Laura Davis, Ghost Machine
26 September 2015
Fringe Hub, Son of Loft
to 3 October
melbournefringe.com.au
If you haven't seen Laura Davis before, she's the real deal and then some.
Ghost Machine is stand up that's theatre and story and everything that makes stand up soul-on-stage amazing.
There were times when I didn't know whether to laugh myself sick or get up and hug her.
30 September 2015
MELBOURNE FRINGE: Exit Everything
Exit Everything
Workers Club, Fitzroy
to 3 October
melbournefringe.com.au
I saw this before the Fringe started in a guitar shop in Frankston.
Singing to Nirvana among guitars at the end of suburbia. It reminded me how important music – and rock – used to be to me.
Here's Keith Gow's review on AussieTheatre.com.
to 3 October
melbournefringe.com.au
I saw this before the Fringe started in a guitar shop in Frankston.
Singing to Nirvana among guitars at the end of suburbia. It reminded me how important music – and rock – used to be to me.
Here's Keith Gow's review on AussieTheatre.com.
MELBOURNE FRINGE: Lovely Lady Lump
Lovely Lady Lump
26 September 2015
Fringe Hub, Upstairs at Errol's
to 3 October
melbournefringe.com.au
Fuck cancer and that horrible pale pink. Lana Schwartz was diagnosed with breast cancer last year and assures her audience that she makes it through the show and is alive at the end of her story.
This is an hilariously honest hour about cancer: making jokes in radiotherapy; getting used to strangers look at your boobs; wanting to give the "gift" back; and looking ok on the outside but being constantly exhausted, sore, tender and numb.
And there are boob puppets.
I'm in my 40s and it's frightening how breast cancer becomes a thing that everyone has some direct or indirect experience of. So if you're over 40, please book a mammogram when you book your tickets.
26 September 2015
Fringe Hub, Upstairs at Errol's
to 3 October
melbournefringe.com.au
Fuck cancer and that horrible pale pink. Lana Schwartz was diagnosed with breast cancer last year and assures her audience that she makes it through the show and is alive at the end of her story.
This is an hilariously honest hour about cancer: making jokes in radiotherapy; getting used to strangers look at your boobs; wanting to give the "gift" back; and looking ok on the outside but being constantly exhausted, sore, tender and numb.
And there are boob puppets.
I'm in my 40s and it's frightening how breast cancer becomes a thing that everyone has some direct or indirect experience of. So if you're over 40, please book a mammogram when you book your tickets.
MELBOURNE FRINGE: Welcome to Nowhere
Welcome to Nowhere
25 September 2015
Coopers Malthouse, Tower Theatre
to 3 October
melbournefringe.com.au
Five incredible writers (Angus Cerini, Zoey Dawson, Daniel Keene, Fleur Kilpatrick and Morgan Rose), one fantabulous director (Emma Valente) and a heap of amazing students from Monash Uni.
If you have to choose one show this weekend, this is it.
Morgan Rose's piece is the highlight. Up to now, I've been unsure of her work but now I totally get her.
Fleur's is all alieny and full of gentle magical realism and heart, Zoey's is loud and mad, Daniel's is about families and dealing with the death of a father who broke his own family, and Angus's is violent and confronting. What more could you want in a night at the theatre!
Working with incredible students who perform, designed and operate, Emma has made these disparate writings come together as a work that speaks even louder than its parts.
Here's Myf Clark's review on Aussie Theatre.
25 September 2015
Coopers Malthouse, Tower Theatre
to 3 October
melbournefringe.com.au
Five incredible writers (Angus Cerini, Zoey Dawson, Daniel Keene, Fleur Kilpatrick and Morgan Rose), one fantabulous director (Emma Valente) and a heap of amazing students from Monash Uni.
If you have to choose one show this weekend, this is it.
Morgan Rose's piece is the highlight. Up to now, I've been unsure of her work but now I totally get her.
Fleur's is all alieny and full of gentle magical realism and heart, Zoey's is loud and mad, Daniel's is about families and dealing with the death of a father who broke his own family, and Angus's is violent and confronting. What more could you want in a night at the theatre!
