If they were they only things I'd seen all year, I'd have been pretty happy.

Looking forward to in 2020. 
I dunno, it's so hard to look forward to things at the moment. I'll be happy just to see who survives into 2020. What I'd like to be looking forward to is a restructuring of the funding models and an increase in budgetary allowance for the arts... Is that so much to hope for?

There is at least one show I'm looking forward to next year. Sipat Lawin is coming out with are you ready to take the law into your own hands. I am going the hell to that, I can tell you.

SM: I'm pretty chuffed that Witness is still going, but it's too easy to choose my favourite Rob moment this year: The Bacchae. Produced by MUST at La Mama, written (over many years) and directed by Rob, and with a huge cast of the most amazing women and female-identifying performers, it was an epic afternoon and evening of theatre that put women in the centre of the stories and found the point of views that are too often ignored, even when women are the story.


2018
2017
2016
2014
2013
2012

MIAF: Gender Euphoria

MELBOURNE INTERNATIONAL ARTS FESTIVAL
Gender Euphoria
in association with Arts Centre Melbourne
15 October 2019
The Famous Spiegeltent, Arts Centre Melbourne
to 20 October
www.festival.melbourne

"Gender Eurphoria" Mama Alto. Photo by Alexis Desaulniers-Lea

Press 6.

That's Mama Alto's advice. She gives damn good advice.

When dealing with a robo call during an election, there wasn't an answer that was right for her. When only only option is "1" or "2",  press 6. Binaries only exist in computing.

Welcome to Gender Euphoria. It's a state of mind, a way of being. It's the world we're creating. It's an end to gender dysphoria and a celebration of hope and life.

It's a fuck off to the hate created by fear and to the fear created by hate. It's an end to the ignorance and stupidity that create shame. It's an end to invisibility, hiding and the idea that discomfort is the fault of the uncomfortable person.

It's heartbreak and anger and the relief of over overcoming them.

It's song, burlesque, poetry, comedy, witchcraft, dance, sequins, pride, pride flags, ruffles, flying, supporting, well-cut suits, music and unmitigated joy that shifts the weight of shame.

It's Nevo Zisan's gender whispering to children that they are loved and infecting people with empathy.

Co-created by Mama Alto and director Maude Davey, it was first seen at this year's Midsumma festival, and was, at the time, the largest cast of Trans and gender-diverse performers seen in Australia. This time, the cast is bigger

Along with Mama and Nevo, there's Amao Leota Lu, Miss Bailee Rose, Fury, Harvey Zeilinski, Mahla Bird, Mx Munro, Ned Dixon, Quinn Eades and new special guests Crystal Love, Nikki Viveca and Krishna Istha. And musical director Ned Dixon and bass player Cerise Howard. And Auslan interpreters Mac Gordon and Kirri Dangerfield. And everyone working backstage and in the background.

Embargos mean that its next performances can't be talked about yet, but there are more performances. And I hope that it keeps getting seen at festivals all over the world until audiences wonder why Trans and gender-diverse performers are in a show of their own.


Alexis Desaulniers-Lea is the Gender Euphoria photographer. Photos help people be seen. I'll add more photos next week when they are ready. You've gotta see everyone.

"Gender Eurphoria" Maude Davey, Mama Alto. Photo by Alexis Desaulniers-Lea

"Gender Eurphoria" Harvey Zeilinski . Photo by Alexis Desaulniers-Lea

"Gender Eurphoria" Mahla Bird, Quinn Eades. Photo by Alexis Desaulniers-Lea

"Gender Eurphoria" Nikki Viveca. Photo by Alexis Desaulniers-Lea

"Gender Eurphoria" Crystal Love. Photo by Alexis Desaulniers-Lea

"Gender Eurphoria" Mahla Bird. Photo by Alexis Desaulniers-Lea

"Gender Eurphoria" Mx Munro . Photo by Alexis Desaulniers-Lea

"Gender Eurphoria" Miss Bailee Rose . Photo by Alexis Desaulniers-Lea

"Gender Eurphoria" Cerise Howard . Photo by Alexis Desaulniers-Lea

"Gender Eurphoria" Nevo Zisan . Photo by Alexis Desaulniers-Lea

"Gender Eurphoria" Krishna Istaha . Photo by Alexis Desaulniers-Lea

"Gender Eurphoria" Fury . Photo by Alexis Desaulniers-Lea

"Gender Eurphoria" Amao Leota Lu . Photo by Alexis Desaulniers-Lea

Note: When you slip up and use the wrong pronoun, you apologise because it is YOUR fault, not the fault of the person that you've misgendered. Don't know what pronoun they use? Ask them. And see how easy it is to use a gender-neutral first-person grammatically-correct pronoun in English.

