What I Loved in 2019: The best of Melbourne theatre. And thank you

This year I saw a lot of new work and emerging artists, which is how I started writing about theatre. Many of those artists and companies from the early days are now on our main stages, where indie criticism isn't as welcome and masthead criticsm is reduced to an adjective. I do both.

Seeing new work and watching companies and artists develop is one of the most satisfying parts of being a theatre writer. When you see something remarkable in a tiny room, you come back and see them again and again. Watching other people discover that same remarkable is amazing.

If you have to choose between seeing one big show or 20 small ones, see the small ones. You'll feel better.

There's such a demand for indie critics and writers because, no matter how tough it gets, our indie performers, companies and venues keep making work.

Independent and emerging performers, if you want people to see your work and write about it, find the voices or publications that you like and read or listen to or follow. There will be someone who totally gets your work and will be the voice that describes your art in ways that makes other people want to see you.

If you don't know who those reviewers they are yet, read, listen to and follow indie voices!

If you want to write about or talk about theatre, just start doing it. Don't rely on it being a paid job and don't despair if you're not read by thousands. Keep going; it'll happen. Keep seeing work. And when you find those shows and artists that you totally understand, your work becomes part of the community.

(And, keep an eye out because I will be running more writing workshops and publicity workshops next year.)

If you're on those big stages and see work on those stages and wonder why all you ever see is star ratings, ask why and speak up.


Sometimes Melbourne celebrates nearly 14 years of writing about theatre in Melbourne.

I don't know what's going to happen next year, but it's time for Sometimes Melbourne to have a break. It's a difficult decision but I don't have the resources or support to keep it going. I'll still write for other publications, teach and see as many shows as possible.

Thank you to every artists and show I've seen. You're all amazing. Thank you for the messages and conversations. Thank you for your work. You make a difference.


And here are my favourite shows and artists of 2019. I'd see every one of them again.

Outstanding artists 2019

WRITING

Zoey Dawson for Australian Realness at Malthouse

Emily Goddard, Chanella Marci. "Australian Realness" Photo by Pia Johnson

Bridget Mackey for Love/Chamberlain at Theatre Works

Rebekah Hill, Dana Miltins. "Love Chamberlain"

Special mention

Wil Greenway for Either Side of Everything at MICF

Will Greenway

DESIGN

Costume 
Gabriela Tylesova for Muriel's Wedding: The Musical, Global Creatures in association with Sydney Theatre Company

"Muriel's Wedding"

Set/lighting
Kate Davies/Emma Valente for Unwoman, The Rabble at The Substation

"Unwoman" by The Rabble. Photo by Pier Carthew

Lighting
Clare Springett for Oil at Red Stitch.

"Oil". Photo by John Lloyd Fillingham

PERFORMANCE

The cast of Anthem, Arts Centre Melbourne at MIAF

Maude Davey, Reef Ireland, Ruci Kaisila, Thuso Lekwape, Amanda Ma, Maria Mercedes, Tony Nikolakopoulos, Eryn Jean Norvill, Sahil Saluja, Osamah Sami, Eva Seymour, Carly Sheppard,  Jenny M Thomas, Dan Witton 

"Anthem" Photo by Pia Johnson

The cast of Unwoman, The Rabble at The Substation
Part I: Annalise Matthews, Toni Main, Robyn McMicking, Anna Nottle and Mattie Young
Part II: Dana Miltins and Mary Helen Sassman
Part II: Yumi Umiumare
Testimonials ead by Mila Jennings


Special mentions

Helena Dix as Norma in Norma, Melbourne Opera

Nick Simpson-Deeks as George in Sunday in the Park with George, Watch This

Christie Whelan Brown as Tania in Muriel's Wedding: The Musical, Global Creatures in association with Sydney Theatre Company

Helena Dix. "Norma"

Nick Simspson-Deeks, Vidya Makan. "Sunday in the Park with George"

Keep an eye on

Luisa Scrofani in My Brilliant Career, the Sir Zelman Cowen School of Music, the Centre for Theatre and Performance and Monash Academy of Performing Arts in association with the Jeanne Pratt Musical Theatre Artists in Residence Program.

Luisa Scrofany. "My Brilliant Career"

DIRECTION

Declan Green for Wake in Fright, Malthouse

"Wake in Fright". Photo by Pia Johnson

Everything they do rocks 2019

Everyone at The Butterfly Club for supporting, promoting and presenting independent cabaret, comedy, music and theatre more than anyone else in town.

