What Melbourne Loved in 2017, part 3

Another two amazing artists who went through MUST and Monash (Fleur and Sarah), more Taylor Mac tears, a controversial show, and a lot of excitement about new writing and emerging artists who are showing us how it's done.

Sarah Walker
Photographer

Sarah Walker. Photo by Sarah Walker

Favourite moments in 2017
I mean, it's kind of unfair that Taylor Mac's A 24-Decade History of Popular Music happened this year because that show was such a seismic event. And because it was so long, there were moments that would otherwise have defined a whole year that I've completely forgotten because so much happened. So much!

Here's a few that spring to mind: the audience in the "isolation chambers" up the back of the Forum getting overexcited and pelting me with pingpong balls during one of the war sequences. Walking through the aisles during the blindfolded hour in Chapter I and seeing all the tiny moments that nobody else would have seen – the hands creeping into other hands, and the heads on shoulders, and the sly little blind kisses. Taylor's imagined deathbed speech from Walt Whitman to Stephen Foster (I want a transcription of that speech so badly). But really, I think my favourite thing of all was the way Taylor smiled at people. When they came up onstage and did a good job. When judy stepped back and watched another performer belt out a solo or a dance piece. When the audience sighed or laughed or cried. I've never seen so much love in a smile. It's the sort of smile you look for your whole life, and Taylor gave it to everyone. It was like the opposite of the hidden kiss in the corner of Mrs Darling's mouth in Peter Pan that Mr Darling could never get. Taylor's love was for everybody.

My other favourite moment was during The Adam Simmons Creative Music Ensemble's The Usefulness of Art concert at fortyfivedownstairs. The whole concert was so suffused with joy and excitement. At the crescendo of the work, Adam was standing in front of the orchestra, furiously conducting, not so much leading the music as wrenching it from the performers – punching the air to bring the sound along with him and as the piece peaked, he let out this yell that was the most cathartic release of energy, and the band crashed around him, and, holy shit, I had goosebumps coursing up and down my whole body and everything was shining.

Looking forward to in 2018
Oh, golly, so much. I can't wait for Blackie Blackie Brown – my boyfriend is working on it and I was in the room for some of the development, and it was just madness. I think it's going to be hysterical and brutal and schlocky and full of life.

I'm also super excited that Stephen Nicolazzo and Patricia Cornelius are going to be erupting onto the mainstage at the MTC. It's about bloody time. Also, Patricia and Julie Forsyth in the same room? Somebody has been raiding my daydreams again. Fuck yeah.

SM: Sarah's name appears the most on this site because she takes the photos that capture what a show is about and she capture how a person looks in that split second that they aren't self conscious of being in front of a camera. Every time.

Fleur Kilpatrick
Playwright, teacher, RRR Smart Arts theatre commentator 

Fleur's birthday. Photo by Sarah Walker

Favourite moments in 2017
One of my favourite things this year was seeing wonderful shows get a remount. This is so rare in Australia and it was so wonderful to see Hello, Goodbye, Happy Birthday head out on tour, Two Jews Walk into a Theatre get a Melbourne Festival season and Zoe Coombs Marr's Trigger Warning make a return to MIFF.

I had never seen Trigger Warning and it was without a doubt one of my highlights. It was extremely clever terms of content but also form, something that so many comedians take as prescribed. Plus it was perhaps the funniest thing I had ever seen.

Another firm favourite was All the Sex I've Ever Had by Mammalian Diving Reflex. This show was so joyful and celebratory. It was a celebration not only of sex but of living and surviving. As the senior participants shared their lives and exploits, a  community quickly formed in the theatre, a community dedicated to celebrating these men and women through their joys and griefs. I left feeling immensely grateful for their generosity, bravery and perseverance.

Looking forward to in 2018
A total delight in 2017 was seeing space created for new works. With that in mind I'm writing my "looking forward to" as a wish list: these were wonderful works that deserve a season or a remount.

