MICF: The Narelles

The Narelles
Token Events, Triple R
3 April 2015
Trades Hall, New Ballroom
to 19 April
comedyfestival.com.au

Alan Brough & Casey Benetto

Alan Brough wasn't living in Australia in 1988, but he still formed a Melbourne garage band with Casey Benetto. The Narelles celebrate their 27th fictional year at Trades Hall in The Narelles.

If you went to any gig in the late 80s and the 90s, then the reunion gigs from the early 2000s, you've been to a Narelles gig.

Both on lead vocals, bass and guitar (with a stage shy drummer), they reminisce about the gigs, the albums and the times that their audience remember vividly, even if we weren't there.

It opens with a bass riff that made me think I was 17 (make that 18) at the Tivoli in Adelaide (where the carpet was always sticky and the glasses of moselle always over full) to a Nick Cave tribute song that was more paranoid than being at the Big Day Out with too many cookies (where Nick sang "The Weeping Song" and Iggy Pop got his cock out), The Narelles capture the tone and heart of live indie/alternative/not-shit-pop music between 1987 and now.

And they do it far better than any JJJ Top 100 count down.

All the stars in their eyes that never faded.

Review: White Rabbit, Red Rabbit

White Rabbit, Red Rabbit
Malthouse Theatre
26 July 2013
Beckett Theatre, Malthouse
to 31 July
malthousetheatre.com.au

In fairness to every actor who will perform White Rabbit, Red Rabbit and to every one who will be in an audience of a production, this is spoiler free. But, even still, please only keep reading if you've seen it, performed it or are Nassim Soleimanpour.

Wait, if you're thinking of seeing it, the answer is HELL YES.

When Nassim Soleimanpour was 29, he was living in Iran and didn't have a passport. He wrote White Rabbit, Red Rabbit to feel a sense of freedom.

It's not an especially well-written piece, but it has the audience in its paws from the first moment. A lone actor performs, but they don't see the script until they walk onto the stage, pick it up and start reading.

So you can see why there's an obligation to not write anything about it. Too much of the experience is about the actor discovering each new word at the same time as the audience. For those who saw An Oak Tree in 2008, this has a similar conceit, but the Tree had the writer on stage with the performer.

Like Tree, the actor can't do Rabbit again. And the more it gets performed, the more likely that actors have seen it or know something about it, which will leave them out of the running. Since 2009, it's been translated into many languages and performed all over the world. There's always an empty seat in the front row for Soleimanpour. And he has seen it.

But Rabbit's not about getting distracted by the writer's personal story and the history of the work; it's about discovering the text and story with the actor – and the audience are a vital part of this discovery. How often does an audience know as much as the performer and are as important to the writer as the performer is?

Having audience members who have seen it before will also impact a performance. Not that this will stop people from seeing it again. I'd have happily gone each night to see Rodney Afif, Alison Bell, Alan Brough, Shareena Clanton, Daniela Farinacci, Ming-Zhu Hii, Bert LaBonté, John Leary, Caroline Lee, Brian Lipson, Catherine McClements, Genevieve Morris, Brian Nankervis and Sam Pang perform.

But even if I do go again, it will never compare to the moment-by-moment discovery of the first time.

I saw Alan Brough. I was 82, my purple hat was a red hat and someone had a carrot.

And this is Nassim Soleimanpour's email: nassim.sn@gmail.com.

This was on AussieTheatre.com.

Review: Chitty Chitty Bang Bang

Chitty Chitty Bang Bang
Tim Lawson
2 February 2012
Her Majesty's Theatre
to 17 March
chittychitty.com.au

Chitty Chitty Bang Bang, the car, is terrific, and deserves her curtain call.  She's awesome and cost over a million dollars to make, but all that spit, polish and Turtle Wax can't make her script sparkle.

Chitty Chitty Bang Bang, the show, is a shiny lemon that really shouldn't be compared to the other Sherman brothers musical Mary Poppins and neither should this production be compared to the recent Australian Poppins.

Most of its shine is from Antony Ward's delicious design that gloriously evokes memories of the film but is original and contemporary and filled with hidden detail and surprises.

The story is about an inventor Caractacus Potts, his two children and their potential new mum, called Truly Scrumptious, who all take a trip in their amazing flying car to a place called Vulgaria, which has a glittery Nazi-esque monarchy and a creepy dude called the Child Catcher. It's based on the 1968 film, written by Roald Dahl (!) and Ken Hughes, that's based on a children's story by Ian (007) Fleming. I haven't read the book, but watched the film as a child (and a bit now on You Tube) and I don't think it's fair to compare them either.

