Mini review: Delectable Shelter

Delectable Shelter
Critical Stages and The Hayloft Project
22 August 2013
Northcote Town Hall
to 22 August 2013
or it's on at Moonee Ponds 23 and 24 August
clocktowercentre.com.au

The Hayloft Project's Delectable Shelter has been touring the country and finishes back home in Melbourne with a two-night visit to Northcote and its final shows tonight and tomorrow at the Clocktower Centre in Moonee Ponds.

Five, rather white and privileged, folk have an underground bunker to themselves, which isn't as bad as it seems because the human race has been destroyed; they'd got beyond the point of help. In 350 years, the air will be safe and their descendants can join the descendants of the other bunkers. Except they find out that there are no other bunkers. Lucky they are punny (Scott of the arced octet!), fertile and have ergonomic chairs, an 80s love song sheet music and some Bach to keep them on track to the new world that will be full of "nice things".

Benedict Hardie wrote and directs this bitterly delicious post-apocalyptic trip (and I mean trip in the psychadelic way).  From its eye-hurting design to a note-perfect cast, it's hilarious and the only thing stopping me laughing was fear of missing something and the deep-down terror that it was too true to be fiction.

Photo by Pia Johnson

Video: Miles and Simone

Miles and Simone launched their first video last night.

Play it on this delightfully warm Friday to ease into the weekend and gently fall in love with this Melbourne duo.



Want the album? Head to milesandsimone.com.

Music review: Miles and Simone

Miles and Simone
Valentine's tour
9 Feb 2013
Spiegeltent, Arts Centre Melbourne
milesandsimone.com
facebook page

I've had a bit of a crush on Miles and Simone since they released their first CD, Home in Your Heart, last year, but on Saturday I watched a full Spiegeltent fall completely in love with this too gorgeous Melbourne duo.

Simone Page Jones wears an extra frilly dress with a floral print, red tulle and black tassels. She bought it in Barcelona in the hope that one day she'd wear it in the Spiegeltent. The only thing stopping her from floating off the stage in happiness is the the grounding influence of Miles O'Neil, who (even with fluffy ginger thighs) continues to re-define hipster op-shop style with a cream jacket that makes the 60s Vegas Rat Pack look uncool.

And they sing.

A Black Velvet cocktail has a base of rich stout that's topped with a crisp and sweet fizz and served in a curvy flute.  I have no idea how anyone thought these drinks should mix and make something quite perfect, but they do and it's like how Miles's chocolaty deep voice sounds so unexpectedly perfect with Simone's clear and sparkling sound – which isn't a like posh and over-priced Champagne, but more like a far better local wine with the kind of light sparkle that makes you smile with every sip.

Photo by Leila Koren

They talk like best friends and share stories about their songs with their besotted audience and each other, and I hope that they never lose the ability to surprise each other on stage. There's a song about a holiday in Apollo Bay, one set in a Fitzroy pub, songs about loves lost or run from, and now that I know Simone's song "Birdy" is about the galah that sits chained to a stand in a Bourke Street tobacco shop, I don't think I can listen without making sure that I go and give that bird a scratch.

With just Miles's guitar, their music is a little bit country, but with a loving and gentle sound that feels like they wrote them on an inner-city patch of grass on a perfect warm day. They remind me of the early 90s duets by the UK's The Beautiful South and their reminiscing tone is almost like The Go-Betweens "Cattle and Cane".

I took a friend who after two songs turned to me and said, "Do they have a CD? They're sublime." What more can I say. Miles and Simone are sublime.

You can buy Home in Your Heart here and they are launching the album in Sydney on Tuesday night at 8.30 at 107 Projects in Redfern (tickets at the door) and in Brisbane on Wednesday at 9.30 at the Brisbane Powerhouse (free).

More photos by Leila Koren

What Melbourne loved in 2012, part 5

Today it's Miles O'Neil, Stephen Nicolazzo and Shannon Woollard.

Stephen says how his experiences in 2012 "have changed me and allowed me to find a platform to express myself without censorship or fear".

