Maintenance eXplosives and Love (CMXL)
26 January 2007
Gasworks Arts Park
Just as one festival ends, another begins in Melbourne. Right now it’s fabulous Midsumma, Melbourne’s gay and lesbian festival. Its fringe style theatre program is small, but intriguing. A highlight is Car Maintenance eXplosives and Love (CMXL).
CMXL premiered in Melbourne in 1996 and has since travelled to the Adelaide Fringe, Sydney Mardi Gras and had seasons in Brisbane, Tasmania, London, Edinburgh and regional Britain. The 2006 version is dynamic and fresh and, unfortunately, most of the content is more relevant today than when it was written. Would someone choose to write about homemade explosives today?
Like all good scripts, CMXL is about sex, violence and relationships. What makes this script stand out from the rest is its focus on choice and opportunity. What do you do when your girlfriend and her mates pontificate about changing the world (and your house)? You could use your Box Hill TAFE education in explosives or you could resort to the same violence that was simply part of your life growing up. Or you could do nothing. Action or inaction? Will either resolve the problem?
It is written and performed by Donna Jackson. Donna is best known as the founder of the Women’s Circus in Footscray. Her irresistible performance combines circus, monologue, comedy and dance. With direct interaction, she completely draws the audience into her world. The love story becomes predictable at times, but is textured with enough surprises that it doesn’t matter.
Good choreography makes use of every part of the large stage and she combines circus skills seamlessly into her storytelling. One aerial rope sequences depicts the emotion of first seduction perfectly and beautifully. This is a script that knows when to tell a story and when to show us what the character is feeling.
CMXL is on at Gasworks Arts in Albert Park. Gasworks has quickly established itself as a festival venue. It is celebrating Midsumma by becoming a hub of bent arts activities, with a specific focus on lesbian performance. This is a venue that understands that theatre is more than just seeing a “play”. Head along for exhibitions, fun staff, cheap cocktails and a place to sit, chat, flirt, praise and deconstruct.
This review originally appeared on AussieTheatre.com.
Mostly Melbourne theatre reviews
31 January 2007
30 December 2006
Charles Dickens performs A Christmas Carol
Charles Dickens performs A Christmas Carol
Eagles Nest Theatre
December 2006
Carlton Courthouse
The Eagle’s Nest Theatre’s production of Charles Dickens performs A Christmas Carol should be on everyone’s holiday list next year.
I admit I was hesitant to see a solo reading of a clichéd tale. However I stand totally corrected and could not have been more wrong. The night was as perfect as Mrs Cratchett’s pudding.
Over 150 years ago Charles Dickens gave solo readings of his own works. Accounts of the time attest that they were theatrical events with Dickens performing every role to perfection. Under the strong direction of James Adler, Phil Zachariah has channelled the spirit of Dickens and created one of the most engaging, powerful and suspenseful nights of theatrical story telling.
The audience were not the usual La Mama/Courthouse crowd. These were people who wanted to see this play and this story. When I arrived, there were already disappointed people being turned away. Those who made it in were more used to the comfort of The Arts Centre and quite disturbed by the crowded and hot Courthouse. However within five minutes of starting, every member of the audience was transfixed.
This was due to the outstanding performance of Zachariah, and the outstanding writing of Dickens. There is a reason this is one of the most re-told tales. The original story is filled with surprises and complexities that are missing from most modern versions. It’s so much more than a parable about the value of people over money. Scrooge is forced to see his on life from an outside perspective. This is, of course, an irresistible yet terrifying prospect. Dickens tells us that own lives and experiences contain the answer to all our questions– if we look in the right places.
Hopefully this crowd may be brave enough to return to the Courthouse to see more independent productions, and hopefully, the venues that this crowd usually visit will grab this unforgettable production for next December and allow it to be seen by many more people.
This review originally appeared on AussieThearte.com.
Eagles Nest Theatre
December 2006
Carlton Courthouse
‘Twas the week before Christmas and all through The Courthouse
There was room for no more, not even a mouse.
The people had gathered for a great Christmas tale
Zachariah’s Dickens proved too good to fail.
There was room for no more, not even a mouse.
The people had gathered for a great Christmas tale
Zachariah’s Dickens proved too good to fail.
The Eagle’s Nest Theatre’s production of Charles Dickens performs A Christmas Carol should be on everyone’s holiday list next year.
I admit I was hesitant to see a solo reading of a clichéd tale. However I stand totally corrected and could not have been more wrong. The night was as perfect as Mrs Cratchett’s pudding.
Over 150 years ago Charles Dickens gave solo readings of his own works. Accounts of the time attest that they were theatrical events with Dickens performing every role to perfection. Under the strong direction of James Adler, Phil Zachariah has channelled the spirit of Dickens and created one of the most engaging, powerful and suspenseful nights of theatrical story telling.
The audience were not the usual La Mama/Courthouse crowd. These were people who wanted to see this play and this story. When I arrived, there were already disappointed people being turned away. Those who made it in were more used to the comfort of The Arts Centre and quite disturbed by the crowded and hot Courthouse. However within five minutes of starting, every member of the audience was transfixed.
This was due to the outstanding performance of Zachariah, and the outstanding writing of Dickens. There is a reason this is one of the most re-told tales. The original story is filled with surprises and complexities that are missing from most modern versions. It’s so much more than a parable about the value of people over money. Scrooge is forced to see his on life from an outside perspective. This is, of course, an irresistible yet terrifying prospect. Dickens tells us that own lives and experiences contain the answer to all our questions– if we look in the right places.
Hopefully this crowd may be brave enough to return to the Courthouse to see more independent productions, and hopefully, the venues that this crowd usually visit will grab this unforgettable production for next December and allow it to be seen by many more people.
This review originally appeared on AussieThearte.com.
14 December 2006
Short and Sweet 2006 Week 3 Top 10
Short and Sweet 2006 Week 3 Top 10
14 December 2006
The Arts Centre, Fairfax Theatre
Week three of Short and Sweet 2006 continues to surprise and show us of the intelligence, talent, originality and sheer guts of Melbourne’s theatre community.