Fleur's 2018 wishlist:
1. A season for Natesha Somasundaram's Jeremy and Lucas Buy A Fucking House. It's three-day La Mama exploration sold out. It was so smart, funny and delightful. Programmers, please fight for this one.
2. A return season for Jean Tong's Romeo is not the Only Fruit. This satirical Lesbian pop musical  sold out its Poppy Seed Festival season and racked up critical praise. I want to see this come back to Melbourne but also tour please!
3. A season for Emina Ashman's Make Me A Houri. This was one of the best readings I saw this year. Emina's writing is so beautiful, poetic, dark and all her own. Her writing asks questions of what it means to be a Muslim today, a feminist today, a woman today. Again, programmers, chase her.

SM: I was at Fleur's surprise birthday at All My Friends Were There; that was awesome. I love listening to Fleur and Richard Watts on Smart Arts on Thursday mornings. I also love that she loves teaching undergrads as much as I do.

Scott Gooding
Actor, director 

Scott Gooding

Favourite moments in 2017
Ohhh, saw so much good stuff when I went through my diary. Stand out performance I saw was You're Not Alone by Kim Noble, at Malthouse. Brave, provocative, unflinching and funny as fuck. Whether it was "real" or not, I didn't care. It was great also to see so many people get up in arms about it.

Looking forward to in 2018
Next Wave Festival. Watching this bunch of cutting edge artists get to strut their stuff and show us oldies how it's done. Can't wait.

SM: I got to see Scott on stage again this year  in Jane Miller's Cuckoo; he's an actor who finds the heart of his characters and lets the emotions they try to hide drive them.

part 2
part 1
2016
2014
2013
2012

What Melbourne loved in 2016, part 4

Today's moments are from three men whose theatre voices are bold, challenging and totally their own: Daniel Lammin, Stephen Nicolazzo and David Finnigan. We're going to see a lot more of their work of in the years to come

Daniel Lammin
director, writer, obsessive collector

Daniel Lammin's 30th birthday present-to-self selfie

DL's favourite moments in Melbourne theatre in 2016: No piece of theatre this year hit me with as much force as Picnic at Hanging Rock. The book is my favourite Australian book and the film is my favourite Australian film, both having had an enormous impact on me growing up. I also love the work that Matt Lutton, Tom Wright, Zoë Atkinson and Paul Jackson have done together in the past, so consequently my expectations were enormous. The result though exceeded my expectations beyond my wildest dreams. The production captured the concerns of Lindsay’s story, the sexual repression of young women and the Australian landscape’s rejection of us as an invading force, and crafted it into an impressive work of art in its own right, pulsing from Matt’s rigorous direction, Zoë and Paul’s remarkable design, the cast’s tremendous performances and Tom’s diabolical, awe-inspiring text.

It also understood the most misunderstood aspect of the story, that at its heart it is a work of horror, one that crawls under your skin and festers there for the rest of your life.

Watching Picnic was one of the most exhilarating experiences I've ever had in the theatre, both because of what was happening on the stage and what was happening in the audience, a mass of people battered and thrown by the uncompromising force of what they were seeing, jumping and screaming and gasping in unison. The teenager sitting next to me literally jumped out of his chair at a moment of sublime theatrical horror, and sat on the edge of his seat for the rest of the night. It was a perfectly executed theatrical event, one that shows tremendous respect for its source material but with the imagination and rigour to be a great work of art on its own. It left me breathless, exhilarated, disturbed, in awe and in tears, and like the book and film before it, left an enormous and life-changing impact on me and my work as a theatre maker. I confidently rank it as one of the best pieces of theatre I’ve ever seen.

What DL is looking forward to in Melbourne theatre in 2017: Unsurprisingly, I’m incredibly excited to see how the same team approach The Elephant Man. It’s a beautiful story but a theatrically complicated one, and if they apply the same rigour to this one that they applied to Picnic, it could be something really special. I also can’t wait to catch CULL during the Comedy Festival (I missed it during the Fringe and regretted it enormously), and to see what She Said Theatre does next – their work is just getting better and better, and continues to be some of the most important being made.