The artists who break through the fear and trust that their unique voice is the only way to tell their story are the ones who keep appearing in favourite moments. So, on 12/12/12, let's declare our creative mantra for 2013: "Without censorship or fear".

Miles O'Neil
performer, singer, story teller

photo by Telia Nevile

MILES: My favourite theatre experience was The Last Tuesday Society's Pimp My Play-A Streetcar Named Desire, some night in September at the Melbourne Fringe Hub. It was a beautifully run night full of wonderful performers trying things. I always love a Black Lung short piece, and a dance from Gabi Barton and Vachel Spirason. Finish it off with a conga line from Lessons with Luis and the sweet voice of Simone Page Jones and get Bron Batten serve it up with a bit of cream and a cherry on it and you've got my theatre sweet treat of 2012.

SM: Miles, Jof and Glen left me hurting in The Suitcase Royale's Zombatland with its giant zombie wombats and pineapple doughnuts, but my moment is my ongoing meeting with Miles and Simone Page Jones in my car. In November, Miles and Simone released the most fucking gorgeous album: Home in Your Heart. Its ten original songs are melancholic but filled with hope and a love that's so close you can touch it with your fingertips. Each song draws you into its story and world, and the rather exquisite recording sounds like they're sitting next to and singing just for you. You can listen to three tracks here, then buy it  here.

photo by Pierre Baroni 

Stephen Nicolazzo

director

STEPHEN: Summertime in the Garden of Eden was the only theatrical experience of the year that inspired me to carry on as an artist and engage. Sisters Grimm are a unique force and, though I am biased, I feel that their work is intelligently crafted, razor sharp and odious in a way that not much theatre in Australia has been for many years. Having said that, my personal aesthetic and interest is completely present in their work, so it is a matter of taste and appreciation that influences my decision here.

I also loved Matt Lutton's production The Misconception of Oedipus and The Rabble's showing of The Picture of Dorian Gray at Theatre Works. Both of these pieces dissected the literary in such a magical theatrical way that I couldn't help but wonder how on earth the creatives involved had orchestrated these events.

This year was also a really big year for me as I had returned to Melbourne after many years living in Sydney and finally got a chance to produce the work I have always wanted to make.

MKA'S sex.violence.blood.gore and now Psycho Beach Party have changed me and allowed me to find a platform to express myself without censorship or fear.

I also concur on the praise for Sarah Walker's photography this year. She really has captured the diversity and brevity of theatre in Melbourne unlike any other and hopefully will continue to document the contemporary history of our new theatre makers for years to come. I love her so much I flew her up to Sydney to shoot photos for Psycho Beach Party. I recommend every one to do this.

SM: sex.violence.blood.gore  sex.violence.blood.gore  sex.violence.blood.gore   sex.violence.blood.gore  sex.violence.blood.gore  sex.violence.blood.gore  sex.violence.blood.gore  sex.violence.blood.gore  sex.violence.blood.gore  sex.violence.blood.gore  sex.violence.blood.gore   sex.violence.blood.gore

Loved it to pieces and then more.

If you're in Sydney, there's a few more chances to see Stephen's Psycho Beach Party. It's at the Bondi Pavillion and features leopard print and Ash Flanders. Details here. The only reason I'm not upset that it's on in Sydney, is that we get it in January at Theatre Works.

Shannon Woollard

actor, director

SHANNON: While it didn't quite enter the realm of perfection, I thought that Bridgette Burton's Rhonda is in Therapy (Baggage/Hoy Polloy at fortyfivedownstairs) came pretty close. My fave theatre moment this year would have to be watching Kelly Nash and Louise Crawford nail a critical scene. It's one of those scenes where you're not completely sure if someone is actually real. Genuine disconsolation floats – like a troublesome but intriguing ghost – right in front of you. Sometimes you read a script (I was pretty familiar with this one before I saw the show) and something evokes a very specific dramatic idea or mechanism. I saw that mechanism perfectly translated by director Wayne Pearn and the actors in this production.

