Hayley Butcher
13 September 2016
The Butterfly Club
to 18 September
melbournefringe.com.au
 |
| Hayley Butcher in Pressure Down |
My review is on The Age/SMH.
Mostly Melbourne theatre reviews
Showing posts with label Wes Snelling. Show all posts
Showing posts with label Wes Snelling. Show all posts
16 September 2016
Review: Pressure Down
Pressure Down
Hayley Butcher
13 September 2016
The Butterfly Club
to 18 September
melbournefringe.com.au
My review is on The Age/SMH.
Hayley Butcher
13 September 2016
The Butterfly Club
to 18 September
melbournefringe.com.au
My review is on The Age/SMH.
13 June 2013
Return season: Standard Double
Good news if you missed Kate McLennan and Wes Snelling in Double Standard at this year's Comedy Festival. They've booked themselves back into The Blackman from 9–20 July.
Book here.
18 April 2013
Quick MICF: Standard Double
Kate McLennan & Wes Snelling: Double Standard
2013 Moosehead Award recipient with the help of the Comedy Channel on Foxtel
3 April 2013
Blackburn Hotel
to 21 April
For a while there weren't any seats left for Double Standard because Kate McLennan and Wes Snelling fans know that it's too wrong to even consider missing them perform, but the great news is that they've added two extra performances: Friday 19 April at 10 pm and Saturday 20 April at 5 pm. If you don't book now, you'll have to see something else and miss the show that made me so want to have quick sex and a giant Toblerone in a swish room at the Blackman.
This show lets 20ish people into a top floor room at the Blackman Hotel on St Kilda Road. It's a very nice hotel. The beds are huge, there's Charles Blackman's art everywhere, a bar and a cafe with lots of scrummy cake. But that's the a bonus, as this show would be just as terrific in a dodgy freeway-side joint where you can't lie on the sheets because they are moving.
Double Standard is series of extended sketches about folk who are in the hotel. From staff to guests, there's more story and love than in most joke-based sketch, but not enough to be upset that there's only a few minutes of each character. Some are more memorable than other, but each confirm that Kate and Wes are two of the best comic writers and performers around, and it's guaranteed to make you giggle every time you see a glass table.
It finishes on Saturday, and remember there are now two extra shows.
This show lets 20ish people into a top floor room at the Blackman Hotel on St Kilda Road. It's a very nice hotel. The beds are huge, there's Charles Blackman's art everywhere, a bar and a cafe with lots of scrummy cake. But that's the a bonus, as this show would be just as terrific in a dodgy freeway-side joint where you can't lie on the sheets because they are moving.
Double Standard is series of extended sketches about folk who are in the hotel. From staff to guests, there's more story and love than in most joke-based sketch, but not enough to be upset that there's only a few minutes of each character. Some are more memorable than other, but each confirm that Kate and Wes are two of the best comic writers and performers around, and it's guaranteed to make you giggle every time you see a glass table.
It finishes on Saturday, and remember there are now two extra shows.
24 January 2011
Review: Carnegie 18 part 2
Carnegie 18
Curtains and Contact
Full Tilt
22 January 2011
to 25 January
theartscentre.com.au
Carnegie 18 is four music theatre projects given the opportunity to develop by the Arts Centre's wonderful Full Tilt program. I missed the two program one shows, and if they were anywhere near as creative, original and bloody awesome as program two, I missed out.
Curtains (produced by Maakan Productions) offers the fantasy-come-true cast of Meow Meow, Mikelangelo, Yana Alana and Tina del Twist. Don't expect Melissa, Mikel, Sarah* and Wes; the twisted concept of David Chisholm's creation is delusional characters playing delusional characters.
Telling the somewhat irrelevant story of the 30th anniversary revival concert of the musical Revival with an understudy, a faded diva and a murder, the characters get to play characters and sing well out of their usual scope. Highlights include Tina singing the torch song intended for Meow (who had to phone and video in her performance; disappointing, but there are few others who are so good that even a video is worth going to see), Yana singing about being famous (and her ongoing reactions to Tina), Mikelangelo playing Billy Shakepeare singing about The Empty Space and Mikelangelo and Tina's duet as executioners.
