MELBOURNE FRINGE 2006
Some Faces You Know
Ozanam House
14 October 2006
Festival Hub
Some Faces You Know is an outdoor puppet show presented in a cold back alley. This is relevant theatre, sharing authentic and moving stories about people we tend to ignore.
The production is presented by residents at Ozanam House, a crisis accommodation service, and participants of Ozanam Community Centre, a drop in centre for homeless and marginalised people.
They have been involved in a Community Cultural Development (CCD) project, supported by funding from the City Of Melbourne and Arts Victoria. CCD is what used to be called community arts, a practice where the creative process is as important as the final product. Working with artists over four months, the Ozanam House community have created a show that lets us share their stories, their hopes and their dreams. Using a combination of statistics and real stories, it successfully challenges stereotypes and misconceptions about the homeless.
The chosen format of shadow, suit and banner puppets allows participation regardless of previous skill and enables stories to be shared without being put under the personal and direct gaze of the audience.
The choice of venue is perfect. This cold dark alley would normally be actively avoided by the Fringe audience, but we are led in to see that is has been transformed into a welcoming and beautiful space. The extreme Melbourne weather continually reminding us that this is not always such a nice place to hang out.
The joy of open access fringe programs is that this type of show is as valued as the most refined professional production. Presenting it as part of the Fringe has brought a new and welcome audience to this style of project. Some Faces You Know is a genuinely creative, engaging and moving work of theatre that deserves to be seen.
Mostly Melbourne theatre reviews
Showing posts with label October 2006. Show all posts
Showing posts with label October 2006. Show all posts
30 October 2006
Bash
MELBOURNE FRINGE 2006
Bash
5Kinds Theatre
11 October 2006
LaVish Modern Cuisine
Neil LaBute’s Bash is a well-known and brilliant piece of contemporary writing. The characters and their stories are complex and compelling. 5KindsTheatre demonstrate a deep understanding and passion for the text, but don’t succeed in sharing this understanding with their audience.
Bash is four monologues; the last two presented concurrently as different versions of the same night. All are about unexpected and violent murder. This production relied far too heavily on the shock value of the text, rather than letting the audience understand and connect to the characters.
Bash is written to be confessed directly to the audience. Confession fails without an intimate connection with your “confessee”. The design of the space does not help the actors in creating an intimate connection. We were sitting in on two sides of the stage, some on the floor, some on chairs and in full view of each other. It was not only difficult for the audience to focus on the stage, but even more difficult for the actors to focus on the audience. I can see how it was designed to be intimate, but, ironically, it would be more powerful with a traditional stage set up.
Grant Cartwright (Iphegenia in Orem) refused to make eye contact with any member of the audience. Without doubt this is a difficult piece to perform, but it is an empty performance if it is told to various spots on the wall. Grant’s delivery is strong, but he hit an intense level almost immediately, giving his character nowhere to go emotionally. Joshua Hewitt (A Gaggle of Saints) seemed to learn from Grant’s performance and made constant eye contact with one side of the audience. This made for a much more engaging character, but didn’t allow us to focus on the other character in the scene and most of the audience missed out on his connection. Ella Watson-Russell struck the best balance in Medea Redux and to her side of the audience in A Gaggle of Saints.
I can’t help but compare this production to another Fringe show - Debris. Both are violent contemporary texts based on monologue - one is presented by recent NIDA graduates and one by recent VCA graduates. Debris is superb theatre, Bash would benefit from more time at drama school.
This review originally appeared on AussieTheatre.com.
Bash
5Kinds Theatre
11 October 2006
LaVish Modern Cuisine
Neil LaBute’s Bash is a well-known and brilliant piece of contemporary writing. The characters and their stories are complex and compelling. 5KindsTheatre demonstrate a deep understanding and passion for the text, but don’t succeed in sharing this understanding with their audience.
Bash is four monologues; the last two presented concurrently as different versions of the same night. All are about unexpected and violent murder. This production relied far too heavily on the shock value of the text, rather than letting the audience understand and connect to the characters.
Bash is written to be confessed directly to the audience. Confession fails without an intimate connection with your “confessee”. The design of the space does not help the actors in creating an intimate connection. We were sitting in on two sides of the stage, some on the floor, some on chairs and in full view of each other. It was not only difficult for the audience to focus on the stage, but even more difficult for the actors to focus on the audience. I can see how it was designed to be intimate, but, ironically, it would be more powerful with a traditional stage set up.
Grant Cartwright (Iphegenia in Orem) refused to make eye contact with any member of the audience. Without doubt this is a difficult piece to perform, but it is an empty performance if it is told to various spots on the wall. Grant’s delivery is strong, but he hit an intense level almost immediately, giving his character nowhere to go emotionally. Joshua Hewitt (A Gaggle of Saints) seemed to learn from Grant’s performance and made constant eye contact with one side of the audience. This made for a much more engaging character, but didn’t allow us to focus on the other character in the scene and most of the audience missed out on his connection. Ella Watson-Russell struck the best balance in Medea Redux and to her side of the audience in A Gaggle of Saints.
I can’t help but compare this production to another Fringe show - Debris. Both are violent contemporary texts based on monologue - one is presented by recent NIDA graduates and one by recent VCA graduates. Debris is superb theatre, Bash would benefit from more time at drama school.
This review originally appeared on AussieTheatre.com.