SM: Daniel wrote and directed Awakening for MUST (performed at Trades Hall). It was an adaption of Spring Awakening by Frank Wedekind (not the musical also based on it) and was one of the most moving and gut-punching pieces of theatre I saw this year. Another MUST show that nowhere near enough people saw. I really hope that someone gives this show another season because it's heartbreaking to think that it won't be seen again – with the same cast please.

Brilliant update: Awakenings has been picked up by the super-wonderful fortyfivedownstairs, so put 10–21 May in your diary now. Book here.

And while you're there, look at the at what else is coming there next year. What a season!

Stephen Nicolazzo
director,  Little Ones Theatre; likes Madonna 

Stephen Nicolazzo

SN's favourite moments in Melbourne theatre in 2016: Hands down, my favourite moments in Melbourne theatre in 2016 were: Cain and Abel (The Rabble ), Gonzo (St Martin’s/Malthouse) and Terror Australis (Leah Shelton at Melbourne Fringe). These works were brave, beautiful, and furious. They were focussed on the craft of visual story telling and the presentation of complex political perspectives in cheeky, adventurous and moving ways.

All were born from Australia’s most courageous female artists: Emma Valente, Kate Davis, Clare Watson and the divine Leah Shelton, and all were a formally adventurous master class in contemporary theatre practice. Finally, each of these works had exquisite craft on display, which to me is an integral part of theatre making. They didn’t bend the rules simply to provoke. They bent them to explore craft and courage.

This is what I want in my theatre. My personal moment of 2016 was getting to tour Dangerous Liaisons for the last time. It has been two years since Dangerous opened at MTC Neon, and it has grown substantially since then, blossomed into a work that I am extremely proud of. It is so rare to develop a work after its initial presentation and in the case of this one, it has been such a unique gift to refine, reassess, and nuance. So very grateful to all of the festivals and presenters who took a risk on our huge mother fucker of a show and to the audiences across the country who have fallen in love with it.

What SN is looking forward to in Melbourne theatre in 2017: The Theatre Works 2017 season. CAN.NOT.WAIT.

SM: I'll see any theatre Stephen makes, but I missed the return of Dangerous Ls and I missed the Madonna night that he programmed for Melbourne Fringe – but I loved lying in bed and watching the pics and videos of it on Twitter.

If you want to support Little Ones Theatre's Midsumma show, donate here.

David Finnigan
playwright

Georgie McAusley and David Finnigan. Photo by Sarah Walker

DF's favourite moment in Melbourne theatre in 2016: This might not be the moment, but I found myself really, really sinking into Nat Randall's The Second Woman performance at Next Wave. I went along intending to stay for a few minutes, found myself there for an hour or two at least. It was weirdly satisfying, so many dimensions to it, but it was sitting afterwards with Jane Howard while she unpacked it for me, that was the real lightbulb moment. I dug that. Maybe that's the combination: good artwork, good analysis, good chats with good humans. That's all you need.

What DF is looking forward to in Melbourne theatre in 2017: I'm looking forward to the major companies retreating further out of touch, the existing funding structures coming apart at the seams and the whole system continuing its histrionic slow-motion collapse, so we can hurry up and see what weird alternatives emerge out of the edges.

SM: I loved seeing Kill Climate Deniers at the Melbourne Fringe, but my moment was reading the play. I was sitting in a cafe in Avalon on Sydney's north coast (which is exactly like the awesome web series Avalon Now, made by real estate site) eating a huge salad with purple cabbage, kale and every super food – while listening to a woman ask why they didn't have a quinoa salad (nuts weren't good enough protein for her) – then being recommended a chocolate cake that was pretty much melted dark chocolate and dates. It was like I was living in the world of Kill Climate Deniers; I WAS in the world of Kill Climate Deniers – and willingly being part of it.

(PS: I love being sent new scripts to read.)

part 1
part 2
part 3
2014
2013
2012

What Melbourne loved in 2014, part 6

Today, it's Penelope Bartlau, Declan Greene and Sarah Collins with discussion about how ongoing funding makes conservative theatre, why some audience member's should be removed from the world, and why Google should shut down when cat guardians try and diagnose their pet's non-existent illnesses.

