Miles and Simone launched their first video last night.
Play it on this delightfully warm Friday to ease into the weekend and gently fall in love with this Melbourne duo.
Want the album? Head to milesandsimone.com.
Mostly Melbourne theatre reviews
Showing posts with label Miles O’Neil. Show all posts
Showing posts with label Miles O’Neil. Show all posts
12 April 2013
11 February 2013
Music review: Miles and Simone
Miles and Simone
Valentine's tour
9 Feb 2013
Spiegeltent, Arts Centre Melbourne
milesandsimone.com
facebook page
I've had a bit of a crush on Miles and Simone since they released their first CD, Home in Your Heart, last year, but on Saturday I watched a full Spiegeltent fall completely in love with this too gorgeous Melbourne duo.
Simone Page Jones wears an extra frilly dress with a floral print, red tulle and black tassels. She bought it in Barcelona in the hope that one day she'd wear it in the Spiegeltent. The only thing stopping her from floating off the stage in happiness is the the grounding influence of Miles O'Neil, who (even with fluffy ginger thighs) continues to re-define hipster op-shop style with a cream jacket that makes the 60s Vegas Rat Pack look uncool.
And they sing.
A Black Velvet cocktail has a base of rich stout that's topped with a crisp and sweet fizz and served in a curvy flute. I have no idea how anyone thought these drinks should mix and make something quite perfect, but they do and it's like how Miles's chocolaty deep voice sounds so unexpectedly perfect with Simone's clear and sparkling sound – which isn't a like posh and over-priced Champagne, but more like a far better local wine with the kind of light sparkle that makes you smile with every sip.
They talk like best friends and share stories about their songs with their besotted audience and each other, and I hope that they never lose the ability to surprise each other on stage. There's a song about a holiday in Apollo Bay, one set in a Fitzroy pub, songs about loves lost or run from, and now that I know Simone's song "Birdy" is about the galah that sits chained to a stand in a Bourke Street tobacco shop, I don't think I can listen without making sure that I go and give that bird a scratch.
With just Miles's guitar, their music is a little bit country, but with a loving and gentle sound that feels like they wrote them on an inner-city patch of grass on a perfect warm day. They remind me of the early 90s duets by the UK's The Beautiful South and their reminiscing tone is almost like The Go-Betweens "Cattle and Cane".
I took a friend who after two songs turned to me and said, "Do they have a CD? They're sublime." What more can I say. Miles and Simone are sublime.
You can buy Home in Your Heart here and they are launching the album in Sydney on Tuesday night at 8.30 at 107 Projects in Redfern (tickets at the door) and in Brisbane on Wednesday at 9.30 at the Brisbane Powerhouse (free).
More photos by Leila Koren
Valentine's tour
9 Feb 2013
Spiegeltent, Arts Centre Melbourne
milesandsimone.com
facebook page
I've had a bit of a crush on Miles and Simone since they released their first CD, Home in Your Heart, last year, but on Saturday I watched a full Spiegeltent fall completely in love with this too gorgeous Melbourne duo.
Simone Page Jones wears an extra frilly dress with a floral print, red tulle and black tassels. She bought it in Barcelona in the hope that one day she'd wear it in the Spiegeltent. The only thing stopping her from floating off the stage in happiness is the the grounding influence of Miles O'Neil, who (even with fluffy ginger thighs) continues to re-define hipster op-shop style with a cream jacket that makes the 60s Vegas Rat Pack look uncool.
And they sing.
A Black Velvet cocktail has a base of rich stout that's topped with a crisp and sweet fizz and served in a curvy flute. I have no idea how anyone thought these drinks should mix and make something quite perfect, but they do and it's like how Miles's chocolaty deep voice sounds so unexpectedly perfect with Simone's clear and sparkling sound – which isn't a like posh and over-priced Champagne, but more like a far better local wine with the kind of light sparkle that makes you smile with every sip.
Photo by Leila Koren
With just Miles's guitar, their music is a little bit country, but with a loving and gentle sound that feels like they wrote them on an inner-city patch of grass on a perfect warm day. They remind me of the early 90s duets by the UK's The Beautiful South and their reminiscing tone is almost like The Go-Betweens "Cattle and Cane".
I took a friend who after two songs turned to me and said, "Do they have a CD? They're sublime." What more can I say. Miles and Simone are sublime.
You can buy Home in Your Heart here and they are launching the album in Sydney on Tuesday night at 8.30 at 107 Projects in Redfern (tickets at the door) and in Brisbane on Wednesday at 9.30 at the Brisbane Powerhouse (free).
More photos by Leila Koren
12 December 2012
What Melbourne loved in 2012, part 5
Today it's Miles O'Neil, Stephen Nicolazzo and Shannon Woollard.
Stephen says how his experiences in 2012 "have changed me and allowed me to find a platform to express myself without censorship or fear".
The artists who break through the fear and trust that their unique voice is the only way to tell their story are the ones who keep appearing in favourite moments. So, on 12/12/12, let's declare our creative mantra for 2013: "Without censorship or fear".
Miles O'Neil
performer, singer, story teller
MILES: My favourite theatre experience was The Last Tuesday Society's Pimp My Play-A Streetcar Named Desire, some night in September at the Melbourne Fringe Hub. It was a beautifully run night full of wonderful performers trying things. I always love a Black Lung short piece, and a dance from Gabi Barton and Vachel Spirason. Finish it off with a conga line from Lessons with Luis and the sweet voice of Simone Page Jones and get Bron Batten serve it up with a bit of cream and a cherry on it and you've got my theatre sweet treat of 2012.
SM: Miles, Jof and Glen left me hurting in The Suitcase Royale's Zombatland with its giant zombie wombats and pineapple doughnuts, but my moment is my ongoing meeting with Miles and Simone Page Jones in my car. In November, Miles and Simone released the most fucking gorgeous album: Home in Your Heart. Its ten original songs are melancholic but filled with hope and a love that's so close you can touch it with your fingertips. Each song draws you into its story and world, and the rather exquisite recording sounds like they're sitting next to and singing just for you. You can listen to three tracks here, then buy it here.
Stephen says how his experiences in 2012 "have changed me and allowed me to find a platform to express myself without censorship or fear".