Milk
MELBOURNE FRINGE 2006
Milk
The Town Bikes
10 October 2006
Festival Hub, Lithuanian Club
The Bikes present two longer pieces based on the theme of milk. Lacteus Praesul is very different from the expected Bike/twin routine. It’s a semi-drag love story between a prince and princess, playing absurdly with classical ballet, pantomime and innuendo worthy of a “carry on “ film. Milk develops directly from the established and loved Bike acts, with a montage of dance routines and competitive interplay between the characters.
John-Paul Hussey directed Milk and appears as Brian of Aberdeen, the MC and stage manager. I have always like the absurd narrative and visual delights of his work, but am unsure about the combination of Bikes directed by Hussey.
As a theme milk has limitless potential. The Bikes play with mother’s milk, breast obsession, milk commercials, milk in pop culture and even death. The rest of the show needs some relevance to create cohesion. Each night there is special guest act, but they appear to have no connection to the theme. Brian is a curious character, but his only link to milk is that he was probably bottle-fed.
The show loses energy and drags during the act changeovers. I love a show that makes the audience participate in its creation, but asking us to talk among ourselves as the stage was reset is a bit lazy and fell flat – despite a very supportive audience. Ironically the Bikes were the perfect interlude between acts during The Burlesque Hour.
The Town Bikes are still an original and fabulous act. Milk is great fun, but a great cabaret show needs a tight structure and a consistent theme.
This review originally appeared on AussieTheatre.com.
Milk
The Town Bikes
10 October 2006
Festival Hub, Lithuanian Club
The Town Bikes have taken their short, sharp, funny dance routines and successfully developed them into perverted pantomime.
John-Paul Hussey directed Milk and appears as Brian of Aberdeen, the MC and stage manager. I have always like the absurd narrative and visual delights of his work, but am unsure about the combination of Bikes directed by Hussey.
As a theme milk has limitless potential. The Bikes play with mother’s milk, breast obsession, milk commercials, milk in pop culture and even death. The rest of the show needs some relevance to create cohesion. Each night there is special guest act, but they appear to have no connection to the theme. Brian is a curious character, but his only link to milk is that he was probably bottle-fed.
The show loses energy and drags during the act changeovers. I love a show that makes the audience participate in its creation, but asking us to talk among ourselves as the stage was reset is a bit lazy and fell flat – despite a very supportive audience. Ironically the Bikes were the perfect interlude between acts during The Burlesque Hour.
The Town Bikes are still an original and fabulous act. Milk is great fun, but a great cabaret show needs a tight structure and a consistent theme.
This review originally appeared on AussieTheatre.com.
I’d Like a Nicer Planet Please
MELBOURNE FRINGE 2006
I’d Like a Nicer Planet Please
Duff
11 October 2006
Bar Open
Duff declares I’d Like A Nicer Planet Please and proceeds with the standard routine about the evils of capitalism and the evils of any alternative - all oddly combined with prop gags, mime and object puppetry.
There has been much experimentation with form in this Fringe, but none as unique as Duff’s Confectionary Theatre. Object puppetry meets a Seven 11 in Expulsion of Adam and Eve. It’s a tray full of lollies – with the toffee apple of good and evil and God being represented by a pair of lolly teeth. To balance the food groups an apple-based and a potato-based story soon follow. Don’t get me wrong – this is bad theatre, but it is unique.
Duff is rightly angry at the state of the world’s politics. He opening is relevant, with the first Korean nuclear test joke I’ve heard this festival, but the rest of his material jumps from idea to idea, with no consistent (or coherent) theme.
Improvisation is a vital part of a stand up, but needs to be balanced with structure. Duff has some great one-liners - the Big Picture that politicians talk about is really just a 33 inch plasma screen – but their strength is diluted by his sometimes irrelevant improv. His mad rush at the end to include material meant that the material suffered. The final impressions are good; much better than the long improv about fucking a skank at confest. Balance and structure develop as a show runs, but rehearsal also helps.
Duff is appealing and unique, but the show needs a lot of work to be a polished act. See it if you like hanging out at Bar Open and supporting local comedy.
PS- just a quick note to Duff. I am an active supporter of the Coke boycott, but the brand of water you drank, and referred to, is the Coke owned brand of water, so grab another brand or rip the label off.
This review originally appeared on AussieTheatre.com.
I’d Like a Nicer Planet Please
Duff
11 October 2006
Bar Open
Duff declares I’d Like A Nicer Planet Please and proceeds with the standard routine about the evils of capitalism and the evils of any alternative - all oddly combined with prop gags, mime and object puppetry.
There has been much experimentation with form in this Fringe, but none as unique as Duff’s Confectionary Theatre. Object puppetry meets a Seven 11 in Expulsion of Adam and Eve. It’s a tray full of lollies – with the toffee apple of good and evil and God being represented by a pair of lolly teeth. To balance the food groups an apple-based and a potato-based story soon follow. Don’t get me wrong – this is bad theatre, but it is unique.
Duff is rightly angry at the state of the world’s politics. He opening is relevant, with the first Korean nuclear test joke I’ve heard this festival, but the rest of his material jumps from idea to idea, with no consistent (or coherent) theme.
Improvisation is a vital part of a stand up, but needs to be balanced with structure. Duff has some great one-liners - the Big Picture that politicians talk about is really just a 33 inch plasma screen – but their strength is diluted by his sometimes irrelevant improv. His mad rush at the end to include material meant that the material suffered. The final impressions are good; much better than the long improv about fucking a skank at confest. Balance and structure develop as a show runs, but rehearsal also helps.
Duff is appealing and unique, but the show needs a lot of work to be a polished act. See it if you like hanging out at Bar Open and supporting local comedy.
