Melbourne International Comedy Festival
The Butch is Back
Reuben Kaye
9 April 2020
Maz Watt's
to 18 April
www.comedyfestival.com.au
 |
| Reuben Kaye |
Mostly Melbourne theatre reviews
Showing posts with label Reuben Krum. Show all posts
Showing posts with label Reuben Krum. Show all posts
11 April 2021
Review: The Butch is Back
02 July 2012
Review: The Butcher Shop Revue
The Butcher Shop Revue (Redux)
Badass Productions
15 June
Red Bennies
As winter forces some of us into thermal underwear, others are happy to warm us up by getting their gear off. From the exquisite subversion of The Glory Box (The Burlesque Hour) at 45downstairs to the many classes where middle age women realise just how hot they are, Melbourne may soon deserve number plates with "The Burlesque State", and The Badass Burlesque Company are a saucy new company to keep an eye on.
The Butcher Shop Revue had a short season at The Butterfly Club that led to a night that had Red Bennies filled to over flowing.
Giving a big hug, with some appropriate inappropriate touching, to the traditions of burlesque and vaudeville, a Badass show starts with innunendo-inclined MC Dirk von Danjer, who's clad in ok-if you're-in-a-car-accident white underwear and braces, and there's a scrumptious feast of acts including torch song singers, circus, ariels and a selection of men and women who get their kit off.
With a mix of naughty, nice and hooly-dooley!, what defines a Badass performer is that every act has a sense of the performers sexual self at its centre. This has nothing to do with exposing flesh and celebrates the awesome sexiness of everyone.
It's hard to pick favourites but Honey B Goode hilariously rejects expectations of "nice girl" strip, Nathan Smith subverts gender assumptions (his footy strip should be the warm up for every ball-devoted Grand Final) and it was an unexpected treat to see song and dance man Reuben K back in town. Reuben's been a-wow-ing them in the UK, but is back for a visit and to fly over the crowds to sing "Space Oddity".
The Butcher Shop Revue is far more than a series of strips. Grabbing (and probably goosing) some of the best acts in town, Badass are developing shows that love the feathers and sequins of burlesque, but makes sure that the excitement starts in our heads. Tightening themes and directing for an overall picture will take them further along the from variety to theatre show, if that's what they want to do, but if you fancy a bit of burlesque, their next show is The Brass Bear Cabaret at the Melbourne Cabaret Festival.
This review appeared on AussieTheatre.com
30 December 2008
Melbourne 2008 - What I Liked
The 2008 AussieTheatre Melbourne Awards
There are no shiny trophies, no need to frock up and no one semi-famous to read out the nominations. In fact, there’s no prize at all, except knowing that this is the remarkable work that has inspired me over the last 12 months.
Theatre in Melbourne: even if I could go out every night, I would still miss something worth seeing.
Overall, I wish I wasn’t disappointed by so many commercial productions and wish that people who see commercial shows would also take a chance on the small, independent productions. It’s always going to be hit and miss, but this is where the best theatre continues to be created and it hurts knowing that it’s only seen by a lucky few.
That’s not to say it’s all been good, but it isn’t hard to remember the great stuff. These artists and companies challenge with their content, re-invent form, respect the intelligence of their audiences, and refuse to be bland. Some of them were visiting us from interstate and overseas, but most of this incredible theatre has been created here in Melbourne.
Before the drum roll, let me thank Jo, David, Laura, Karla, Kim and John (the wonderful team of Melbourne reviewers for Aussie Theatre) for their knowledge, their passion, their style and their from-the-heart opinions.
And thank you to everyone who lets us know that you appreciate reading what we have to say.
Outstanding Artists 2008
WRITER
Adam Cass for Oasis Oasis
and
Sarah Collins for Nothing Extraordinary Ever Happens in Toowoomba. (Ever)
DIRECTOR
Benedict Andrews for Moving Target, Malthouse Theatre
and
Yvonne Virsik for Nothing Extraordinary Ever Happens in Toowoomba. (Ever)
DESIGNER
Anna Tregloan for Venus and Adonis, Malthouse Theatre
SOUND DESIGNER
David Franzke for Venus and Adonis, Malthouse Theatre
LIGHTING DESIGNER
Paul Jackson for Moving Target, Malthouse Theatre
NEVER TO BE MISSED CREATOR/PERFORMER – female
Melissa Madden Grey, Venus and Adonis, Malthouse Theatre and Vamp, Malthouse Theatre
NEVER TO BE MISSED CREATOR/PERFORMER – male
Daniel Kitson, The Ballad of Roger and Grace and The Impotent Fury of the Privileged
FESTIVAL DIRECTOR
Kristy Edmunds for her final, unforgettable Melbourne International Arts Festivals.