The artists who break through the fear and trust that their unique voice is the only way to tell their story are the ones who keep appearing in favourite moments. So, on 12/12/12, let's declare our creative mantra for 2013: "Without censorship or fear".
Miles O'Neil
performer, singer, story teller
photo by Telia Nevile
MILES: My favourite theatre experience was The Last Tuesday Society's Pimp My Play-A Streetcar Named Desire, some night in September at the Melbourne Fringe Hub. It was a beautifully run night full of wonderful performers trying things. I always love a Black Lung short piece, and a dance from Gabi Barton and Vachel Spirason. Finish it off with a conga line from Lessons with Luis and the sweet voice of Simone Page Jones and get Bron Batten serve it up with a bit of cream and a cherry on it and you've got my theatre sweet treat of 2012.
SM: Miles, Jof and Glen left me hurting in The Suitcase Royale's Zombatland with its giant zombie wombats and pineapple doughnuts, but my moment is my ongoing meeting with Miles and Simone Page Jones in my car. In November, Miles and Simone released the most fucking gorgeous album: Home in Your Heart. Its ten original songs are melancholic but filled with hope and a love that's so close you can touch it with your fingertips. Each song draws you into its story and world, and the rather exquisite recording sounds like they're sitting next to and singing just for you. You can listen to three tracks here, then buy it here.
photo by Pierre Baroni
director
STEPHEN: Summertime in the Garden of Eden was the only theatrical experience of the year that inspired me to carry on as an artist and engage. Sisters Grimm are a unique force and, though I am biased, I feel that their work is intelligently crafted, razor sharp and odious in a way that not much theatre in Australia has been for many years. Having said that, my personal aesthetic and interest is completely present in their work, so it is a matter of taste and appreciation that influences my decision here.
I also loved Matt Lutton's production The Misconception of Oedipus and The Rabble's showing of The Picture of Dorian Gray at Theatre Works. Both of these pieces dissected the literary in such a magical theatrical way that I couldn't help but wonder how on earth the creatives involved had orchestrated these events.
This year was also a really big year for me as I had returned to Melbourne after many years living in Sydney and finally got a chance to produce the work I have always wanted to make.
MKA'S sex.violence.blood.gore and now Psycho Beach Party have changed me and allowed me to find a platform to express myself without censorship or fear.
MKA'S sex.violence.blood.gore and now Psycho Beach Party have changed me and allowed me to find a platform to express myself without censorship or fear.
I also concur on the praise for Sarah Walker's photography this year. She really has captured the diversity and brevity of theatre in Melbourne unlike any other and hopefully will continue to document the contemporary history of our new theatre makers for years to come. I love her so much I flew her up to Sydney to shoot photos for Psycho Beach Party. I recommend every one to do this.
SM: sex.violence.blood.gore sex.violence.blood.gore sex.violence.blood.gore sex.violence.blood.gore sex.violence.blood.gore sex.violence.blood.gore sex.violence.blood.gore sex.violence.blood.gore sex.violence.blood.gore sex.violence.blood.gore sex.violence.blood.gore sex.violence.blood.gore
Loved it to pieces and then more.
If you're in Sydney, there's a few more chances to see Stephen's Psycho Beach Party. It's at the Bondi Pavillion and features leopard print and Ash Flanders. Details here. The only reason I'm not upset that it's on in Sydney, is that we get it in January at Theatre Works.
actor, director
SHANNON: While it didn't quite enter the realm of perfection, I thought that Bridgette Burton's Rhonda is in Therapy (Baggage/Hoy Polloy at fortyfivedownstairs) came pretty close. My fave theatre moment this year would have to be watching Kelly Nash and Louise Crawford nail a critical scene. It's one of those scenes where you're not completely sure if someone is actually real. Genuine disconsolation floats – like a troublesome but intriguing ghost – right in front of you. Sometimes you read a script (I was pretty familiar with this one before I saw the show) and something evokes a very specific dramatic idea or mechanism. I saw that mechanism perfectly translated by director Wayne Pearn and the actors in this production.
SM: Last week I saw Shannon in Death of a Comedian at La Mama and loved being taken into the insecure backstage world of stand up comedians, but I think my favourite moment will be this weekend when I head to Williamstown for PlaySix, the annual short-play mini-festival he directs. Details here. And I'll get to hang out at the super-cute Willamstown Theatre where they sell packets of lollies and have old-school brocade-covered seats.
16 November 2012
Miles and Simone's debut album
I decided to go to the theatre on Wednesday instead of heading to The Toff for the launch of Miles & Simone's debut album, Home in Your Heart. I made the wrong choice.
Both Melbourne based, Simone Page Jones is an opera singer and cabaret artist, and Miles O'Neil is a founding member of the junkyard band and performance group The Suitcase Royale. If you were at the Festival Hub on Sunday afternoons, you may have caught a sneak preview of this gorgeous duo and Simone's super cute dog. I really loved that the dog sat on stage with them.
They have been friends for a long time and say that last summer they "found themselves on many an afternoon drinking gin and singing lonesome duets in the backyard. As the months got colder they left the backyard and began recording the songs in Miles’s spare room studio."
The rough mix of the album took them to Portland, Oregon, where was mixed by renowned engineer Adam Selzer.
"Eleven songs of sparse acoustic duets subtly augmented by an old piano, pedal steel and the plunk of a banjo. Set in the folk/country tradition and maintaining at their core an Australian feel both in the lyrics and laconic style, the songs are straight from the heart and tell tales of the things that were, the things that weren’t and everything in between."
It's already been described as "a work of quiet brilliance" and just having a listen to the sample tracks, I wish I'd said it first.
You can listen here and buy here.
Launch photos by Telia Nevile
Both Melbourne based, Simone Page Jones is an opera singer and cabaret artist, and Miles O'Neil is a founding member of the junkyard band and performance group The Suitcase Royale. If you were at the Festival Hub on Sunday afternoons, you may have caught a sneak preview of this gorgeous duo and Simone's super cute dog. I really loved that the dog sat on stage with them.
They have been friends for a long time and say that last summer they "found themselves on many an afternoon drinking gin and singing lonesome duets in the backyard. As the months got colder they left the backyard and began recording the songs in Miles’s spare room studio."
The rough mix of the album took them to Portland, Oregon, where was mixed by renowned engineer Adam Selzer.