The joy of this show lies in knowing the characters who are playing the Curtains characters and at times it's difficult to see the line between the written and the somewhat improvised work. In the post-show Q and A Chisholm said that he hopes to see many different casts, like a UK version with characters from Tracey Ullman and Julia Davies.
Curtains is the third in a cycle of five long form works that Chisholm aims to be completed and presented by the end of 2013 and presented in its entirety.
Contact is Angus Grant's chamber opera about netball, composed for eight sopranos and guy called Bevan.
I'm sure people raised their eyebrows at the idea of a ballroom dancing show that NIDA students developed in the 80s. Strictly Ballroom went to bigger stages and film, becoming an Australian cultural signpost. And who didn't love it!
Contact should be heading on the same zeitgeist-defining path.
The Rangers netball team are from "a suburb not far away" and their finals chances are looking dim as their Goal Shooter has left the team, maybe because "nice boys have sperm too". All isn't lost because alternative Daisy has moved out from the inner city and her shooting is as cool as her look, but there's no trophy yet as coach Bev is having issues with her past and with her Wing Defence daughter Wendy and Wendy's twin Bevan is dating Goal Attack Gayle.
With a libretto (by Grant and Kate Schmitt) that lets suburban vernacular like "quick sticks" and "I was in with a shot" sound like poetry, a score that will make school kids pin pictures of sopranos on their lockers, and choreography (by Julia Sutherland) that captures the boredom of drills and the precision of a match without ever looking like a drill or a match, this is a show that bends all the rules to make the a definitive Aussie chamber opera.
And the young cast are no less than perfect.
Contact captures our unique obsession with netball (it's not just women) with plenty of implied jokes for players who understand that it sucks to be WD and that GAs and GSs bitch like first and second sopranos, but the humour is never limited for those in the know. It's a tale of passion, sport, family, rejection, secrets, love and life in the suburbs that grabbed the hearts and imaginations of everyone in the audience.
Contact has only played a quarter and it will be an unforgivable obstruction if we don't see the full match.
Talk was that program 2 was sold out, but there are limited seats available for the last show on 25 January.
Applications for the 2012 Carnegie 18 series close on 27 May.
* I've seen Sarah's stuff, but never in a review capacity. Sista She were brilliant and Yana Alana and her Parana's should not be missed.
This review appears on AussieThearte.com
Curtains and Contact
Full Tilt
22 January 2011
to 25 January
theartscentre.com.au
Carnegie 18 is four music theatre projects given the opportunity to develop by the Arts Centre's wonderful Full Tilt program. I missed the two program one shows, and if they were anywhere near as creative, original and bloody awesome as program two, I missed out.
Curtains (produced by Maakan Productions) offers the fantasy-come-true cast of Meow Meow, Mikelangelo, Yana Alana and Tina del Twist. Don't expect Melissa, Mikel, Sarah* and Wes; the twisted concept of David Chisholm's creation is delusional characters playing delusional characters.
Telling the somewhat irrelevant story of the 30th anniversary revival concert of the musical Revival with an understudy, a faded diva and a murder, the characters get to play characters and sing well out of their usual scope. Highlights include Tina singing the torch song intended for Meow (who had to phone and video in her performance; disappointing, but there are few others who are so good that even a video is worth going to see), Yana singing about being famous (and her ongoing reactions to Tina), Mikelangelo playing Billy Shakepeare singing about The Empty Space and Mikelangelo and Tina's duet as executioners.
The joy of this show lies in knowing the characters who are playing the Curtains characters and at times it's difficult to see the line between the written and the somewhat improvised work. In the post-show Q and A Chisholm said that he hopes to see many different casts, like a UK version with characters from Tracey Ullman and Julia Davies.
Curtains is the third in a cycle of five long form works that Chisholm aims to be completed and presented by the end of 2013 and presented in its entirety.