SM: Last week I saw Shannon in Death of a Comedian at La Mama and loved being taken into the insecure backstage world of stand up comedians, but I think my favourite moment will be this weekend when I head to Williamstown for PlaySix, the annual short-play mini-festival he directs. Details here. And I'll get to hang out at the super-cute Willamstown Theatre where they sell packets of lollies and have old-school brocade-covered seats.

part 1

part 2

part 3

part 4
part 6
part 7
part 8

part 9

part 10
part 11

Miles and Simone's debut album

I decided to go to the theatre on Wednesday instead of heading to The Toff for the launch of Miles & Simone's debut album, Home in Your Heart. I made the wrong choice.

Both Melbourne based, Simone Page Jones is an opera singer and cabaret artist, and Miles O'Neil is a founding member of the junkyard band and performance group The Suitcase Royale. If you were at the Festival Hub on Sunday afternoons, you may have caught a sneak preview of this gorgeous duo and Simone's super cute dog. I really loved that the dog sat on stage with them.

They have been friends for a long time and say that last summer they "found themselves on many an afternoon drinking gin and singing lonesome duets in the backyard. As the months got colder they left the backyard and began recording the songs in Miles’s spare room studio."

The rough mix of the album took them to Portland, Oregon, where was mixed by renowned engineer Adam Selzer.

                                     

"Eleven songs of sparse acoustic duets subtly augmented by an old piano, pedal steel and the plunk of a banjo. Set in the folk/country tradition and maintaining at their core an Australian feel both in the lyrics and laconic style, the songs are straight from the heart and tell tales of the things that were, the things that weren’t and everything in between."

It's already been described as "a work of quiet brilliance" and just having a listen to the sample tracks, I wish I'd said it first.

You can listen here and buy here.

Launch photos by Telia Nevile

A weekend at the Foxtel Festival Hub

including
Wunderacts (Circa), Life Art and Leigh Bowery, The Love of Books: A Sarajevo Story, The Enemy of the People, Miles O'Neil and Simone Page Jones 

I've seen some terrific stuff this festival (Orlando and last night's An Enemy of the People are highlights), but the absolute jump-up-and-dance winner of this year's Melbourne Festival is the Festival Hub (ok, the Foxtel Festival Hub).

My favourite hour of this festival was spent sitting on a red velvet couch listening to Boy George, Paul Capsis, Le Gateau Chocolate and Richard Watts talk about identity, drag and the politics of being yourself. I had good coffee (really good coffee) and a cup cake with a purple flower, I was with people who remember the 80s and there was free Wi Fi to tweet from. Can't ask for anything more.

On Saturday afternoon, I saw Circa's Wunderacts. And yes it is.

And here's a chat with Daniel Crisp from Circa. 

Circa make intelligent, funny, sexy, mad and wonderful circus. From its fuck-me red stilletto shoes to the throwing of teddies, Wunderacts is an utter joy that had the audience on their grinning and cheering feet.

Circa take traditional tricks and add layers of skill and complexity that leave even the most jaded of us gasping. Throw in a world where strong women are bases, men dance gloriously in pink tulle and everyone is wonderful just as they are, it's the kind of show that simply left me feeling happy.

Their last performance is tonight (Monday).

After such a treat, there was no chance of going home to sit in the dark and write as there was sun, a roof top bar with cocktails, amazing views, great conversation and a very cute dog running from table to table for pats.

Sunday started with a documentary (yes, there's a film program in the festival). The Love of Books: A Sarajevo Story is a mix of first-person interviews, re-enactments and footage from the city during the siege. There were only two screenings, but it's well worth finding.

During the Bosnian war (1992–95), the city of Sarajevo was burnt and shelled, 250, 000 people were killed and two million refugees fled.  As snipers lined the streets and friends and families were killed and threatened, a group of  people risked their lives to move and hide 10,067 irreplaceable manuscripts. They put them in old banana boxes (books so old that they can't be exposed to light or held by human hands today) and ran. Then they did it again when the libraries in the city were burnt.