"Eleven songs of sparse acoustic duets subtly augmented by an old piano, pedal steel and the plunk of a banjo. Set in the folk/country tradition and maintaining at their core an Australian feel both in the lyrics and laconic style, the songs are straight from the heart and tell tales of the things that were, the things that weren’t and everything in between."
It's already been described as "a work of quiet brilliance" and just having a listen to the sample tracks, I wish I'd said it first.
You can listen here and buy here.
Launch photos by Telia Nevile
22 October 2012
A weekend at the Foxtel Festival Hub
including
Wunderacts (Circa), Life Art and Leigh Bowery, The Love of Books: A Sarajevo Story, The Enemy of the People, Miles O'Neil and Simone Page Jones
I've seen some terrific stuff this festival (Orlando and last night's An Enemy of the People are highlights), but the absolute jump-up-and-dance winner of this year's Melbourne Festival is the Festival Hub (ok, the Foxtel Festival Hub).
My favourite hour of this festival was spent sitting on a red velvet couch listening to Boy George, Paul Capsis, Le Gateau Chocolate and Richard Watts talk about identity, drag and the politics of being yourself. I had good coffee (really good coffee) and a cup cake with a purple flower, I was with people who remember the 80s and there was free Wi Fi to tweet from. Can't ask for anything more.
On Saturday afternoon, I saw Circa's Wunderacts. And yes it is.
And here's a chat with Daniel Crisp from Circa.
Circa make intelligent, funny, sexy, mad and wonderful circus. From its fuck-me red stilletto shoes to the throwing of teddies, Wunderacts is an utter joy that had the audience on their grinning and cheering feet.
Circa take traditional tricks and add layers of skill and complexity that leave even the most jaded of us gasping. Throw in a world where strong women are bases, men dance gloriously in pink tulle and everyone is wonderful just as they are, it's the kind of show that simply left me feeling happy.
Their last performance is tonight (Monday).
After such a treat, there was no chance of going home to sit in the dark and write as there was sun, a roof top bar with cocktails, amazing views, great conversation and a very cute dog running from table to table for pats.
Sunday started with a documentary (yes, there's a film program in the festival). The Love of Books: A Sarajevo Story is a mix of first-person interviews, re-enactments and footage from the city during the siege. There were only two screenings, but it's well worth finding.
During the Bosnian war (1992–95), the city of Sarajevo was burnt and shelled, 250, 000 people were killed and two million refugees fled. As snipers lined the streets and friends and families were killed and threatened, a group of people risked their lives to move and hide 10,067 irreplaceable manuscripts. They put them in old banana boxes (books so old that they can't be exposed to light or held by human hands today) and ran. Then they did it again when the libraries in the city were burnt.
A man who was born in Africa and had made his home in Sarajevo said, "It would have been better to die with the books than to live without them."
I saw this film because I'd read Geraldine Brooks's fictional People of the Book, which was inspired by this story, and I wanted to see the exquisite ancient texts. They are so beautiful, but I was humbled and moved by a story that should be known far wider than the few who see this documentary.
Next it was back to the Hub for more coffee and was happily surprised to see that uber-gorgeous singers Miles O'Neil and Simone Page Jones had been asked back for their second Sunday. Even better, they performed with Nathan the dog. Every performance should have a dog.
And Schaubuühne Berlin's The Enemy of the People supported my solid theory by having a German Shepherd. Every show should have a dog.
I was on a date ticket, so will leave the raving to others – who will be raving.
The pre-show whinge was "two and a half hours with no interval" – it's a big ask in the middle of festival – but have a wee before you go in and you'll be fine. And put up with the fuzzy surtitles (there were lots of complaints about how hard it was to read them).
I was near people who hated it and saw some wonderful huffy walkouts, but they should have stuck it out. The first stretch is contemporary uber-naturalism Ibsen with German hipsters and David Bowie songs. A young doctor had a new wife and baby and has uncovered that the local spa water is poisoned, but the local council convinces the local paper not to publish the findings. This leads to a very long speech about the "sodding liberal majority" that left me wishing that I wasn't one of the sodding, and then it gets so brilliant that I don't want to talk about it and ruin the impact. All I can say is that Melbourne audiences are wonderful.
And I'm hoping to get back to the Hub on Thursday for the forum about European Theatre with Schaubuühne's director Thomas Ostermeier.
All photos by me.
Wunderacts (Circa), Life Art and Leigh Bowery, The Love of Books: A Sarajevo Story, The Enemy of the People, Miles O'Neil and Simone Page Jones
I've seen some terrific stuff this festival (Orlando and last night's An Enemy of the People are highlights), but the absolute jump-up-and-dance winner of this year's Melbourne Festival is the Festival Hub (ok, the Foxtel Festival Hub).
My favourite hour of this festival was spent sitting on a red velvet couch listening to Boy George, Paul Capsis, Le Gateau Chocolate and Richard Watts talk about identity, drag and the politics of being yourself. I had good coffee (really good coffee) and a cup cake with a purple flower, I was with people who remember the 80s and there was free Wi Fi to tweet from. Can't ask for anything more.
On Saturday afternoon, I saw Circa's Wunderacts. And yes it is.
And here's a chat with Daniel Crisp from Circa.
Circa make intelligent, funny, sexy, mad and wonderful circus. From its fuck-me red stilletto shoes to the throwing of teddies, Wunderacts is an utter joy that had the audience on their grinning and cheering feet.
Circa take traditional tricks and add layers of skill and complexity that leave even the most jaded of us gasping. Throw in a world where strong women are bases, men dance gloriously in pink tulle and everyone is wonderful just as they are, it's the kind of show that simply left me feeling happy.
Their last performance is tonight (Monday).
After such a treat, there was no chance of going home to sit in the dark and write as there was sun, a roof top bar with cocktails, amazing views, great conversation and a very cute dog running from table to table for pats.
Sunday started with a documentary (yes, there's a film program in the festival). The Love of Books: A Sarajevo Story is a mix of first-person interviews, re-enactments and footage from the city during the siege. There were only two screenings, but it's well worth finding.