This week’s top ten was not as strong as week one (sadly I had to miss week two), but the best pieces balanced out the weaker works and it was still a night to remind us how amazing a simple, well written, well directed, well performed play can be.
Many of this week’s plays were about issues of intolerance. These were the weakest works of the night. It is stories about complex people that make us care. These people can and should reflect the issues – but the issue should never be more important than the character and their journey. The most successful plays of the night were the ones about the quest for love. Does our dislike of conservatism ever overcome our desire for love and happiness?
Life as a Springer Show
The “Jerry Springer” host asks the audience to choose what happens to the non-descript latte drinking characters. We are given three options at appropriate places in the script. But this isn’t impro, so there is never the danger inherent in giving your audience some control. It would have worked much better if the characters actually cared about the scenarios given to them by the audience. A man reveals that he accidentally had sex with his mother the day before, but it worried him about as much as having low fat milk instead of no fat milk in his coffee. The outrageous revelations chosen by the audience had no impact on the characters or consequences to the rest of the story. So – we laughed – but we never cared what happened to them.
Terror Nullius
A couple dream that their unborn child has to undergo a test for its “aussie” values (just like anyone else who wants to enter and live in this country may soon have to do). It’s a great satirical joke which would have extended to a hilarious sketch, but it is not an interesting and dramatic ten minute story.
David Koresh, Timothy McVeigh and the Beard of Michael Rogers
Well staged and well performed, but a terribly predictable outcome and a script that got caught up in preaching about issues rather then telling a good story – and it was a good story. This was another work about conservative values in our society and their destructive consequences. Instead of painting such a black and white picture of us/young = right: them/old = wrong, I’d be much more interested in seeing the grey in between.
Billy Windlock
This was the first one person show I’ve seen in the festival. It was another play about intolerance, but this one told us an original and believable story that we cared about. The onstage and offstage characters were completely real and it evoked the sense of small town so well. My only concern is that it became the offstage character’s story, rather than the story of the woman talking to us from the stage. She’s so hurt and so angry that we want to know more about her. Your heart breaks for off stage Billy, but the audience’s empathy and sympathy is for the woman on the stage.
War Poems
Evocative, mysterious and beautifully staged. Two original, well presented characters, but they seemed to get lost in the dialogue and we were never sure whose story was being told. Whose journey was completed because of their meeting?
Uncomfortable Silences
This is what short play writing is all about. Our protagonist faces an obstacle and decision that is going to change his life. He is going to tell his best friend that he loves her and he knows he will lose the best friend he ever had – no matter how she reacts. He shows us their past interactions, but it is always his story, we are never confused by her story. His feelings resonate with everyone watching and we really care what happens to him. Directed, designed and performed to thoroughly engage and entertain us. This is one of my favourites of the festival.
Islands of the Good and Bad
Back to intolerance and racism. Characters created around (stereo) typical attitudes, rather than people who have these attitudes. This young girl had an amazing story to tell us, but we needed to get beyond the “racism is bad” message to empathise and care about her.
You Make Me
Well performed and a script that initially created mystery. We were very curious to know who the woman outside was, but lost interest when we knew she was being made up. As one character wasn’t real, we couldn’t hope for a future between them.
Sleepless Night
This was the second highlight of the night and some of the best writing I’ve seen in a short format. A complex, original and thoroughly engaging story, which never fell into the predictable and created empathy and emotion for everyone watching it. The supporting characters were brilliant, but never let us forget whose story we were watching. I’d vote it the best directed work of the festival so far, and maybe even the best ensemble cast.
Paradise
It wasn’t the best thing ever written, but it certainly made us laugh. Great performances, great jokes and the best curtain call of the festival.
14 December 2006
The Arts Centre, Fairfax Theatre
Week three of Short and Sweet 2006 continues to surprise and show us of the intelligence, talent, originality and sheer guts of Melbourne’s theatre community.
This week’s top ten was not as strong as week one (sadly I had to miss week two), but the best pieces balanced out the weaker works and it was still a night to remind us how amazing a simple, well written, well directed, well performed play can be.
Many of this week’s plays were about issues of intolerance. These were the weakest works of the night. It is stories about complex people that make us care. These people can and should reflect the issues – but the issue should never be more important than the character and their journey. The most successful plays of the night were the ones about the quest for love. Does our dislike of conservatism ever overcome our desire for love and happiness?
Life as a Springer Show
The “Jerry Springer” host asks the audience to choose what happens to the non-descript latte drinking characters. We are given three options at appropriate places in the script. But this isn’t impro, so there is never the danger inherent in giving your audience some control. It would have worked much better if the characters actually cared about the scenarios given to them by the audience. A man reveals that he accidentally had sex with his mother the day before, but it worried him about as much as having low fat milk instead of no fat milk in his coffee. The outrageous revelations chosen by the audience had no impact on the characters or consequences to the rest of the story. So – we laughed – but we never cared what happened to them.
Terror Nullius
A couple dream that their unborn child has to undergo a test for its “aussie” values (just like anyone else who wants to enter and live in this country may soon have to do). It’s a great satirical joke which would have extended to a hilarious sketch, but it is not an interesting and dramatic ten minute story.
David Koresh, Timothy McVeigh and the Beard of Michael Rogers
Well staged and well performed, but a terribly predictable outcome and a script that got caught up in preaching about issues rather then telling a good story – and it was a good story. This was another work about conservative values in our society and their destructive consequences. Instead of painting such a black and white picture of us/young = right: them/old = wrong, I’d be much more interested in seeing the grey in between.
Billy Windlock
This was the first one person show I’ve seen in the festival. It was another play about intolerance, but this one told us an original and believable story that we cared about. The onstage and offstage characters were completely real and it evoked the sense of small town so well. My only concern is that it became the offstage character’s story, rather than the story of the woman talking to us from the stage. She’s so hurt and so angry that we want to know more about her. Your heart breaks for off stage Billy, but the audience’s empathy and sympathy is for the woman on the stage.