Working with incredible students who perform, designed and operate, Emma has made these disparate writings come together as a work that speaks even louder than its parts.
Here's Myf Clark's review on Aussie Theatre.
29 September 2015
MELBOURNE FRINGE: Isabel and Rachel in Prime!
Isabel and Rachel in Prime!
26 September 2015
Fringe Hub, Upstairs at Errol's
to 3 October
melbournefringe.com.au
The fear sets in when the pre-show music is Enya. What if it's a feminist performance-art trigger-warning sacred-vagina dance?
It is. With cloaks, poetry and a sperm mime performed by the Sisters of the Moon.
But Rachel Davis and Isabel Angus are under those cloaks…
Isabel and Rachel are finding their fresh, unique and insanely hilarious voice as a straight-stooge duo that welcomes new characters each show.
In PRIME!, Deborah (Rachel) has been abandoned by her fellow sister performer so has asked Jono, her 14-year old son (Isabel), to fill in. There’s a Vienetta in the fridge at home if he’s learnt his lines and doesn’t display his “ignorance of female autonomy”. But he wants to do the Jono Show, where a bit is funny because he’s a guy pretending to be a chick.
Their commentary on gender issues, especially that of how young women are perceived compared to young men, is painfully spot on, but it’s the misunderstanding, love and acceptance between the Deborah and Jono that takes it to the next level.
This was on AussieTheatre.com.
26 September 2015
Fringe Hub, Upstairs at Errol's
to 3 October
melbournefringe.com.au
The fear sets in when the pre-show music is Enya. What if it's a feminist performance-art trigger-warning sacred-vagina dance?
It is. With cloaks, poetry and a sperm mime performed by the Sisters of the Moon.
But Rachel Davis and Isabel Angus are under those cloaks…
Isabel and Rachel are finding their fresh, unique and insanely hilarious voice as a straight-stooge duo that welcomes new characters each show.
In PRIME!, Deborah (Rachel) has been abandoned by her fellow sister performer so has asked Jono, her 14-year old son (Isabel), to fill in. There’s a Vienetta in the fridge at home if he’s learnt his lines and doesn’t display his “ignorance of female autonomy”. But he wants to do the Jono Show, where a bit is funny because he’s a guy pretending to be a chick.
Their commentary on gender issues, especially that of how young women are perceived compared to young men, is painfully spot on, but it’s the misunderstanding, love and acceptance between the Deborah and Jono that takes it to the next level.
This was on AussieTheatre.com.
MELBOURNE FRINGE: Poet Vs. Pageant
Poet Vs. Pageant
26 September 2015
Fringe Hub, Son of Loft
to 3 October
melbournefringe.com.au
Another one that I really loved and am really looking forward to seeing how it develops.
Review in The Age.
And back in 2012, The Poet Laureate still let me write my favourite review ever.
26 September 2015
Fringe Hub, Son of Loft
to 3 October
melbournefringe.com.au
Another one that I really loved and am really looking forward to seeing how it develops.
Review in The Age.
And back in 2012, The Poet Laureate still let me write my favourite review ever.
MELBOURNE FRINGE: Barbaroi
Barbaroi
23 September 2015
Gasworks
to 3 October
melbournefringe.com.au
The Boardwalk Republic is rocking as a south-side mini Fringe hub at Gasworks.
Review in The Age.
23 September 2015
Gasworks
to 3 October
melbournefringe.com.au
The Boardwalk Republic is rocking as a south-side mini Fringe hub at Gasworks.
Review in The Age.
26 September 2015
MELBOURNE FRINGE: Hart
HART
She Said Theatre
20 September 2015
Fringe Hub, Parlour Room
to 3 October
melbournefringe.com.au
HART is beautiful, heartbreaking and liberating storytelling.
With old checkerboard lino, faded damask wallpaper and a wooden table, the tiny stage in the Fringe hub Parlour Room looks like a farm kitchen from anytime in the last 200 years. A place where people yarn and gossip and share their stories. It’s here that Ian Michael tells the stories – including his own – of four Noongar men from, what we call, south-west Western Australia.