During the Bosnian war (1992–95), the city of Sarajevo was burnt and shelled, 250, 000 people were killed and two million refugees fled. As snipers lined the streets and friends and families were killed and threatened, a group of people risked their lives to move and hide 10,067 irreplaceable manuscripts. They put them in old banana boxes (books so old that they can't be exposed to light or held by human hands today) and ran. Then they did it again when the libraries in the city were burnt.
A man who was born in Africa and had made his home in Sarajevo said, "It would have been better to die with the books than to live without them."
I saw this film because I'd read Geraldine Brooks's fictional People of the Book, which was inspired by this story, and I wanted to see the exquisite ancient texts. They are so beautiful, but I was humbled and moved by a story that should be known far wider than the few who see this documentary.
Next it was back to the Hub for more coffee and was happily surprised to see that uber-gorgeous singers Miles O'Neil and Simone Page Jones had been asked back for their second Sunday. Even better, they performed with Nathan the dog. Every performance should have a dog.
And Schaubuühne Berlin's The Enemy of the People supported my solid theory by having a German Shepherd. Every show should have a dog.
I was on a date ticket, so will leave the raving to others – who will be raving.
The pre-show whinge was "two and a half hours with no interval" – it's a big ask in the middle of festival – but have a wee before you go in and you'll be fine. And put up with the fuzzy surtitles (there were lots of complaints about how hard it was to read them).
I was near people who hated it and saw some wonderful huffy walkouts, but they should have stuck it out. The first stretch is contemporary uber-naturalism Ibsen with German hipsters and David Bowie songs. A young doctor had a new wife and baby and has uncovered that the local spa water is poisoned, but the local council convinces the local paper not to publish the findings. This leads to a very long speech about the "sodding liberal majority" that left me wishing that I wasn't one of the sodding, and then it gets so brilliant that I don't want to talk about it and ruin the impact. All I can say is that Melbourne audiences are wonderful.
And I'm hoping to get back to the Hub on Thursday for the forum about European Theatre with Schaubuühne's director Thomas Ostermeier.
All photos by me.
22 March 2012
Review: Zombatland
Zombatland
Arts House & The Suitcase Royale
14 March 2012
North Melbourne Town Hall
to 18 March
Aussie Aussie Aussie loves big things. From Kingston's Big Lobster to Goulburn's Big Merino, we flock to tacky ugly giant critters, but it's taken The Suitcase Royale to show us how much we need a giant zombie wombat to visit in the middle of nowhere.
Indie style meets 70s ozploitation at the Blue Lagoon caravan park. Brothers Mayor and Daryl Grogan are still running the holiday spot and programming its Danish film festival, but they're the only ones left alive after attacks by zombie wombats. When a Stranger arrives with his crumpet gun, it's time to take control and face their demons – and the zombie wombats.
Zombatland is the newest experience from Joseph O'Farrell, Miles O'Neil, Glen Walton and newest Royale Tom Salisbury, on lights. It's not possible to passively watch a Suitcase Royale show. They play live music, acknowledge each other and invite the audience share their wonderful game of pretend, which is so real that you'll never again look at a cuddly wombat without a slight shudder of fear.
Its out of town try-out was the Edinburgh Fringe and there are only a handful of performances in their hometown. This is cruel and unfair. The chaotic joy as they nipple-cripple the zeitgeist deserves to be shared with as many people as possible.
Hundreds of thousands will see the squizillion-dollar animatronic dragons in the sports arena, but only hundreds can share the unbridled awesomeness of father and son zombie wombats made from what looks like a fuzzy beanbag that survived too many teen parties and was dragged out on hard rubbish day by the family dog who refused to sleep on anything so hideous.
And it possibly was. Cruising hard rubbish collections and haunting op shops, the Royale's aesthetic has developed from creating props, sets, costumes and instruments from found and recycled objects. This loving of the disguarded layers unknown and unspoken stories into their world and lets junk become art.
Zombatland is part of the wonderful Arts House program and is on at the North Melbourne Town Hall until Sunday. Its madness is magnificent and will leave you grinning all day and heading to a bakery for a bright yellow pineapple doughnut.
originally on AussieTheatre.com
11 March 2012
Chat: The Suitcase Royale
Zombatland
The Suitcase Royale
Arts House
14–18 March 2012
review
Zombie wombats attack a caravan park. What more do you need to know? Except that Zombatland is the new show by The Suitcase Royale. With wonderfully insane stories, live original music and sets made from found and ‘junkyard’ objects, they have created style so unique that it’s rare to see the Melbourne troupe perform in their home town as festivals all over the world demand their inventive gorgeousness.
AMP has a quick chat to Joseph Neil O’Farrell, Glen Lawerence Walton, Miles Henry O’Neil and new Royale Thomas Salisbury. Zombatland has a very short season at Arts House, North Melbourne Town Hall, 14–18 March.
If you’re not scared of zombie wombats, what are you scared of?
“An eight year old with a badge.”
If you lived in a caravan, where would your next stop be?
Heathcote Caravan Park. Best caravan park in Central Victoria. Ask for April, she’ll sort you out.
After so much touring, what’s it like to be home?
It’s great, we get to hang out with our legendary friends and get to enjoy our record collections. Touring is pretty much the best though.
What festival has been the most surprising?
We just played the Perth International Arts Festival. We always knew it was going to be great, but the crowd reaction and turn out just blew us away!
What was your first trash/found prop?
An old gramophone we found out the back of an Italian restaurant.
Where do you find the best junkyard props?
Hard rubbish collection month in Hawthorn.
Where is the best op shop in Melbourne?
Good question, but we will never tell.
What was your best op shop purchase?
On the same day we got a full penguin outfit and miniature motorbike for the penguin to ride on….awesometown!
What do you always buy new (not second hand or found)?
Sandals. Never buy second hand sandals, it’s not natural.
How did the three of you meet?
There is a fourth member now and we all met at Deakin University, or as we like to call it: The Dream Factory.
What was the first album (or possibly CD) that you bought with your own money?
It was a cassingle. “Three Little Pigs” by Green Jelly.
What song are you embarrassed to know the words to?
“Drops of Jupiter” by TRAIN.
What song will you always dance to?
“Born to Run” by the boss
North or south of the river?
North side for life baby. (Or until the developers kick us out of Northcote.)
Beer or cider?
There is nothing like an ice-cold beer after running from Zombats all day.
Tell me a tour story that should really stay on tour.