War Poems
Evocative, mysterious and beautifully staged. Two original, well presented characters, but they seemed to get lost in the dialogue and we were never sure whose story was being told. Whose journey was completed because of their meeting?
Uncomfortable Silences
This is what short play writing is all about. Our protagonist faces an obstacle and decision that is going to change his life. He is going to tell his best friend that he loves her and he knows he will lose the best friend he ever had – no matter how she reacts. He shows us their past interactions, but it is always his story, we are never confused by her story. His feelings resonate with everyone watching and we really care what happens to him. Directed, designed and performed to thoroughly engage and entertain us. This is one of my favourites of the festival.
Islands of the Good and Bad
Back to intolerance and racism. Characters created around (stereo) typical attitudes, rather than people who have these attitudes. This young girl had an amazing story to tell us, but we needed to get beyond the “racism is bad” message to empathise and care about her.
You Make Me
Well performed and a script that initially created mystery. We were very curious to know who the woman outside was, but lost interest when we knew she was being made up. As one character wasn’t real, we couldn’t hope for a future between them.
Sleepless Night
This was the second highlight of the night and some of the best writing I’ve seen in a short format. A complex, original and thoroughly engaging story, which never fell into the predictable and created empathy and emotion for everyone watching it. The supporting characters were brilliant, but never let us forget whose story we were watching. I’d vote it the best directed work of the festival so far, and maybe even the best ensemble cast.
Paradise
It wasn’t the best thing ever written, but it certainly made us laugh. Great performances, great jokes and the best curtain call of the festival.
01 December 2006
Short and Sweet 2006 Week 1
Short and Sweet 2006 Week One Top 10
29 November 2006
The Arts Centre, Fairfax Theatre
Forget the big shows that are on at the moment, the best night of theatre in Melbourne for the next couple of weeks is at the Short and Sweet 2006 festival at The Arts Centre.
From over 800 entries, 60 short plays have been selected, which are presented in three weekly programs. Each week has a top ten running nightly and a Saturday afternoon ten play “wildcard” session. Of the 60 plays, ten are chosen by the audience and a professional judging panel to complete in the final.
With so many outstanding writers, directors and actors involved in the program, I can’t begin to name everyone, but must give suitable cheers and accolades to Carla Hartog and Alex Broun from the Arts Centre program team for creating and producing this positive, supportive and exciting program. Short and Sweet proves the abundance of original and well written work that is being created, whilst showcasing so many of Melbourne’s independent and emerging directors and actors. It’s fabulous.
Week One Top Ten
Memoirs
Beautiful, captivating physical theatre that proves you don’t need words to create emotion and capture an audience’s heart. (And choreographically – it does for couches what Fosse did for chairs.)
The 11 O’Clock
Wit and word play worthy of Shaw. A psychiatrist treats a patient who thinks he is a psychiatrist.
Moving Fast
What happens when you come home from getting milk and your unemployed husband has decided to convert to Islam, claim his aboriginal heritage and stage a political coupe? Absurdism is alive and well, but it would have benefited by a clear decision about whose story it is telling – his or hers?
When We Fall
Slow to develop, but worth the wait. “An angel is floating in front of me and waiting to fall.” Poetic without sounding contrived, with direction that allows us to care about each character, whilst slowly revealing their tragic connection.
The Emotional Anatomy of a Relationship Breakdown
Undoubtedly and deservedly the crowd favourite of the night. Standard dumper and dumpee story made complex and compelling by having six actors represent different facets of the two characters. This enabled a unique and complex picture of the each person, which was supported by a simple, yet perfect design, very tight direction and an excellent cast.
Relics
This one just got better as it went along. Three of the most unlikely characters create genuine tension, mystery and surprises.
Charlie
Nice characters, well performed, but was too dependent on its offstage story and needed more of an onstage story to create the empathy needed with each character.
Eight Gen X Women
I’m too young to be a baby boomer and too old to be Gen X, but nothing ever changes about women talking about love, sex, men and babies. This was material that could have so easily been clichéd and boring, but it maintained a sense of humour and relevance and didn’t allow its characters to slip into stereotypes.
Jack Rabbit
Good performances and well written characters, but the writing seemed to concentrate too much on showing the similarities between the disparate group, rather than telling an engaging story about them.
Spring Session
Simply a funny, cleaver and original piece about Canberra, politics, picking up, work and dogs. (directed by Yvonne Virsik.)
Week One Wildcards
Miracleman – 1956
Possibly the most original staging I’ve seen in along time, but it didn’t work a venue with an audience on either side. A very funny and cleaver work about a 1956 comic book hero, but the staging didn’t allow for clear story telling and we never really got to know the characters. Right venue and a bit of a re-work will make this a winner.
Bound for Jerez
I really liked the concept of showing a woman’s changing perceptions from her latter years backwards to her to teens; each presented by a different actor. What didn’t work was telling the audience the end of her story in the first scene. We know that she never achieves her dreams, so are never allowed to hope for her on her backward journey. The writing also seemed to just be about women reacting to men. Of course, most writing is about relationships, but characters become more real when they are given a broader spectrum of experiences.
Black Dog
Well performed, with a surprising and fabulous twist. This piece shows the shame of depression and its external control on the sufferer. Where it did suffer was its concentration on the topic. It was a play about depression, rather than a play about Melanie – who suffered from depression. It needs to be her unique story to create the emotional impact that this work should have.
Is His Hers
Another physical theatre piece, with highly creative and engaging choreography that takes us on an exploration of what lies under the flannelette shirts of the ‘burbs.
North by East of Eden
Actors Studio versus Hitchcock……. What could have happened if James Dean had been cast by Alfred Hitchcock? It’s a great scenario and it a well written work, but the audience’s knowledge of the characters made it difficult to fully enjoy. In the end it wasn’t more than a set up for the final joke – which was funny – but could have been anyone – not specifically Dean and Hitchcock.