Review: The Rapture Chapter II

MELBOURNE FRINGE
The Rapture Chapter II: Art Vs Extinction
Finucane & Smith
7 September 2019
fortyfivedownstairs
To 29 September
fortyfivedownstairs.com
melbournefringe.com.au

Moira Finucane. Photo by Jodie Hutcinson

My review is in Time Out.

MIDSUMMA: Gender Euphoria - photos

MIDSUMMA
Gender Euphoria
Arts Centre Melbourne
Co-created by Mama Alto and Maude Davey
24 January 2019
Fairfax Studio, Arts Centre Melbourne
one night only
artscentremelbourne.com.au

What a magnificent night. There were lots of happy tears and smiles that are only seen when a barrier is smashed.

During the curtain calls, when everyone was dressed in the trans flag colours of white, blue and pink, I had a moment when I realised that even a few years ago, many of these artists would only be seen in queer clubs or not at all; now they are on our main stages.

Gender Euphoria was the largest all trans and gender-diverse cast on a main stage major arts venue in Australia.

Let's break this record soon and hope that it won't be long before gender diverse and non-binary is as relevant as eye colour or shoe size.

Celebrate yourself. Accept love. Reject any boring, scared and ignorant voices.  Make dysphoria a useful word for Scrabble.

Be euphoric.

Amao Leota Lu (she). Photo by Alex Desaulniers-Lea

Bailee Rose (she). Photo by Alexis Desaulniers-Lea

 Photo by Alexis Desaulniers-Lea

Fury (they) and Quinn Eades (they or he) Photo by Alexis Desaulniers-Lea

Photo by Alexis Desaulniers-Lea

Fury (they). Photo by Alexis Desaulniers-Lea

Harvey Zielinski (he). Photo by Alexis Desaulniers-Lea

Mahla Bird (they) and Mama Alto (she). Photo by Alexis Desaulniers-Lea

Mahla Bird (they) and Quinn Eades (they or he). Photo by Alexis Desaulniers-Lea

Mahla Bird (they). Photo by Alexis Desaulniers-Le

Mama Alto (she). Photo by Alexis Desaulniers-Lea

Mx George Munro (they or she). by Alexis Desaulniers-Lea 

Nevo Zisin (they). Photo by Alexis Desaulniers-Lea

Miss Bailee Rose (she). Photo by Alexis Desaulniers-Lea

Quinn Eades (they or he). Phot by Alexis Desaulniers-Lea

Ned Dixon, backstage

Maude Davey, backstage

What Melbourne Loved in 2018, part 4

It's more trickle than flood this year. Here's the form; tell us about those theatre and art moments in 2018 that made you happy.

Today, we keep celebrating independent makers and companies, and celebrate all those challenges to boring assumptions made about art, makers and audiences.

Sonya Suares
Artistic Director, Watch This

Sonya Suares in Contest. 
(I was a GS in my primary school church team; I wasn't good.)

Favourite moments in 2018
Both of mine were sitting in the Beckett Theatre this year: tears running down my face as Dalara Williams performed the inciting monologue in Blackie Blackie Brown and nearly wetting myself moments later, just as I did during Michelle Lee’s Going Down.

If I am permitted a moment that is not simply as an disinterested audient, then I must say truthfully watching Nadine Garner nail "Send in the Clowns" at every performance of A Little Night Music during the run was one of the highlights of my year. I mean, Every. Single. Time.

Looking forward to in 2019
I'm looking forward to sending everyone I know to the return season Blackie Blackie Brown and, because I'm a big boffin/child-of-the-90s, to seeing Shakespeare in Love. Or you know, being in it if Simon Phillips decides to give me a spin!

And personally, I'm looking forward to performing Fleur Kilpatrick's Max Afford award-winning play Whale with a group of incredible womens. It's gonna be a ripper.

SM: Sonya is the driving force behind Watch This. Putting on musicals is expensive and difficult. Putting on Sondheim musicals multiplies the difficulty considerably. Watch This do it, anyway.  Without Watch This, we would see far less Sondheim in Melbourne. Without them we wouldn't see some some of out best performers in Sondheim musicals. If I had a magic funding wand, Watch This would get the money they need to become an ongoing professional company. As for my favourite moment with Sonya this year, it's her moving and powerful performance in Contest by Emilie Collyer.

Vidya Makan & Nick Simpson-Deeks in next year's Watch This show.
Co-directed by Sonya with Dean Drieberg.
Sondheim fans don’t need a title.

Mama Alto
Jazz singer, cabaret artiste and gender transcendent diva

Mama Also. Photo by Alexis Desaulniers-Lea

Favourite moments in 2018
Mojo Juju's "Native Tongue". One of the most important new Australian works right now and, I suspect, for many years to come. Revelatory, extraordinary, damning, tender, groundbreaking, truth telling and part of a highly necessary reckoning of the national identity.