Contact is Angus Grant's chamber opera about netball, composed for eight sopranos and guy called Bevan.
I'm sure people raised their eyebrows at the idea of a ballroom dancing show that NIDA students developed in the 80s. Strictly Ballroom went to bigger stages and film, becoming an Australian cultural signpost. And who didn't love it!
Contact should be heading on the same zeitgeist-defining path.
The Rangers netball team are from "a suburb not far away" and their finals chances are looking dim as their Goal Shooter has left the team, maybe because "nice boys have sperm too". All isn't lost because alternative Daisy has moved out from the inner city and her shooting is as cool as her look, but there's no trophy yet as coach Bev is having issues with her past and with her Wing Defence daughter Wendy and Wendy's twin Bevan is dating Goal Attack Gayle.
With a libretto (by Grant and Kate Schmitt) that lets suburban vernacular like "quick sticks" and "I was in with a shot" sound like poetry, a score that will make school kids pin pictures of sopranos on their lockers, and choreography (by Julia Sutherland) that captures the boredom of drills and the precision of a match without ever looking like a drill or a match, this is a show that bends all the rules to make the a definitive Aussie chamber opera.
And the young cast are no less than perfect.
Contact captures our unique obsession with netball (it's not just women) with plenty of implied jokes for players who understand that it sucks to be WD and that GAs and GSs bitch like first and second sopranos, but the humour is never limited for those in the know. It's a tale of passion, sport, family, rejection, secrets, love and life in the suburbs that grabbed the hearts and imaginations of everyone in the audience.
Contact has only played a quarter and it will be an unforgivable obstruction if we don't see the full match.
Talk was that program 2 was sold out, but there are limited seats available for the last show on 25 January.
Applications for the 2012 Carnegie 18 series close on 27 May.
* I've seen Sarah's stuff, but never in a review capacity. Sista She were brilliant and Yana Alana and her Parana's should not be missed.
This review appears on AussieThearte.com
22 August 2010
GIVEAWAY: MORE Kunst ist Scheisse
Well, we don't have a federal government and our federal fate may still come down to Julia and Tony having a game of rock, paper, scissors – but the seat of Melbourne is now Green. Lets hope it's the beginning of positive change.
If you're sick of politics, there's always kunst.
The wonderfully sexy, sassy and savvy Kunst ist Scheisse is back at 24 Moons this Wednesday (25 August). It'll be hot, it'll be funny and there may be one or two observations about the state of our political system. And there's a bar with a cocktail menu that proves why we love Melbourne.
This week's line up includes Benn Bennett and Wes Snelling’s absurd and infectious Black Bag (4 Stars, The Age), a preview of multiple award nominee Telia Nevile’s new comedic poetry show, 4.5 star performer Eva Johansen, the inner monologue of irregular performer Kip Brennan, Painfully Audacious’ unique modern burlesque and the Caravan of Love who are “every bit as balmy and intricately arousing as a bubble bath with Bertolt Brecht" (4 ½ stars, Helen Razer, The Age). Check out their Facebook page for more info.
GIVEAWAY
Kunst ist Scheisse has three double pass for Sometimes Melbourne readers for Wednesday 25 August at 8pm. Email your name to kunst@internode.on.net by 5 pm on Tuesday 24 August with "Sometimes I want kunst" as your subject. The winners will be emailed on Tuesday night.
If you don't win, tickets are $10 at the door and 24 Moons is in ACDC Lane (off Flinders Lane).
Due to a technical error (read me stuffing up the email link), the deadline has been extended to lunchtime tomorrow.
If you want to get along to this bloody terrific cabaret email kunst@internode.on.net by 2 pm tomorrow.
If you're sick of politics, there's always kunst.
The wonderfully sexy, sassy and savvy Kunst ist Scheisse is back at 24 Moons this Wednesday (25 August). It'll be hot, it'll be funny and there may be one or two observations about the state of our political system. And there's a bar with a cocktail menu that proves why we love Melbourne.
