My 2006 Melbourne Fringe reviews are now all up. Some of these haven't been online for a very long time and one or two were never published.
It's hard to believe that it's been three years since Christina Cass and I grabbed our notebooks and started writing madly. (I'll ask the lovely Christina if I can put her reviews up here as well.)
With the 2009 Fringe not long away, it's been a lot of fun to remember all those shows and see how so many of the companies and artists have developed since then. Members of Penny Machinations are now seen in interior theatre, The Last Tuesday Society and the List Operators; The Caravan of Love are as gorgeous and wrong as they ever were; My Darling Patricia are going from strength to strength; Bojana Novakovic is still amazing; Rod Quantock will never go away; and theatre in decay are still questioning everything about theatre.
Mostly Melbourne theatre reviews
Showing posts with label Melbourne Fringe 2006. Show all posts
Showing posts with label Melbourne Fringe 2006. Show all posts
03 September 2009
30 October 2006
Some Faces You Know
MELBOURNE FRINGE 2006
Some Faces You Know
Ozanam House
14 October 2006
Festival Hub
Some Faces You Know is an outdoor puppet show presented in a cold back alley. This is relevant theatre, sharing authentic and moving stories about people we tend to ignore.
The production is presented by residents at Ozanam House, a crisis accommodation service, and participants of Ozanam Community Centre, a drop in centre for homeless and marginalised people.
They have been involved in a Community Cultural Development (CCD) project, supported by funding from the City Of Melbourne and Arts Victoria. CCD is what used to be called community arts, a practice where the creative process is as important as the final product. Working with artists over four months, the Ozanam House community have created a show that lets us share their stories, their hopes and their dreams. Using a combination of statistics and real stories, it successfully challenges stereotypes and misconceptions about the homeless.
The chosen format of shadow, suit and banner puppets allows participation regardless of previous skill and enables stories to be shared without being put under the personal and direct gaze of the audience.
The choice of venue is perfect. This cold dark alley would normally be actively avoided by the Fringe audience, but we are led in to see that is has been transformed into a welcoming and beautiful space. The extreme Melbourne weather continually reminding us that this is not always such a nice place to hang out.
The joy of open access fringe programs is that this type of show is as valued as the most refined professional production. Presenting it as part of the Fringe has brought a new and welcome audience to this style of project. Some Faces You Know is a genuinely creative, engaging and moving work of theatre that deserves to be seen.
Some Faces You Know
Ozanam House
14 October 2006
Festival Hub
Some Faces You Know is an outdoor puppet show presented in a cold back alley. This is relevant theatre, sharing authentic and moving stories about people we tend to ignore.
The production is presented by residents at Ozanam House, a crisis accommodation service, and participants of Ozanam Community Centre, a drop in centre for homeless and marginalised people.
They have been involved in a Community Cultural Development (CCD) project, supported by funding from the City Of Melbourne and Arts Victoria. CCD is what used to be called community arts, a practice where the creative process is as important as the final product. Working with artists over four months, the Ozanam House community have created a show that lets us share their stories, their hopes and their dreams. Using a combination of statistics and real stories, it successfully challenges stereotypes and misconceptions about the homeless.
The chosen format of shadow, suit and banner puppets allows participation regardless of previous skill and enables stories to be shared without being put under the personal and direct gaze of the audience.
The choice of venue is perfect. This cold dark alley would normally be actively avoided by the Fringe audience, but we are led in to see that is has been transformed into a welcoming and beautiful space. The extreme Melbourne weather continually reminding us that this is not always such a nice place to hang out.
The joy of open access fringe programs is that this type of show is as valued as the most refined professional production. Presenting it as part of the Fringe has brought a new and welcome audience to this style of project. Some Faces You Know is a genuinely creative, engaging and moving work of theatre that deserves to be seen.
Bash
MELBOURNE FRINGE 2006
Bash
5Kinds Theatre
11 October 2006
LaVish Modern Cuisine
Neil LaBute’s Bash is a well-known and brilliant piece of contemporary writing. The characters and their stories are complex and compelling. 5KindsTheatre demonstrate a deep understanding and passion for the text, but don’t succeed in sharing this understanding with their audience.
Bash is four monologues; the last two presented concurrently as different versions of the same night. All are about unexpected and violent murder. This production relied far too heavily on the shock value of the text, rather than letting the audience understand and connect to the characters.
Bash is written to be confessed directly to the audience. Confession fails without an intimate connection with your “confessee”. The design of the space does not help the actors in creating an intimate connection. We were sitting in on two sides of the stage, some on the floor, some on chairs and in full view of each other. It was not only difficult for the audience to focus on the stage, but even more difficult for the actors to focus on the audience. I can see how it was designed to be intimate, but, ironically, it would be more powerful with a traditional stage set up.
Grant Cartwright (Iphegenia in Orem) refused to make eye contact with any member of the audience. Without doubt this is a difficult piece to perform, but it is an empty performance if it is told to various spots on the wall. Grant’s delivery is strong, but he hit an intense level almost immediately, giving his character nowhere to go emotionally. Joshua Hewitt (A Gaggle of Saints) seemed to learn from Grant’s performance and made constant eye contact with one side of the audience. This made for a much more engaging character, but didn’t allow us to focus on the other character in the scene and most of the audience missed out on his connection. Ella Watson-Russell struck the best balance in Medea Redux and to her side of the audience in A Gaggle of Saints.
I can’t help but compare this production to another Fringe show - Debris. Both are violent contemporary texts based on monologue - one is presented by recent NIDA graduates and one by recent VCA graduates. Debris is superb theatre, Bash would benefit from more time at drama school.
This review originally appeared on AussieTheatre.com.
Bash
5Kinds Theatre
11 October 2006
LaVish Modern Cuisine
Neil LaBute’s Bash is a well-known and brilliant piece of contemporary writing. The characters and their stories are complex and compelling. 5KindsTheatre demonstrate a deep understanding and passion for the text, but don’t succeed in sharing this understanding with their audience.
Bash is four monologues; the last two presented concurrently as different versions of the same night. All are about unexpected and violent murder. This production relied far too heavily on the shock value of the text, rather than letting the audience understand and connect to the characters.
Bash is written to be confessed directly to the audience. Confession fails without an intimate connection with your “confessee”. The design of the space does not help the actors in creating an intimate connection. We were sitting in on two sides of the stage, some on the floor, some on chairs and in full view of each other. It was not only difficult for the audience to focus on the stage, but even more difficult for the actors to focus on the audience. I can see how it was designed to be intimate, but, ironically, it would be more powerful with a traditional stage set up.
Grant Cartwright (Iphegenia in Orem) refused to make eye contact with any member of the audience. Without doubt this is a difficult piece to perform, but it is an empty performance if it is told to various spots on the wall. Grant’s delivery is strong, but he hit an intense level almost immediately, giving his character nowhere to go emotionally. Joshua Hewitt (A Gaggle of Saints) seemed to learn from Grant’s performance and made constant eye contact with one side of the audience. This made for a much more engaging character, but didn’t allow us to focus on the other character in the scene and most of the audience missed out on his connection. Ella Watson-Russell struck the best balance in Medea Redux and to her side of the audience in A Gaggle of Saints.
I can’t help but compare this production to another Fringe show - Debris. Both are violent contemporary texts based on monologue - one is presented by recent NIDA graduates and one by recent VCA graduates. Debris is superb theatre, Bash would benefit from more time at drama school.
This review originally appeared on AussieTheatre.com.
Milk
MELBOURNE FRINGE 2006
Milk
The Town Bikes
10 October 2006
Festival Hub, Lithuanian Club
The Bikes present two longer pieces based on the theme of milk. Lacteus Praesul is very different from the expected Bike/twin routine. It’s a semi-drag love story between a prince and princess, playing absurdly with classical ballet, pantomime and innuendo worthy of a “carry on “ film. Milk develops directly from the established and loved Bike acts, with a montage of dance routines and competitive interplay between the characters.
John-Paul Hussey directed Milk and appears as Brian of Aberdeen, the MC and stage manager. I have always like the absurd narrative and visual delights of his work, but am unsure about the combination of Bikes directed by Hussey.
As a theme milk has limitless potential. The Bikes play with mother’s milk, breast obsession, milk commercials, milk in pop culture and even death. The rest of the show needs some relevance to create cohesion. Each night there is special guest act, but they appear to have no connection to the theme. Brian is a curious character, but his only link to milk is that he was probably bottle-fed.
The show loses energy and drags during the act changeovers. I love a show that makes the audience participate in its creation, but asking us to talk among ourselves as the stage was reset is a bit lazy and fell flat – despite a very supportive audience. Ironically the Bikes were the perfect interlude between acts during The Burlesque Hour.
The Town Bikes are still an original and fabulous act. Milk is great fun, but a great cabaret show needs a tight structure and a consistent theme.
This review originally appeared on AussieTheatre.com.