PS- just a quick note to Duff. I am an active supporter of the Coke boycott, but the brand of water you drank, and referred to, is the Coke owned brand of water, so grab another brand or rip the label off.
This review originally appeared on AussieTheatre.com.
Songs for the Deaf
MELBOURNE FRINGE 2006
Songs for the Deaf
Red Ribbon Productions
8 October 2006
Festival Hub, Lithuanian Club
I unfortunately missed the first play, due to a rigorously enforced, and possibly unnecessary, latecomers policy. I was going to leave, but a big brown bear convinced me to stay.
The bear appeared in Bunny. Lewis’ work appears to develop from scenario. What if a bear and a rabbit met on a beach?
This bunny and bear have come from a costume party and gradually “take off their costumes” to expose their true selves. The symbolism is obvious, but it works in an absurdist way. Lewis devises some disturbing stories for the characters to reveal and the performances by Andrew Brackman and Carolyn Ramsey are subtle and quite beautiful.
Rocketbaby is divine black comedy with an Australian suburban voice. What if a child died on Funniest Home Videos?
Sarah Lockwood is delightful and believable as Becca. She is 10, lives in Giles Plains and this is her video to her trusted angel – FHV host – Toni Pearen. (Maybe change the suburb to suit Melbourne. Giles Plains means a lot – only if you are from Adelaide.) Becca’s family are having a tough time, but their obsession with FHV is going to save them.
Lewis takes delight in torturing the ever-hopeful Becca. Her story is compelling, even though the introduction of a gun in the exposition does hint that it isn’t going to be a happy ending. Still – I didn’t care about Becca and her fate (or that of the bear and bunny).
This is well crafted writing, but it’s almost too clever for its characters. When you write from situation, rather than character, the voice on the stage is the writer’s, not the charaters’. If the people on the stage are not telling us their authentic story, we don’t believe them, we don’t care about them and the intimate empathy of theatre is lost.
Fringes are about presenting the art you love and seeing if it speaks to an audience. I admired, respected and enjoyed Songs For the Deaf, but it needs the voice of authentic characters to make it captivating theatre.
This review originally appeared on AussieTheatre.com.
Songs for the Deaf
Red Ribbon Productions
8 October 2006
Festival Hub, Lithuanian Club
Songs For the Deaf is three short works by South Australian playwright Caleb Lewis. His writing is fresh, clever and wickedly black. The performances are real and Anna Held’s direction is excellent. So why isn’t this engaging theatre?
The bear appeared in Bunny. Lewis’ work appears to develop from scenario. What if a bear and a rabbit met on a beach?
This bunny and bear have come from a costume party and gradually “take off their costumes” to expose their true selves. The symbolism is obvious, but it works in an absurdist way. Lewis devises some disturbing stories for the characters to reveal and the performances by Andrew Brackman and Carolyn Ramsey are subtle and quite beautiful.
Rocketbaby is divine black comedy with an Australian suburban voice. What if a child died on Funniest Home Videos?
Sarah Lockwood is delightful and believable as Becca. She is 10, lives in Giles Plains and this is her video to her trusted angel – FHV host – Toni Pearen. (Maybe change the suburb to suit Melbourne. Giles Plains means a lot – only if you are from Adelaide.) Becca’s family are having a tough time, but their obsession with FHV is going to save them.
Lewis takes delight in torturing the ever-hopeful Becca. Her story is compelling, even though the introduction of a gun in the exposition does hint that it isn’t going to be a happy ending. Still – I didn’t care about Becca and her fate (or that of the bear and bunny).
This is well crafted writing, but it’s almost too clever for its characters. When you write from situation, rather than character, the voice on the stage is the writer’s, not the charaters’. If the people on the stage are not telling us their authentic story, we don’t believe them, we don’t care about them and the intimate empathy of theatre is lost.
Fringes are about presenting the art you love and seeing if it speaks to an audience. I admired, respected and enjoyed Songs For the Deaf, but it needs the voice of authentic characters to make it captivating theatre.
This review originally appeared on AussieTheatre.com.
The Pegasus Story and DEBRIS
MELBOURNE FRINGE 2006
The Pegasus Story
DEBRIS
Arts Projects Australia
Ride On Theatre and Black Lung Theatre
7 October 2006
Festival Hub, Lithuanian Club
High St
Picking the right double bill is an important part of the Fringe. This was a good night. I chose this double because they had both had successful productions interstate. Debris was acclaimed in Sydney and The Pegasus Story sold out at the Adelaide Fringe. Both have benefited from their “out of town” runs with tight, well-rehearsed shows. They are very different types of theatre, but both explore the use of monologue to tell their stories.
The Pegasus Story is thoroughly engaging and proves how truth is sometimes far more fascinating than fiction.
Mark De Ionno isn’t a trained actor; he’s just a guy telling us his story. He suffered a psychotic episode in mid 2000. The Pegasus Story is a very revealing and personal insight into Mark’s manic depression. Knowing he came though safely, we can sit back and enjoy the journey from northern Australian desert to Adelaide’s seediest street.
Mark’s story works, because it is not a performance. He easily evokes the empathy and compassion needed to draw the audience into his life. Working with director Daisy Brown has enhanced the story telling by using simple elements of theatre. The props, costumes, slides and perfect live music support the story, never compromising Mark’s affable personality or honest approach.
The strength of this work lies in its truth and I fully believe in moulding facts to tell a greater truth. An opening and reoccurring joke is that his initials are MAD, but he is not credited as Mark Anthony De’Ionno. Another good joke is set up with Mark working as an Indigenously sensitive tour guide, but he refers to Uluru as Ayers Rock. These are tiny, almost irrelevant criticisms, but if they cause the audience to doubt Mark, the veracity of the rest of his story is also doubted.