Mirrors and Smoke
Two actors face each other in a mirror. They are the same woman twenty years apart. This was another one that I really wanted to work, but it suffered the same problem as Bound for Jerez – we knew the end of her story, so how could we care what happened to her at the beginning? The flashback to her early marriage didn’t reveal anything new or offer any surprises.
Full Spectrum
Another work about women, but - finally - one not just about their relationships with men. Three women of very different incomes and “social standings” experience the loss of work. Written to show their changing expectations and show the unexpected similarity between having your AMEX declined and being forced into a homeless shelter. The direction allowed us to understand and care about each woman, without judging their lives or their choices. The writer also knows that drama comes when your characters face serious challenges and make unexpected choices. (Directed by Christina Cass.)
The Entrepreneur
Non-stop laughs, with broadly drawn characters that could easily appear on Kath and Kim. It would not have worked so well if the characters were not taken to the comedic extreme. The ending should have stopped at the punch line - the explanation of the final ironic joke (what was in the bag) wasn’t needed.
Celebrity is the New Bleak
One of the most original concepts I’ve seen. Magazines personified. It could have gone so wrong, but it went so right. Pure fun, topical, relevant to right now and the best plastic wrap joke ever.
Paradise Can
Acapella, pirates, bananas and disease! Another delightfully enjoyable and totally absurd work by another writer who understands that you have to do bad things to the characters you love in order to make good drama.
This review appeared on AussieTheatre.com.
29 November 2006
The Arts Centre, Fairfax Theatre
Forget the big shows that are on at the moment, the best night of theatre in Melbourne for the next couple of weeks is at the Short and Sweet 2006 festival at The Arts Centre.
From over 800 entries, 60 short plays have been selected, which are presented in three weekly programs. Each week has a top ten running nightly and a Saturday afternoon ten play “wildcard” session. Of the 60 plays, ten are chosen by the audience and a professional judging panel to complete in the final.
With so many outstanding writers, directors and actors involved in the program, I can’t begin to name everyone, but must give suitable cheers and accolades to Carla Hartog and Alex Broun from the Arts Centre program team for creating and producing this positive, supportive and exciting program. Short and Sweet proves the abundance of original and well written work that is being created, whilst showcasing so many of Melbourne’s independent and emerging directors and actors. It’s fabulous.
Week One Top Ten
Memoirs
Beautiful, captivating physical theatre that proves you don’t need words to create emotion and capture an audience’s heart. (And choreographically – it does for couches what Fosse did for chairs.)
The 11 O’Clock
Wit and word play worthy of Shaw. A psychiatrist treats a patient who thinks he is a psychiatrist.
Moving Fast
What happens when you come home from getting milk and your unemployed husband has decided to convert to Islam, claim his aboriginal heritage and stage a political coupe? Absurdism is alive and well, but it would have benefited by a clear decision about whose story it is telling – his or hers?
When We Fall
Slow to develop, but worth the wait. “An angel is floating in front of me and waiting to fall.” Poetic without sounding contrived, with direction that allows us to care about each character, whilst slowly revealing their tragic connection.
The Emotional Anatomy of a Relationship Breakdown
Undoubtedly and deservedly the crowd favourite of the night. Standard dumper and dumpee story made complex and compelling by having six actors represent different facets of the two characters. This enabled a unique and complex picture of the each person, which was supported by a simple, yet perfect design, very tight direction and an excellent cast.
Relics
This one just got better as it went along. Three of the most unlikely characters create genuine tension, mystery and surprises.
Charlie
Nice characters, well performed, but was too dependent on its offstage story and needed more of an onstage story to create the empathy needed with each character.
Eight Gen X Women
I’m too young to be a baby boomer and too old to be Gen X, but nothing ever changes about women talking about love, sex, men and babies. This was material that could have so easily been clichéd and boring, but it maintained a sense of humour and relevance and didn’t allow its characters to slip into stereotypes.
Jack Rabbit
Good performances and well written characters, but the writing seemed to concentrate too much on showing the similarities between the disparate group, rather than telling an engaging story about them.
Spring Session
Simply a funny, cleaver and original piece about Canberra, politics, picking up, work and dogs. (directed by Yvonne Virsik.)
Week One Wildcards
Miracleman – 1956
Possibly the most original staging I’ve seen in along time, but it didn’t work a venue with an audience on either side. A very funny and cleaver work about a 1956 comic book hero, but the staging didn’t allow for clear story telling and we never really got to know the characters. Right venue and a bit of a re-work will make this a winner.
Bound for Jerez
I really liked the concept of showing a woman’s changing perceptions from her latter years backwards to her to teens; each presented by a different actor. What didn’t work was telling the audience the end of her story in the first scene. We know that she never achieves her dreams, so are never allowed to hope for her on her backward journey. The writing also seemed to just be about women reacting to men. Of course, most writing is about relationships, but characters become more real when they are given a broader spectrum of experiences.
Black Dog
Well performed, with a surprising and fabulous twist. This piece shows the shame of depression and its external control on the sufferer. Where it did suffer was its concentration on the topic. It was a play about depression, rather than a play about Melanie – who suffered from depression. It needs to be her unique story to create the emotional impact that this work should have.
Is His Hers
Another physical theatre piece, with highly creative and engaging choreography that takes us on an exploration of what lies under the flannelette shirts of the ‘burbs.
North by East of Eden
Actors Studio versus Hitchcock……. What could have happened if James Dean had been cast by Alfred Hitchcock? It’s a great scenario and it a well written work, but the audience’s knowledge of the characters made it difficult to fully enjoy. In the end it wasn’t more than a set up for the final joke – which was funny – but could have been anyone – not specifically Dean and Hitchcock.
Mirrors and Smoke
Two actors face each other in a mirror. They are the same woman twenty years apart. This was another one that I really wanted to work, but it suffered the same problem as Bound for Jerez – we knew the end of her story, so how could we care what happened to her at the beginning? The flashback to her early marriage didn’t reveal anything new or offer any surprises.