Milk
The Town Bikes
10 October 2006
Festival Hub, Lithuanian Club
The Town Bikes have taken their short, sharp, funny dance routines and successfully developed them into perverted pantomime.
John-Paul Hussey directed Milk and appears as Brian of Aberdeen, the MC and stage manager. I have always like the absurd narrative and visual delights of his work, but am unsure about the combination of Bikes directed by Hussey.
As a theme milk has limitless potential. The Bikes play with mother’s milk, breast obsession, milk commercials, milk in pop culture and even death. The rest of the show needs some relevance to create cohesion. Each night there is special guest act, but they appear to have no connection to the theme. Brian is a curious character, but his only link to milk is that he was probably bottle-fed.
The show loses energy and drags during the act changeovers. I love a show that makes the audience participate in its creation, but asking us to talk among ourselves as the stage was reset is a bit lazy and fell flat – despite a very supportive audience. Ironically the Bikes were the perfect interlude between acts during The Burlesque Hour.
The Town Bikes are still an original and fabulous act. Milk is great fun, but a great cabaret show needs a tight structure and a consistent theme.
This review originally appeared on AussieTheatre.com.
I’d Like a Nicer Planet Please
MELBOURNE FRINGE 2006
I’d Like a Nicer Planet Please
Duff
11 October 2006
Bar Open
Duff declares I’d Like A Nicer Planet Please and proceeds with the standard routine about the evils of capitalism and the evils of any alternative - all oddly combined with prop gags, mime and object puppetry.
There has been much experimentation with form in this Fringe, but none as unique as Duff’s Confectionary Theatre. Object puppetry meets a Seven 11 in Expulsion of Adam and Eve. It’s a tray full of lollies – with the toffee apple of good and evil and God being represented by a pair of lolly teeth. To balance the food groups an apple-based and a potato-based story soon follow. Don’t get me wrong – this is bad theatre, but it is unique.
Duff is rightly angry at the state of the world’s politics. He opening is relevant, with the first Korean nuclear test joke I’ve heard this festival, but the rest of his material jumps from idea to idea, with no consistent (or coherent) theme.
Improvisation is a vital part of a stand up, but needs to be balanced with structure. Duff has some great one-liners - the Big Picture that politicians talk about is really just a 33 inch plasma screen – but their strength is diluted by his sometimes irrelevant improv. His mad rush at the end to include material meant that the material suffered. The final impressions are good; much better than the long improv about fucking a skank at confest. Balance and structure develop as a show runs, but rehearsal also helps.
Duff is appealing and unique, but the show needs a lot of work to be a polished act. See it if you like hanging out at Bar Open and supporting local comedy.
PS- just a quick note to Duff. I am an active supporter of the Coke boycott, but the brand of water you drank, and referred to, is the Coke owned brand of water, so grab another brand or rip the label off.
This review originally appeared on AussieTheatre.com.
I’d Like a Nicer Planet Please
Duff
11 October 2006
Bar Open
Duff declares I’d Like A Nicer Planet Please and proceeds with the standard routine about the evils of capitalism and the evils of any alternative - all oddly combined with prop gags, mime and object puppetry.
There has been much experimentation with form in this Fringe, but none as unique as Duff’s Confectionary Theatre. Object puppetry meets a Seven 11 in Expulsion of Adam and Eve. It’s a tray full of lollies – with the toffee apple of good and evil and God being represented by a pair of lolly teeth. To balance the food groups an apple-based and a potato-based story soon follow. Don’t get me wrong – this is bad theatre, but it is unique.
Duff is rightly angry at the state of the world’s politics. He opening is relevant, with the first Korean nuclear test joke I’ve heard this festival, but the rest of his material jumps from idea to idea, with no consistent (or coherent) theme.
Improvisation is a vital part of a stand up, but needs to be balanced with structure. Duff has some great one-liners - the Big Picture that politicians talk about is really just a 33 inch plasma screen – but their strength is diluted by his sometimes irrelevant improv. His mad rush at the end to include material meant that the material suffered. The final impressions are good; much better than the long improv about fucking a skank at confest. Balance and structure develop as a show runs, but rehearsal also helps.
Duff is appealing and unique, but the show needs a lot of work to be a polished act. See it if you like hanging out at Bar Open and supporting local comedy.
PS- just a quick note to Duff. I am an active supporter of the Coke boycott, but the brand of water you drank, and referred to, is the Coke owned brand of water, so grab another brand or rip the label off.
This review originally appeared on AussieTheatre.com.
Songs for the Deaf
MELBOURNE FRINGE 2006
Songs for the Deaf
Red Ribbon Productions
8 October 2006
Festival Hub, Lithuanian Club
I unfortunately missed the first play, due to a rigorously enforced, and possibly unnecessary, latecomers policy. I was going to leave, but a big brown bear convinced me to stay.
The bear appeared in Bunny. Lewis’ work appears to develop from scenario. What if a bear and a rabbit met on a beach?
This bunny and bear have come from a costume party and gradually “take off their costumes” to expose their true selves. The symbolism is obvious, but it works in an absurdist way. Lewis devises some disturbing stories for the characters to reveal and the performances by Andrew Brackman and Carolyn Ramsey are subtle and quite beautiful.
Rocketbaby is divine black comedy with an Australian suburban voice. What if a child died on Funniest Home Videos?
Sarah Lockwood is delightful and believable as Becca. She is 10, lives in Giles Plains and this is her video to her trusted angel – FHV host – Toni Pearen. (Maybe change the suburb to suit Melbourne. Giles Plains means a lot – only if you are from Adelaide.) Becca’s family are having a tough time, but their obsession with FHV is going to save them.
Lewis takes delight in torturing the ever-hopeful Becca. Her story is compelling, even though the introduction of a gun in the exposition does hint that it isn’t going to be a happy ending. Still – I didn’t care about Becca and her fate (or that of the bear and bunny).
This is well crafted writing, but it’s almost too clever for its characters. When you write from situation, rather than character, the voice on the stage is the writer’s, not the charaters’. If the people on the stage are not telling us their authentic story, we don’t believe them, we don’t care about them and the intimate empathy of theatre is lost.
Fringes are about presenting the art you love and seeing if it speaks to an audience. I admired, respected and enjoyed Songs For the Deaf, but it needs the voice of authentic characters to make it captivating theatre.
This review originally appeared on AussieTheatre.com.
Songs for the Deaf
Red Ribbon Productions
8 October 2006
Festival Hub, Lithuanian Club
Songs For the Deaf is three short works by South Australian playwright Caleb Lewis. His writing is fresh, clever and wickedly black. The performances are real and Anna Held’s direction is excellent. So why isn’t this engaging theatre?
The bear appeared in Bunny. Lewis’ work appears to develop from scenario. What if a bear and a rabbit met on a beach?
This bunny and bear have come from a costume party and gradually “take off their costumes” to expose their true selves. The symbolism is obvious, but it works in an absurdist way. Lewis devises some disturbing stories for the characters to reveal and the performances by Andrew Brackman and Carolyn Ramsey are subtle and quite beautiful.
Rocketbaby is divine black comedy with an Australian suburban voice. What if a child died on Funniest Home Videos?
Sarah Lockwood is delightful and believable as Becca. She is 10, lives in Giles Plains and this is her video to her trusted angel – FHV host – Toni Pearen. (Maybe change the suburb to suit Melbourne. Giles Plains means a lot – only if you are from Adelaide.) Becca’s family are having a tough time, but their obsession with FHV is going to save them.
Lewis takes delight in torturing the ever-hopeful Becca. Her story is compelling, even though the introduction of a gun in the exposition does hint that it isn’t going to be a happy ending. Still – I didn’t care about Becca and her fate (or that of the bear and bunny).
This is well crafted writing, but it’s almost too clever for its characters. When you write from situation, rather than character, the voice on the stage is the writer’s, not the charaters’. If the people on the stage are not telling us their authentic story, we don’t believe them, we don’t care about them and the intimate empathy of theatre is lost.
Fringes are about presenting the art you love and seeing if it speaks to an audience. I admired, respected and enjoyed Songs For the Deaf, but it needs the voice of authentic characters to make it captivating theatre.
This review originally appeared on AussieTheatre.com.
The Pegasus Story and DEBRIS
MELBOURNE FRINGE 2006
The Pegasus Story
DEBRIS
Arts Projects Australia
Ride On Theatre and Black Lung Theatre
7 October 2006
Festival Hub, Lithuanian Club
High St
Picking the right double bill is an important part of the Fringe. This was a good night. I chose this double because they had both had successful productions interstate. Debris was acclaimed in Sydney and The Pegasus Story sold out at the Adelaide Fringe. Both have benefited from their “out of town” runs with tight, well-rehearsed shows. They are very different types of theatre, but both explore the use of monologue to tell their stories.
The Pegasus Story is thoroughly engaging and proves how truth is sometimes far more fascinating than fiction.