Debris has a very different creative team. All are recent NIDA graduates and this production is a testament to the outstanding quality of actor, director and designer emerging from the school. The text is also based on a style of monologue, but uses theatrical technique to tell its story.
The design, by the company, arrests you the moment you enter the space. It is so successful that I was initially genuinely horrified and felt very uncomfortable being there - until I realised just how brilliant the design concept was. (However, the risk and safety elements of the design really do need more consideration.) Ailsa Paterson’s costumes also come from a clear understanding of the text and reflect every nuance of the themes and characters.
Under the direction of Tanya Goldberg, this is intelligent theatre that engages your brain and your senses. Bojana Novakovic and Thomas Campbell give two of the best performances I’ve seen this Fringe. But does Debris tell a good story?
Before I could write about this show I had to do some serious googling to understand it. The need to research indicates that there is something not quite right with the story telling. Once I realised there was a common criticism in other Debris productions, I stopped analysing the acting and direction and looked at the text.
Debris is Dennis Kelly’s debut work, first presented in the UK in 2003. This is dark, absurd and extreme material. The language is stunning, but appears to be written for its own sake. I want to “read” this play. Unfortunately, the brilliance of the language often confuses and overwhelms the story telling. I was unsure if there were two, four or multiple characters talking to us and, despite faultless delivery, I found myself drifting away during the some of the monologues and losing the narrative thread.
Debris is astonishing theatre. I was shocked by the character’s stories, but it didn’t succeed in making me care about what happened to those children on the stage. By using minimal theatre and maintaining its authentic voice, The Pegasus Story is a more engaging experience because it tells a damn good story.
This review originally appeared on AussieTheatre.com.
The Pegasus Story
DEBRIS
Arts Projects Australia
Ride On Theatre and Black Lung Theatre
7 October 2006
Festival Hub, Lithuanian Club
High St
Picking the right double bill is an important part of the Fringe. This was a good night. I chose this double because they had both had successful productions interstate. Debris was acclaimed in Sydney and The Pegasus Story sold out at the Adelaide Fringe. Both have benefited from their “out of town” runs with tight, well-rehearsed shows. They are very different types of theatre, but both explore the use of monologue to tell their stories.
The Pegasus Story is thoroughly engaging and proves how truth is sometimes far more fascinating than fiction.
Mark De Ionno isn’t a trained actor; he’s just a guy telling us his story. He suffered a psychotic episode in mid 2000. The Pegasus Story is a very revealing and personal insight into Mark’s manic depression. Knowing he came though safely, we can sit back and enjoy the journey from northern Australian desert to Adelaide’s seediest street.
Mark’s story works, because it is not a performance. He easily evokes the empathy and compassion needed to draw the audience into his life. Working with director Daisy Brown has enhanced the story telling by using simple elements of theatre. The props, costumes, slides and perfect live music support the story, never compromising Mark’s affable personality or honest approach.
The strength of this work lies in its truth and I fully believe in moulding facts to tell a greater truth. An opening and reoccurring joke is that his initials are MAD, but he is not credited as Mark Anthony De’Ionno. Another good joke is set up with Mark working as an Indigenously sensitive tour guide, but he refers to Uluru as Ayers Rock. These are tiny, almost irrelevant criticisms, but if they cause the audience to doubt Mark, the veracity of the rest of his story is also doubted.
Debris has a very different creative team. All are recent NIDA graduates and this production is a testament to the outstanding quality of actor, director and designer emerging from the school. The text is also based on a style of monologue, but uses theatrical technique to tell its story.
The design, by the company, arrests you the moment you enter the space. It is so successful that I was initially genuinely horrified and felt very uncomfortable being there - until I realised just how brilliant the design concept was. (However, the risk and safety elements of the design really do need more consideration.) Ailsa Paterson’s costumes also come from a clear understanding of the text and reflect every nuance of the themes and characters.
Under the direction of Tanya Goldberg, this is intelligent theatre that engages your brain and your senses. Bojana Novakovic and Thomas Campbell give two of the best performances I’ve seen this Fringe. But does Debris tell a good story?
Before I could write about this show I had to do some serious googling to understand it. The need to research indicates that there is something not quite right with the story telling. Once I realised there was a common criticism in other Debris productions, I stopped analysing the acting and direction and looked at the text.
Debris is Dennis Kelly’s debut work, first presented in the UK in 2003. This is dark, absurd and extreme material. The language is stunning, but appears to be written for its own sake. I want to “read” this play. Unfortunately, the brilliance of the language often confuses and overwhelms the story telling. I was unsure if there were two, four or multiple characters talking to us and, despite faultless delivery, I found myself drifting away during the some of the monologues and losing the narrative thread.
Debris is astonishing theatre. I was shocked by the character’s stories, but it didn’t succeed in making me care about what happened to those children on the stage. By using minimal theatre and maintaining its authentic voice, The Pegasus Story is a more engaging experience because it tells a damn good story.
This review originally appeared on AussieTheatre.com.
Living On The Edge...Of My Bed
MELBOURNE FRINGE 2006
Living On The Edge...Of My Bed
The Bedroom Philosopher
Vanilla Productions
3 October 2006
Festival Hub, Lithuanian Club
Justin Heazlewood is The Bedroom Philosopher, but is The Bedroom Philosopher Justin Heazlewood? There was a lot of authentic and original material, but also a lot of confusion between the character and the performer. Neither were consistently on the stage. The Philosopher seemed to sing the songs and Justin appeared in between. I wanted to like either of them, but the appearance of one, made you frustrated by the other.