From interviews with writers (Senna van Helten and Michael) and testimonies told to the Stolen Germinations’ Testimonies Foundation, the four stories are told in the first person. With Michael keeping the same persona, it’s not always clear who’s story is being told, and it’s this technique that makes it such an extraordinary telling.
Each is so personal – it’s easy to dismiss a generalisation, but much harder to ignore one person’s experience – but their similarities and the discussion of generational trauma and forgiveness make it a story about us and now.
HART opens with sound grabs from our politicians. While there are moments of relief and pride, too many cannot see the shame and ignorance in their statements. What do we have to do to get them to see work – “excellent” art – like this?
It continues with photos of people whose stories could also be told. The photos flash by so quickly that it’s impossible to really see them. This is frustrating but painfully cries out that there are so many stories that have already been lost.
Once told, stories cannot be lost and we have to keep telling them until everyone listens.
The was on AussieTheatre.com.
She Said Theatre
20 September 2015
Fringe Hub, Parlour Room
to 3 October
melbournefringe.com.au
HART is beautiful, heartbreaking and liberating storytelling.
With old checkerboard lino, faded damask wallpaper and a wooden table, the tiny stage in the Fringe hub Parlour Room looks like a farm kitchen from anytime in the last 200 years. A place where people yarn and gossip and share their stories. It’s here that Ian Michael tells the stories – including his own – of four Noongar men from, what we call, south-west Western Australia.
From interviews with writers (Senna van Helten and Michael) and testimonies told to the Stolen Germinations’ Testimonies Foundation, the four stories are told in the first person. With Michael keeping the same persona, it’s not always clear who’s story is being told, and it’s this technique that makes it such an extraordinary telling.
Each is so personal – it’s easy to dismiss a generalisation, but much harder to ignore one person’s experience – but their similarities and the discussion of generational trauma and forgiveness make it a story about us and now.
HART opens with sound grabs from our politicians. While there are moments of relief and pride, too many cannot see the shame and ignorance in their statements. What do we have to do to get them to see work – “excellent” art – like this?
It continues with photos of people whose stories could also be told. The photos flash by so quickly that it’s impossible to really see them. This is frustrating but painfully cries out that there are so many stories that have already been lost.
Once told, stories cannot be lost and we have to keep telling them until everyone listens.
The was on AussieTheatre.com.
25 September 2015
MELBOURNE FRINGE: Bock Kills Her Father
Bock Kills Her Father
20 September 2015
La Mama
to 27 September
melbournefringe.com.au
Written by Adam JA Cass as part of his Masters in Playwriting at VCA Bock Kills Her Father is a frighteningly powerful exploration of the space between the pain and comfort of violence.
Stephanie Bock arrives in a small town to find the father she never met. When she meets three local young women, they take her to his house where his new girlfriend – younger than the women and probably as old as Bock's mum when she got pregnant – answers the door and says he's not home.
With a cast who never let the tension drop and hold onto their characters' secrets for as long as possible, allegiances change and it's easy to understand – if not support – why these women believe that violence and pain are the only choices.
20 September 2015
La Mama
to 27 September
melbournefringe.com.au
Written by Adam JA Cass as part of his Masters in Playwriting at VCA Bock Kills Her Father is a frighteningly powerful exploration of the space between the pain and comfort of violence.
Stephanie Bock arrives in a small town to find the father she never met. When she meets three local young women, they take her to his house where his new girlfriend – younger than the women and probably as old as Bock's mum when she got pregnant – answers the door and says he's not home.
With a cast who never let the tension drop and hold onto their characters' secrets for as long as possible, allegiances change and it's easy to understand – if not support – why these women believe that violence and pain are the only choices.
MELBOURNE FRINGE: We May Have to Choose
We May Have To Choose
18 September 2015
Fringe Hub, Parlour Room
to 3 October
melbournefringe.com.au
18 September 2015
Fringe Hub, Parlour Room
to 3 October
melbournefringe.com.au
Another favourite.
Review in The Age/SMH.