Penelope Bartlau

director, writer, creator Barking Spider Theatre

Penelope: Theatre moment knockout this year has to be Punch Drunk’s Sleep No More (New York City). I wish I could have my max-highlight from something in Melbourne because there is SO much going on in this city; we have such remarkable and vital theatre here.

I know plenty have talked about Punch Drunk's  Sleep No More – and justifiably. Why is it so compelling? Because it’s utterly unpredictable, it’s a completely individual experience as it’s virtually impossible for any two audience members to take the same passage and see the same things. I was determined to understand the dramaturgy – and not be disappointed. 

The backstory: they took Macbeth and cut it up and laid out the rawest pieces of the story for us to experience. It’s set in an old hotel – in the Speakeasy period, but it’s not like any hotel you’ve ever been to. Hotels are designed for guest ease and smooth navigation. They took an old hotel and reinvented it into a dreamscape. There are no stage left or right entrances or exits in a dream; so-too it is with Sleep No More.

The work is designed to be, in part, cyclical – by knotting one part of the narrative to the next in a way that is deeply poetic, and all the more so as it was told without dialogue. For example, Lady Macbeth’s dance of persuasion morphed into her “take my milk for gall” scene, to Macbeth’s return after the murders – the first time around – and then this was repeated, added to and completed a second time around by merging directly to her mad “out damn spot” scene. 

To follow any of the action, you had to make an immediate decision about which character to follow – if any, and if you could keep up. You could easily take a misdirection and lose a character, and end up in Burnham Wood encroaching on Dunsenane, or stumble upon someone burying a foetus in a graveyard, or simply get lost. 

It seems no irony to me, that I pursued narrative – given my role as an artistic director and writer, and my set/lighting designer husband Jason Lehane was absorbed primarily in the installations/set – that we had totally different experiences. We came out, compared notes and all the conversations we tracked around the show were “did you see this?” or “did you encounter that?”. Sleep No More is a masterpiece.

Regarding theatre in general in Melbourne, the most dynamic work is – as always – coming out of individuals and from smaller groups, productions and companies. 

I met a guy who knows a thing or two about theatre in New York, and my ears are resonating with his philosophy on funding. It’s no real news to hear it, but he says “Ongoing funding makes artists risk adverse” – heard it here before. But this is resonating especially now in light of the Australia Council six-year organisational funding that is in the offing for 2015. If it’s true – and I think it is – that everything is based on economics, then this six-year strategy is born of deeply conservative economic drivers. Bring on the ecology, and let us “little guys” flourish and make more work, everywhere. The big trees are going to grow bigger and cast greater shadows across the forest floor: the floor dwellers have to become even more inventive, more subversive and louder artistically and politically – if we are to not only survive but thrive.

SM: Penelope's Barking Spider Theatre created an amazing experience in the State Library that started with the Press Dress worn by Matilda Butters to a fancy dress ball in 1866. It explored how Melbourne society saw women and Chinese immigrants in the 1860s and tied it all to now with moving (and moving) explorations of fashion, ethnicity and bodies. It was all so beautiful, but my favourite moment was standing in the State Library Dome room – which was full of people studying and Facebooking – knowing that in any moment their peace would be broken by loud drums.

Declan Greene

playwright, director Sisters Grimm

Declan: For me: 2014 was all about the grrlz.

It started with post’s Oedipus Schmoedipus at Belvoir: a playful satire of the recent adaptation trend – and the dead, straight, white men that continue to colonise our cultural imagination. Coming off Belvoir’s 2013 season, it was conceptually brilliant site-specific theatre. Watching some 20 unrehearsed volunteers dressed in mismatched bed sheets as ‘ghosts’ – while attempting to replicate terrible dance moves off a video monitor – was one of the most joyful experiences I’ve ever had in a theatre. And summoning this mass elation from the idea of death was fkn genius.

(Speaking of death: I wish it upon the scowling piece of shit who sat next to me in that audience and radiated hatred at the stage. You are 80% of everything that is wrong with theatre in this country.)

I was obsessed with I’m Trying to Kiss You’s Madonna Arms at Next Wave. The production was fantastic – but as a piece of writing. I thought it was the most inventive, brilliant text I’ve seen onstage this year: a wild, bruising journey through female representation in popular culture. And very, very, very, very funny.