There is a long one that took place in the Arizona desert. It involves a coyote cave, being bogged in a river bed, flash flooding and impending death. Lets just say US Border Patrol did get called and we are thankful to be alive. Don’t ever drive out into an unfamiliar desert without a map.
What’s next for The Suitcase Royale?
Very exciting things are in the works. But for now we are pumped to tour Zombatland around Australia for the rest of the year.
This was on AussieTheatre.com
The Suitcase Royale
Arts House
14–18 March 2012
review
Zombie wombats attack a caravan park. What more do you need to know? Except that Zombatland is the new show by The Suitcase Royale. With wonderfully insane stories, live original music and sets made from found and ‘junkyard’ objects, they have created style so unique that it’s rare to see the Melbourne troupe perform in their home town as festivals all over the world demand their inventive gorgeousness.
AMP has a quick chat to Joseph Neil O’Farrell, Glen Lawerence Walton, Miles Henry O’Neil and new Royale Thomas Salisbury. Zombatland has a very short season at Arts House, North Melbourne Town Hall, 14–18 March.
“An eight year old with a badge.”
If you lived in a caravan, where would your next stop be?
Heathcote Caravan Park. Best caravan park in Central Victoria. Ask for April, she’ll sort you out.
After so much touring, what’s it like to be home?
It’s great, we get to hang out with our legendary friends and get to enjoy our record collections. Touring is pretty much the best though.
What festival has been the most surprising?
We just played the Perth International Arts Festival. We always knew it was going to be great, but the crowd reaction and turn out just blew us away!
What was your first trash/found prop?
An old gramophone we found out the back of an Italian restaurant.
Where do you find the best junkyard props?
Hard rubbish collection month in Hawthorn.
Where is the best op shop in Melbourne?
Good question, but we will never tell.
What was your best op shop purchase?
On the same day we got a full penguin outfit and miniature motorbike for the penguin to ride on….awesometown!
What do you always buy new (not second hand or found)?
Sandals. Never buy second hand sandals, it’s not natural.
How did the three of you meet?
There is a fourth member now and we all met at Deakin University, or as we like to call it: The Dream Factory.
What was the first album (or possibly CD) that you bought with your own money?
It was a cassingle. “Three Little Pigs” by Green Jelly.
What song are you embarrassed to know the words to?
“Drops of Jupiter” by TRAIN.
What song will you always dance to?
“Born to Run” by the boss
North or south of the river?
North side for life baby. (Or until the developers kick us out of Northcote.)
Beer or cider?
There is nothing like an ice-cold beer after running from Zombats all day.
Tell me a tour story that should really stay on tour.
There is a long one that took place in the Arizona desert. It involves a coyote cave, being bogged in a river bed, flash flooding and impending death. Lets just say US Border Patrol did get called and we are thankful to be alive. Don’t ever drive out into an unfamiliar desert without a map.
What’s next for The Suitcase Royale?
Very exciting things are in the works. But for now we are pumped to tour Zombatland around Australia for the rest of the year.
This was on AussieTheatre.com
17 December 2011
What I Loved 2011
December really did sneak up this year. I still think it's August.
But the urge to make chocolate truffles and eat fruitcake tells me it's time for the What-I-Loved Awards.
Now in their fourth year, there's still no red carpet or sparkly statue, but feel free to put on your best frock and assume that you were nominated.
I've seen over a hundred shows this year, reviewed most of them and loved watching others without the critical hat.
As ever, most of my reviews are also written for the national site AussieTheatre.com, which welcomed new editors and owners Erin and Matt in July. Already they've increased hits by thousands and readers can look forward to a whole new look in 2012.
And please keep reading every other site and blog that reviews, comments or raves. Without them, we may not have had David W's magnificent hissy over nasty reviewers or Site Unseen may not have started a debate about the value of community cultural development.
My criteria for the What-I-Likeds is: how much I liked it. The shows I remember (yes some are forgotten) are the ones that respect audiences enough to know that we watch theatre with our uncontrollable emotions. Even if our oh-so-clever heads appreciate a practitioner, get the joke or the reference and admire the structure, if our hearts and guts don't care, there's not much point in even being there.
For the first time, there's only one non-Melbourne show among the winners and most of this year's winners are independent companies and artists.
Outstanding Artists 2011
WRITING
Angus Cerini for Save for Crying
Special Mention
Patricia Cornelius for Slut in Tenderness, Platform Youth Theatre
DESIGN
David Samuel for MKA's season 1 (Sleepyhead, 22 Short Plays, The Horror Face, J.A.T.O)
Special mention
Gabriela Tylesova for the shoes in Love Never Dies
LIGHTING DESIGN
Paul Jackson for Little Match Girl
PERFORMANCE
The cast of Aftermath
DIRECTION
Daniel Schlusser for The Dollhouse
EVERYTHING THEY DO ROCKS
Tobias, Glynn and everyone from MKA.
Outstanding Productions 2011
CABARET
Miles O Neil's World Around Us II
with bonus points to be shared with the rest of The Suitcase Royale for the Xmas song at the Last Tuesday Society's Occupy Xmas.
Smoke and Mirrors
COMMERCIAL SHOW
Clybourne Park, MTC
MUSICAL
Next to Normal, MTC
and
Flowerchildren, Magnormos
Special mention
Spring Awakening, MUST
COMEDY
Sweet Child of Mine, Bron, Jim and Linda Batten
Special mention
Negative Energy Inc, Ash Flanders
Best of the best
Namatjira, Malthouse Theatre and Big hART
and
I know there's a lot of noise outside but you have to close your eyes, I'm Trying To Kiss You
This extraordinary show never made it past a review preview, which said sucked in to anyone who missed it. Played in the crowded downstairs room of a Fitzroy terrace, word of mouth ensured that this Fringe gem sold out (and maybe pushed some overcrowding regulations).
I'm Trying To Kiss You are Allison Wiltshire, Anna McCarthy and Zoey Dawson. Remember those names. Deeply personal, I know etc is a confronting and intimate revelation of young women's thoughts. Unafraid of gender, language and sex, the creators crafted a story of confusion, awkwardness and bravado that was willing to be honest.
It's development took 18-months and was assisted by the Melbourne Fringe Festival and Full Tilt Outside Eye mentor program.