This week's line up includes Benn Bennett and Wes Snelling’s absurd and infectious Black Bag (4 Stars, The Age), a preview of multiple award nominee Telia Nevile’s new comedic poetry show, 4.5 star performer Eva Johansen, the inner monologue of irregular performer Kip Brennan, Painfully Audacious’ unique modern burlesque and the Caravan of Love who are “every bit as balmy and intricately arousing as a bubble bath with Bertolt Brecht" (4 ½ stars, Helen Razer, The Age). Check out their Facebook page for more info.
GIVEAWAY
Kunst ist Scheisse has three double pass for Sometimes Melbourne readers for Wednesday 25 August at 8pm. Email your name to kunst@internode.on.net by 5 pm on Tuesday 24 August with "Sometimes I want kunst" as your subject. The winners will be emailed on Tuesday night.
If you don't win, tickets are $10 at the door and 24 Moons is in ACDC Lane (off Flinders Lane).
Due to a technical error (read me stuffing up the email link), the deadline has been extended to lunchtime tomorrow.
If you want to get along to this bloody terrific cabaret email kunst@internode.on.net by 2 pm tomorrow.
06 July 2010
Review: Kunst ist Scheisse
Kunst ist Scheisse
Eva Johansen & Jonathon Miller
30 June 2010
24 Moons (in ACDC Lane)
What do we want? More Kunst! When do we want it? Once a fortnight on Wednesdays. Where do we want it? At an uber-cool bar in a dingy Melbourne lane named after rock legends.
The arty folk know that Kunst ist Scheisse means Art is Shit and should be lining up for this changing mix of the oddest and most gorgeous cabaret artists in town.
For their opening week, host and diva Eva Johansen got her knickers out and welcomed guests who have won so many awards that they'd need a really big shelf if they lived in a share house.
Wes Snelling left Tina del Twiste sulking at home and gave us a welcome taste of Wes unplugged; The List Operators continue to be one of the most consistently original and strange acts around and offered a bite of the brilliance they are taking to Edinburgh (and Matt Kelly's Michael Jackson is burned into my retinas); Earl Shatford made sparklie shirts sexy again and reminded us how jaw-droppping awesome juggling can be; Jess Devereaux found the best 1980s school social dress ever to combine dance, comedy and fashion; comedian David Quirk shared some embarrassing moments of his past; the Suitcase Royale got some mates on stage to form a super band; and the Caravan of Love girls let a couple of strangers find their hidden treats with chop sticks.
While regular nights like the fabulous The Last Tuesday Society encourage experimentation in front of hipsters downing beers, Kunst is more about showing some of the best acts around to uber-cool sophistcates who sip cocktails but never stop giggling at the word play of the title.
Kunst ist Sheisse has found its new home at 24 Moons. This place is so cool that I almost felt uncool in my flat MaryJanes and an old PJ top from a Bras and Things sale. Found at the top of a staircase at the darker end of street-art filled ACDC Lane, this place has no choice but to rock, and its cut out cityscape wall design, ivy covered moon lights and comfy seats that encourage intimacy or welcome strangers couldn't be a more perfect setting.
Throw in a cocktail list guaranteed to make us-who-love-Matt-Preston weep at its originality and beauty (the one with Violet Syrup or the one that comes with a chocolate truffle please) and cheap cold cider on tap, it'd be difficult to get a better night of Kunst.
The next line up (Wednesday 14 July) includes whimsical, Fringe-favourite and bloody funny poet Telia Neville (who has a new blog) and the voice guaranteed to break hearts, Simoncee Page-Jones. With possibility of Eva and Simoncee singing together, get there early to grab the best seats.
This review appears on AussieTheatre.com
Photos by Max Milne
Eva Johansen & Jonathon Miller
30 June 2010
24 Moons (in ACDC Lane)
What do we want? More Kunst! When do we want it? Once a fortnight on Wednesdays. Where do we want it? At an uber-cool bar in a dingy Melbourne lane named after rock legends.
The arty folk know that Kunst ist Scheisse means Art is Shit and should be lining up for this changing mix of the oddest and most gorgeous cabaret artists in town.