A man who was born in Africa and had made his home in Sarajevo said, "It would have been better to die with the books than to live without them."

I saw this film because I'd read Geraldine Brooks's fictional People of the Book, which was inspired by this story, and I wanted to see the exquisite ancient texts. They are so beautiful, but I was humbled and moved by a story that should be known far wider than the few who see this documentary.

Next it was back to the Hub for more coffee and was happily surprised to see that uber-gorgeous singers Miles O'Neil and Simone Page Jones had been asked back for their second Sunday. Even better, they performed with Nathan the dog. Every performance should have a dog.

And Schaubuühne Berlin's The Enemy of the People  supported my solid theory by having a German Shepherd. Every show should have a dog.

I was on a date ticket, so will leave the raving to others – who will be raving.

The pre-show whinge was "two and a half hours with no interval" – it's a big ask in the middle of festival – but have a wee before you go in and you'll be fine. And put up with the fuzzy surtitles (there were lots of complaints about how hard it was to read them).

I was near people who hated it and saw some wonderful huffy walkouts, but they should have stuck it out. The first stretch is contemporary uber-naturalism Ibsen with German hipsters and David Bowie songs. A young doctor had a new wife and baby and has uncovered that the local spa water is poisoned, but the local council convinces the local paper not to publish the findings. This leads to a very long speech about the "sodding liberal majority" that left me wishing that I wasn't one of the sodding, and then it gets so brilliant that I don't want to talk about it and ruin the impact. All I can say is that Melbourne audiences are wonderful.

And I'm hoping to get back to the Hub on Thursday for the forum about European Theatre with Schaubuühne's director Thomas Ostermeier.

All photos by me.

Bittersweet

MELBOURNE FRINGE 2009
Bittersweet
8 October 2009
Meat Market

Bittersweet enjoyed a short season of sold out shows at the Fringe’s wonderful circus ‘tent’ at the Meat Market. Created by Last Tuesday Society regulars, the eager crowds were ready for something very different.

Set in a strip club in the “seedy side of town where it’s always 4.30 in the morning”, Richard Higgins is the DJ who narrates the tale that ends with the destruction of the club. With a singer who only sings when the club is shut, the sweet country girl who just wants to hoop dance, a band who never leave and a drunk whose stuck to his chair, Bittersweet is on it’s way to being a late-night cult favourite.

But it feels like a Last Tuesday night in a bigger venue. Story and characters are what hold this kind of show together, with the skill of the performers used to tell the story. For all their skill, each piece took us away from the characters and made us focus on the performers, which was emphasised by Higgins dropping his dark, seedy (and fascinating) DJ character, slipping into his MC character (or even himself) and asking us to cheer – and the performers dropping out of character to bow! If you want us to care about the people in this sad, lonely place, don’t remind us that it’s all just pretendies and we are really there to see you look hot and show off a bit.

The characters felt tacked on to the performer’s existing acts, rather than integral to them. Simoncee Page-Jones’, Dragon Lilly hides behind enough glitter make up and feathers to dress a Les Girls troupe, but we don’t get a glimpse of why. She sings ‘Send in the Clowns’, but misses the emotion of the song to be a vocal gymnast. This one would have hit us in the heart if she had let Lilly drop her mask and sing from her heart. Stephen Williams was hands down the performer of the night, but his effortless skill needed a character who belonged in that club. Anna Lumb is adorable on stage, but I wasn’t sure if she was playing one or two characters.

Bittersweet is a nice cabaret show, but it’s not a theatre show yet. The story needs work and the group ‘happy ending’ isn’t earned - and I have no idea what the tacked on dance was. Was it meant to show us that two people survived and found love or something that didn’t fit in anywhere else?

The spine and structure are there, but Bittersweet needs (and deserves) the help of a writer and a director to balance out the flavours and remove the saccharine aftertaste.

This review originally appeared on AussieTheatre.com.

More 2009 Fringe reviews.