The Bedroom Philosopher has an active following through his radio and short appearances. He performs some terrific songs. The ones about buying mmmmdoms at the chemist, being over girls and his nan loving Radiohead are very funny and perfect devices for showing the Philosopher and his journey. The physical humour also supports the character (the harmonica gags are very special). Then there is the bizarre and surreal Swan song – all three versions. Bizarre is funny, but it doesn’t add to our understanding of the character. Bizarre needs context to really work.
I’ve said a lot recently about shows that reach a general audience by aiming at a specific audience. I have no idea who The Bedroom Philosopher is talking to. Characters work best when the audience understand them, like them and are taken on a journey with them. We love the fumbly nervous characters because we empathise with their weaknesses, but the empathy only comes though an understanding of who they are.
There are some great moments in Living On The Edge...Of My Bed, but they are just static moments that don’t come together as a full-length show. Letting the Philosopher (rather than Justin) control the show may lead to the cohesion and empathy that are missing.
My next show on this evening was Stephen K Amos – he played a character and then appeared as himself. Each knew exactly who they were when they were on stage. Stand up comedy can and should be this good. He had me at hello and I laughed non-stop with about 400 other people for over an hour. If you love and respect your audience, you can take the piss out of them and they come with you every step of the way.
This review originally appeared on AussieTheatre.com.
Living On The Edge...Of My Bed
The Bedroom Philosopher
Vanilla Productions
3 October 2006
Festival Hub, Lithuanian Club
I don’t know if Living On The Edge...Of My Bed is fumbling improvisation or the base of what could be an ingenious character. Either way, the show didn’t hit its stride the night I saw it.
The Bedroom Philosopher has an active following through his radio and short appearances. He performs some terrific songs. The ones about buying mmmmdoms at the chemist, being over girls and his nan loving Radiohead are very funny and perfect devices for showing the Philosopher and his journey. The physical humour also supports the character (the harmonica gags are very special). Then there is the bizarre and surreal Swan song – all three versions. Bizarre is funny, but it doesn’t add to our understanding of the character. Bizarre needs context to really work.
I’ve said a lot recently about shows that reach a general audience by aiming at a specific audience. I have no idea who The Bedroom Philosopher is talking to. Characters work best when the audience understand them, like them and are taken on a journey with them. We love the fumbly nervous characters because we empathise with their weaknesses, but the empathy only comes though an understanding of who they are.
There are some great moments in Living On The Edge...Of My Bed, but they are just static moments that don’t come together as a full-length show. Letting the Philosopher (rather than Justin) control the show may lead to the cohesion and empathy that are missing.
My next show on this evening was Stephen K Amos – he played a character and then appeared as himself. Each knew exactly who they were when they were on stage. Stand up comedy can and should be this good. He had me at hello and I laughed non-stop with about 400 other people for over an hour. If you love and respect your audience, you can take the piss out of them and they come with you every step of the way.
This review originally appeared on AussieTheatre.com.
The Taking of Ramsey Street
MELBOURNE FRINGE 2006
The Taking of Ramsey Street
theatre in decay
1 October 2006
Festival Hub, Lithuanian Club
There is racial tension on the suburban beaches of Australia. An enigmatic and zealous religious leader has convinced a young, hurt and angry teenager that a backpack full of explosives will teach the right lesson. However this leader is a Hillsong Christian and the teenager is a good, white, aussie kid. The Taking of Ramsey Street is the kind of material that theatre in decay do best.
This time it’s done as a satire of Australian soap opera – complete with commercial breaks – and as a musical. All the elements are wrong, but the combination is so right.
Written and composed by Robert Reid, The Taking of Ramsey Street takes the conservative prejudices of Australia and splatters them in our faces. This is theatre for the young and angry, that plays with the conventions of the older and more jaded.
Presented as a workshop, this show should not be viewed as a completed production. The experience and ability of the performers varies greatly and it is presented in an empty black space. The Taking of Ramsey Street has some serious development ahead. It takes too long to establish the characters and a sense of plot, but once it gets going the tension develops and there are some nice little twists. I’m looking forward to seeing what it becomes.
PS: Have a quick look away from the stage, Reid silently sings along to the whole show. Once More with Feeling Rob...
This review originally appeared on AussieTheatre.com.
The Taking of Ramsey Street
theatre in decay
1 October 2006
Festival Hub, Lithuanian Club
There is racial tension on the suburban beaches of Australia. An enigmatic and zealous religious leader has convinced a young, hurt and angry teenager that a backpack full of explosives will teach the right lesson. However this leader is a Hillsong Christian and the teenager is a good, white, aussie kid. The Taking of Ramsey Street is the kind of material that theatre in decay do best.
This time it’s done as a satire of Australian soap opera – complete with commercial breaks – and as a musical. All the elements are wrong, but the combination is so right.
Written and composed by Robert Reid, The Taking of Ramsey Street takes the conservative prejudices of Australia and splatters them in our faces. This is theatre for the young and angry, that plays with the conventions of the older and more jaded.
Presented as a workshop, this show should not be viewed as a completed production. The experience and ability of the performers varies greatly and it is presented in an empty black space. The Taking of Ramsey Street has some serious development ahead. It takes too long to establish the characters and a sense of plot, but once it gets going the tension develops and there are some nice little twists. I’m looking forward to seeing what it becomes.