Full Spectrum
Another work about women, but - finally - one not just about their relationships with men. Three women of very different incomes and “social standings” experience the loss of work. Written to show their changing expectations and show the unexpected similarity between having your AMEX declined and being forced into a homeless shelter. The direction allowed us to understand and care about each woman, without judging their lives or their choices. The writer also knows that drama comes when your characters face serious challenges and make unexpected choices. (Directed by Christina Cass.)
The Entrepreneur
Non-stop laughs, with broadly drawn characters that could easily appear on Kath and Kim. It would not have worked so well if the characters were not taken to the comedic extreme. The ending should have stopped at the punch line - the explanation of the final ironic joke (what was in the bag) wasn’t needed.
Celebrity is the New Bleak
One of the most original concepts I’ve seen. Magazines personified. It could have gone so wrong, but it went so right. Pure fun, topical, relevant to right now and the best plastic wrap joke ever.
Paradise Can
Acapella, pirates, bananas and disease! Another delightfully enjoyable and totally absurd work by another writer who understands that you have to do bad things to the characters you love in order to make good drama.
This review appeared on AussieTheatre.com.
Story about Platform Youth Thearte
Story about Platform Youth Thearte
In the quest for aesthetic originality and perfect expression, it is easy to forget what powerful theatre is really about. An afternoon in the Platform Youth Theatre office reminds me that the best theatre tells an authentic story that is challenging, empowering and liberating.
Based in Melbourne’s northern suburbs, Platform was formed in 1988. The company’s inclusive creative development and management model has made it a leader in the national youth arts sector.
With a motto of “Act Up: Speak Out”, the company welcomes and acknowledges the diverse ideals, values and creative talents of people aged 16 to 26. There are currently over 70 Platform members.
There is no audition process and the company aims to removes barriers that challenge anyone coping with physical and/or socio-economic disadvantages from taking part. No one is turned away and everyone finds their place.
With a program that includes mentoring, workshops and performances; skills development extends beyond acting. Writing and technical theatre are especially cultivated and over half of the company’s governing board consists of people under 26.
Platform’s original performance works are created though workshops. The young participants lead the creative decision making, under the guidance of professional directors, writers and designers. This collaborative process and ongoing community research ensures relevant content and authentic opinions are expressed.
Platform’s 2007 season started with The Golem of Rucker’s Hill, the final presentation of the Five Colours of Fear project, based on the colours of the USA Terror Code Alert System. Their next major project addresses gender issues.
In the quest for aesthetic originality and perfect expression, it is easy to forget what powerful theatre is really about. An afternoon in the Platform Youth Theatre office reminds me that the best theatre tells an authentic story that is challenging, empowering and liberating.
Based in Melbourne’s northern suburbs, Platform was formed in 1988. The company’s inclusive creative development and management model has made it a leader in the national youth arts sector.
With a motto of “Act Up: Speak Out”, the company welcomes and acknowledges the diverse ideals, values and creative talents of people aged 16 to 26. There are currently over 70 Platform members.
There is no audition process and the company aims to removes barriers that challenge anyone coping with physical and/or socio-economic disadvantages from taking part. No one is turned away and everyone finds their place.
With a program that includes mentoring, workshops and performances; skills development extends beyond acting. Writing and technical theatre are especially cultivated and over half of the company’s governing board consists of people under 26.
Platform’s original performance works are created though workshops. The young participants lead the creative decision making, under the guidance of professional directors, writers and designers. This collaborative process and ongoing community research ensures relevant content and authentic opinions are expressed.
Platform’s 2007 season started with The Golem of Rucker’s Hill, the final presentation of the Five Colours of Fear project, based on the colours of the USA Terror Code Alert System. Their next major project addresses gender issues.
30 November 2006
Tomfoolery
Tomfoolery: The Words and Music of Tom Lehrer
Melbourne Theatre Company
25 November 2006
The Arts Centre, Playhouse
From its unexpected and explosive opening, Tomfoolery is a thoroughly enjoyable night of song, dance and comedy. As expected of the Melbourne Theatre Company, it is designed, directed and performed very well, but it fails to be the challenging and irresistible theatre that should be produced by our local flagship company.
Tomfoolery was adapted by Cameron Mackintosh and Robin Ray in 1980, as a cabaret of loosely linked Tom Lehrer songs. Lehrer’s work remains funny - very funny. How can you not laugh at 'The Masochism Tango', 'The Vatican Rag' and 'I Got It from Agnes'. His writing is intelligent and witty, but it has become nostalgia rather than the contemporary and shocking satire that it once was. The inclusion of very recent material referencing Korean nuclear testing, Dick Cheaney and murdered KGB agents, reinforced that the absurdities of politics and war really never change. Nonetheless, it didn’t comment on Australian society, apart from proving that we are more aware of US and UK politics than we are of our own.
I also have to question why it was performed in the “original American”, apart from to set up a couple of jokes. Were the accents necessary? Would anyone perform a translated Asian language work with a bad “oriental” accent? The American accents just seemed to distance it further from our own lives.
Then again, I may have been the only person in the audience thinking like that. Tomfoolery is a perfect choice for the (slightly) conservative MTC audience, who were happy to enjoy the show for the nostalgic song and dance night that it was.
The stand out performance of the evening was Mitchell Butel. In fact, it is worth seeing Tomfoolery just for Mitchell. He understood every nuance of the material, supported the ensemble and never let his energy or concentration drop. Keep an eye out for his Elmo in Act 2.
Melissa Madden Grey continued to prove herself to be one of the most versatile, disciplined and funniest around, and Gerry Connolly and Bert LaBonte were contrasting and ideal additions to the ensemble.
The show is, however, being marketed on Rhonda Burchmore. Rhonda is one of our best, but her performance was disappointing. Her energy was low, she didn’t seem to be enjoying herself and failed to reach the standard set by the rest of the cast. She may have been having an off night, but there is no excuse for constantly rearranging jewellery and costume (please just cut the train off that frock), looking at your feet when you move, and failing to stay in character when not “in the spotlight”. The contrast between her and the younger members of the cast was especially noticeable. Learn from those who still love every moment they get on a stage.