Outstanding Productions 2008
CABARET
Reuben Krum's Naughty Show, Reuben Krum
and
A Suicide for Winter , The Tiger Lillies
and
Lea Delaria is Naked, Lea Delaria
MUSICAL
Spontaneous Broadway
COMMERCIAL PROGRAM
Blackbird, Melbourne Theatre Company
DANCE
Three, Batsheva Dance Company
COMEDY
Sammy J In The Forest Of Dreams
and
Cell Block Booty, Sisters Grimm
THE BEST OF THE BEST
Ollie and the Minotaur, foogle and 9minds
and
An Oak Tree, Tim Crouch/Melbourne International Arts Festival
and
Romeo and Juliet, OKT/ Melbourne International Arts Festival
The show that will stay with me from 2008 is:
The Ballad of Roger and Grace, Daniel Kitson and Gavin Osborn
(2012 update: Buy the ballad here.)
This story originally appeared on AussieTheatre.com.
There are no shiny trophies, no need to frock up and no one semi-famous to read out the nominations. In fact, there’s no prize at all, except knowing that this is the remarkable work that has inspired me over the last 12 months.
Theatre in Melbourne: even if I could go out every night, I would still miss something worth seeing.
Overall, I wish I wasn’t disappointed by so many commercial productions and wish that people who see commercial shows would also take a chance on the small, independent productions. It’s always going to be hit and miss, but this is where the best theatre continues to be created and it hurts knowing that it’s only seen by a lucky few.
That’s not to say it’s all been good, but it isn’t hard to remember the great stuff. These artists and companies challenge with their content, re-invent form, respect the intelligence of their audiences, and refuse to be bland. Some of them were visiting us from interstate and overseas, but most of this incredible theatre has been created here in Melbourne.
Before the drum roll, let me thank Jo, David, Laura, Karla, Kim and John (the wonderful team of Melbourne reviewers for Aussie Theatre) for their knowledge, their passion, their style and their from-the-heart opinions.
And thank you to everyone who lets us know that you appreciate reading what we have to say.
Outstanding Artists 2008
WRITER
Adam Cass for Oasis Oasis
and
Sarah Collins for Nothing Extraordinary Ever Happens in Toowoomba. (Ever)
DIRECTOR
Benedict Andrews for Moving Target, Malthouse Theatre
and
Yvonne Virsik for Nothing Extraordinary Ever Happens in Toowoomba. (Ever)
DESIGNER
Anna Tregloan for Venus and Adonis, Malthouse Theatre
SOUND DESIGNER
David Franzke for Venus and Adonis, Malthouse Theatre
LIGHTING DESIGNER
Paul Jackson for Moving Target, Malthouse Theatre
NEVER TO BE MISSED CREATOR/PERFORMER – female
Melissa Madden Grey, Venus and Adonis, Malthouse Theatre and Vamp, Malthouse Theatre
NEVER TO BE MISSED CREATOR/PERFORMER – male
Daniel Kitson, The Ballad of Roger and Grace and The Impotent Fury of the Privileged
FESTIVAL DIRECTOR
Kristy Edmunds for her final, unforgettable Melbourne International Arts Festivals.
Outstanding Productions 2008
CABARET
Reuben Krum's Naughty Show, Reuben Krum
and
A Suicide for Winter , The Tiger Lillies
and
Lea Delaria is Naked, Lea Delaria
MUSICAL
Spontaneous Broadway
COMMERCIAL PROGRAM
Blackbird, Melbourne Theatre Company
DANCE
Three, Batsheva Dance Company
COMEDY
Sammy J In The Forest Of Dreams
and
Cell Block Booty, Sisters Grimm
THE BEST OF THE BEST
Ollie and the Minotaur, foogle and 9minds
and
An Oak Tree, Tim Crouch/Melbourne International Arts Festival
and
Romeo and Juliet, OKT/ Melbourne International Arts Festival
The show that will stay with me from 2008 is:
The Ballad of Roger and Grace, Daniel Kitson and Gavin Osborn
(2012 update: Buy the ballad here.)
This story originally appeared on AussieTheatre.com.
30 March 2008
Reuben Krum’s Naughty Show
2008 MELBOURNE INTERNATIONAL COMEDY FESTIVAL
Reuben Krum’s Naughty Show
29 March 2008
Northcote Town Hall
I like my singers vocally strong, my boys pretty, my humour black, my content complex and my cabaret obscene. Reuben Krum’s Naughty Show ticked my boxes – and made me laugh ‘til it hurt.