For all the delightfully mad characters, the clunky stage story is forced, lacks basic this-happened-because logic and structure, has an unearned and tensionless ending, and doesn't let its wonderful characters be particularly interesting or creative because the car solves their problems. It feels like scenes have been squished together in the hope that it'll create delicate layers, but it's more a trifley mess where the yummy bits get lost in too much globby custard made from powder, no-fat milk and forgettable songs (apart from the ear-worm title song) that don't move the story or reveal anything new.

If anyone dares huff and say that kids don't care about these things, I suggest that you spend more time with children, read some children's books and watch kids when they watch theatre or films, or pick the scrummy bits out of a globby trifle. Kids near me were snoozing by the end, but my favourite moment was a little boy's declaration of "that's not funny". I'm with you, kid. It wasn't funny and I think people were only laughing to be polite.

It's certainly not the performers fault that it's a dud script.

All the children are especially terrific. I used to love watching children perform when I was a child and my best recommendation to see this is to let kids you know be inspired by other kids. It's just a shame that they have to play such goody-goodies who get out of trouble because they have a magic car rather than by planning ingenious mischief.

The comic characters bring genuine comic relief and, even in scenes that slow the story (what's with the Samba?), are a hoot. George Kapiniaris and Todd Goddard as Vulgarian spies are popular with the kids, and grown ups will always groan at King Alan Brough and Queen Jennifer Vuletic's sexy royal shenanigans.

Rachel Beck is truly lovely as Truly, Peter Carroll is a delight as Grandpa Potts and David Hobson can sure sing, but lacks the love and appeal that should make every kid want Caractacus Potts as their dad, inspire all dads and uncles to be like him, and make the audience understand why Truly fancies him.

When you have a script that isn't brilliant, it's up to the director (Roger Hodgman) and the cast to bring extra to the stage so that the faults are forgivable. It feels like it was directed scene by scene rather than as a whole and most of the cast could bring a bit more heart to make their characters and the world real. I have to compare it to the recent production of Annie. Now, Annie's script is far from a gem, but every person on the stage, from stars to swings, knew their place in that world and found the love in the most cringe-worthy scenes; in Chitty the cast know their cues and the ensemble know their chorey (except a pair in the Samba who were counting, or maybe chatting).

Chitty Chitty Bang Bang's not a perfect show to begin with, but there's enough creative talent involved to overcome its problems and make it something really scrumptious. And unless they do, there's nothing wrong with buying the DVD and reading your kids some Roald Dahl stories about wonderfully wicked children.

This was on AussieTheatre.com

Andrew McClelland's Mix Tape (C-90 Edition)

MELBOURNE FRINGE 2006
Andrew McClelland's Mix Tape (C-90 Edition)
Australian Comedy Management
29 September 2006
Festival Hub, Czech House

Andrew McClelland is totally delightful. I’d pop his tape into my cassette player anytime. Andrew McClelland’s Mix Tape sold out at the 2006 Melbourne International Comedy Festival. This is the special Fringe extended (C90) edition. If you’ve ever used a song to try and impress someone, see this show. 

Mix Tape is all about our love of music and the soundtrack it gives our lives. The mix tape may be a rough and almost antiquated art form, but it requires so much more skill and finesse than making a folder of mp3 files. Like the mix tape, the show selects some of the best “tracks” of stand up comedy and combines them into a personal and irresistible format. It’s not slick and commercial. It’s personal and fun, made even better by its flaws.

McClelland and director Alan Brough (from the ABC’s Spicks & Specks) really know their music. The tape includes Sesame Street hits, jazz, gangster rap, Australian urban pop and, the very densely complicated genre; metal.

This show speaks perfectly to its chosen audience - 30 something, live in Melbourne’s inner north, university educated and listened to far too many records or CDs as a teenager. However McClelland’s engaging personality has a much broader appeal. This tape is enjoyable even if the only ghetto blaster you have seen is in your parents’ photo album, or if you think M&M is spelt correctly and even if you don’t know why “summer of the 17th dole payment” is a very funny lyric.

Mixed Tape naturally finishes with a sing along that everyone in the audience joined in. However, we did have to sing a Monkees parody, because Michael Jackson won’t let us sing The Beatles.

This review originally appeared on AussieTheatre.com.