If you want well-performed, light-hearted fun for your holiday season theatre outing, Tomfoolery is a good choice, but there are funnier, more relevant and just as well performed cabaret shows next door at the Speigeltent.
This review originally appeared on AussieThearte.com.
Melbourne Theatre Company
25 November 2006
The Arts Centre, Playhouse
Tomfoolery was adapted by Cameron Mackintosh and Robin Ray in 1980, as a cabaret of loosely linked Tom Lehrer songs. Lehrer’s work remains funny - very funny. How can you not laugh at 'The Masochism Tango', 'The Vatican Rag' and 'I Got It from Agnes'. His writing is intelligent and witty, but it has become nostalgia rather than the contemporary and shocking satire that it once was. The inclusion of very recent material referencing Korean nuclear testing, Dick Cheaney and murdered KGB agents, reinforced that the absurdities of politics and war really never change. Nonetheless, it didn’t comment on Australian society, apart from proving that we are more aware of US and UK politics than we are of our own.
I also have to question why it was performed in the “original American”, apart from to set up a couple of jokes. Were the accents necessary? Would anyone perform a translated Asian language work with a bad “oriental” accent? The American accents just seemed to distance it further from our own lives.
Then again, I may have been the only person in the audience thinking like that. Tomfoolery is a perfect choice for the (slightly) conservative MTC audience, who were happy to enjoy the show for the nostalgic song and dance night that it was.
The stand out performance of the evening was Mitchell Butel. In fact, it is worth seeing Tomfoolery just for Mitchell. He understood every nuance of the material, supported the ensemble and never let his energy or concentration drop. Keep an eye out for his Elmo in Act 2.
Melissa Madden Grey continued to prove herself to be one of the most versatile, disciplined and funniest around, and Gerry Connolly and Bert LaBonte were contrasting and ideal additions to the ensemble.
The show is, however, being marketed on Rhonda Burchmore. Rhonda is one of our best, but her performance was disappointing. Her energy was low, she didn’t seem to be enjoying herself and failed to reach the standard set by the rest of the cast. She may have been having an off night, but there is no excuse for constantly rearranging jewellery and costume (please just cut the train off that frock), looking at your feet when you move, and failing to stay in character when not “in the spotlight”. The contrast between her and the younger members of the cast was especially noticeable. Learn from those who still love every moment they get on a stage.
If you want well-performed, light-hearted fun for your holiday season theatre outing, Tomfoolery is a good choice, but there are funnier, more relevant and just as well performed cabaret shows next door at the Speigeltent.
This review originally appeared on AussieThearte.com.
Tina C: Sometimes I Frighten Myself
Sometimes I Frighten Myself
Tina C
The Famous Spiegeltent
1 November 2006
Saddle up cowboys and girls, as Tina C is in the Spiegeltent, and she may just be the best ride in this lil’ ol’ town.
Tina C is a true superstar. With politics as sharp as her stilettos and material as tight as her hotpants, she shines as garishly bright as the rhinestones on her Elvis inspired cape.
All the way from Throat Holler, Tennessee, Condy Rice has sent her on an anti-anti-American tour. She tells us she is an example of the soft power of America, rather than their hard power; because cultural imperialism is better than “What did it used to be called? Oh yea – war”.
She proves that white trash has nothing to do with colour or income; it’s a state of mind, nay a state of grace. Remember – to quote the title of Tina’s first album – “It ain’t easy being easy” and, just like the Virgin Mary, we can all open our hearts and feel like we have a little Jesus inside of us. Makes me kind of wish I’d married a cousin when I was 12.
Moonee Ponds is a long way from a Tennessee trailer park, but Tina C has a lot in common with our own superstar Dame Edna. Outstanding taste in clothing and amazing legs aside, she knows that the only thing funnier than relevant political satire is a count joke (pronounced as in country) and I do want the “No Dick is as Hard as My Life” cd and t-shirt.
Tina C is the creation of UK actor and writer Chris Green and she is always “she”. Like Barry Humphries, the performer never lets the actor interfere with the character. Tina C may be a parody of American-white-trash-conservative-country-music-singing-Christians, but she is real and completely believable. I had trouble accepting that she isn’t really American.
Tina C is appearing on November 8, 15, 24, 25 and 26 at the Spiegeltent. Her show was a delightful surprise to me. I didn’t stop laughing. She is one of the best who deserves her “whole” (rather than just her parts) loved by many.
This review originally appeared on AussieTheatre.com.
Tina C
The Famous Spiegeltent
1 November 2006
Saddle up cowboys and girls, as Tina C is in the Spiegeltent, and she may just be the best ride in this lil’ ol’ town.
Tina C is a true superstar. With politics as sharp as her stilettos and material as tight as her hotpants, she shines as garishly bright as the rhinestones on her Elvis inspired cape.
All the way from Throat Holler, Tennessee, Condy Rice has sent her on an anti-anti-American tour. She tells us she is an example of the soft power of America, rather than their hard power; because cultural imperialism is better than “What did it used to be called? Oh yea – war”.
She proves that white trash has nothing to do with colour or income; it’s a state of mind, nay a state of grace. Remember – to quote the title of Tina’s first album – “It ain’t easy being easy” and, just like the Virgin Mary, we can all open our hearts and feel like we have a little Jesus inside of us. Makes me kind of wish I’d married a cousin when I was 12.
Moonee Ponds is a long way from a Tennessee trailer park, but Tina C has a lot in common with our own superstar Dame Edna. Outstanding taste in clothing and amazing legs aside, she knows that the only thing funnier than relevant political satire is a count joke (pronounced as in country) and I do want the “No Dick is as Hard as My Life” cd and t-shirt.
Tina C is the creation of UK actor and writer Chris Green and she is always “she”. Like Barry Humphries, the performer never lets the actor interfere with the character. Tina C may be a parody of American-white-trash-conservative-country-music-singing-Christians, but she is real and completely believable. I had trouble accepting that she isn’t really American.