Everyone includes:
All staff who program, promote and organise.
All the front of house.
All the bar staff.
Anyone I missed.
And everyone involved with Enter Closer, Crowded and the other managed venues during festivals.

The Butterfly Club. Photo by Stano Murin

The Butterfly Club celebrated its 20th birthday this year. After moving from South Melbourne, it's now tucked away in a three-level wonderland in Carson Place in the middle of the city (boxed by Swanston, Elizabeth, Collins and Bourke streets).

Every night there are between two and eight different shows that include regular nights, independent shows and venue-produced shows. They support indie artists from the application process to front of house staff and help with promotion and media.

Artists who perform there talk about being welcomed into a family.

Audiences love the place. From the changing menu of cocktails to hanging around and analysing at the minimalist decor*, it's a joy to be there.

(And one day, there will be some funding to deal with the access issues of a very old building with lots of stairs.)

*not minimalist. My favourites are the art deco cat lamp, the Ginger and Fred series of photos, and the framed and stuffed kitten tea towel.


and


Lessons with Luis

Lessons With Luis

I genuinely don't understand how Luis and his family aren't international superstars.

When I see a Lessons with Luis show, I forget about being a reviewer because I am so happy to be there. The work is so complete that the line between character and performer doesn't exist and they tell a truth about families and grief that is so real that I don't want to be confronted with the idea that it's a performance.

And Luis likes cats. 

This year I saw Stickin' Together at MICF and went to Yadna's 47th Birthday.

Outstanding productions 2019

MUSICAL

Come From Away, multiple producers

"Come From Away". Photo by Jeff Busby

Special mention

Polygamy, Polygayou, produced by Clare Rankine at Melbourne Fringe

"Polygamy, Polygayou". Photo by Ling Duong

COMMERCIAL

Harry Potter and the Cursed Child, parts one and two, multiple producers


COMEDY

Cassie Workman, Giantess at MICF

Cassie Workma

Special mentions
Patrick Collins Mime Consultant at MICF

Joshua Ladgrove pumps your bilge at MICF and Melbourne Fringe

Completely Improvised Potter, Soothplayers at MICF and Melbourne Fringe

Frobert and Ladgrove

"Patrick Collins Mime Consultant"

"Completely Improvised Potter". Photo by Mark Gambi

CABARET

BOOBS by Selina Jenkins at Melbourne Fringe

Special mention

Garbage Monster by Alice Tovey, Hot Mess Productions and The Butterfly Club at MICF

Selina Jenkins

 

Alice Tovey

DANCE

Collossus, Stephanie Lake Company, Arts Centre Melbourne at MIAF

"Collossus"

OPERA

Norma, Melbourne Opera

Best of the best 2019

The Butch Monologues, Theatre Works and Stage Mom at Midsumma

cast of "The Butch Monologues"

Harry Potter and the Cursed Child, parts one and two, multiple producers

"Harry Potter and the Cursed Child"

Keep, Daniel Kitson at MICF

Daniel Kitson

Barbara and the Camp Dogs, Malthouse presents a Belvoir production

Elaine Crombie, Ursula Yovich. "Barbara and the Camp Dogs". Photo by Pia Johnson

Waterloo by Bron Batten at Melbourne Fringe

Bron Batten. "Waterloo". Photo by Theresa Harrison

My favourite show of 2019

The Living Room by Amrita Dhaliwal and Gemma Soldati at Melbourne Fringe

Amrita Dhalial and Gemma Soldati. "The Living Room"

 Which is coming back for comedy festival!

Past favourites.
2018

2017
2016

2015

2014

2013

2012

2011 

2010 

2009 

2008 

2007

Melbourne Fringe: The good news stories

MELBOURNE FRINGE
12–29 September 2019
melbournefringe.com.au





So Melbourne Fringe is over and we have a couple nights off before Melbourne Festival begins. I saw a lot of shows – I think 31, but it's a blurr – and missed that many again that I wanted to see.

So many people don't see, go to or cover Fringe because of the big curated Festival – and they miss out on so much. Melbourne Fringe is the event where we see the beginnings of works that go on to change how we make theatre. It's where we see stuff that will never be seen again. It's where you will see an artist who connects with you and you and know that you are going to see everything they do. It's where arts community and audiences are developed and built, and where no one gives a toss what the sponsors think.