The journey in Nicola Gunn’s Green Screen was also remarkable. I admired its emotional bravery; the way it used irony, sarcasm and anger to pry open a very recent grief, onstage, every night. It can’t have been easy to do.

Also The Rabble’s Frankenstein. Also Adena Jacobs’ adaptation of Hedda Gabler. Also Fleur Kilpatrick’s The City That Burned. Also Diamanda Galás’ work-in-progress Das Fieberspital at DARK MOFO. Also Emma McManus’ Carly & Troy Do A Doll’s House at Adelaide Fringe. Also... fuck, I dunno. There was a lot.

There were boys who did some very kool stuff too: Matt Lutton’s epic, unsettling take on Patrick White’s Night on Bald Mountain (Julie Forsythe and Melita Jurisic’s ‘drinking’ scene was probably the finest acting I’ve ever seen onstage), Meng Jinghui’s batshit crayyy take on The Good Person of Szechuan, Angus Cerini’s Resplendence, Jackson Davis’s Jackson! Le Diner est Pret! for Woodcourt Art Theatre...

But yeah. To quote Jim O’Rourke ===>

SM: Calpurnia Descending. Yeah, yeah our Dec’s a fucking amazing playwright, but the first thing that I really noticed about him was his direction (many years ago in a car park). He knows how to take a piece to the knife edge of offence or shock, dangle it over the edge and pull it back at the exact second and turn it into something that’s close to profound, or just filthy.

Sarah Collins

playwright, photographer

Sarah: I feel really bad because I'm going to give an answer so simplistic it will SHOCK. It will be like when Kerith Manderson-Galvin talked about loving Miley, but dull. 

I'm pissed off I am not naming a show that is more original, less well-funded and not even moderately steeped in metropolitan Melbourne theatre controversy. 

You guys know I aim to be controversial with every fibre of my being, always. I never intended for this to be my answer. Never forget that I am a girl who got scalped tickets off ebay to be second row at The Seekers concert. Never forget about the feathers I ruffled when I stood up during Georgy Girl and blocked the view of the 80-year-olds behind me. The term controversial doesn't even cut it. 

My point is, I have barely seen a thing and I feel bad because the one show I did see that I LOVED was such a good piece of HAPPY FLUFFY THEATRE and I know I should have something here involving Paul Capsis, but I just don't, and I blame it on things happening that I can't control. (Like today, one of my cat's pupils is bigger than the other. No other theatre lovers wake up to this kind of insanity daily. It means you guys all get to go out and see the great stuff and I have to stay home googling "uneven pupil dilation + potential feline brain injury + home remedies"). 

So with that out of the way, you cannot judge me when I say:

My highlight was Beautiful the Carole King musical on Broadway.

It was amazing. It was happy. It was hilarious. It was jaw-dropping. It was so so smart and everything most contemporary musicals aren't. Just watch this and tell me you don't feel some tingles. 

Judith D 4eva.

SM: I’ve checked my cat’s pupils. All is good. She was napping in prep for her late-morning sleep, but I couldn’t let her snooze knowing that her pupils may be unevenly dilated.

Sarah wrote the very gorgeous Bucket’s List and introduced "bucketlingus" to our vernacular, but my favourite moment was seeing Facebook explode when she "accidentally" announced her pregnancy on national television (The Project) while being interviewed about Hanson (yes, Hanson) .

2103 Favourites

2012 Favourites

What Melbourne loved in 2014, part 1

It's December, which means one thing: It's time to find out what Melbourne's theatre community really loved this year.

It's time to ignore the awards and the critics and remember those shows, people and moments that made theatre in Melbourne so bloody wonderful in 2014.

To kick us off, it's Ash Flanders, Paul Capsis and Peter Paltos, who have just finished in Calpurnia Descending at Malthouse. I think Paul's “I wasn’t bored for a second” should be a goal for all shows in 2015. And I wasn't bored for a second in Calpurnia.

