MICF: Maeve Marsden, Fat Musicals: A Body of Work

MELBOURNE INDEPENDENT CELEBRATORY FEMINIST
Maeve Marsden
Fat Musicals: A Body of Work
26 March–5 April
Malthouse Theatre
comedyfestival.com.au

Maeve Marsden, Libby Wood

If there were ever a show written for me, this is it. And I don't need to convince anyone who has seen Maeve and Libby perform that they need to go.

If you could see anyone (possible or impossible) in your audience, who would it be?
Lizzo.

What is one of your favourite comedy festival memories?
My favourite moments at the comedy festival are always backstage. I love the energy of performers gathered about a mirror, warming up, chattering, all that nervous energy. Performing cabaret in a group means there's this real collegiate atmosphere. I've always had a sort of romantic feeling about dressing rooms.

Who is one of your favourite Melbourne Indie Celebratory Feminists?
Ali McGregor. She's a fierce and talented performer, she always works to support emerging or early career artists - especially women – and she's always eager learn more, politically and creatively.

What three shows are you not going miss this comedy festival?
Annaliese Constable Perfect Child
Louisa Wall Lousical the Musical
Krishna Istha Beast

What else could MICF stand for?
Maeve Is Crushingly Fantastic.


GIVEAWAY COMPETITION

1 double pass to

Fat Musicals: A Body of Work
27 March
8.30pm
Malthouse Theatre

EMAIL with FAT MUSICALS COMPETITION in the subject
Closes on 24 March 2020

Sammy J’s Wagon of Friendship

Sammy J’s Wagon of Friendship
November 29 2008
The Speigeltent

Hail down Sammy J's Wagon of Friendship before it high-tails out of town and Sammy is forced to cut off his limbs in order to please his family for Christmas.

I first saw Sammy J early this year when he sang about shagging Brittney Spears and Germaine Greer (not at the same time). Now, after a journey through the Forest of Dreams, he’s singing about his soon-to-be wife, and not embarrassing her at all.

Every time I see Sammy, I like him more. In the course of a few months, I’ve gone from a (possibly condescending) ho-hum-to-OK to a (genuinely enthusiastic) oh-my-god-don’t-miss Sammy-J.

My cheap rhyme of OK with J was inspired by Sammy’s lyrics. Anyone who rhymes Ingrid with fingered has to be on the road to stardom - or infamy.

From his opening auction of a comic routine (a giggle won’t win, but try a chortle and see what happens) to the metaphor challenge and it’s devastating consequences, Sammy J effortlessly charms with his blend of slightly-naughty cabaret and I’m-trying-to be offensive-but I’m-just-too-nice stand-up. Even the cunt jokes are as welcome as the cute, furry shoulder-sitting mole meditation. (Not sure about the rape joke though. It needed more context to make it funny, rather than just under-grad annoying. Germaine would agree with me.)

We were expecting Sammy-J and his piano to be driving the wagon alone, but Randy (ably assisted by puppeteer Heath McIvor) insisted on a roadside hijack, decked out in a how-can-you-call-this-racists ‘Red Indian’ costume. Randy isn’t as loveable as Terry the squirrel (from the brilliant Sammy J in the Forest of Dreams), but he’s still pretty cool and the unique McIvor/J pairing is as endearing as Bert and Ernie – but with more swearing and less homoerotic undertones.

Along the way, Sammy’s wagon found Ali McGregor hitching hiking along Swanston St and offered her the guest-spot of the night (this time I loved the dress Ali), got the audience pushing when the road was a bit muddy, but failed to entice Geoffrey Rush into the cabin.

Sammy-J's Wagon of Friendship is parked at The Speigeltent until Saturday. You’ll only be disappointed if you decide not to go.

This review origianlly appeared on AussieTheatre.com.

Ali McGregor’s Midnight Lullubies

Ali McGregor’s Midnight Lullubies
Malthouse Theatre
11 July 2007
Beckett Theatre, CUB Malthouse

I first saw Ali McGregor in The Opera Burlesque. She was sensual, seductive, tantalising, funny and downright divine. I saw glimpses of that Ali in Midnight Lullabies, but otherwise I’m having trouble believing it was the same performer.

Ali has the kind of voice that is like having your lover lick your ear (if indeed you like that). A well trained voice can do amazing things to songs we think we know. German Lieder, Cohen, Waits, Gershwin and Newman all get Ali’s divine touch.

The concept behind Midnight Lullabies is the perfect for Ali. She sings us the songs that go through her head at four am. She is accompanied by Ben Hendry on an assortment of percussion and “funny” instruments and tells us about what these songs mean to her.

But it’s not working. This show is screaming out for a director and a writer. Ali needs to either be herself on the stage or develop the horny, nutty, obsessive soprano character that sometimes made an appearance. She slipped into a stage character during the some songs, but there was nothing consistent driving the show forward. The best cabaret acts (including the wonderful Opera Burlesque) are based on narrative and character.

There were many moments in Midnight Lullabies that were heading in the right direction, but never got going. Being awake at four am trawling eBay for a $3.97, seven-note concertina. This alone could form the base of a highly original and delightfully kooky character and story. Let this woman lose.

Or she needs to be herself. I would have loved to hear her real stories. If you did sing "Creep" at a weird party for Elton John, for goodness sake tell us the story – otherwise it’s just pretentious name dropping. You can tell the most glorious stories in song, so please also tell us stories though you.

This show should seduce every single member of the audience. Ali can do this. I was so surprised that she didn’t. Sing into out faces and our hearts. The eyes shut, looking at the ceiling stuff just doesn’t work if you’re not connecting with the audience. And the zither, unless it can be made sexy, it only works as a joke.

WHEN I wrote this years ago, I included a ridiculous paragraph about what Ali was wearing. I regret that.

This review originally appeared on AussieTheatre.com.

The Opera Burlesque

The Opera Burlesque
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