PS: Have a quick look away from the stage, Reid silently sings along to the whole show. Once More with Feeling Rob...
This review originally appeared on AussieTheatre.com.
Nerd Alert!
MELBOURNE FRINGE 2006
Nerd Alert!
David Heffron
1 October 2006
Jawa Bar and Cafe
If you argue about Picard versus Janeway, know Mulder and Scully’s first names, can draw a map of the Discworld or just been forced to play games on a dud computer-please share you’re nerdiness with David Heffron.
Sometimes it is hard to find your audience during the Fringe. My friend and I were delighted to be David Heffron’s audience. We hung out in the very fabulous Jawa Bar, had our choice of couches (vinyl or futon), drank Argentinean Beer and got to laugh for an hour with a lovely bloke who likes Buffy and They Might Be Giants (the band, not the film) - so he’s gotta be alright.
Nerd Alert! “aims to rock the world of geek-dom to its very core”. Now, I believe that nerds and geeks are different and should not be discussed as the same creatures. I’d call David an IT geek, but a Sci-Fi nerd, who has fortunately outgrown his childhood as a dork (he was scared of ET).
David tells us about his journey to becoming a self-professed geek, but doesn’t define, explore or expose geek culture. He used his love of books and sci-fi to escape PE and football, but did six years of reading and re-reading Terry Pratchett have any substantial effect on his life? He can recite the episodes of Red Dwarf in order, but doesn’t tell us why this genre of sci-fi captured his imagination. I wanted to know where his obsession went to from there, and why did he think Deep Space Nine was better than Voyager? I would also have liked to see him delve further into the world of the uber-geeks – who he admits he is a bit scared of.
I laughed with David throughout the show. He is very funny and appealing. If Nerd Alert! is going to move to bigger venues it will benefit from some tightening and external direction, but its casual and relaxed presentation is perfect for the intimacy of the Jawa Bar.
This review originally appeared on AussieTheatre.com.
Nerd Alert!
David Heffron
1 October 2006
Jawa Bar and Cafe
If you argue about Picard versus Janeway, know Mulder and Scully’s first names, can draw a map of the Discworld or just been forced to play games on a dud computer-please share you’re nerdiness with David Heffron.
Sometimes it is hard to find your audience during the Fringe. My friend and I were delighted to be David Heffron’s audience. We hung out in the very fabulous Jawa Bar, had our choice of couches (vinyl or futon), drank Argentinean Beer and got to laugh for an hour with a lovely bloke who likes Buffy and They Might Be Giants (the band, not the film) - so he’s gotta be alright.
Nerd Alert! “aims to rock the world of geek-dom to its very core”. Now, I believe that nerds and geeks are different and should not be discussed as the same creatures. I’d call David an IT geek, but a Sci-Fi nerd, who has fortunately outgrown his childhood as a dork (he was scared of ET).
David tells us about his journey to becoming a self-professed geek, but doesn’t define, explore or expose geek culture. He used his love of books and sci-fi to escape PE and football, but did six years of reading and re-reading Terry Pratchett have any substantial effect on his life? He can recite the episodes of Red Dwarf in order, but doesn’t tell us why this genre of sci-fi captured his imagination. I wanted to know where his obsession went to from there, and why did he think Deep Space Nine was better than Voyager? I would also have liked to see him delve further into the world of the uber-geeks – who he admits he is a bit scared of.
I laughed with David throughout the show. He is very funny and appealing. If Nerd Alert! is going to move to bigger venues it will benefit from some tightening and external direction, but its casual and relaxed presentation is perfect for the intimacy of the Jawa Bar.
This review originally appeared on AussieTheatre.com.
Coming Clean
MELBOURNE FRINGE 2006
Coming Clean
Rod Quantock, Fiona Scott-Norman & The Melbourne Justice Museum
2 October 2006
Old Melbourne Gaol
A tour with Rod Quantock is always worth your time. This time the destination is the Old Melbourne Gaol (when is hanging NOT funny…). Rod leads us to join four local comedians who tackle the theme of Coming Clean.
After a quick trial in the Magistrates Court we end up in the exercise yard of the City Watchhouse. I suspect this was the first time in a watchhouse for most of the gathered audience. It’s also the first time that the space has been used as a theatre and Rod Quantock’s first public use of toilet humour.
Here we were in the same room that Chopper Reid, Squizzy Taylor, Ned Kelly and many other less famous criminals have been. It’s actually quite nice when there’s a bar, friends to chat with and an illuminated EXIT sign on the open caged doors.
Judith Lucy opened by admitting that she is such a “goody good suck” that she didn’t have any great police or arrest stories to tell – apart from being stripped searched in New Zealand after a trace of marijuana was found in her tobacco. So she came clean with the most embarrassing of stories – she got detention in school for rehearsing liturgical dance at lunchtime. To recover from the shame, she told us about the night she paid for sex. I didn’t used to like Judith– but she’s winning me over.
Fiona Scott-Noman shared her wicked life as a schoolgirl shoplifter, with some neat tips about how to hide a single down your pants. I guess it’s the 70/80s equivalent of illegally downloading an mp3. She also found herself in a police station after heading to a shop roof to snog with her boyfriend. Apparently the constabulary don’t share our sophisticated sense of humour. What do you call the device that police travel between floors on? A copulator. Boom boom. The pun led to Fiona being stripped searched and arrested for trespass.
Lawrence Leung taught us about the art of grifting, swindling and lying. After seeing his confident, comfortable and very funny performance, I want to see his full Fringe show (The Marvellous Misadventures of Puzzle Boy).