Mark De Ionno isn’t a trained actor; he’s just a guy telling us his story. He suffered a psychotic episode in mid 2000. The Pegasus Story is a very revealing and personal insight into Mark’s manic depression. Knowing he came though safely, we can sit back and enjoy the journey from northern Australian desert to Adelaide’s seediest street.
Mark’s story works, because it is not a performance. He easily evokes the empathy and compassion needed to draw the audience into his life. Working with director Daisy Brown has enhanced the story telling by using simple elements of theatre. The props, costumes, slides and perfect live music support the story, never compromising Mark’s affable personality or honest approach.
The strength of this work lies in its truth and I fully believe in moulding facts to tell a greater truth. An opening and reoccurring joke is that his initials are MAD, but he is not credited as Mark Anthony De’Ionno. Another good joke is set up with Mark working as an Indigenously sensitive tour guide, but he refers to Uluru as Ayers Rock. These are tiny, almost irrelevant criticisms, but if they cause the audience to doubt Mark, the veracity of the rest of his story is also doubted.
Debris has a very different creative team. All are recent NIDA graduates and this production is a testament to the outstanding quality of actor, director and designer emerging from the school. The text is also based on a style of monologue, but uses theatrical technique to tell its story.
The design, by the company, arrests you the moment you enter the space. It is so successful that I was initially genuinely horrified and felt very uncomfortable being there - until I realised just how brilliant the design concept was. (However, the risk and safety elements of the design really do need more consideration.) Ailsa Paterson’s costumes also come from a clear understanding of the text and reflect every nuance of the themes and characters.
Under the direction of Tanya Goldberg, this is intelligent theatre that engages your brain and your senses. Bojana Novakovic and Thomas Campbell give two of the best performances I’ve seen this Fringe. But does Debris tell a good story?
Before I could write about this show I had to do some serious googling to understand it. The need to research indicates that there is something not quite right with the story telling. Once I realised there was a common criticism in other Debris productions, I stopped analysing the acting and direction and looked at the text.
Debris is Dennis Kelly’s debut work, first presented in the UK in 2003. This is dark, absurd and extreme material. The language is stunning, but appears to be written for its own sake. I want to “read” this play. Unfortunately, the brilliance of the language often confuses and overwhelms the story telling. I was unsure if there were two, four or multiple characters talking to us and, despite faultless delivery, I found myself drifting away during the some of the monologues and losing the narrative thread.
Debris is astonishing theatre. I was shocked by the character’s stories, but it didn’t succeed in making me care about what happened to those children on the stage. By using minimal theatre and maintaining its authentic voice, The Pegasus Story is a more engaging experience because it tells a damn good story.
This review originally appeared on AussieTheatre.com.
The Pegasus Story
DEBRIS
Arts Projects Australia
Ride On Theatre and Black Lung Theatre
7 October 2006
Festival Hub, Lithuanian Club
High St
Picking the right double bill is an important part of the Fringe. This was a good night. I chose this double because they had both had successful productions interstate. Debris was acclaimed in Sydney and The Pegasus Story sold out at the Adelaide Fringe. Both have benefited from their “out of town” runs with tight, well-rehearsed shows. They are very different types of theatre, but both explore the use of monologue to tell their stories.
The Pegasus Story is thoroughly engaging and proves how truth is sometimes far more fascinating than fiction.
Mark De Ionno isn’t a trained actor; he’s just a guy telling us his story. He suffered a psychotic episode in mid 2000. The Pegasus Story is a very revealing and personal insight into Mark’s manic depression. Knowing he came though safely, we can sit back and enjoy the journey from northern Australian desert to Adelaide’s seediest street.
Mark’s story works, because it is not a performance. He easily evokes the empathy and compassion needed to draw the audience into his life. Working with director Daisy Brown has enhanced the story telling by using simple elements of theatre. The props, costumes, slides and perfect live music support the story, never compromising Mark’s affable personality or honest approach.
The strength of this work lies in its truth and I fully believe in moulding facts to tell a greater truth. An opening and reoccurring joke is that his initials are MAD, but he is not credited as Mark Anthony De’Ionno. Another good joke is set up with Mark working as an Indigenously sensitive tour guide, but he refers to Uluru as Ayers Rock. These are tiny, almost irrelevant criticisms, but if they cause the audience to doubt Mark, the veracity of the rest of his story is also doubted.
Debris has a very different creative team. All are recent NIDA graduates and this production is a testament to the outstanding quality of actor, director and designer emerging from the school. The text is also based on a style of monologue, but uses theatrical technique to tell its story.
The design, by the company, arrests you the moment you enter the space. It is so successful that I was initially genuinely horrified and felt very uncomfortable being there - until I realised just how brilliant the design concept was. (However, the risk and safety elements of the design really do need more consideration.) Ailsa Paterson’s costumes also come from a clear understanding of the text and reflect every nuance of the themes and characters.
Under the direction of Tanya Goldberg, this is intelligent theatre that engages your brain and your senses. Bojana Novakovic and Thomas Campbell give two of the best performances I’ve seen this Fringe. But does Debris tell a good story?
Before I could write about this show I had to do some serious googling to understand it. The need to research indicates that there is something not quite right with the story telling. Once I realised there was a common criticism in other Debris productions, I stopped analysing the acting and direction and looked at the text.
Debris is Dennis Kelly’s debut work, first presented in the UK in 2003. This is dark, absurd and extreme material. The language is stunning, but appears to be written for its own sake. I want to “read” this play. Unfortunately, the brilliance of the language often confuses and overwhelms the story telling. I was unsure if there were two, four or multiple characters talking to us and, despite faultless delivery, I found myself drifting away during the some of the monologues and losing the narrative thread.
Debris is astonishing theatre. I was shocked by the character’s stories, but it didn’t succeed in making me care about what happened to those children on the stage. By using minimal theatre and maintaining its authentic voice, The Pegasus Story is a more engaging experience because it tells a damn good story.
This review originally appeared on AussieTheatre.com.
Living On The Edge...Of My Bed
MELBOURNE FRINGE 2006
Living On The Edge...Of My Bed
The Bedroom Philosopher
Vanilla Productions
3 October 2006
Festival Hub, Lithuanian Club
Justin Heazlewood is The Bedroom Philosopher, but is The Bedroom Philosopher Justin Heazlewood? There was a lot of authentic and original material, but also a lot of confusion between the character and the performer. Neither were consistently on the stage. The Philosopher seemed to sing the songs and Justin appeared in between. I wanted to like either of them, but the appearance of one, made you frustrated by the other.
The Bedroom Philosopher has an active following through his radio and short appearances. He performs some terrific songs. The ones about buying mmmmdoms at the chemist, being over girls and his nan loving Radiohead are very funny and perfect devices for showing the Philosopher and his journey. The physical humour also supports the character (the harmonica gags are very special). Then there is the bizarre and surreal Swan song – all three versions. Bizarre is funny, but it doesn’t add to our understanding of the character. Bizarre needs context to really work.
I’ve said a lot recently about shows that reach a general audience by aiming at a specific audience. I have no idea who The Bedroom Philosopher is talking to. Characters work best when the audience understand them, like them and are taken on a journey with them. We love the fumbly nervous characters because we empathise with their weaknesses, but the empathy only comes though an understanding of who they are.
There are some great moments in Living On The Edge...Of My Bed, but they are just static moments that don’t come together as a full-length show. Letting the Philosopher (rather than Justin) control the show may lead to the cohesion and empathy that are missing.
My next show on this evening was Stephen K Amos – he played a character and then appeared as himself. Each knew exactly who they were when they were on stage. Stand up comedy can and should be this good. He had me at hello and I laughed non-stop with about 400 other people for over an hour. If you love and respect your audience, you can take the piss out of them and they come with you every step of the way.
This review originally appeared on AussieTheatre.com.
Living On The Edge...Of My Bed
The Bedroom Philosopher
Vanilla Productions
3 October 2006
Festival Hub, Lithuanian Club
I don’t know if Living On The Edge...Of My Bed is fumbling improvisation or the base of what could be an ingenious character. Either way, the show didn’t hit its stride the night I saw it.
The Bedroom Philosopher has an active following through his radio and short appearances. He performs some terrific songs. The ones about buying mmmmdoms at the chemist, being over girls and his nan loving Radiohead are very funny and perfect devices for showing the Philosopher and his journey. The physical humour also supports the character (the harmonica gags are very special). Then there is the bizarre and surreal Swan song – all three versions. Bizarre is funny, but it doesn’t add to our understanding of the character. Bizarre needs context to really work.
I’ve said a lot recently about shows that reach a general audience by aiming at a specific audience. I have no idea who The Bedroom Philosopher is talking to. Characters work best when the audience understand them, like them and are taken on a journey with them. We love the fumbly nervous characters because we empathise with their weaknesses, but the empathy only comes though an understanding of who they are.
There are some great moments in Living On The Edge...Of My Bed, but they are just static moments that don’t come together as a full-length show. Letting the Philosopher (rather than Justin) control the show may lead to the cohesion and empathy that are missing.