Honourable mentions. Willow Sizer's theatrical cabaret Death of a Demi Diva was a revelation. She gave a tour-de-force performance that set the hairs on the back of my neck on edge. Paul Capsis as Quentin Crisp in Resident Alien (return season). Magnificent, eccentric, and in many ways so close to home for all of our inner anxieties, foibles and paranoias.

Honourable mentions for things I saw interstate (naughty, I know). The View Upstairs (Hayes Theatre, Sydney) and An Evening with Constantina Bush (Spirit Festival, Adelaide).

Looking forward to in 2019
I'm eagerly keeping my eye on new works and projects from leading thinkers, powerful performers and those who speak back to imbalance. Anything and everything from Candy Bowers, Jean Tong, and Yana Alana. Midsumma 2019's theatre, cabaret and burlesque offerings look extraordinary. And, as always, I anticipate with relish the as yet unannounced surprises that will pop up underground in salons, dens, cabarets and dives across Melbourne. What delights await us at Hares & Hyenas, The Butterfly Club, The Melba Spiegeltent, and where else?

SM: Every moment with Mama Also is the best. She's exquisite. I think my favourite moment was sending interstate friends along to a show she was performing at. When they got back, all they could do was tell about this amazing performer called Mama Alto.

Booking my ticket for The Seventh Annual Mama Alto Holiday Special now. Join us.

Chris Wenn
Noise maker and overthinker

Chris Wenn. Photo by Ezekiel Rodofili

Favourite moments in 2018
There's no single moment that excited me quite as much as the feeling that we've reached a tipping point of invention and fertility within the independent sector . There was such an incredible amount and range of work presented by independent artists and companies in 2019. There was tremendous work to see from new, emerging,and established creators, and from sectors of our community that have gone unrecognised for too long. In the world outside of the major performing arts companies, we have had to build a level of resilience and self-sufficiency that can stand against the inconstancy of grant schemes. The Brandis 'reforms' and Fifield 'restoration' have only proved that we are, and always will be, a target for cuts and culture war. I am immensely proud of the way our community supports each other: through fundraising, crowdfunding, donations of time and material and effort, and a myriad other ways. Can't stop, won't stop.

Looking forward to in 2019
I'm looking forward to more work! More work by and for children and young people, more work by and for Indigenous people, more work by and for queer and non-binary people, more work by and for migrants and non-English speaking audiences. I want to see more work that challenges conventions and assumptions and what it means to make and witness art. I want to see work that reflects the strength and diversity of this global city, that engages audiences in new ways, that deploys technology and creativity in new spaces and old.

SM: Sound designers are such an important part of a design team and we don't talk about them any where near enough. Next year, I will listen to shows more. Chris was part of an amazing design team for Colder at Red Stitch. I mentioned the stage and the lighting designer and not Chris – but as I think back on the show, I can still hear it.

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

What Melbourne Loved in 2017, part 2

Today we have three people who have all been through MUST at Monash Uni; MUST won last year's "Everything they do rocks" award.

Mama Alto
Jazz cabaret diva

Taylor Mac and Mama Alto. Photo by Sarah Walker

Favourite moments in 2017
900 people, in tears, with smiles, hearts full to burst, singing together: “You can lie down or get up and play”.

Honourable mentions must go to Kate Mulvany’s fascinating depiction of Richard of York in Richard III, Margot Tanjutco’s magical realist 1940s Asian-American wonderland in Estrella Wing: Showgirl, and Anne-Marie Peard crocheting queer rainbow granny squares live on stage whilst Taylor Mac sang "Yankee Doodle Dandy".

Looking forward to in 2018
I was lucky to catch The Bleeding Tree, one of the most astounding Australian plays I have ever seen, in Sydney in 2017 – and I am thrilled it will be coming to Melbourne in 2018. Revelatory, damning, chilling, fascinating, introspective, and arresting performances from all three actresses, but especially Paula Arundell.

Similarly, it will be fabulous to have the Virginia Gay lead Calamity Jane come to Melbourne.

But most of all I look forward to being surprised.

SM: No YOU'RE crying! Who am I kidding. We're back at Taylor Mac and I'm crying. And one of the greatest of all the unforgettable moments of that 24 hours was Taylor giving the stage to Mama during Chapter III. The captured silence. The moment when the whole audience breathed in together before we exploded in applause – or was it screaming. It was magnificent.

Mama has been involved in the creation of so many shows this year; I miss too many of them. I'm not missing the Christmas show at the Butterfly Club this year.

www.mamaalto.com

Daniel Lammin
Director, writer

Daniel Lammin made it to Broadway!