It’s all well and good to laugh along with the jolly naughtiness of the urban, middle class comedians, with their witty, political left-wing humour. We don’t usually go to see comedians like Dave Grant (he’s a bogan…..).
Dave Grant was the highlight of the evening. This was a brilliant set about his experiences with violence and arrest. He has been in rooms like this before, but with far less empathetic company. Petty law breaking really doesn’t compare to blood pissing out the face of the man you’ve hit or waking up in a cell after being beaten unconscious by the police. He is also a bloody good left wing political comedian.
Next Monday there is a different line up of comedians joining Rod and Coming Clean. I’m tempted to go back.
This review originally appeared on AussieTheatre.com.
Coming Clean
Rod Quantock, Fiona Scott-Norman & The Melbourne Justice Museum
2 October 2006
Old Melbourne Gaol
A tour with Rod Quantock is always worth your time. This time the destination is the Old Melbourne Gaol (when is hanging NOT funny…). Rod leads us to join four local comedians who tackle the theme of Coming Clean.
After a quick trial in the Magistrates Court we end up in the exercise yard of the City Watchhouse. I suspect this was the first time in a watchhouse for most of the gathered audience. It’s also the first time that the space has been used as a theatre and Rod Quantock’s first public use of toilet humour.
Here we were in the same room that Chopper Reid, Squizzy Taylor, Ned Kelly and many other less famous criminals have been. It’s actually quite nice when there’s a bar, friends to chat with and an illuminated EXIT sign on the open caged doors.
Judith Lucy opened by admitting that she is such a “goody good suck” that she didn’t have any great police or arrest stories to tell – apart from being stripped searched in New Zealand after a trace of marijuana was found in her tobacco. So she came clean with the most embarrassing of stories – she got detention in school for rehearsing liturgical dance at lunchtime. To recover from the shame, she told us about the night she paid for sex. I didn’t used to like Judith– but she’s winning me over.
Fiona Scott-Noman shared her wicked life as a schoolgirl shoplifter, with some neat tips about how to hide a single down your pants. I guess it’s the 70/80s equivalent of illegally downloading an mp3. She also found herself in a police station after heading to a shop roof to snog with her boyfriend. Apparently the constabulary don’t share our sophisticated sense of humour. What do you call the device that police travel between floors on? A copulator. Boom boom. The pun led to Fiona being stripped searched and arrested for trespass.
Lawrence Leung taught us about the art of grifting, swindling and lying. After seeing his confident, comfortable and very funny performance, I want to see his full Fringe show (The Marvellous Misadventures of Puzzle Boy).
It’s all well and good to laugh along with the jolly naughtiness of the urban, middle class comedians, with their witty, political left-wing humour. We don’t usually go to see comedians like Dave Grant (he’s a bogan…..).
Dave Grant was the highlight of the evening. This was a brilliant set about his experiences with violence and arrest. He has been in rooms like this before, but with far less empathetic company. Petty law breaking really doesn’t compare to blood pissing out the face of the man you’ve hit or waking up in a cell after being beaten unconscious by the police. He is also a bloody good left wing political comedian.
Next Monday there is a different line up of comedians joining Rod and Coming Clean. I’m tempted to go back.
This review originally appeared on AussieTheatre.com.
The Debutante Diaries
MELBOURNE FRINGE 2006
The Debutante Diaries
Kate McLennan
7 October 2006
The Festival Hub, The Raglan
Review by Christina Cass
Kate McLennan (The Wrong Night and Let Loose Live) had me absolutely howling with laughter during her new show, The Debutante Diaries, now playing at The Raglan in the Fringe Festival Hub until 3 October.
Directed by Fiona Harris (SkitHOUSE and Flipside) and written and performed by McLennan herself, I laughed; I cried (really, I really cried) but was mostly astounded by McLennan’s seamless work depicting the trials and tribulations of preparing for that classic teenage right of passage – The Debutante Ball.
McLennan morphs between eight different characters and with aid of only a prop or two. She completely embodies the bitchy “mean girl”, the perpetually perky socialite, her jock boyfriend and the lecherous perv teacher/organizer of the Ball. They’re great fun to laugh at and make fun of, because we all know these people – we dealt with them in high school and we’re probably still dealing with them today. That’s one of the reasons her writing is so successful – it smacks of truth – and when we witness her most poignant character, Sophie, negotiating the confusing maze of preparation to her “fairytale night” it can break our heart.
Harris’ direction is for the most part spot-on. Less is more in a one-woman show and although McLennan is a master at transformation, she would be greatly aided by better technical transitions. Perhaps by watching a recording one of Lily Tomlin’s classic one-woman shows, one can see how sound and light can truly act as a buffer between characters and help the actor propel the story forward rather than continually stop-starting.
This review originally appeared on AussieTheatre.com
The Debutante Diaries
Kate McLennan
7 October 2006
The Festival Hub, The Raglan
Review by Christina Cass
Kate McLennan (The Wrong Night and Let Loose Live) had me absolutely howling with laughter during her new show, The Debutante Diaries, now playing at The Raglan in the Fringe Festival Hub until 3 October.
Directed by Fiona Harris (SkitHOUSE and Flipside) and written and performed by McLennan herself, I laughed; I cried (really, I really cried) but was mostly astounded by McLennan’s seamless work depicting the trials and tribulations of preparing for that classic teenage right of passage – The Debutante Ball.