Ash Flanders
actor

Ash Flanders, the younger.  Photo by Ben Dyer

Ash: My list should start with shows I'm really bummed I couldn't see this year. These include (but are not limited to) the MTC NEON season, Madonna Arms (Next Wave at Arts House) and, of course, The Good Person of Szechwan (at Malthouse).

A highlight for me was Applespiel make a band and take on the recording industry (Malthouse, Helium series), which blew my mind largely because of the audacity of the concept – a rock-u-mentary made live in front of an audience by a clean-haired cult of young theatre makers, all who probably have $2 to their names. This show made me feel old and jaded – and reminded me to keep pushing ideas further... and to stop being such a whinger!

I will also never forget Jane Montgomery Griffiths’s naked (in every sense of the word) screams for her mother in The Rabble’s Frankenstein. I shall remain happily haunted forever.

This was also the year I discovered my Adena Jacobs impersonation, which has seen the total erasure of my natural voice. Good news everyone!

SM: I missed Ash in Hedda Gabler because Belvoir is in Sydney and I wasn’t. For that I too am bummed. But he posted plenty of pics of him in a one-piece bathing suit to keep me happy.

There was his performance in Calpurnia Descending (his Violet was fucking wonderful  – and Violet was my grandmother’s name, so I approved), but my moment has to be him telling me about meeting Katie Perry backstage. It’s not as sexy a story as it could be and I suggest asking him because it won’t be as good coming from me,

Paul Capsis
actor

Paul Capsis. Photo by Shane Reid

Pau: Hmmm, my favourite theatre moment in 2014  would be a little show I saw in the Tower at Malthouse. Applespiel I think was the title. A great young vibrant and highly energised cast with lots of funny takes on a rock documentary, using film, video, effects made and performed in front of the audience. I liked the energy, rawness, chaos and roughness of the performances and that’s something that’s lacking in a lot of Australian theatre right now. I find so much to yawn at these days. I wasn't bored for a second in this show.

SM: How about making “I wasn’t bored for a second” the goal for new shows?

There was only thing more amazing that Mz Flanders in Calpurnia Descending and that was Paul Capsis as Beverly. When I think of this show, the first image that comes to mind is Paul in his underwear at the top of a ladder; nothing left to hide, everything exposed. This show was endless laughter, but it ended with a moment that made every laugh hurt because we know they came from pain. In different hands, it could have been another laugh, but it was Paul and he was magnificent.

Peter Paltos
actor

Peter Paltos

Peter: My favourites are:

Greenscreen by Nicola Gunn/Sans Hotel at MTC Neon. For me, Greenscreen was an existential theatrical poem that articulated both my loneliness and sense of belonging. I was really touched by this piece. Gunn is a goddess.

Madonna Arms by I'm Trying To Kiss You. Three feminists speaking in verse and smashing the science fiction genre a new asshole. So earthy and absurd.

Hedda Gabler at Belvior directed by Adena Jacobs. I have not stopped thinking about the first fifteen minutes of this production since I saw it. It was like a painting quietly coming to life.

Grounded by Red Stitch, directed by Kirsten von Bibra. This was a really well executed, solo show with an impressive performance by Kate Cole. I dug the minimalism of this piece: old school, clean storytelling with no tricks.

SM: If you were in Calpurnia Descending, there isn’t much hope that your performance in Calpurnia Descending isn’t going to be my favourite moment of yours.

Peter was as amazing as Ash, Paul (and Sandy Gore). He was pure matinee idol with all the guts it takes to be a real matinee idol and maintain the bullshit image.

2103 Favourites

2012 Favourites

NEXT WAVE: SEEThrough

HELIUM
NEXT WAVE

SEEThrough

2 May 2014

Tower Theatre, Malthouse

to 11 May

malthousetheatre.com.au

SEEThrough grasps some truths about the awkward bond of heterosexual men and was created with  passion and honesty, but it isn't ready for the stage.

And with significant development support from Next Wave, Ilbijerri, the Performance Space and Malthouse, it should have been more ready.

Performed and devised by Colin Kinchela and Gavin Walters, it's about the bond between an Aboriginal man and a white man who grew up in a small town. It looks at sacred male spaces and the intimate rituals of male bonding, but doesn't move beyond the known and obvious.