Tina C is appearing on November 8, 15, 24, 25 and 26 at the Spiegeltent. Her show was a delightful surprise to me. I didn’t stop laughing. She is one of the best who deserves her “whole” (rather than just her parts) loved by many.
This review originally appeared on AussieTheatre.com.
19 November 2006
The Opera Burlesque
The Opera Burlesque
19 November 2006
The Famous Spiegeltent
Review by Christina Cass
The Opera Burlesque has one final show, November 20, 2006 @ the Spiegeltent 9:15pm – try not to miss it!
This review originally appeared on AussieTheatre.com
19 November 2006
The Famous Spiegeltent
Review by Christina Cass
“Opera singers can sing but they sure as hell can’t act”, are mutters often heard while the audience files out of Carmen or La Traviata. That’s what keeps many people away from embracing the opera format – the stiffness of the performers we often see (which, by the way, has loosened up quite a bit lately). Ah! But the music is so dreamy that watching Pavarotti poke around the stage barely physically connected to the text of the story – much less barely resembling the character – doesn’t matter.
Not so with Ali McGregor’s The Opera Burlesque triumphantly back from the Edinburgh Festival for another Melbourne engagement at the Famous Spiegeltent. Ali McGregor, Antoinette Halloran and Dimity Shepherd make up the trio of lovely laced-up vocalists who can also act! That’s what struck me about halfway through their show – how wonderful it was to enjoy beautiful, classically trained voices wrapping their delicious vocal chords (not to mention corset chords) around uniquely mixed interpretations of Puccini, Madonna, and AC/DC all while being fully invested in their characters.
Okay, okay, bad boys and horny babes -- love gone murderously wrong and songs about tongue-tied ‘cunning linguists’ may not bring these ever-so-slightly-tarnished lilies a Tony Award, but to see a well-structured kabaret performed with polish is a great treat. This cheeky burlesque business can sometimes be just haphazard, titillating vaudevillian fare – which in itself can be very fun, don’t get me wrong, The Opera Burlesque has plenty of that but it also has a bit more structure than just getting down and dirty.
McGregor, who also directed the show, was apparently inspired by a late 19th Century group of opera singers who used to creep out of the Royal Opera House in Covent Garden, dash across to the East End and perform their arias in corsets and drawers for the vaudeville loving public. Parodying popular theatre of the day, these ladies gave the audience a taste of opera that they may not otherwise either experience or care for and that’s exactly what The Opera Burlesque ladies are leaving its audience today.
The Opera Burlesque has one final show, November 20, 2006 @ the Spiegeltent 9:15pm – try not to miss it!
This review originally appeared on AussieTheatre.com
18 November 2006
Babes In The Wood
Babes In The Wood
Malthouse Theatre
18 November 2006
Merlyn Theatre, CUB Malthouse
There we go – another 170 words devoted to one of the best publicity calls made by a theatre company. I’m sure many tickets will be bought just to see this scene. It’s a good reason to go - it’s funny, respectful and relevant. In fact, it stands out as one of the better moments of Babes In The Wood.
If you saw the 2003 production of Babes In The Wood, don’t expect Babes 2 (in the city). This is the same production, with some new material. I missed the original, so cannot compare the two.
It is good old-fashioned pantomime, created intelligently. The opening scenes are enticing and captivating. It is great to openly laugh and enjoy “serious” theatre. How many other mediums allow you to boo at a John Howard joke and scream back “Oh no he isn’t” when the panto dame declares he’s a bold and visionary prime minister.
Sadly the show loses momentum and never recaptures the opening energy (except for the Steve Irwin number). A lot of material would read well in the script, but slows the show down on the stage. I know its hard to cut your good lines, but some people didn’t come back after interval. Much of the material is still relevant, but has lost the impact and power that it had in 2003. Tamper/children overboard, un-Australian, war on terror - is this political comment for 2006?
There is new material, but it seems to have been forced into the old script. The Rumsfeld “known and unknowns” joke was most welcome, "Under the Milky Way" at least referenced the Commonwealth Games and, if you look carefully, you may notice a reference to Steve Irwin.
The original music is terrific and supported by an eclectic and illogical soundtrack of 70s and 80s pop hits. The tradition of panto is to use contemporary music, but these retro moments are not contemporary. If it is a commentary on society today, why not use the music of the starettes that fill our media as much as any politician? Kylie’s return, aging rockers on the Countdown tour, wealthy singers trying to make poverty history, Australian Idol and Brittany are all too easy targets. (Amanda Vandstone singing, “Opps I did it again” instead of Nutbush?) Agadoo is funny – but what is its relevance?
What does sustain the production is the terrific cast. Caroline Craig, Diana Emry, Julie Forsyth, Max Gilles, Francis Greenslade, Eddie Perfect and Lucy Taylor. Each one as perfect as Eddie, having a ball on the stage and making sure the audience also enjoy the absurdity and silliness of the panto.
Babes In The Wood is a fun and irreverent night out, but is not the seditious political satire that I expected.
This review originally appeared on AussieTheatre.com.
Malthouse Theatre
18 November 2006
Merlyn Theatre, CUB Malthouse
There has been more media coverage of Babes In the Wood over the last couple of weeks than most Malthouse productions receive for a season. Why? A song about Steve Irwin. It has been misquoted and taken out of context by every story I’ve read (including one on AussieTheatre).
Before September, Irwin was been a ripe target for satire, but now we have to be careful. (If you have just woken from a coma – Steve Irwin died in September). I’ve seen the great controversy. It’s a loving, kind, funny and totally respectful song about an iconic Aussie bloke who sings that we should all try doing the thing we love. He then dies doing what he loves, when three ridiculous stingrays come dancing in. If anything it is satirising the public response to Irwin’s death – who didn’t find themselves saying, “At least he was doing what he loved.” The only person who should be offended is Germaine Greer. Her character is the one singing all the misquoted lines.