Favourite moments in 2017
It’s a tough one this year, because my favourite theatre experience wasn’t something I saw in Melbourne. So I’m going to cheat and do two, mostly because I’m excitable and greedy.

The Melbourne-based production that had the biggest impact on me this past year was probably The Rabble’s Joan. I’ve never been a big fan of their work, but Joan really deeply moved me. It was raw and unforgiving, thrilling in its form and devastating in its content, and the sight of those four superb women baring their souls on stage was often breathtaking. There was nothing didactic or self-consciously clever about its execution, every moment seemly crafted by primal instinct and tremendous daring. I’ve always been fascinated by Jean d’Arc as a figure, but had never seen her story approached with such integrity and fury. The final monologues had me captivated and sobbing. It’s easily my favourite work from The Rabble and I walked away with the feeling that something had shifted inside me as both an audience member and a theatre maker.

This year though, I made my first overseas trip ever to the USA and spent two weeks in New York. I saw eight shows over there, many of which were superb (especially the immersive Barrow Street production of Sweeney Todd), but the highlight of the trip, and my year, and one of the best theatrical experiences I’ve ever had, was seeing Ben Platt in Dear Evan Hansen.

I unashamedly love the musical even with its many problems, and the production is excellent, but Platt’s performance was jaw-dropping. The closest I’ve seen to any performance as detailed, committed and unforgiving was seeing Robin Nevin in Kosky’s Women of Troy, and the effect was similar – uncontrollable sobbing and wide-eyed awe (thankfully, everyone else was dry-heaving sobbing as much as I was, so I didn’t ruin anyone else’s evening).

As an audience member, I was shattered by every second he appeared on stage; as a director, I marvelled at how the hell he was able to do it in the first place, especially someone so damn young. I’ve spent a lot of my theatrical practice looking at young men in emotional crisis, so both the show and Platt’s devastating performance were something I really needed to see. To be honest, it was probably the best performance by an actor I’ve ever seen on stage, and worth every cent of the $US300 I paid to see it.

Looking forward to in 2018
Well, I can’t wait to see how the fuck Matt Lutton and Declan Greene adapt Lars von Trier’s Melancholia on stage because what the hell, and am pumped to see Anne-Louise Sarks’s production of Blasted. Plus there’s A Doll’s House Part 2 and Patricia Cornelius FINALLY ON A MAIN STAGE with The House of Bernarda Alba at the MTC, and I’m sure a whole lot of other independent work that’ll pop up over the year. Really though, I just can’t wait to see Picnic at Hanging Rock again. I’m going to take my fiancé and his family along and, honestly, I hope it scares the shit out of them!

SM: My favourite Daniel moment is the same as last year's: His production of Awakening. Giving Wendela power and letting her take back her story still makes me skip a breath to take it in. Too many women's stories about, especially young women's stories, about rape and abuse still end in the convenience of death and silence. Shows like this do so much to take away shame and let women be heard.

Christopher Bryant
Writer, actor

Christopher Bryant. Photo by Lisa-Maree Williams

Favourite moments in 2017
Revolt. She said. Revolt again. at the Malthouse – the first half was some of the most joyous/intelligent/occasionally crass writing I’ve seen this year, and the second half an overwhelming gut punch. I know I’m talking in hyperbole, but I just honestly loved it. It was the first time in a few years that I sat in a theatre grinning uncontrollably as I watched something.

The other moment (“moment”) would be Julia Croft’s If there’s not dancing at the revolution, I’m not coming. I knew nothing going in and was blown away for an hour: a simultaneously hilarious and venomous deconstruction of onscreen female representation that played with form. It also had a brilliant soundtrack to boot. Both pieces felt truly unpredictable, and therefore, truly exciting.

Looking forward to in 2018
Working with Children by Nicola Gunn, Astroman by Albert Beiz (I saw the development showing at the 2015 National Play Festival, and it was really exciting), Melancholia, Blackie Blackie Brown… so many things. Also, heaps of shows that I don’t know about: I didn’t get to attend as many shows as I would’ve liked to this year, and I’m going to try and see more next year.

December PS: I'm glad and mildly regretful that I only saw Nanette after I submitted to this because I feel like it just would've turned everything into: "Nanette. The whole thing. The whole damn thing."

SM: This Fringe, I saw a lot of shows and wasn't able to write about; Christopher's Intoxication was up there with the best. He wrote and performed a very honest and personal story without being sentimental or indulgent. One of my favourite moments during the show was his story about getting advice from Kate Mulvany. I'm really looking forward to seeing the next steps of its development.

part 1
2016
2014
2013
2012