24 September 2015
MELBOURNE FRINGE: Christopher Doesn't Live Here Anymore
Christopher Doesn't Live Here Anymore
18 September 2015
Fringe Hub, Parlour Room
EXTENDED until to 3 October
melbournefringe.com.au
The great news is that the short season of Christopher Doesn't Live Here Anymore has been extended. It's that lovely!
My review is in The Age.
18 September 2015
Fringe Hub, Parlour Room
EXTENDED until to 3 October
melbournefringe.com.au
The great news is that the short season of Christopher Doesn't Live Here Anymore has been extended. It's that lovely!
My review is in The Age.
23 September 2015
MELBOURNE FRINGE: Mummy Matters
Libbi Gore: Mummy Matters
20 September 2015
Fringe Hub, Lithuania Club
to 20 September 2015
melbournefringe.com.au
Libbi Gore's Mummy Matters has some excellent advice about how to deals with mummies (who hasn't given a toddler chocolate and said "don't tell Mummy"), but it's more about how she survived the semi-super-tv-stardom of being Elle McFeast in the 1990s and found herself being remarkably normal with two kids in the suburbs.
And she's thrilled to be there. (And be on the radio.)
Libbi still has all of Elle's intelligence, wit & unashamed filth, but now there's no character to hide behind. I loved 90s Elle, but Libbi is welcoming and honest and much more fun to be with.
She talks about being a mum, dealing with Spanx, and being a Cinderella-Greer: us who were caught growing up with the image of a prince to save us but the understanding and anger that as women we should demand so much more.
And I loved being at a Fringe show with a room full of people my own age. I hope we see more of Libbi on our stages very soon.
20 September 2015
Fringe Hub, Lithuania Club
to 20 September 2015
melbournefringe.com.au
Libbi Gore's Mummy Matters has some excellent advice about how to deals with mummies (who hasn't given a toddler chocolate and said "don't tell Mummy"), but it's more about how she survived the semi-super-tv-stardom of being Elle McFeast in the 1990s and found herself being remarkably normal with two kids in the suburbs.
And she's thrilled to be there. (And be on the radio.)
Libbi still has all of Elle's intelligence, wit & unashamed filth, but now there's no character to hide behind. I loved 90s Elle, but Libbi is welcoming and honest and much more fun to be with.
She talks about being a mum, dealing with Spanx, and being a Cinderella-Greer: us who were caught growing up with the image of a prince to save us but the understanding and anger that as women we should demand so much more.
And I loved being at a Fringe show with a room full of people my own age. I hope we see more of Libbi on our stages very soon.
MELBOURNE FRINGE: Backwards
Backwards
19 September 2015
Fringe Hub, Son of Loft
to 25 September
melbournefringe.com.au
Melbourne's Emily Taylor worked with primary school students to create the characters, opinions and ideas for Backwards.
In her show about understanding life backwards and living it forward, but ultimately about motherhood, she plays every character. This includes 8-year-old bffs Mia and Mia (pronounced differently) and their classmates; Maureen, Terry and their 30+ son who’s living with them at a retirement village; and a frustrated primary-school philosophy teacher.
Her character transitions are seamless and everyone is recognisable and unique in story that builds its stakes carefully and makes the most unexpected characters its heroes. The narrative could be developed, but this is a show about people and Taylor’s wonderful performance is unforgettable and the ending guarantees grins that hurt your jaw.
This was on AussieTheatre.com.
19 September 2015
Fringe Hub, Son of Loft
to 25 September
melbournefringe.com.au
Melbourne's Emily Taylor worked with primary school students to create the characters, opinions and ideas for Backwards.
In her show about understanding life backwards and living it forward, but ultimately about motherhood, she plays every character. This includes 8-year-old bffs Mia and Mia (pronounced differently) and their classmates; Maureen, Terry and their 30+ son who’s living with them at a retirement village; and a frustrated primary-school philosophy teacher.
Her character transitions are seamless and everyone is recognisable and unique in story that builds its stakes carefully and makes the most unexpected characters its heroes. The narrative could be developed, but this is a show about people and Taylor’s wonderful performance is unforgettable and the ending guarantees grins that hurt your jaw.
This was on AussieTheatre.com.
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