McLennan morphs between eight different characters and with aid of only a prop or two. She completely embodies the bitchy “mean girl”, the perpetually perky socialite, her jock boyfriend and the lecherous perv teacher/organizer of the Ball. They’re great fun to laugh at and make fun of, because we all know these people – we dealt with them in high school and we’re probably still dealing with them today. That’s one of the reasons her writing is so successful – it smacks of truth – and when we witness her most poignant character, Sophie, negotiating the confusing maze of preparation to her “fairytale night” it can break our heart.
Harris’ direction is for the most part spot-on. Less is more in a one-woman show and although McLennan is a master at transformation, she would be greatly aided by better technical transitions. Perhaps by watching a recording one of Lily Tomlin’s classic one-woman shows, one can see how sound and light can truly act as a buffer between characters and help the actor propel the story forward rather than continually stop-starting.
This review originally appeared on AussieTheatre.com
Mikelangelo and the Black Sea Gentlemen: From Here To There
MIAF 2006
From Here To There
Mikelangelo and the Black Sea Gentlemen
26 October 2006
The Famous Speigeltent, Melbourne
In 2001 I noticed a dubious group of be-suited gentlemen roaming the Saturday markets in the far land of Canberra. For their musical antics I threw them some spare coins. They continue to be led around the globe by the enigmatic Mikelangelo. Last night I saw the Gentlemen in their true home - the Speigeltent. No longer begging for change, their sold out performance was greeted with well deserved cheering, foot stamping and hollering.
Mikelangelo and the Black Sea Gentlemen’s new show, From Here to There, proved a hit at the 2006 Edinburgh Fringe. Their original music, unique characters and nefarious comedy makes for some damn fine cabaret.
If you are familiar with the Gentlemen’s antics, this show is full of new material, without forsaking the old favourites. Watching members of the audience mouthing, “sodomy is not just for animals” was a highlight. Nearly as high as Mikelangelo’s pants and his newly acquired bathing costume.
The increased theatricality of this show, allows each gentlemen to display their own unusual talents. The Great Muldavio’s taxidermy monologue is not easily forgotten and Guido Libido will have you yearning for the simple delights of the silent cinema.
But do not fear - Mikelangelo does not let the greatness of his gentlemen detract from his own greatness. Mikelangelo is pure charm, mixed with mystery, a dash of macabre and a hint of obscene. He also writes the music, which you will find yourself humming for days after - if you don’t immediately buy a CD.
I have seen no one comparable to the Black Sea Gentlemen, but they do remind me of The Tiger Lillies. Even if Mikelangleo and Martyn Jacques do sing at opposing ends of the vocal spectrum, and the Gentlemen are slightly more gentlemanly with their choice of subject matter. 'Formidable Marinade' is a veritable romantic song next to 'Masturbating Jimmy'. (I have a Mikelangelo song chosen if I ever have a wedding and a Tiger Lillies’ track if I ever have a funeral.)
Mikelangelo and the Black Sea Gentlemen really do get better and better each time I see them. From Here to There has struck an ideal balance between structure and improvisation, with stunning music and eye-wiping comedy.
There are few opportunities to see the show in Australia this year, but 2007 promises more visits around the country. If you haven’t spent a night of pleasure with the Gentlemen, don’t miss them.
This review originally appeared on AussieTheatre.com
From Here To There
Mikelangelo and the Black Sea Gentlemen
26 October 2006
The Famous Speigeltent, Melbourne
In 2001 I noticed a dubious group of be-suited gentlemen roaming the Saturday markets in the far land of Canberra. For their musical antics I threw them some spare coins. They continue to be led around the globe by the enigmatic Mikelangelo. Last night I saw the Gentlemen in their true home - the Speigeltent. No longer begging for change, their sold out performance was greeted with well deserved cheering, foot stamping and hollering.
Mikelangelo and the Black Sea Gentlemen’s new show, From Here to There, proved a hit at the 2006 Edinburgh Fringe. Their original music, unique characters and nefarious comedy makes for some damn fine cabaret.
If you are familiar with the Gentlemen’s antics, this show is full of new material, without forsaking the old favourites. Watching members of the audience mouthing, “sodomy is not just for animals” was a highlight. Nearly as high as Mikelangelo’s pants and his newly acquired bathing costume.
The increased theatricality of this show, allows each gentlemen to display their own unusual talents. The Great Muldavio’s taxidermy monologue is not easily forgotten and Guido Libido will have you yearning for the simple delights of the silent cinema.
But do not fear - Mikelangelo does not let the greatness of his gentlemen detract from his own greatness. Mikelangelo is pure charm, mixed with mystery, a dash of macabre and a hint of obscene. He also writes the music, which you will find yourself humming for days after - if you don’t immediately buy a CD.
I have seen no one comparable to the Black Sea Gentlemen, but they do remind me of The Tiger Lillies. Even if Mikelangleo and Martyn Jacques do sing at opposing ends of the vocal spectrum, and the Gentlemen are slightly more gentlemanly with their choice of subject matter. 'Formidable Marinade' is a veritable romantic song next to 'Masturbating Jimmy'. (I have a Mikelangelo song chosen if I ever have a wedding and a Tiger Lillies’ track if I ever have a funeral.)
Mikelangelo and the Black Sea Gentlemen really do get better and better each time I see them. From Here to There has struck an ideal balance between structure and improvisation, with stunning music and eye-wiping comedy.
There are few opportunities to see the show in Australia this year, but 2007 promises more visits around the country. If you haven’t spent a night of pleasure with the Gentlemen, don’t miss them.
This review originally appeared on AussieTheatre.com
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