For their opening week, host and diva Eva Johansen got her knickers out and welcomed guests who have won so many awards that they'd need a really big shelf if they lived in a share house.
Wes Snelling left Tina del Twiste sulking at home and gave us a welcome taste of Wes unplugged; The List Operators continue to be one of the most consistently original and strange acts around and offered a bite of the brilliance they are taking to Edinburgh (and Matt Kelly's Michael Jackson is burned into my retinas); Earl Shatford made sparklie shirts sexy again and reminded us how jaw-droppping awesome juggling can be; Jess Devereaux found the best 1980s school social dress ever to combine dance, comedy and fashion; comedian David Quirk shared some embarrassing moments of his past; the Suitcase Royale got some mates on stage to form a super band; and the Caravan of Love girls let a couple of strangers find their hidden treats with chop sticks.
While regular nights like the fabulous The Last Tuesday Society encourage experimentation in front of hipsters downing beers, Kunst is more about showing some of the best acts around to uber-cool sophistcates who sip cocktails but never stop giggling at the word play of the title.
Kunst ist Sheisse has found its new home at 24 Moons. This place is so cool that I almost felt uncool in my flat MaryJanes and an old PJ top from a Bras and Things sale. Found at the top of a staircase at the darker end of street-art filled ACDC Lane, this place has no choice but to rock, and its cut out cityscape wall design, ivy covered moon lights and comfy seats that encourage intimacy or welcome strangers couldn't be a more perfect setting.
Throw in a cocktail list guaranteed to make us-who-love-Matt-Preston weep at its originality and beauty (the one with Violet Syrup or the one that comes with a chocolate truffle please) and cheap cold cider on tap, it'd be difficult to get a better night of Kunst.
The next line up (Wednesday 14 July) includes whimsical, Fringe-favourite and bloody funny poet Telia Neville (who has a new blog) and the voice guaranteed to break hearts, Simoncee Page-Jones. With possibility of Eva and Simoncee singing together, get there early to grab the best seats.
This review appears on AussieTheatre.com
Photos by Max Milne
28 June 2010
Review: Heracles High 5
Heracles High 5
A is for Atlas
23 June 2010
Meat Market
A is for Atlas are another Melbourne independent company who are dedicated to exploring their unique theatrical voice. In Heracles High 5, director Xan Coleman and his team explore the nature of contemporary heroes and heroism and if we expect far too much of those we hold in esteem.
The laminated safety instruction cards and the airline hanger-like proportions of the gorgeous Meat Market set the scene for the Heracles High 5 trip. But our plane is actually a TV studio and we're ready for the filming of "Green and Gold Live". With screens that tell us when to applaud, sigh, cheer and declare OMG, and a host as enigmatic as Jules (Wes Snelling), it doesn't matter that the plane/TV studio metaphor seems a bit odd because the band is playing, Wes is singing and we've met super hot Heracles.
Heracles looks a lot like Michael Hutchence and sings like Nick Cave, so he could only be more of an Aussie rock hero if he donned hot pats and sang "I Should Be So Lucky". The lyrics were difficult to decipher, but there was enough about diggers and Lleyton Hewitt to let us know what the songs were about.
With an interview by Jules and questions from the 'audience', we learn that spunky Heracles has been every hero since his days in Ancient Greece, including Napoleon, Chuck Berry, John Cleese and a member of the Third Reich – and he's sick of it. He's sick of repeating the his five labours, he's fed up with Zeus (dad) interfering and had enough of being an idle idol, so he's not denying news report that he's become a government mercenary.
Up to now, Heracles High 5 was so much fun and so original, that any lack of narrative drive was irrelevant. Looking at the hero versus entertainer and the why folk who haven't done that much get the same label as those who define our universal myths and archetypes is enough to get our brains ticking over. Then the plane crashed and Heracles had to shovel a lot of poo. Literally.