There we go – another 170 words devoted to one of the best publicity calls made by a theatre company. I’m sure many tickets will be bought just to see this scene. It’s a good reason to go - it’s funny, respectful and relevant. In fact, it stands out as one of the better moments of Babes In The Wood.
If you saw the 2003 production of Babes In The Wood, don’t expect Babes 2 (in the city). This is the same production, with some new material. I missed the original, so cannot compare the two.
It is good old-fashioned pantomime, created intelligently. The opening scenes are enticing and captivating. It is great to openly laugh and enjoy “serious” theatre. How many other mediums allow you to boo at a John Howard joke and scream back “Oh no he isn’t” when the panto dame declares he’s a bold and visionary prime minister.
Sadly the show loses momentum and never recaptures the opening energy (except for the Steve Irwin number). A lot of material would read well in the script, but slows the show down on the stage. I know its hard to cut your good lines, but some people didn’t come back after interval. Much of the material is still relevant, but has lost the impact and power that it had in 2003. Tamper/children overboard, un-Australian, war on terror - is this political comment for 2006?
There is new material, but it seems to have been forced into the old script. The Rumsfeld “known and unknowns” joke was most welcome, "Under the Milky Way" at least referenced the Commonwealth Games and, if you look carefully, you may notice a reference to Steve Irwin.
The original music is terrific and supported by an eclectic and illogical soundtrack of 70s and 80s pop hits. The tradition of panto is to use contemporary music, but these retro moments are not contemporary. If it is a commentary on society today, why not use the music of the starettes that fill our media as much as any politician? Kylie’s return, aging rockers on the Countdown tour, wealthy singers trying to make poverty history, Australian Idol and Brittany are all too easy targets. (Amanda Vandstone singing, “Opps I did it again” instead of Nutbush?) Agadoo is funny – but what is its relevance?
What does sustain the production is the terrific cast. Caroline Craig, Diana Emry, Julie Forsyth, Max Gilles, Francis Greenslade, Eddie Perfect and Lucy Taylor. Each one as perfect as Eddie, having a ball on the stage and making sure the audience also enjoy the absurdity and silliness of the panto.
Babes In The Wood is a fun and irreverent night out, but is not the seditious political satire that I expected.
This review originally appeared on AussieTheatre.com.
17 November 2006
Tarnished
Tarnished
The La La Parlour
17 November 2006
The Famous Spiegeltent
Tarnished is ideal Speigeltent fare. It’s tight, sassy, funny and enjoyable, but remains unpolished. The appeal of the La La Parlour is their tarnished acts, but the show lacks the content and substance that would make it an outstanding cabaret.
Imogen Kelly, Tiger Lil, Kellie Vella and Neridah Waters are all engaging and fabulous performers. However, they need to decide if they are performing as themselves or as characters. Either way, further character development would create a much more intimate, and I suspect funny, show. There were hints of character and relationships between the four, but not enough to take it from a series of vaudeville style acts and turn it into an ensemble work.
Described as a shotgun marriage of circus and burlesque, Tarnished is two genres being forced to work together. Clowning, acrobalance, hoops and aerial are combined with the traditional vaudeville tradition of women getting their gear off. Artists like Azaria Universe have proven that the circus/burlesque marriage can be perfect, and with many female artists positively reclaiming burlesque traditions (Kunst ist Sheisse, The Burlesque Hour, The Town Bikes), it is unusual to see the tradition not being used as a questioning of gender, sexuality, desire and body image.
The Marie Antoinette cake strip, the spark spitting vagina and ongoing jokes about the shortest member of the ensemble do fit in the political burlesque category, but could all be developed further. The theme of the night appears to be knickers. The possibilities and power of this theme is endless, but isn’t used anywhere near as much as it could be. The poo/period stained pair of huge grundies is always funny, but how about a stained lacy g-string? Everyone should have left wondering if they were wearing “you know you want me” or “I can’t pick up tonight” undies.
Nonetheless, the sold out audience loved Tarnished. It is well worth seeing and totally enjoyable, but don’t go along expecting sharp politics and substance.
This review originally appeared on AussieTheatre.com.
The La La Parlour
17 November 2006
The Famous Spiegeltent
Tarnished is ideal Speigeltent fare. It’s tight, sassy, funny and enjoyable, but remains unpolished. The appeal of the La La Parlour is their tarnished acts, but the show lacks the content and substance that would make it an outstanding cabaret.
Imogen Kelly, Tiger Lil, Kellie Vella and Neridah Waters are all engaging and fabulous performers. However, they need to decide if they are performing as themselves or as characters. Either way, further character development would create a much more intimate, and I suspect funny, show. There were hints of character and relationships between the four, but not enough to take it from a series of vaudeville style acts and turn it into an ensemble work.
Described as a shotgun marriage of circus and burlesque, Tarnished is two genres being forced to work together. Clowning, acrobalance, hoops and aerial are combined with the traditional vaudeville tradition of women getting their gear off. Artists like Azaria Universe have proven that the circus/burlesque marriage can be perfect, and with many female artists positively reclaiming burlesque traditions (Kunst ist Sheisse, The Burlesque Hour, The Town Bikes), it is unusual to see the tradition not being used as a questioning of gender, sexuality, desire and body image.
The Marie Antoinette cake strip, the spark spitting vagina and ongoing jokes about the shortest member of the ensemble do fit in the political burlesque category, but could all be developed further. The theme of the night appears to be knickers. The possibilities and power of this theme is endless, but isn’t used anywhere near as much as it could be. The poo/period stained pair of huge grundies is always funny, but how about a stained lacy g-string? Everyone should have left wondering if they were wearing “you know you want me” or “I can’t pick up tonight” undies.
Nonetheless, the sold out audience loved Tarnished. It is well worth seeing and totally enjoyable, but don’t go along expecting sharp politics and substance.
This review originally appeared on AussieTheatre.com.
30 October 2006
Some Faces You Know
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.
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.
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.
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