I heard it described as confronting and scary; a friend of mine thought it was sad and lonely. I thought it was beautiful – and that includes its glorious bitchiness, darkness and anger. Without being obvious, this work gently grabbed me by the heart and reminded me what it was like to be 20ish.
My favourite show of 2011
Ganesh Versus the Third Reich, Back to Back Theatre, Malthouse Theatre and MIAF
2010 Favourites
2009 Favourites
2008 Favourites
But the urge to make chocolate truffles and eat fruitcake tells me it's time for the What-I-Loved Awards.
Now in their fourth year, there's still no red carpet or sparkly statue, but feel free to put on your best frock and assume that you were nominated.
I've seen over a hundred shows this year, reviewed most of them and loved watching others without the critical hat.
As ever, most of my reviews are also written for the national site AussieTheatre.com, which welcomed new editors and owners Erin and Matt in July. Already they've increased hits by thousands and readers can look forward to a whole new look in 2012.
And please keep reading every other site and blog that reviews, comments or raves. Without them, we may not have had David W's magnificent hissy over nasty reviewers or Site Unseen may not have started a debate about the value of community cultural development.
My criteria for the What-I-Likeds is: how much I liked it. The shows I remember (yes some are forgotten) are the ones that respect audiences enough to know that we watch theatre with our uncontrollable emotions. Even if our oh-so-clever heads appreciate a practitioner, get the joke or the reference and admire the structure, if our hearts and guts don't care, there's not much point in even being there.
For the first time, there's only one non-Melbourne show among the winners and most of this year's winners are independent companies and artists.
Outstanding Artists 2011
WRITING
Angus Cerini for Save for Crying
Special Mention
Patricia Cornelius for Slut in Tenderness, Platform Youth Theatre
DESIGN
David Samuel for MKA's season 1 (Sleepyhead, 22 Short Plays, The Horror Face, J.A.T.O)
Special mention
Gabriela Tylesova for the shoes in Love Never Dies
LIGHTING DESIGN
Paul Jackson for Little Match Girl
PERFORMANCE
The cast of Aftermath
DIRECTION
Daniel Schlusser for The Dollhouse
EVERYTHING THEY DO ROCKS
Tobias, Glynn and everyone from MKA.
Outstanding Productions 2011
CABARET
Miles O Neil's World Around Us II
with bonus points to be shared with the rest of The Suitcase Royale for the Xmas song at the Last Tuesday Society's Occupy Xmas.
Smoke and Mirrors
COMMERCIAL SHOW
Clybourne Park, MTC
MUSICAL
Next to Normal, MTC
and
Flowerchildren, Magnormos
Special mention
Spring Awakening, MUST
COMEDY
Sweet Child of Mine, Bron, Jim and Linda Batten
Special mention
Negative Energy Inc, Ash Flanders
Best of the best
Namatjira, Malthouse Theatre and Big hART
and
I know there's a lot of noise outside but you have to close your eyes, I'm Trying To Kiss You
This extraordinary show never made it past a review preview, which said sucked in to anyone who missed it. Played in the crowded downstairs room of a Fitzroy terrace, word of mouth ensured that this Fringe gem sold out (and maybe pushed some overcrowding regulations).
I'm Trying To Kiss You are Allison Wiltshire, Anna McCarthy and Zoey Dawson. Remember those names. Deeply personal, I know etc is a confronting and intimate revelation of young women's thoughts. Unafraid of gender, language and sex, the creators crafted a story of confusion, awkwardness and bravado that was willing to be honest.
It's development took 18-months and was assisted by the Melbourne Fringe Festival and Full Tilt Outside Eye mentor program.
I heard it described as confronting and scary; a friend of mine thought it was sad and lonely. I thought it was beautiful – and that includes its glorious bitchiness, darkness and anger. Without being obvious, this work gently grabbed me by the heart and reminded me what it was like to be 20ish.
My favourite show of 2011
Ganesh Versus the Third Reich, Back to Back Theatre, Malthouse Theatre and MIAF
2010 Favourites
2009 Favourites
2008 Favourites
30 September 2011
Fringe artist profiles part 2
Gremlins stole these profiles off AussieTheatre.com, so here's Miles O'Neil, Miranda Hill, Jennifer Williams and Robert Lloyd
29 September 2011
FRINGE review: World Around Us II
MELBOURNE FRINGE 2011
23 September 2011
Fringe Hub, Rehearsal Room
to 8 October 2011
World Around Us was one of my favourite of last year's Fringe, and this year's part II is just as gorgeous. Intimate, gentle and so fucking beautiful, it's impossible to watch without crushing on Miles O'Neil.
Everybody seems to have a story – and that's brilliant!
So says Miles, as he shares some unlikely cans of VB. His cream brocade jacket and pink-rose tie defines Melbourne op-shop hipster chic, but there's nothing ironic about his nostalgic collection of stories, found 8mm (and super 8) film and original songs. This year, they're about love.
There's stories like Bob's. He's the Jetstar lost property delivery dude who was once "6 inches away" from asking a girl to marry him and delighted in watching the sun set over a power pole. There's a 1950s film of a nanna watching her grandchildren, who may now be grandparents themselves. There are backyard pools, animals, Neil Diamond (thank you for bringing him back) and blue V Dub that will never leave your heart.
Miles makes these stories of day-to-day life so irresistible and joyful by finding the unexpected beauty and love in each one. Love isn't about grand gestures and contrived events; it's really quite simple and sometimes it takes a taxi driver or a family watching performing seals to remind us just how beautiful our lives and our loves are.
Miles O'Neil's World Around Us II is on late each night at the Fringe hub. It's too beautiful to miss.
This review originally appeared on AussieTheatre.com
There's stories like Bob's. He's the Jetstar lost property delivery dude who was once "6 inches away" from asking a girl to marry him and delighted in watching the sun set over a power pole. There's a 1950s film of a nanna watching her grandchildren, who may now be grandparents themselves. There are backyard pools, animals, Neil Diamond (thank you for bringing him back) and blue V Dub that will never leave your heart.
Miles makes these stories of day-to-day life so irresistible and joyful by finding the unexpected beauty and love in each one. Love isn't about grand gestures and contrived events; it's really quite simple and sometimes it takes a taxi driver or a family watching performing seals to remind us just how beautiful our lives and our loves are.