The second half takes place on Christmas Island where Heracles repeats his labours and I have no idea why. Heracles ended the same bloke as he was at the beginning, so the labours were a waste of his time. Perhaps what was missing was the human in the hero. Heracles was part human, but this hero was cold, grumpy and dull. Sure he was good looking enough to pick up anyone, but one reason contemporary heroes earn their title is because they are likeable, because they are human. While Heracles remained unapproachable, grouchy, short tempered and bored with everything, there was not reason for anyone to care what happened to him and I would have flown away without him.
This review appears on AussieTheatre.com.
A is for Atlas
23 June 2010
Meat Market
The laminated safety instruction cards and the airline hanger-like proportions of the gorgeous Meat Market set the scene for the Heracles High 5 trip. But our plane is actually a TV studio and we're ready for the filming of "Green and Gold Live". With screens that tell us when to applaud, sigh, cheer and declare OMG, and a host as enigmatic as Jules (Wes Snelling), it doesn't matter that the plane/TV studio metaphor seems a bit odd because the band is playing, Wes is singing and we've met super hot Heracles.
Heracles looks a lot like Michael Hutchence and sings like Nick Cave, so he could only be more of an Aussie rock hero if he donned hot pats and sang "I Should Be So Lucky". The lyrics were difficult to decipher, but there was enough about diggers and Lleyton Hewitt to let us know what the songs were about.
With an interview by Jules and questions from the 'audience', we learn that spunky Heracles has been every hero since his days in Ancient Greece, including Napoleon, Chuck Berry, John Cleese and a member of the Third Reich – and he's sick of it. He's sick of repeating the his five labours, he's fed up with Zeus (dad) interfering and had enough of being an idle idol, so he's not denying news report that he's become a government mercenary.
Up to now, Heracles High 5 was so much fun and so original, that any lack of narrative drive was irrelevant. Looking at the hero versus entertainer and the why folk who haven't done that much get the same label as those who define our universal myths and archetypes is enough to get our brains ticking over. Then the plane crashed and Heracles had to shovel a lot of poo. Literally.
The second half takes place on Christmas Island where Heracles repeats his labours and I have no idea why. Heracles ended the same bloke as he was at the beginning, so the labours were a waste of his time. Perhaps what was missing was the human in the hero. Heracles was part human, but this hero was cold, grumpy and dull. Sure he was good looking enough to pick up anyone, but one reason contemporary heroes earn their title is because they are likeable, because they are human. While Heracles remained unapproachable, grouchy, short tempered and bored with everything, there was not reason for anyone to care what happened to him and I would have flown away without him.
This review appears on AussieTheatre.com.
25 June 2010
GIVEAWAY: Kunst ist Scheisse
We
can’t go to a dingy club in 1930s Berlin for a taste of Weimar Kabaret, but
Melbourne has some fine dingy alleys and we can speak some German at the long
awaited return of Kunst ist Scheisse
on Wednesday 30 June and sample comedy, circus, burlesque and ‘arty shit’ from
the Melbourne’s finest alternative cabaret artists.
Long
before Australia Has Talent, artists
would gather in clubs to discuss culture and politics over espressos and
absinthe – and perform. With critical eyes and adventurous spirits, these
dissident performers took risks, took liberties and took their audience
somewhere shockingly new. And the
cabaret tradition still thrives.
Kunst ist Scheisse
(Art is Shit) first appeared six years ago in a Brunswick Street bar and the
monthly show featured many artists who are now among Melbourne’s
favourites (and mine). After a three-year
run, the organisers developed their own shows and regularly appeared at The Last Tuesday Society.
The
welcome back Kunst show is at 24
Moons, Melbourne’s newest cocktail bar in ACDC Lane, and will rock all night
long with host Eva Johansen (part clown, part ingénue), house band The Suitcase
Royale (before they head off to the UK again) and a program that reads like an
award ceremony with a line up who have won Golden Gibbo, Green Room, Barry and
Melbourne Fringe awards and wowed the toughest critics in Melbourne, the UK and
the US.