My next show on this evening was Stephen K Amos – he played a character and then appeared as himself. Each knew exactly who they were when they were on stage. Stand up comedy can and should be this good. He had me at hello and I laughed non-stop with about 400 other people for over an hour. If you love and respect your audience, you can take the piss out of them and they come with you every step of the way.
This review originally appeared on AussieTheatre.com.
The Taking of Ramsey Street
MELBOURNE FRINGE 2006
The Taking of Ramsey Street
theatre in decay
1 October 2006
Festival Hub, Lithuanian Club
There is racial tension on the suburban beaches of Australia. An enigmatic and zealous religious leader has convinced a young, hurt and angry teenager that a backpack full of explosives will teach the right lesson. However this leader is a Hillsong Christian and the teenager is a good, white, aussie kid. The Taking of Ramsey Street is the kind of material that theatre in decay do best.
This time it’s done as a satire of Australian soap opera – complete with commercial breaks – and as a musical. All the elements are wrong, but the combination is so right.
Written and composed by Robert Reid, The Taking of Ramsey Street takes the conservative prejudices of Australia and splatters them in our faces. This is theatre for the young and angry, that plays with the conventions of the older and more jaded.
Presented as a workshop, this show should not be viewed as a completed production. The experience and ability of the performers varies greatly and it is presented in an empty black space. The Taking of Ramsey Street has some serious development ahead. It takes too long to establish the characters and a sense of plot, but once it gets going the tension develops and there are some nice little twists. I’m looking forward to seeing what it becomes.
PS: Have a quick look away from the stage, Reid silently sings along to the whole show. Once More with Feeling Rob...
This review originally appeared on AussieTheatre.com.
The Taking of Ramsey Street
theatre in decay
1 October 2006
Festival Hub, Lithuanian Club
There is racial tension on the suburban beaches of Australia. An enigmatic and zealous religious leader has convinced a young, hurt and angry teenager that a backpack full of explosives will teach the right lesson. However this leader is a Hillsong Christian and the teenager is a good, white, aussie kid. The Taking of Ramsey Street is the kind of material that theatre in decay do best.
This time it’s done as a satire of Australian soap opera – complete with commercial breaks – and as a musical. All the elements are wrong, but the combination is so right.
Written and composed by Robert Reid, The Taking of Ramsey Street takes the conservative prejudices of Australia and splatters them in our faces. This is theatre for the young and angry, that plays with the conventions of the older and more jaded.
Presented as a workshop, this show should not be viewed as a completed production. The experience and ability of the performers varies greatly and it is presented in an empty black space. The Taking of Ramsey Street has some serious development ahead. It takes too long to establish the characters and a sense of plot, but once it gets going the tension develops and there are some nice little twists. I’m looking forward to seeing what it becomes.
PS: Have a quick look away from the stage, Reid silently sings along to the whole show. Once More with Feeling Rob...
This review originally appeared on AussieTheatre.com.
Nerd Alert!
MELBOURNE FRINGE 2006
Nerd Alert!
David Heffron
1 October 2006
Jawa Bar and Cafe
If you argue about Picard versus Janeway, know Mulder and Scully’s first names, can draw a map of the Discworld or just been forced to play games on a dud computer-please share you’re nerdiness with David Heffron.
Sometimes it is hard to find your audience during the Fringe. My friend and I were delighted to be David Heffron’s audience. We hung out in the very fabulous Jawa Bar, had our choice of couches (vinyl or futon), drank Argentinean Beer and got to laugh for an hour with a lovely bloke who likes Buffy and They Might Be Giants (the band, not the film) - so he’s gotta be alright.
Nerd Alert! “aims to rock the world of geek-dom to its very core”. Now, I believe that nerds and geeks are different and should not be discussed as the same creatures. I’d call David an IT geek, but a Sci-Fi nerd, who has fortunately outgrown his childhood as a dork (he was scared of ET).
David tells us about his journey to becoming a self-professed geek, but doesn’t define, explore or expose geek culture. He used his love of books and sci-fi to escape PE and football, but did six years of reading and re-reading Terry Pratchett have any substantial effect on his life? He can recite the episodes of Red Dwarf in order, but doesn’t tell us why this genre of sci-fi captured his imagination. I wanted to know where his obsession went to from there, and why did he think Deep Space Nine was better than Voyager? I would also have liked to see him delve further into the world of the uber-geeks – who he admits he is a bit scared of.
I laughed with David throughout the show. He is very funny and appealing. If Nerd Alert! is going to move to bigger venues it will benefit from some tightening and external direction, but its casual and relaxed presentation is perfect for the intimacy of the Jawa Bar.
This review originally appeared on AussieTheatre.com.
Nerd Alert!
David Heffron
1 October 2006
Jawa Bar and Cafe
If you argue about Picard versus Janeway, know Mulder and Scully’s first names, can draw a map of the Discworld or just been forced to play games on a dud computer-please share you’re nerdiness with David Heffron.
Sometimes it is hard to find your audience during the Fringe. My friend and I were delighted to be David Heffron’s audience. We hung out in the very fabulous Jawa Bar, had our choice of couches (vinyl or futon), drank Argentinean Beer and got to laugh for an hour with a lovely bloke who likes Buffy and They Might Be Giants (the band, not the film) - so he’s gotta be alright.
Nerd Alert! “aims to rock the world of geek-dom to its very core”. Now, I believe that nerds and geeks are different and should not be discussed as the same creatures. I’d call David an IT geek, but a Sci-Fi nerd, who has fortunately outgrown his childhood as a dork (he was scared of ET).
David tells us about his journey to becoming a self-professed geek, but doesn’t define, explore or expose geek culture. He used his love of books and sci-fi to escape PE and football, but did six years of reading and re-reading Terry Pratchett have any substantial effect on his life? He can recite the episodes of Red Dwarf in order, but doesn’t tell us why this genre of sci-fi captured his imagination. I wanted to know where his obsession went to from there, and why did he think Deep Space Nine was better than Voyager? I would also have liked to see him delve further into the world of the uber-geeks – who he admits he is a bit scared of.
I laughed with David throughout the show. He is very funny and appealing. If Nerd Alert! is going to move to bigger venues it will benefit from some tightening and external direction, but its casual and relaxed presentation is perfect for the intimacy of the Jawa Bar.
This review originally appeared on AussieTheatre.com.
Coming Clean
MELBOURNE FRINGE 2006
Coming Clean
Rod Quantock, Fiona Scott-Norman & The Melbourne Justice Museum
2 October 2006
Old Melbourne Gaol
A tour with Rod Quantock is always worth your time. This time the destination is the Old Melbourne Gaol (when is hanging NOT funny…). Rod leads us to join four local comedians who tackle the theme of Coming Clean.
After a quick trial in the Magistrates Court we end up in the exercise yard of the City Watchhouse. I suspect this was the first time in a watchhouse for most of the gathered audience. It’s also the first time that the space has been used as a theatre and Rod Quantock’s first public use of toilet humour.
Here we were in the same room that Chopper Reid, Squizzy Taylor, Ned Kelly and many other less famous criminals have been. It’s actually quite nice when there’s a bar, friends to chat with and an illuminated EXIT sign on the open caged doors.
Judith Lucy opened by admitting that she is such a “goody good suck” that she didn’t have any great police or arrest stories to tell – apart from being stripped searched in New Zealand after a trace of marijuana was found in her tobacco. So she came clean with the most embarrassing of stories – she got detention in school for rehearsing liturgical dance at lunchtime. To recover from the shame, she told us about the night she paid for sex. I didn’t used to like Judith– but she’s winning me over.
Fiona Scott-Noman shared her wicked life as a schoolgirl shoplifter, with some neat tips about how to hide a single down your pants. I guess it’s the 70/80s equivalent of illegally downloading an mp3. She also found herself in a police station after heading to a shop roof to snog with her boyfriend. Apparently the constabulary don’t share our sophisticated sense of humour. What do you call the device that police travel between floors on? A copulator. Boom boom. The pun led to Fiona being stripped searched and arrested for trespass.
Lawrence Leung taught us about the art of grifting, swindling and lying. After seeing his confident, comfortable and very funny performance, I want to see his full Fringe show (The Marvellous Misadventures of Puzzle Boy).
It’s all well and good to laugh along with the jolly naughtiness of the urban, middle class comedians, with their witty, political left-wing humour. We don’t usually go to see comedians like Dave Grant (he’s a bogan…..).
Dave Grant was the highlight of the evening. This was a brilliant set about his experiences with violence and arrest. He has been in rooms like this before, but with far less empathetic company. Petty law breaking really doesn’t compare to blood pissing out the face of the man you’ve hit or waking up in a cell after being beaten unconscious by the police. He is also a bloody good left wing political comedian.
Next Monday there is a different line up of comedians joining Rod and Coming Clean. I’m tempted to go back.
This review originally appeared on AussieTheatre.com.