Miles O'Neil's World Around Us II is on late each night at the Fringe hub. It's too beautiful to miss.
This review originally appeared on AussieTheatre.com
I missed this a couple years back...
19 September 2011
More FRINGE profiles
Keep an eye on AussieTheatre.com for a week of Melbourne Fringe artist profiles. Including:
Miles O'Neil is one of The Suitcase Royale trio, who are another one of my absolute favourites. I first encountered their junkyard theatre when they made an awesome monster out of stuff they found at the MIAF Kid's Club in 2005. World Around Us was Miles's first solo show and was so unexpected and just so gorgeous. This year he's found some more films for World Around Us II. He'd love to be in Tarantino's next Western and I can see it so clearly that it has to happen.
Musician Miranda Hill creates art with classical musicians who don't fit in and film makers. She says that Moving Scores is for anyone who is curious about experimental music and wants to make new art accessible, transparent and fun to a new audience. As she's addicted to Dr Who, would love to be at the first performance of The Rites of Spring and to have John Cage see her work, I'm convinced that it's a show worth seeing.
Jennifer Williams is Australian and living in Ieland, but that's not stopping her from doing a show. No Matter Where You Go, There You Are is a collaboration with Cathie Clinton (who's from Ireland, but living here) that combines live performance and video. She's organised it from her laptop, when she wasn't thinking about kissing the likes of Alan Rickman, Colin Firth and Viggo Mortensen; so she's got good taste. The show's on at Richmond, which means it will miss the spontaneous audiences of the hubs, but that's no excuse for us in the know to not see it.
Rob Lloyd is nerdier than me! I only watch each new episode of Dr Who twice in the firs tweek, only have one theory about what's going to happen to River Song and don't own any Dalek toys. But Russell T Davies is my favourite TV writer and Seven Moffat is a pretty close second. And in 1982 I wrote "Adric lives" on my wooden school ruler. That was before I discovered Avon. And, yes Rob is still far nerdier than me. Last Fringe, Rob and co-creator/director/uber-nerd Scott Gooding gave us A Study in Scarlet (A Study of) about Rob's obsession with Sherlock Holmes and how we long to be fictional people. Rob loves our Time Lord more!
PS. I really did think his Fringe pic was David T.
Musician Miranda Hill creates art with classical musicians who don't fit in and film makers. She says that Moving Scores is for anyone who is curious about experimental music and wants to make new art accessible, transparent and fun to a new audience. As she's addicted to Dr Who, would love to be at the first performance of The Rites of Spring and to have John Cage see her work, I'm convinced that it's a show worth seeing.
Jennifer Williams is Australian and living in Ieland, but that's not stopping her from doing a show. No Matter Where You Go, There You Are is a collaboration with Cathie Clinton (who's from Ireland, but living here) that combines live performance and video. She's organised it from her laptop, when she wasn't thinking about kissing the likes of Alan Rickman, Colin Firth and Viggo Mortensen; so she's got good taste. The show's on at Richmond, which means it will miss the spontaneous audiences of the hubs, but that's no excuse for us in the know to not see it.
PS. I really did think his Fringe pic was David T.
13 September 2011
MELBOURNE FRINGE HINT 9: Music and Film
3 Shades Black
3 Shades Black describe themselves as classical musicians who don't blend in. There's also film makers and visual artists.
For one night, Moving Scores "takes traditional music notation and removes the rules". Influenced by John Cage, they are experimenting with structure to see how scores and the resulting music change in a different context influenced by film and performance.
Miles O'Neil's World Around Us 11
3 Shades Black describe themselves as classical musicians who don't blend in. There's also film makers and visual artists.
For one night, Moving Scores "takes traditional music notation and removes the rules". Influenced by John Cage, they are experimenting with structure to see how scores and the resulting music change in a different context influenced by film and performance.
Miles O'Neil's World Around Us was a surprise hit of last year's Fringe and everyone lucky enough to see this delicious and mellow late-night delight, will already have it on their show list.
07 October 2010
Review: Miles O'Neil's World Around Us
MELBOURNE FRINGE 2010
Miles O'Neil's World Around Us
5 October 2010
The Loft, Fringe hub
to 9 October
Miles O'Neil is best known as one of the marvelous Suitcase Royale trio. His first solo show, World Around Us, is a gentle and atmospheric hour about found stories that opens with the most beautiful self-confession about pornography. But don't worry, it's not a dirty story.
Miles found a box of super 8 film in an op shop. Watching old home movies is almost as voyeuristic as peeping at your neighbours or reading a lost diary. Projected onto the traditional bed sheet screen, we search for recognition in the places and the people. We place them by clothes (70s bathers), places (the 80s Jaws shark at the Universal Lot in LA) and images remembered from childhood (TAA and Ansett planes).
We know they were made when film was precious. Every person filmed is someone loved and we have to wonder how these films were thrown away. Were they lovingly transferred to VHS and are now on the iPods of the children in them, or accidentally thrown out and someone has searched and cried because they lost these images of their loved ones (and many performing sea mammals).
Miles watched these films a lot and as we watch, like a silent movie accompanist, he sings and plays instruments that he found in strange places, as the nearly-lost hypnotic sound of a film projector opens and closes each number. The songs aren't about the films and their stories. Seeped in nostalgia, they reflect the lost mood of the films from the hope and love that made them to the melancholy of the times and people now lost or forgotten.
Between the songs Miles tells us stories: stories that he also found. He found them in taxis, outside the Black Box theatre and on a bench by St Pauls. They are stories about older men who shared their own tales and gave this young man some advice. Miles never judges the advice or the tellers; he just reads us their stories about life and hope and loss. (He doesn't need me to tell him to stop reading and start telling. I hope the papers will be gone by the end of the week, because every second that his connection with his audience is lost is too much like disappointment.)
World Around Us is still rough and needs some more runs, but I loved it even more for it's unreadiness because we got to see the real Miles on the stage as he tried out some moments (keep Neil Diamond), jokes and overcame his nerves. This is such a rough diamond of a show that it would be sad to see it slick and shiny.
Like a Drambie, a cuddle and comfy couch, it's a perfect end to a night at the Fringe.
This review appeared on AussieTheatre.com.