Racism, paedophilia, Nazism, dead puppies, the cultural significance of coming in a girl’s mouth and homespun Aussie musicals are not the safest of material to play with. Humour is a powerful force to expose the real absurdities and obscenities in our lives. But you really have to do it well – otherwise it just reinforces the ridiculous opinions you are trying to satirise.
There are many comedians in this laugh fest presenting naughty material and controversial content. Their jokes are good, but audiences stare blankly back. I’ve heard more than one complaint that the people-choosing-to-spend-their-hard-earned-money-to-see-shows are stupid, conservative and don’t have a sense of humour. Perhaps it’s because the jokes don’t work? Many fail to work though their own implications and the writers haven’t thoroughly researched the topic.
The content in Reuben Krum’s Naughty Show is as fearlessly naughty as it comes. What makes it stand out is the detail, the intelligence and the knowledge behind every joke. His Jew jokes are as complex as his Nazi jokes. (I’m alternately humming “I Think You’re a Nazi, Baby” and “What I Like about Jews”.) He may the first person who make me laugh hysterically at an Azaria Chamberlain joke (and when I say joke – I mean a complete musical), instead of wanting to gaff their mouth shut.
Who would have thought that a young, gay Jewish cabaret performer would exemplify my opinion about “cunt” (if you missed my Make Deadshits History review, I wasn’t fond of the language used in the show). Krum opens with a cunt joke and proceeds to break down the taboos surrounding “obscene” language. He uses the irony-laced cunt, the reclaiming cunt, and the divinely non-misogynistic cunt and throws in vagina, labia and clitoris. Not only does he understand the complexity of the word – he knows more about the complexity of a physical cunt than many a lad.
It’s not our language that’s obscene – it’s the racism, the hate crimes, the ignorance, the bigotry, the violence (and some of those homespun Aussie musicals).
And he sings and prances about it. This is a singing, dancing, gold-brocade cabaret show. Krum rises above the pack in all respects. His likable persona engages even the most cynical; he uses minimal theatrics to maximum effect and is accompanied perfectly by pianist Ben Kiley.
Reuben Krum’s Naughty Show is obscenely intelligent, beautifully filthy, and rib-cracking funny. See it.
This review originally appeared on AussieTheatre.com
Reuben Krum’s Naughty Show
29 March 2008
Northcote Town Hall
I like my singers vocally strong, my boys pretty, my humour black, my content complex and my cabaret obscene. Reuben Krum’s Naughty Show ticked my boxes – and made me laugh ‘til it hurt.
Racism, paedophilia, Nazism, dead puppies, the cultural significance of coming in a girl’s mouth and homespun Aussie musicals are not the safest of material to play with. Humour is a powerful force to expose the real absurdities and obscenities in our lives. But you really have to do it well – otherwise it just reinforces the ridiculous opinions you are trying to satirise.
There are many comedians in this laugh fest presenting naughty material and controversial content. Their jokes are good, but audiences stare blankly back. I’ve heard more than one complaint that the people-choosing-to-spend-their-hard-earned-money-to-see-shows are stupid, conservative and don’t have a sense of humour. Perhaps it’s because the jokes don’t work? Many fail to work though their own implications and the writers haven’t thoroughly researched the topic.
The content in Reuben Krum’s Naughty Show is as fearlessly naughty as it comes. What makes it stand out is the detail, the intelligence and the knowledge behind every joke. His Jew jokes are as complex as his Nazi jokes. (I’m alternately humming “I Think You’re a Nazi, Baby” and “What I Like about Jews”.) He may the first person who make me laugh hysterically at an Azaria Chamberlain joke (and when I say joke – I mean a complete musical), instead of wanting to gaff their mouth shut.
Who would have thought that a young, gay Jewish cabaret performer would exemplify my opinion about “cunt” (if you missed my Make Deadshits History review, I wasn’t fond of the language used in the show). Krum opens with a cunt joke and proceeds to break down the taboos surrounding “obscene” language. He uses the irony-laced cunt, the reclaiming cunt, and the divinely non-misogynistic cunt and throws in vagina, labia and clitoris. Not only does he understand the complexity of the word – he knows more about the complexity of a physical cunt than many a lad.
It’s not our language that’s obscene – it’s the racism, the hate crimes, the ignorance, the bigotry, the violence (and some of those homespun Aussie musicals).
And he sings and prances about it. This is a singing, dancing, gold-brocade cabaret show. Krum rises above the pack in all respects. His likable persona engages even the most cynical; he uses minimal theatrics to maximum effect and is accompanied perfectly by pianist Ben Kiley.
Reuben Krum’s Naughty Show is obscenely intelligent, beautifully filthy, and rib-cracking funny. See it.
This review originally appeared on AussieTheatre.com
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