Coming Clean
Rod Quantock, Fiona Scott-Norman & The Melbourne Justice Museum
2 October 2006
Old Melbourne Gaol
A tour with Rod Quantock is always worth your time. This time the destination is the Old Melbourne Gaol (when is hanging NOT funny…). Rod leads us to join four local comedians who tackle the theme of Coming Clean.
After a quick trial in the Magistrates Court we end up in the exercise yard of the City Watchhouse. I suspect this was the first time in a watchhouse for most of the gathered audience. It’s also the first time that the space has been used as a theatre and Rod Quantock’s first public use of toilet humour.
Here we were in the same room that Chopper Reid, Squizzy Taylor, Ned Kelly and many other less famous criminals have been. It’s actually quite nice when there’s a bar, friends to chat with and an illuminated EXIT sign on the open caged doors.
Judith Lucy opened by admitting that she is such a “goody good suck” that she didn’t have any great police or arrest stories to tell – apart from being stripped searched in New Zealand after a trace of marijuana was found in her tobacco. So she came clean with the most embarrassing of stories – she got detention in school for rehearsing liturgical dance at lunchtime. To recover from the shame, she told us about the night she paid for sex. I didn’t used to like Judith– but she’s winning me over.
Fiona Scott-Noman shared her wicked life as a schoolgirl shoplifter, with some neat tips about how to hide a single down your pants. I guess it’s the 70/80s equivalent of illegally downloading an mp3. She also found herself in a police station after heading to a shop roof to snog with her boyfriend. Apparently the constabulary don’t share our sophisticated sense of humour. What do you call the device that police travel between floors on? A copulator. Boom boom. The pun led to Fiona being stripped searched and arrested for trespass.
Lawrence Leung taught us about the art of grifting, swindling and lying. After seeing his confident, comfortable and very funny performance, I want to see his full Fringe show (The Marvellous Misadventures of Puzzle Boy).
It’s all well and good to laugh along with the jolly naughtiness of the urban, middle class comedians, with their witty, political left-wing humour. We don’t usually go to see comedians like Dave Grant (he’s a bogan…..).
Dave Grant was the highlight of the evening. This was a brilliant set about his experiences with violence and arrest. He has been in rooms like this before, but with far less empathetic company. Petty law breaking really doesn’t compare to blood pissing out the face of the man you’ve hit or waking up in a cell after being beaten unconscious by the police. He is also a bloody good left wing political comedian.
Next Monday there is a different line up of comedians joining Rod and Coming Clean. I’m tempted to go back.
This review originally appeared on AussieTheatre.com.
The Debutante Diaries
MELBOURNE FRINGE 2006
The Debutante Diaries
Kate McLennan
7 October 2006
The Festival Hub, The Raglan
Review by Christina Cass
Kate McLennan (The Wrong Night and Let Loose Live) had me absolutely howling with laughter during her new show, The Debutante Diaries, now playing at The Raglan in the Fringe Festival Hub until 3 October.
Directed by Fiona Harris (SkitHOUSE and Flipside) and written and performed by McLennan herself, I laughed; I cried (really, I really cried) but was mostly astounded by McLennan’s seamless work depicting the trials and tribulations of preparing for that classic teenage right of passage – The Debutante Ball.
McLennan morphs between eight different characters and with aid of only a prop or two. She completely embodies the bitchy “mean girl”, the perpetually perky socialite, her jock boyfriend and the lecherous perv teacher/organizer of the Ball. They’re great fun to laugh at and make fun of, because we all know these people – we dealt with them in high school and we’re probably still dealing with them today. That’s one of the reasons her writing is so successful – it smacks of truth – and when we witness her most poignant character, Sophie, negotiating the confusing maze of preparation to her “fairytale night” it can break our heart.
Harris’ direction is for the most part spot-on. Less is more in a one-woman show and although McLennan is a master at transformation, she would be greatly aided by better technical transitions. Perhaps by watching a recording one of Lily Tomlin’s classic one-woman shows, one can see how sound and light can truly act as a buffer between characters and help the actor propel the story forward rather than continually stop-starting.
This review originally appeared on AussieTheatre.com
The Debutante Diaries
Kate McLennan
7 October 2006
The Festival Hub, The Raglan
Review by Christina Cass
Kate McLennan (The Wrong Night and Let Loose Live) had me absolutely howling with laughter during her new show, The Debutante Diaries, now playing at The Raglan in the Fringe Festival Hub until 3 October.
Directed by Fiona Harris (SkitHOUSE and Flipside) and written and performed by McLennan herself, I laughed; I cried (really, I really cried) but was mostly astounded by McLennan’s seamless work depicting the trials and tribulations of preparing for that classic teenage right of passage – The Debutante Ball.
McLennan morphs between eight different characters and with aid of only a prop or two. She completely embodies the bitchy “mean girl”, the perpetually perky socialite, her jock boyfriend and the lecherous perv teacher/organizer of the Ball. They’re great fun to laugh at and make fun of, because we all know these people – we dealt with them in high school and we’re probably still dealing with them today. That’s one of the reasons her writing is so successful – it smacks of truth – and when we witness her most poignant character, Sophie, negotiating the confusing maze of preparation to her “fairytale night” it can break our heart.
Harris’ direction is for the most part spot-on. Less is more in a one-woman show and although McLennan is a master at transformation, she would be greatly aided by better technical transitions. Perhaps by watching a recording one of Lily Tomlin’s classic one-woman shows, one can see how sound and light can truly act as a buffer between characters and help the actor propel the story forward rather than continually stop-starting.
This review originally appeared on AussieTheatre.com
30 September 2006
Penny Machinations
MELBOURNE FRINGE 2006
Penny Machinations
interior theatre
30 September 2006
Fringe Festival Club, Arts House, North Melbourne Town Hall
Penny Machinations deservedly won the “Outstanding Special Event” award at the 2005 Melbourne Fringe. Back with new shows, the North Melbourne Town Hall stage has been transformed into an inviting pastel sideshow alley, with an array of mysterious private-viewing tents.
What I love about this Fringe is that so many companies are making theatre an active experience. It’s not just sitting in a dark room and watching. The Penny Machinations experience is about facing the unknown and the intimacy of voyeurism. The maximum audience is three. You cannot be passive and you have to make some choices.
Developed by Telia Nevile and Matt Kelly, Penny Machinations is a unique and clever concept that takes the sideshow alley to a much more interesting level. There are no freaks (well, not too many) and no short, boring narratives. Shows are impressions of experiences - kind of an intimate surrealism.
Friday and Saturday nights have different programs and no show is ever the same. If you don’t like your first choice, it's only $2 for another one. The spruikers can guide you– let them know if you’re in mood for drama, comedy, dance or simply the shortest queue. You may be in one of the sideshow tents, find yourself wandering the Town Hall or even get a ride in the Barina of Mystery (chose the Director’s Commentary version).
The arcade is open from 8pm to 10pm on Fridays and Saturdays. It’s is a perfect way to use your in between show time, or better still – take along $20 and spend a couple of hours experiencing all of the unknown and unique delights of Penny Machinations.
This review originally appeared on AussieTheatre.com.
Penny Machinations
interior theatre
30 September 2006
Fringe Festival Club, Arts House, North Melbourne Town Hall
Grab your spare coins and head to the Fringe club for Penny Machinations. At $2, it’s cheaper than a beer. But, be warned, one show is not enough and you might find yourself scouring your pockets for enough change to get another hit.
What I love about this Fringe is that so many companies are making theatre an active experience. It’s not just sitting in a dark room and watching. The Penny Machinations experience is about facing the unknown and the intimacy of voyeurism. The maximum audience is three. You cannot be passive and you have to make some choices.
Developed by Telia Nevile and Matt Kelly, Penny Machinations is a unique and clever concept that takes the sideshow alley to a much more interesting level. There are no freaks (well, not too many) and no short, boring narratives. Shows are impressions of experiences - kind of an intimate surrealism.
Friday and Saturday nights have different programs and no show is ever the same. If you don’t like your first choice, it's only $2 for another one. The spruikers can guide you– let them know if you’re in mood for drama, comedy, dance or simply the shortest queue. You may be in one of the sideshow tents, find yourself wandering the Town Hall or even get a ride in the Barina of Mystery (chose the Director’s Commentary version).
The arcade is open from 8pm to 10pm on Fridays and Saturdays. It’s is a perfect way to use your in between show time, or better still – take along $20 and spend a couple of hours experiencing all of the unknown and unique delights of Penny Machinations.
This review originally appeared on AussieTheatre.com.
Andrew McClelland's Mix Tape (C-90 Edition)
MELBOURNE FRINGE 2006
Andrew McClelland's Mix Tape (C-90 Edition)
Australian Comedy Management
29 September 2006
Festival Hub, Czech House
Mix Tape is all about our love of music and the soundtrack it gives our lives. The mix tape may be a rough and almost antiquated art form, but it requires so much more skill and finesse than making a folder of mp3 files. Like the mix tape, the show selects some of the best “tracks” of stand up comedy and combines them into a personal and irresistible format. It’s not slick and commercial. It’s personal and fun, made even better by its flaws.