We know they were made when film was precious. Every person filmed is someone loved and we have to wonder how these films were thrown away. Were they lovingly transferred to VHS and are now on the iPods of the children in them, or accidentally thrown out and someone has searched and cried because they lost these images of their loved ones (and many performing sea mammals).
Miles watched these films a lot and as we watch, like a silent movie accompanist, he sings and plays instruments that he found in strange places, as the nearly-lost hypnotic sound of a film projector opens and closes each number. The songs aren't about the films and their stories. Seeped in nostalgia, they reflect the lost mood of the films from the hope and love that made them to the melancholy of the times and people now lost or forgotten.
Between the songs Miles tells us stories: stories that he also found. He found them in taxis, outside the Black Box theatre and on a bench by St Pauls. They are stories about older men who shared their own tales and gave this young man some advice. Miles never judges the advice or the tellers; he just reads us their stories about life and hope and loss. (He doesn't need me to tell him to stop reading and start telling. I hope the papers will be gone by the end of the week, because every second that his connection with his audience is lost is too much like disappointment.)
World Around Us is still rough and needs some more runs, but I loved it even more for it's unreadiness because we got to see the real Miles on the stage as he tried out some moments (keep Neil Diamond), jokes and overcame his nerves. This is such a rough diamond of a show that it would be sad to see it slick and shiny.
Like a Drambie, a cuddle and comfy couch, it's a perfect end to a night at the Fringe.
This review appeared on AussieTheatre.com.
23 August 2009
The Ballad of Backbone Joe
ARTS HOUSE IN AUGUST
The Ballad of Backbone Joe
The Suitcase Royale
15 August 2006
North Melbourne Town Hall
As the season of The Ballad of Backbone Joe sold out, I’m thrilled to know that more and more of Melbourne are lining up for the fabulous madness and unexpected beauty of The Suitcase Royale.
With the beliefs of anarchists and the souls of poets, this Melbourne-based trio (Joseph O’Farrell, Miles O’Neil and Glen Walton) recycle junk, pop culture and their love of old film to tell stories like no one else could dream of.
Ballad is homage to film noir, but imagine the Marx Brothers staring instead of Humphrey Bogart. Detective Von Trapp from Sandringham is given a letter by woman with legs “just like cigarettes ... long, thin and white” and heads to a small town to deliver it to her husband, boxer Backbone Joe, who has no memory of the night he last saw his wife.
The gorgeous stage world is created from cardboard, ropes and venetian blinds from a hard rubbish collection, but looks like a forgotten black and white film that was delicately hand coloured frame by frame with shades of sepia and traces of red. A suitcase is transformed into the best car ever put on a stage, a cardboard skeleton almost steals the show and all is accompanied by live music – also played by the three performers.
Much of Suitcase’s appeal is that they love performing as much as we love watching them. They happily break out of character and improvise, without compromising the poignancy or tension of their story. It will be interesting to see if this can be maintained as they move into bigger theatres, are given their own telly show and become ridiculously famous.
The original music from The Ballad of Backbone Joe is on The Suitcase Royale’s debut CD, which is being launched on 10 September at the East Brunswick Club.
This review originally appeared on AussieTheatre.com.
The Ballad of Backbone Joe
The Suitcase Royale
15 August 2006
North Melbourne Town Hall
As the season of The Ballad of Backbone Joe sold out, I’m thrilled to know that more and more of Melbourne are lining up for the fabulous madness and unexpected beauty of The Suitcase Royale.
With the beliefs of anarchists and the souls of poets, this Melbourne-based trio (Joseph O’Farrell, Miles O’Neil and Glen Walton) recycle junk, pop culture and their love of old film to tell stories like no one else could dream of.
Ballad is homage to film noir, but imagine the Marx Brothers staring instead of Humphrey Bogart. Detective Von Trapp from Sandringham is given a letter by woman with legs “just like cigarettes ... long, thin and white” and heads to a small town to deliver it to her husband, boxer Backbone Joe, who has no memory of the night he last saw his wife.
The gorgeous stage world is created from cardboard, ropes and venetian blinds from a hard rubbish collection, but looks like a forgotten black and white film that was delicately hand coloured frame by frame with shades of sepia and traces of red. A suitcase is transformed into the best car ever put on a stage, a cardboard skeleton almost steals the show and all is accompanied by live music – also played by the three performers.
Much of Suitcase’s appeal is that they love performing as much as we love watching them. They happily break out of character and improvise, without compromising the poignancy or tension of their story. It will be interesting to see if this can be maintained as they move into bigger theatres, are given their own telly show and become ridiculously famous.
The original music from The Ballad of Backbone Joe is on The Suitcase Royale’s debut CD, which is being launched on 10 September at the East Brunswick Club.
This review originally appeared on AussieTheatre.com.
30 April 2009
The Suitcase Royale Space Show
Melbourne International Comedy Festival 2009
Space Show
The Suitcase Royale
4 April 2009
Melbourne Town Hall
Semiotics, Campbell and universal archetypes aside, The Suitcase Royale Space Show has the best fart joke of the festival.Space Show
The Suitcase Royale
4 April 2009
Melbourne Town Hall
Now the fart may represent the hero’s vulnerability and public downfall, but this late night must-see isn’t about serious ponderings – it’s about trying not to poo from laughing.
The Suitcase Royale (Jof, Miles and Glen) have been rummaging though Melbourne and international junkyards for theatre since 2004. With a fan base developing in Europe and the UK, locals can still see their ideas developing at Last Tuesday Society gatherings.
Anarchistic, absurd and a little bit naughty, they fill their suitcase with painted foam and fake wood panelling and blast their way through the final frontiers of art, as the universally manly space travellers Kevin Bacon, Kerry O’Brien and Chuck Norris.
Motivational space-guru Pizza Box Space Man reminds a disillusioned space rock god that, “To be bad you have to be sensationally good”. Working with found objects (arty talk for junk), the set and costume design makes a 1970s episode of Dr Who look like the new Battlestar Gallactica, and their script feels like a collage of grade seven space essays. The Suitcase Royale Space Show is atrocious – which must mean that it’s better than sensational.
One reviewer said that The Suitcase Royale could be the Aussie Mighty Boosh. Bugger that – these guys are better. See them before they are whisked away by the lure of television fame.
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