These are some of the many good news stories this Fringe.

Danny Delahunty and his team creating a new Fringe Hub at Trades Hall. So many more venues. A place full of history that reminds us every moment that the word "union" means working together.

Indie media stepping up again. There was the ARTery podcast - EVERY DAY, thanks to Jason Cavanagh and host extraordinaire May Jasper. Myron My at My Melbourne Arts saw 61 shows! And wrote about them. The only way to get the context, depth and importance of this event is to see a lot.

Awards. Yep, sometimes awards they are guff, but a lot of Fringe prizes are support to get to other festivals, and the "best" ones are decided by panels of industry people who also see so many shows throughout the festival. It's one to be genuinely chuffed about.

Ones that made me smile.

Andi Snelling's Happy-Go-Wrong is off to the Adelaide fringe.  (I talked about this on ARTery podcast.)

Andi Snelling.  Happy-Go-Wrong

Bron Batten's Waterloo is off to North Melbourne and to Edinburgh. I can't wait to see what this show becomes. This means that I somehow have to get to Edinburgh next year. As an arts writer, if I saved everything I earned as an arts writer in a year, I couldn't even get a flight. And that's more than others get.

Oh No, Satan Stole My Pineal Gland directed by Jean Tong and Louisa Wall won Best Ensemble. They were.

Claire Rankine won a producing award for Polygamy, Polygayu, which she also directed  and it was developed and performed by Alice Tovey, Charity Werk, Margot Tanjutco and Hayley Tantau.

Alice Tovey, Margot Tanjutco, Charity Werk, Polygamy, Polygayou. Photo by Ling Duong

Bryony Kimmings won Best Theatre for I'm a Phoenix, Bitch (ARTery podcast). She's still one of my favourite artists and even if I wasn't 100% sure about this work, its impact is astonishing. I've spoken to people who say their lives have changed since they saw it. Produced by Daniel Clarke and Arts Centre Melbourne.

Selina Jenkins's BOOBS won Best Cabaret. It's one of the best shows I've seen this year (ARTery podcast).

My favourite story is the two clowns from LA, Amritha Kaur Gemma Soldati, who came to Melbourne and knew no one and won Best Comedy. I saw The Living Room because someone from The Butterfly Club told me about it. (Those networks of people really do work.) It only ran for a week and us who saw it now have some pretty good bragging rights. If you missed it – well, I told you it was good.

Frobert and Joshua Ladgrove. Pic nicked off Facebook.

My nearly-favourite story isn't a prize (but this show won the Golden Gibbo at MICF). Joshua Ladgrove Presents Melbourne’s Only Bilge Pump Sales Seminar sold out – in the good way, the every seat filled way. Add an extra star to my comedy festival review. Three years ago, he did a Fringe show with an audience of nine: we will always be the Portenza Nine.

There many other artists and shows that I could mention – and hopefully did on Twitter – , but a lot of them are going to get lots of words in the future. And I many never have known about them if I hadn't seen them in this festival.

MICF: Beau Heartbreaker

Beau Heartbreaker
Selina Jenkins
10 April 2015
Melbourne Town Hall, Backstage Room
to 19 April
comedyfestival.com.au

Selina Jenkins as Beau Heartbreaker

Lots of new crushes this festival and guitar-playing, yarn-spinning Beau Heartbreaker is the newest.

I'd never say that a country farmer boy is my type, but Beau is just so gosh darn lovely that it's impossible not to adore him.

Under the impressive beard (he's confused that he can now walk down Brunswick Street and not feel out of place with his beard and a flannie shirt) is Selina Jenkins. Whereby drag can be used to humiliate the opposite sex, she uses the gender inversion with absolute love and lets Beau tell a greater truth that relates to everyone. And it lets him add an impressive and unexpected soprano to his songs.

Beau tells us about life on a dairy farm and his trip riding horses through Mongolia. It's on this trip that he realises that he has to tell his parents, who love him dearly, something so important, and unchangeable, about himself that he's scared that they might not love him any more.

Beau Heartbreaker's humour is gentle and subtle with a twist that grabs your heart as much as it makes you snort with laughter.

As many stars as seen from the middle of his dairy farm on a clear night.