McClelland and director Alan Brough (from the ABC’s Spicks & Specks) really know their music. The tape includes Sesame Street hits, jazz, gangster rap, Australian urban pop and, the very densely complicated genre; metal.
This show speaks perfectly to its chosen audience - 30 something, live in Melbourne’s inner north, university educated and listened to far too many records or CDs as a teenager. However McClelland’s engaging personality has a much broader appeal. This tape is enjoyable even if the only ghetto blaster you have seen is in your parents’ photo album, or if you think M&M is spelt correctly and even if you don’t know why “summer of the 17th dole payment” is a very funny lyric.
Mixed Tape naturally finishes with a sing along that everyone in the audience joined in. However, we did have to sing a Monkees parody, because Michael Jackson won’t let us sing The Beatles.
This review originally appeared on AussieTheatre.com.
Andrew McClelland's Mix Tape (C-90 Edition)
Australian Comedy Management
29 September 2006
Festival Hub, Czech House
Andrew McClelland is totally delightful. I’d pop his tape into my cassette player anytime. Andrew McClelland’s Mix Tape sold out at the 2006 Melbourne International Comedy Festival. This is the special Fringe extended (C90) edition. If you’ve ever used a song to try and impress someone, see this show.
McClelland and director Alan Brough (from the ABC’s Spicks & Specks) really know their music. The tape includes Sesame Street hits, jazz, gangster rap, Australian urban pop and, the very densely complicated genre; metal.
This show speaks perfectly to its chosen audience - 30 something, live in Melbourne’s inner north, university educated and listened to far too many records or CDs as a teenager. However McClelland’s engaging personality has a much broader appeal. This tape is enjoyable even if the only ghetto blaster you have seen is in your parents’ photo album, or if you think M&M is spelt correctly and even if you don’t know why “summer of the 17th dole payment” is a very funny lyric.
Mixed Tape naturally finishes with a sing along that everyone in the audience joined in. However, we did have to sing a Monkees parody, because Michael Jackson won’t let us sing The Beatles.
This review originally appeared on AussieTheatre.com.
Kunst Ist Scheisse
MELBOURNE FRINGE 2006
Kunst Ist Scheisse
The Caravan of Love
30 September 2006
Festival Hub, The Lithuanian Club
This is the country of Snowmanlandia, where Kunst ist Sheisse (Art is Shit) and a traveling caravan of four “performing misfits” have set down.
In a similar vein to The Burlesque Hour (seen at the Speigeltent) and Girlesque (seen in lesbian clubs), The Caravan of Love tear apart cabaret and burlesque to construct their own fabulous genre. Created as a response to our increasingly conservative society, Kunst ist Sheisse continually explores our expectations of female “normality” and proves that anger, lust and silliness are all vital to our lives.
Alice Palermo, Eva Johansen, Kate Sumner and Carla Rinaudo have been honing their troupe, with monthly performances since 2004. Their approach is original, their costumes are divine, their politics are sharp and all are very accomplished, dancers, singers and performers.
Put Snowmanlandia (the totally perfect Lithuanian Club) on your list of places to visit this week. This is my Fringe highlight to date and deserves many adoring fans.
This review originally appeared on AussieTheatre.com.
Kunst Ist Scheisse
The Caravan of Love
30 September 2006
Festival Hub, The Lithuanian Club
The Kunst may be Sheisse, but this is Kabaret (with a K) at its best: sexy, funny, inappropriate and political. Be prepared to moan with delight and pop your pop culture popper as you are enticed by the four gorgeous kunst(ists) of The Caravan of Love.
In a similar vein to The Burlesque Hour (seen at the Speigeltent) and Girlesque (seen in lesbian clubs), The Caravan of Love tear apart cabaret and burlesque to construct their own fabulous genre. Created as a response to our increasingly conservative society, Kunst ist Sheisse continually explores our expectations of female “normality” and proves that anger, lust and silliness are all vital to our lives.
Alice Palermo, Eva Johansen, Kate Sumner and Carla Rinaudo have been honing their troupe, with monthly performances since 2004. Their approach is original, their costumes are divine, their politics are sharp and all are very accomplished, dancers, singers and performers.
Put Snowmanlandia (the totally perfect Lithuanian Club) on your list of places to visit this week. This is my Fringe highlight to date and deserves many adoring fans.
This review originally appeared on AussieTheatre.com.
Apples and Ladders
MELBOURNE FRINGE 2006
Apples and Ladders
Lemony S
Malthouse Theatre
30 September 2006
Tower Theatre, CUB Malthouse
The Knave of Hearts, the archetype devil/death, stalks an elderly man and an aging drag queen. The man loses the love of his life when his wife dies, and retreats to isolation. The drag queen turns to alcohol when forced to face the reality of his life. The scene where he joyously floats with the glittering reflections of the mirror ball, but is forced to see his own reflection is heartbreaking.
The puppets are exquisite and the cardboard set perfectly represents the fragile strength and disposability of the suburban setting. The production is completed with Richard Varbre’s lighting design and haunting melancholy songs from The Tiger Lillies. If you love The Tiger Lillies, be aware that there are no songs about hamsters, sheep or Aunty Mable.
The Tower Program at the Malthouse, along with FULL TILT at the Arts Centre, continues to highlight the astounding theatre that is can be created when independent works are given professional support and development. Apples and Ladders is a perfect addition to the Melbourne Fringe program, where local artists are continuing to explore form and aesthetics.
This review originally appeared on AussieTheatre.com.
Apples and Ladders
Lemony S
Malthouse Theatre
30 September 2006
Tower Theatre, CUB Malthouse
The dark, yet beautiful images of Apples and Ladders stay with you long after the show finishes. Puppeteers and creators Sarah Kriegler and Jacob Williams impart their tiny protégé with pure emotion to create moments that grab your heart.
Supported by a state government “images of aging” grant, Apples and Ladders started as an exploration of aging and alcoholism. The resulting performance is a perfect example of how the investigation of one theme can touch the universal. This show is about the grief of having your heart and passion stolen and the healing power of very small acts. (It also demonstrates that policy and grants don’t necessarily restrict creativity.)
The Knave of Hearts, the archetype devil/death, stalks an elderly man and an aging drag queen. The man loses the love of his life when his wife dies, and retreats to isolation. The drag queen turns to alcohol when forced to face the reality of his life. The scene where he joyously floats with the glittering reflections of the mirror ball, but is forced to see his own reflection is heartbreaking.
The puppets are exquisite and the cardboard set perfectly represents the fragile strength and disposability of the suburban setting. The production is completed with Richard Varbre’s lighting design and haunting melancholy songs from The Tiger Lillies. If you love The Tiger Lillies, be aware that there are no songs about hamsters, sheep or Aunty Mable.
The Tower Program at the Malthouse, along with FULL TILT at the Arts Centre, continues to highlight the astounding theatre that is can be created when independent works are given professional support and development. Apples and Ladders is a perfect addition to the Melbourne Fringe program, where local artists are continuing to explore form and aesthetics.
This review originally appeared on AussieTheatre.com.
Something Drastic
MELBOURNE FRINGE 2006
Something Drastic
29 September 2006
Festival Hub, Errol’s Cafe
Director Rosemary Johns discovered Colleen Curran’s work at the International Women’s Playwright’s conference in Athens. It has been produced twice in Canada and adapted by Johns for its Australian premiere. Curran was at opening night and loved this production.
Something Drastic is the story of “stupid in love” Lenore (Delene Butland) her stupid “not in love” neighbour Heidi (Nik Willmott). One works at a theatre restaurant. One is a university academic. Both are at significant crossroads in their lives and their unlikely friendship develops over a year. These are original and appealing characters. Their behaviour is predictable, but they still surprise us.
They are supported by the five members of the “as cast”, who play an assortment of characters. Each are well drawn caricatures that make us laugh, but never distract from Lenore and Heidi’s journey. Some are more original than others, with the Sylvia Plath academics and the friends of Dorothy couple - Judy and her partner Judy – as the standouts.
The “as cast” also act as a surreal postmodern chorus. Their first appearances as clutter and bookshelves are confusing, but once the convention is established, their interpretations of a radio, a pile of bills, chooks, a bed and, never to be forgotten – a poem – are totally fitting.
Fringe venues are often inappropriate and makeshift. Something Drastic is in a function room above a noisy restaurant. This is ironically perfect. The room was originally designed as a flat, and the show is set in the existing kitchen. It could not have been designed better.
Something Drastic is another script that knows who it is talking to, but appeals widely. It is similar in theme to The Female of the Species (currently at the MTC), but more successful, because we are laughing with the feminists, not at them.
This review originally appeared on AussieTheatre.com.
Something Drastic
29 September 2006
Festival Hub, Errol’s Cafe
Something Drastic is one of those gems that get uncovered in the Fringe. Bridget Jones meets The Odd Couple, filled with delicious one-liners and loving satire of feminism, literature, contemporary theatre and theatre restaurants. And the best Bell Jar joke ever.