With
most of the performers regularly selling out their individual shows, this is an
extraordinary opportunity to see The List Operators, Wes Snelling, The Caravan of Love and David Quirk. And check out record-breaking juggler Earl Shatford and
dance artist Jess Devereaux.
Kunst ist Sheisse
promises a different line up each fortnight and it’ll pay to arrive early as
the venue is intimate.
More
information is on their Facebook page. Or be at 24 Moons in ACDC Lane from 8pm on
Wednesday.
GIVEAWAY
Kunst ist Scheisse has free double pass for a Sometimes Melbourne reader. If you'd like to come along on Wednesday 30 June, email your name to kunst@internode.on.net by 5 pm on Tuesday 29 June with Sometimes Melbourne as your subject. The winner's name will be drawn out of a bowler hat and the winner will be emailed on Tuesday night.
Photo by Telia Neville
23 October 2006
The Wrong Night
The Wrong Night
The Six
23 October 2006
The Spiegeltent
Review by Christina Cass
The Wrong Night presented by the roving comedy troupe, The Six, should have been passing out Pampers with the price of admission – for all the hilarious pant-wetting that ensued.
The Six have been playing around Melbourne for some time now, honing and toning their irreverent comedy, but for this packed one-night only show (sadly) at The Famous Spiegeltent, they roped in several guest comedians to polish off the evening with a more professional shine.
MC/Diva and Green Room Award nominee, Wes Snelling, was the stumbling, gin-swizzling Tina del Twiste. She kept the night rolling effortlessly with her velvet-dipped dagger wit and dress and book ended the show with two songs including a fabulous rendition of “50 Ways to Leave Your Lover.”
Also performing were the highly entertaining Die Roten Punkte – a tongue-in-cheek brother/sister punk band from Germany; a sublime Geraldine Quinn who should never, ever be allowed to handle sharp objects while drinking and singing “Bitch with a Bone”; Wilson Dixon’s clever cowboy philosopher strumming “A Man with No Name,” and the cheeky Caravan of Love ladies.
The Six (Josh Cameron, Jon Peck, Mandy Mannion and Kate McLennan with guests Cara Mitchell and Bridget Bantick) scattered their sketch comedy between the guest acts and not always so successfully – Chastity Jane was sooooo wrong – but heck, that’s what the show was all about, The Wrong Night. Thankfully the overall wrongness was oh-so-right with the tone of the night; but next time, dear Six, book a longer run so Melbourne doesn’t blink and miss a delightfully mischievous evening.
The Six
23 October 2006
The Spiegeltent
Review by Christina Cass
The Wrong Night presented by the roving comedy troupe, The Six, should have been passing out Pampers with the price of admission – for all the hilarious pant-wetting that ensued.
The Six have been playing around Melbourne for some time now, honing and toning their irreverent comedy, but for this packed one-night only show (sadly) at The Famous Spiegeltent, they roped in several guest comedians to polish off the evening with a more professional shine.
MC/Diva and Green Room Award nominee, Wes Snelling, was the stumbling, gin-swizzling Tina del Twiste. She kept the night rolling effortlessly with her velvet-dipped dagger wit and dress and book ended the show with two songs including a fabulous rendition of “50 Ways to Leave Your Lover.”
Also performing were the highly entertaining Die Roten Punkte – a tongue-in-cheek brother/sister punk band from Germany; a sublime Geraldine Quinn who should never, ever be allowed to handle sharp objects while drinking and singing “Bitch with a Bone”; Wilson Dixon’s clever cowboy philosopher strumming “A Man with No Name,” and the cheeky Caravan of Love ladies.
The Six (Josh Cameron, Jon Peck, Mandy Mannion and Kate McLennan with guests Cara Mitchell and Bridget Bantick) scattered their sketch comedy between the guest acts and not always so successfully – Chastity Jane was sooooo wrong – but heck, that’s what the show was all about, The Wrong Night. Thankfully the overall wrongness was oh-so-right with the tone of the night; but next time, dear Six, book a longer run so Melbourne doesn’t blink and miss a delightfully mischievous evening.
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