There are attention-grabbing moments in the script, but the meaning of a work isn't just its words. It's what you say in every other element of a production that lets words live and connect or dribble away unnoticed. With awkward staging that bounced around the wide and empty black space like a tennis match and performances that didn't feel safe or open, the text wasn't supported.

But I hope that SEEThrough isn't shelved and dismissed after this production because not ready isn't the same as not good.

This was on AussieTheatre.com.

NEXT WAVE: Wael Zuaiter, Unknown

NEXT WAVE
Wael Zuaiter: Unknown
Creative Nonfiction and Theatre Works
30 April 2014
Theatre Works
to 11 May
theatreworks.org.au

Illustration by Matt Huynh

The storytelling in Wael Zuaiter: Unknown is exquisite. Compelling and original, it uncovers truth and doubt but focuses on a personal story, because people may not listen to opinion but they do listen to story.

Jesse Cox makes radio documentaries but wanted to tell his Aunt Janet's story differently. He sits at a desk and talks. With cinema-screen-size hand-drawn animation, audio recordings, photos, and live music that almost breathes with Jesse, his unpretentious and gentle telling leaves the structure unseen and draws its audience into a story that's far more complex than its romantic beginnings suggest.

In 1972, Australian painter Janet venn Brown was living in Rome in a tiny flat with an amazing view of the Vatican. When she first arrived in the city, she met Palestinian translator Wael Zuaiter and they had been engaged for seven years on 16 October 1972 when he spent the day on her balcony working on his loved Italian translation of 1001 Nights and later left to go home.

At his door, he was shot and killed.

His was the first assassination by Israel's Mossad for his connection with the Black September group who held Israeli athletes hostage at the 1972 Munich Olympic Games and killed them.

Jesse tells Janet's version of Wael and shares his own research, which included trips to Palestine, Israel and Rome. He wanted to find out the truth. . He finds many truths, and if the heart of this story is his love for his Aunt, the guts is the questions that remain.

Wael Zuaiter: Unknown is political and historical but is connected to us and to now by a personal link that ensures its politics and history won't be forgotten.

This was on AussieTheatre.com.

Very Quickly: A Wake, Kids Killing Kids

NEXT WAVE
A Wake: Kids Killing Kids
Too Many Weapons and The Sipat Lawin Ensemble
10 May 2014
Arts House, North Melbourne Town Hall
to 11 May
nextwave.org.au

Very quickly

There are only two performances left of A Wake: Kids Killing Kids. 

At last year's Melbourne Fringe, we saw and we argued about Kids Killing Kids, the story of four young writers and their experience of writing an unexpected cult hit in Manila that was criticised as much for its violence as it was praised by its thousands of obsessed fans.

This version includes five members of The Sipat Lawin Ensemble, the company who created and performed that show in Manila, including the director, performers and the production manager.

A Wake begins with the same writers' story, but this time it's the people who were performing Battalia Royale in Manila take over and tell their side.

If you loved the Fringe show, you cannot even consider missing this.

If you hated the Fringe show (and I know people who really did), I really think that you should see this.

And here's a wonderful interview and reflection from Fleur on School For Birds.

NEXT WAVE: Madonna Arms

NEXT WAVE
Madonna Arms
I'm Trying To Kiss You 
7 May 2014
Arts House, Meat Market
2014.nextwave.org.au

Photo by Sarah Walker

Shows don't speak to everyone, but I thought that Madonna Arms would be one for me.

I'm Trying To Kiss You's last show captured the experience of 20-something love and friendship so beautifully and this one is about women and body image, food and fitness with 80s sci-fi references, pop-culture jabs and drag kings. Sign me up!

But I don't know what this show is trying to say.

It had some moments about salads and chips and strength, and I laughed at the big cock, but it seemed so focussed on its own big picture and what it looked like (and I don't think they were trying for the ultimate irony) that its content got lost in the razzle dazzle and support underwear.

I saw it without my review hat on, so I recommend Jane Howard's review on The Guardian. 