Something Drastic is the story of “stupid in love” Lenore (Delene Butland) her stupid “not in love” neighbour Heidi (Nik Willmott). One works at a theatre restaurant. One is a university academic. Both are at significant crossroads in their lives and their unlikely friendship develops over a year. These are original and appealing characters. Their behaviour is predictable, but they still surprise us.
They are supported by the five members of the “as cast”, who play an assortment of characters. Each are well drawn caricatures that make us laugh, but never distract from Lenore and Heidi’s journey. Some are more original than others, with the Sylvia Plath academics and the friends of Dorothy couple - Judy and her partner Judy – as the standouts.
The “as cast” also act as a surreal postmodern chorus. Their first appearances as clutter and bookshelves are confusing, but once the convention is established, their interpretations of a radio, a pile of bills, chooks, a bed and, never to be forgotten – a poem – are totally fitting.
Fringe venues are often inappropriate and makeshift. Something Drastic is in a function room above a noisy restaurant. This is ironically perfect. The room was originally designed as a flat, and the show is set in the existing kitchen. It could not have been designed better.
Something Drastic is another script that knows who it is talking to, but appeals widely. It is similar in theme to The Female of the Species (currently at the MTC), but more successful, because we are laughing with the feminists, not at them.
This review originally appeared on AussieTheatre.com.
Evermind
MELBOURNE FRINGE 2006
Evermind
Circus Catharsis
29 September 2006
Festival Hub, Lithuaniun Club, Main Theatre
The three performers are recent NICA graduates and exceptionally skilled and versatile circus artists. Their strength, manipulation and clowning skills are ready for any professional circus troupe. Inspired by Frankenstein, their story has some original and comic twists. What Evermind lacks is a sense of theatre and story telling.
Evermind is described as narrative circus, which is “kind of like a musical except there are circus acts instead of songs”. Musicals work because the songs tell the story and express emotion. While the use of circus acts within their text was inventive (the foot juggling to create an electrical vortex was fabulous), it failed to express the emotion of the characters and stopped the momentum of the story.
Evermind has the potential to be unique and arresting, but needs direction to make it cohesive, atmospheric and narratively satisfying. Design alone would bring the show to a new level. Use lighting to create the darkness of the text and hide the effort behind the tricks. The card tables for the juggling props do not create a sinister mood. The live music supports the action, but the musician sitting at keyboard becomes a distraction.
I saw the preview performance of Evermind. If they adapt and learn from the preview it could be a very different show by the end of the run. If you want to support local circus and see some very talented physical performers, Evermind may be for you. If you want to see a tight piece of theatre that explores a well know story, there are many other shows in the Fringe.
This review originally appeared on AussieTheatre.com.
Evermind
Circus Catharsis
29 September 2006
Festival Hub, Lithuaniun Club, Main Theatre
At the end of Evermind the Frankensteinish monster joyously declares that he is “acceptable”. When dealing with a classic tale of regret and redemption, the character needs to aim for more. Circus Catharsis should also aim a lot higher. Evermind is acceptable, but could so easily be much more.
Evermind is described as narrative circus, which is “kind of like a musical except there are circus acts instead of songs”. Musicals work because the songs tell the story and express emotion. While the use of circus acts within their text was inventive (the foot juggling to create an electrical vortex was fabulous), it failed to express the emotion of the characters and stopped the momentum of the story.
Evermind has the potential to be unique and arresting, but needs direction to make it cohesive, atmospheric and narratively satisfying. Design alone would bring the show to a new level. Use lighting to create the darkness of the text and hide the effort behind the tricks. The card tables for the juggling props do not create a sinister mood. The live music supports the action, but the musician sitting at keyboard becomes a distraction.
I saw the preview performance of Evermind. If they adapt and learn from the preview it could be a very different show by the end of the run. If you want to support local circus and see some very talented physical performers, Evermind may be for you. If you want to see a tight piece of theatre that explores a well know story, there are many other shows in the Fringe.
This review originally appeared on AussieTheatre.com.
Politely Savage
MELBOURNE FRINGE 2006
Politely Savage
My Darling Patricia
FULL TILT
27 September 2006
Fairfax Studio,The Arts Centre
Frock up in your party favourite, but wear your flat shoes, because we’re going for a walk into the depths of our unconscious.
There’s no sitting around. This is a cocktail party (complete with champagne and food on toothpicks), there are only 40 guests and your hostesses are immaculate.
Politely Savage by My Darling Patricia combines interactive performance, installation, puppetry, film and performance art. It’s like a dream. Not a comforting and lovely daydream, but one of those dreams when you wake up clammy and spend the rest of the day trying to decipher it.
My Darling Patricia take the familiar and send it to that very dark place in the back of our minds. Their images are archetypal and sometimes obvious, but they work so very well.
Cecily Hardy is tantalising as our guide. She is mother/housekeeper/nanny – forever hovering between comforting and confronting, safe and foreboding. She convinces us to leave the party and follow her down into the world that was hidden by the pretty taffeta dresses. She takes us somewhere deep and unsettling, but we have to trust her to guide us out safely. Be prepared to walk.
This was my first show for the Melbourne Fringe and a perfect example of the unique and authentic work that can be created when artists are unrestrained by demographics, budgets and policy. Politely Savage is now polished and perfected, having already had two sell out seasons in Sydney. The Arts Centre is presenting it as part of the FULL TILT program, which supports the development and redevelopment of independent works.
Politely Savage finishes on Saturday. With only 40 people per show, this is one you really should book for.
This review originally appeared on AussieTheatre.com.
Politely Savage
My Darling Patricia
FULL TILT
27 September 2006
Fairfax Studio,The Arts Centre
Frock up in your party favourite, but wear your flat shoes, because we’re going for a walk into the depths of our unconscious.
There’s no sitting around. This is a cocktail party (complete with champagne and food on toothpicks), there are only 40 guests and your hostesses are immaculate.
Politely Savage by My Darling Patricia combines interactive performance, installation, puppetry, film and performance art. It’s like a dream. Not a comforting and lovely daydream, but one of those dreams when you wake up clammy and spend the rest of the day trying to decipher it.
My Darling Patricia take the familiar and send it to that very dark place in the back of our minds. Their images are archetypal and sometimes obvious, but they work so very well.
Cecily Hardy is tantalising as our guide. She is mother/housekeeper/nanny – forever hovering between comforting and confronting, safe and foreboding. She convinces us to leave the party and follow her down into the world that was hidden by the pretty taffeta dresses. She takes us somewhere deep and unsettling, but we have to trust her to guide us out safely. Be prepared to walk.
This was my first show for the Melbourne Fringe and a perfect example of the unique and authentic work that can be created when artists are unrestrained by demographics, budgets and policy. Politely Savage is now polished and perfected, having already had two sell out seasons in Sydney. The Arts Centre is presenting it as part of the FULL TILT program, which supports the development and redevelopment of independent works.
Politely Savage finishes on Saturday. With only 40 people per show, this is one you really should book for.
This review originally appeared on AussieTheatre.com.
29 September 2006
Launch: Melbourne Fringe 2006
MELBOURNE FRINGE 2006
Melbourne Fringe Program Launched
27 September to 15 October
Nineteen days, 245 events, 3000 artists and over 100 venues...and only two weeks before it all starts. The Melbourne Fringe program was released last week. This years’ program is described as “an irreverent and relevant view of our world through artists’ eyes”, and is one of the most diverse programs in recent years. There is a lot to be excited about for Fringe 2006.
Unlike many other festivals and events, the Melbourne Fringe is still about the art. The program is a celebration of independent artists, and the core audience are lovers of the arts. It doesn’t attract the same size audience as the more commercial festivals, but the Fringe artists and audience are united by their passion for their favoured art form.
I love Fringes because they are accessible and open to all artists. They enable artists to show you the work that they really want to do.
There are no artistic requirements or selection criteria to be in this festival. If you have something you want to show an audience (and you pay the registration fee), you can be part of the Melbourne Fringe.
An open program encourages experimentation, exploration and risk from both inexperienced and very experienced artists. Over the years I’ve seen some of the most outstanding and some of the most atrocious theatre, music and art at Fringes.
As an artist, it can be a financial and artistic risk to be in a Fringe, but there is no “bad” show in a program. Even if your product isn’t quite ready for the world to see, your fellow artists and the appreciative audience will still respect the risks you took to be involved and be happy to share a beer, and some well meaning advice, in the Fringe Club at 2am.
Choosing what shows you are going to see is also a risk. Reading the festival guide is a daunting task. Each act is only given 50 words to convince you to part with your money, and their quoted review of “amazing” might have been written by the director’s mum. But - so what – if you like the sound of it – take that risk and go along. It’s could be less than the cost of a movie and you might see something that speaks to your heart, makes you cry or leaves you smiling all night - or you may see the worst piece of theatre imaginable. All have to be better than sitting at home watching TV.
I have read through the guide and these are my theatre tips. Some I know will be worth seeing; others are total risks. Check out the Melbourne Fringe web site or guide for performance details
acrobat (Arts House and Marguerite Pepper Productions). Unique and highly original circus. Their first Australian appearance in three years.
Andrew McClelland's Mix Tape .C-90 Edition. I missed the sell out shows at the Melbourne Comedy Festival. Friends tell me its hilarious and an embarrassing recollection of the music we pretend not to love.
Apples and Ladders (Malthouse Theatre). Dark, bizarre and (I suspect) obscene puppets with music by The (ever wonderful) Tiger Lillies.
A Quarrelling Pair (Malthouse Theatre/Aphid). More local avant-guarde and miniature puppets.
Bash (5kinds Theatre). It’s a great piece of writing. Lets see what 5Kinds can do with it.
Cath Jamison in Secret Life of a Woman. “Illusion, women’s intuition, bizarre dating rituals and paranormal activity.” Who said being a magician was just about magic.
Coming Clean (The Old Melbourne Gaol). Watching some of Melbourne’s best comedians in the abandoned prisoner’s exercise yard AND Rod Quantock takes you on a tour of the gaol.
David Heffron: Nerd Alert! Convincing us that “Le Geek est Tres Chic!” is either going to be very funny or very sad. I hope we be laughing with and not laughing at.
Evermind (Circus Cathersis) Circus inspired by Frankenstein. Discover your inner monster!
Debris. Having seen Bojana Novakovic recently in The Female of The Species, I’m curious to see a work she has produced herself.
Keating (The Drowsy Drivers/The Melbourne Fringe). Another show that keeps selling out. This time the Melbourne Fringe are presenting it as a FREE gift to us all on opening night.
Mantalk, Episodes 4-7. Neil Thomas and David Wells promise a new form of performance. Episodes 11-16 will be seen at the Melbourne International Arts Festival.
Mz Josephine’s Amazing Holiday. Mz J is always a treat and brings a welcome zing to cabaret. And this time she goes through Nhill.
Penny Machinations (interior theatre). Friday and Saturday nights at the Fringe Club. $2 a show. Each show is unique and you will be the only one to enjoy it. Winner 2005 Melbourne Fringe ‘Outstanding Special Event’.
Politely Savage (My Darling Patricia/FULL TILT). Gothic, with a touch of Picnic at Hanging Rock, all in 1950s frocks.
Some Faces You Know (Ozanam House and Community Centre). These aren’t professional actors, they are people you might walk by and ignore. Challenging misconceptions of the homeless and marginalised.
Something Drastic. “Bridget Jones meets Theatre of the Absurd.” Director Rosemary Johns discovered this work at the International Women’s Playwright’s conference in Athens.
Songs for the Deaf. The media release says that writer, Caleb Lewis spent time workshopping his plays with Edward Albee. If Albee liked him, I’d like to see what Lewis is like.
The Bedroom Philosopher in `Living On The Edge...Of My Bed`. “neurotically erotic hyper-vague bohemian only-child theatrical madness”.
The Caravan of Love presents Kunst Ist Scheisse. It means Art is Shit. The story of a legendry troupe of performing misfits, with the audience playing an active role. And they had the BEST costumes at the launch of the Fringe program.
The Taking of Ramsey Street (theatre in decay). Robert Reid taking on terrorism and aussie soap opera. theatre in decay continue to present the unexpected.
MILK (The Town Bikes). The “bikes” get funnier, more refined and more naughty each time I see them. Looking forward to their first full length show.
This story originally appeared on AussieTheatre.com.
Melbourne Fringe Program Launched
27 September to 15 October
Nineteen days, 245 events, 3000 artists and over 100 venues...and only two weeks before it all starts. The Melbourne Fringe program was released last week. This years’ program is described as “an irreverent and relevant view of our world through artists’ eyes”, and is one of the most diverse programs in recent years. There is a lot to be excited about for Fringe 2006.
Unlike many other festivals and events, the Melbourne Fringe is still about the art. The program is a celebration of independent artists, and the core audience are lovers of the arts. It doesn’t attract the same size audience as the more commercial festivals, but the Fringe artists and audience are united by their passion for their favoured art form.
I love Fringes because they are accessible and open to all artists. They enable artists to show you the work that they really want to do.
There are no artistic requirements or selection criteria to be in this festival. If you have something you want to show an audience (and you pay the registration fee), you can be part of the Melbourne Fringe.
An open program encourages experimentation, exploration and risk from both inexperienced and very experienced artists. Over the years I’ve seen some of the most outstanding and some of the most atrocious theatre, music and art at Fringes.
As an artist, it can be a financial and artistic risk to be in a Fringe, but there is no “bad” show in a program. Even if your product isn’t quite ready for the world to see, your fellow artists and the appreciative audience will still respect the risks you took to be involved and be happy to share a beer, and some well meaning advice, in the Fringe Club at 2am.
Choosing what shows you are going to see is also a risk. Reading the festival guide is a daunting task. Each act is only given 50 words to convince you to part with your money, and their quoted review of “amazing” might have been written by the director’s mum. But - so what – if you like the sound of it – take that risk and go along. It’s could be less than the cost of a movie and you might see something that speaks to your heart, makes you cry or leaves you smiling all night - or you may see the worst piece of theatre imaginable. All have to be better than sitting at home watching TV.
I have read through the guide and these are my theatre tips. Some I know will be worth seeing; others are total risks. Check out the Melbourne Fringe web site or guide for performance details
acrobat (Arts House and Marguerite Pepper Productions). Unique and highly original circus. Their first Australian appearance in three years.
Andrew McClelland's Mix Tape .C-90 Edition. I missed the sell out shows at the Melbourne Comedy Festival. Friends tell me its hilarious and an embarrassing recollection of the music we pretend not to love.
Apples and Ladders (Malthouse Theatre). Dark, bizarre and (I suspect) obscene puppets with music by The (ever wonderful) Tiger Lillies.
A Quarrelling Pair (Malthouse Theatre/Aphid). More local avant-guarde and miniature puppets.
Bash (5kinds Theatre). It’s a great piece of writing. Lets see what 5Kinds can do with it.
Cath Jamison in Secret Life of a Woman. “Illusion, women’s intuition, bizarre dating rituals and paranormal activity.” Who said being a magician was just about magic.
Coming Clean (The Old Melbourne Gaol). Watching some of Melbourne’s best comedians in the abandoned prisoner’s exercise yard AND Rod Quantock takes you on a tour of the gaol.
David Heffron: Nerd Alert! Convincing us that “Le Geek est Tres Chic!” is either going to be very funny or very sad. I hope we be laughing with and not laughing at.
Evermind (Circus Cathersis) Circus inspired by Frankenstein. Discover your inner monster!
Debris. Having seen Bojana Novakovic recently in The Female of The Species, I’m curious to see a work she has produced herself.
Keating (The Drowsy Drivers/The Melbourne Fringe). Another show that keeps selling out. This time the Melbourne Fringe are presenting it as a FREE gift to us all on opening night.
Mantalk, Episodes 4-7. Neil Thomas and David Wells promise a new form of performance. Episodes 11-16 will be seen at the Melbourne International Arts Festival.
Mz Josephine’s Amazing Holiday. Mz J is always a treat and brings a welcome zing to cabaret. And this time she goes through Nhill.
Penny Machinations (interior theatre). Friday and Saturday nights at the Fringe Club. $2 a show. Each show is unique and you will be the only one to enjoy it. Winner 2005 Melbourne Fringe ‘Outstanding Special Event’.
Politely Savage (My Darling Patricia/FULL TILT). Gothic, with a touch of Picnic at Hanging Rock, all in 1950s frocks.
Some Faces You Know (Ozanam House and Community Centre). These aren’t professional actors, they are people you might walk by and ignore. Challenging misconceptions of the homeless and marginalised.
Something Drastic. “Bridget Jones meets Theatre of the Absurd.” Director Rosemary Johns discovered this work at the International Women’s Playwright’s conference in Athens.
Songs for the Deaf. The media release says that writer, Caleb Lewis spent time workshopping his plays with Edward Albee. If Albee liked him, I’d like to see what Lewis is like.
The Bedroom Philosopher in `Living On The Edge...Of My Bed`. “neurotically erotic hyper-vague bohemian only-child theatrical madness”.
The Caravan of Love presents Kunst Ist Scheisse. It means Art is Shit. The story of a legendry troupe of performing misfits, with the audience playing an active role. And they had the BEST costumes at the launch of the Fringe program.
The Taking of Ramsey Street (theatre in decay). Robert Reid taking on terrorism and aussie soap opera. theatre in decay continue to present the unexpected.
MILK (The Town Bikes). The “bikes” get funnier, more refined and more naughty each time I see them. Looking forward to their first full length show.
This story originally appeared on AussieTheatre.com.
Subscribe to:
Posts (Atom)