PS. When you start late on purpose during a festival, you know that other shows lose some of their audience.

NEXT WAVE: The Dokboki Box

NEXT WAVE
The Dokboki Box
Younghee Park, M'ck McKeague and Nathan Stoneham
6 May 2014
River Walk by Federation Square
to 11 May
nextwave.org.au

The Dokboki Box happens in a pop-up orange tent between Federation Square and the Yarra and it's a bright flash of welcoming happy.

It's easy to feel uncomfortable in a small audience (only 15 tickets per show) – especially when the seats are plastic stools – but the warm and genuine welcome into the cold tent quickly banishes any awkwardness. We're given little warm rugs and offered Korean beer or wine and it's not long before everyone is talking. And the stools spin!

While Younghee Park cooks Korean street food (dokboki and odeng), she tells us how it's her grandmother's recipe and tells a story about her family, her attempts at finding love and about feeding hungry people in Seoul. With such a small audience, it's impossible to not become a part of the story and the line between performers and audience blurs into friendship.

The message is a bit earnest, but it doesn't diminish the atmosphere of welcoming loveliness as Younghee's story is as happily shared as the food she makes for us. And granny's recipe for Queen Dokbuki (vego) is delicious. I had seconds.

GIVEAWAYS for Next Wave at ArtsHouse

NEXT WAVE
16 April – 11 May
nextwave.org.au

Melbourne's biennial Next Wave festival was established in 1984 and continues to support and develop emerging artists to experiment, risk, create and share new work. It's the festival that challenges expectations and questions what art is and what it can be. This year, they are responding to the theme "New Grand Narrative".

The team at ArtsHouse are so excited about the shows they've helped develop for the festival that they have giveaways for Sometimes Melbourne readers.

These three shows that explore our bodies, especially how they are used in performance and are often seen as something separate from the person who inhabits the body.

Madonna Arms
I'm Trying to Kiss You



I'm Trying to Kiss You were one of my favourite companies in 2011 with I know there's a lot of noise outside but you have to close your eyes, an extraordinary and moving a piece about young women and relationships.

Madonna Arms is a sci-fi exploration of the ways that the obsession for fitness and weight loss fill the psyche of women.

To WIN a double pass to Madonna Arms
Saturday 3 May, 8.00 pm at Meat Market
email info@starling.com.au
with SM Madonna Arms as the subject
and include your name and phone number

Personal Mythologies
Shian Law



Personal Mythologies is a large-scale dance and performance immersive installation. It questions the power and relationships between performers and audience by inviting participation from its audience.  Wear comfy clothes and shoes and be prepared cloak all personal items before you join in.

To WIN a double pass to Personal Mythologies

Saturday 3 May,7.30 pm at North Melbourne Town Hall

email info@starling.com.au

with SM Personal Mythologies as the subject

and include your name and phone number

MAXIMUM
Natalie Abbott



MAXIMUM is a dancer and a bodybuilder: two highly-trained professionals who will push themselves beyond exhaustion to test the boundaries between dance and sport and reveal the full potential of the human body.

To WIN a double pass to MAXIMUM

Saturday 3 May, 6.45 pm at Meat Market

email info@starling.com.au

with SM Maximum as the subject

and include your name and phone number

The competition closes at 4.00 pm on Friday 2 May and winners will be notified by email.

And while you're at Arts House (North Melbourne Town Hall and The Meat Market) remember that  eeing just one show per night in a festival just isn't right. Other Arts House works include:

The Club 3.0
New Heroes

This isn't a play. Inspired by Fight Club, it uses the premise of violence to explore their generation's attitude to political change. Twelve people from the audience will be invited to participate in controlled fight scenes.

Das Boot
Ester Stuart and Oscar Perry

A weekend-long visual-art-project-cum-boot sale.

A Wake: Kids Killing Kids
Sipat Lawin and Too Many Weapons

KKK part 2! This is the Next Wave show that I'm most looking forward to. Following their sold-out and still-being-argued-about season of Kids Killing Kids at the 2013 Melbourne Fringe, the Too Many Weapons Collective are joined this time by Sipat Lawin to look at what happened after the 2013 show.