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Review: Little Shop Of Horrors

May 11, 2016, 7:51 pm
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Little Shop Of Horrors
Luckiest Productions & Tinderbox Productions
5 May 2016
The Comedy Theatre
to 22 May, then touring
littleshoptour.com.au

Esther Hannaford, Brent Hill, Audrey II

The only down side of the Little Shop of Horrors Melbourne season is that it's only three weeks.

The sci-fi schlock musical by Howard Ashman and Alan Menken (who went onto Disney fame) about a blood-loving plant changing the fate of miserable florist shop workers Seymour and Audrey was inspired by a 1960 film, opened off-Broadway in 1982, and a film of the musical was made in 1986. This version blew Sydney away at the Hayes Theatre earlier in the year and is touring Australia.

The same team that created Sweet Charity at Hayes – Dean Bryant (direction), Andrew Hallsworth (choreography), Andrew Worboys (musical direction), Owen Phillips (design), Ross Graham (lights) and Tim Chappel (costumes) – cut back all dead ideas and preconceptions to grows a fresh, exciting and bloody brilliant version that makes it feel like it were written for now.

Totally over the top, it embraces the ridiculousness and the darkness of the story and by doing so, lets it find its own truth and makes the characters so real that the opening-night audience exploded at the end of "Suddenly Seymour", the show's shmaltzy love song.

Working with Erth Visual & Physical's magnificent, terrifying and all genital inflatable Audrey II plant, Phillips and Chappel's set and costumes are inspired by the 60s but not stuck in the past. They take us from a tiny black and white telly world – complete with Lee Lin Chin – to blooming, 3D, who-turned-up-the-contrast colour.

And everyone in the cast (Brent Hill, Esther Hannaford, Tyler Coppin, Scott Johnson, Josie Lane, Chloe Zuel, Angelique Cassimatis, Dash Kruck, Kuki Topoki) makes the characters so much their own that comparisons to anyone who has gone before them are impossible.

Anyone who says that “audiences” want to see the same old safe musicals that they’ve always seen needs to see what happens when a show is stripped back to book and music, and new creators are allowed to see what they can make from it.

This was on AussieTheatre.com.au.



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Cuts, cuts, cuts

May 11, 2016, 9:46 pm
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I'm trying to catch up on reviews, but am distracted by FB and Twitter being full of rumours (until Monday's OzCo embargo) of arts companies losing funding, and people furious about the Fairfax cuts that have slashed arts coverage at The Age.

Nearly four weeks ago, arts coverage at The Age was halved. I was worried by how few people noticed. #FairGoFairfax

Freelancers were told before it happened. There are a lot of us. I wonder if those making the cuts even read the work of the many freelancers who have lost work.

And, of course, there are the staff members who have been moved around or made redundant.

It sucks on every level.

Who wants to read a newspaper (printed or online) that isn't created by experienced writers and editors?

And it's not just that people have lost work – as one of them, it sucks  –, but it's also the loss of a diversity of voices and opportunities for small and independent companies and artists to get coverage.

Why review a show that a few hundred people see when it costs nothing to link to a story about a celebrity that more people will read?

Have a look at today's online front page. A few weeks ago, the three featured arts stories were likely to have been reviews of local shows; today it's Game of Thrones, Woody Allen (ugh) and Angry Birds.

Thursdays are good arts days in print, but there isn't a single theatre review or story in today's paper.

So what can we do?

If you're an artist, creator or company that has benefitted from coverage in The Age, let Fairfax know what that coverage has meant to you and the impact that it's had. Even if it's just a "thanks" tweet.

If you read arts coverage in The Age, let Fairfax know that you want to read about the arts in Melbourne.

Tweet, Facebook, email, sky write.

Let The Age know that you want to read about the arts that are made in this city.


And remember that it's not the Arts Editor who has made these cuts.



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Sixty two

May 12, 2016, 7:59 pm
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The Australia Council lifted the organisational funding embargo today instead of Monday. Sixty two companies have lost their organisational funding.

Read about it here on ArtsHub.

Look that list.

It's only a fraction of it.

And, as our major dailies have slashed arts writing, the outrage, heartbreak and small-minded ignorance that has led to that decision isn't being shared much beyond the communities that it affects.

Remember when we all wrote letters to the senate about the cuts to the Oz Co budget. Did anyone who made those decisions read them?

How many jobs are lost?

How many jobs won't exist in the next years?

If it made any sense...

All I'm reading on Facebook is sadness. Today, they broke us.

But we still have tomorrow.

And the opportunity to vote them out. Oz Co money is federal money. We have an election in July.


#IStandWithTheArts on Twitter.






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Review: Dogfight

May 17, 2016, 1:12 am
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Dogfight
Doorstep Arts
6 May 2016
Chapel off Chapel
to 16 May
doorsteparts.com

Dogfight

Independent company Doorstep Arts from Geelong and are known for their productions of musicals. They've brought Dogfight to Chapel off Chapel. Based on a 1991 film, the musical version (Ben Pasek, Justin Paul, Peter Duchan) was first seen in New York 2012.

It's 1963 and marines Eddie and his mates have a day in San Francisco, before going to Vietnam to become heroes, and take part in the traditional Dogfight – a competition to see who can find the ugliest date for a dance.

So we get to see the fat, the "Indian" in her plaits and fringed dress, the frumpy, the big nosed, the be-spectacled, the old, the dim witted, and the one who's clearly a man: all the uglies. This is a fascinating topic to look at – I remember boys from high school having competitions like this and I'm sure they still do – but what disturbed me was seeing how ugly was portrayed on stage.  Watching women perform as "ugly" women is ugly. Why fall into the stereotypes unless you believe they are true?

Act 2 comes together more solidly as Eddie (Alex Woodward) tries to apologise and make it up to teenage Rose (Olivia Charalambous), the girl he chose, while his mates get tattoos and try to rape a prostitute. It's not hard to guess the rest. Nothing in the story is surprising.

Woodward and Charalambous's performances are genuine and honest and both find something to make us care in a book that offers little. But the production doesn't offer a real sense of place or time, despite a Golden Gate Bridge and some hippy costumes, or bring the content into now.

This was on AussieTheatre.com.au.

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Review: Straight White Men

May 17, 2016, 1:14 am
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Straight White Men
MTC
12 May 2016
Fairfax Studio
to 18 June
mtc.com.au

Straight White Men. John Gaden and Hamish Michael. Photo by Jeff Busby

"What would you be willing to give up to make a difference in the world?"

Young Jean Lee wrote Straight White Men because a three-act naturalistic play about straight white men was the last thing the Korean-American, New York–based, avant-garde playwright and theatre maker wanted to write.

The result is an extraordinary exploration of privilege that starts with four men who are so self aware of their privilege that they question their own self awareness of their privilege.

...

The full review is on AussieTheatre.com.au and will be here soon.



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Review: After the Flood by Mikelangelo & the BSG

May 22, 2016, 1:57 am
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After the Flood
Mikelangelo and the Black Sea Gentlemen
7 May 2016
mikelangelo.net.au

Mikelangelo and the Black Sea Gentlemen. Photo by  Tim Chmielewski  


Mikelangelo and the Black Sea Gentlemen may have formed in Canberra 15 years ago, but their histories and song lines reach back in time and across continents.

AftertheFlood is their fourth album. Influenced by a residency in Cooma with Big hART, they tell their stories about coming to Australia from Europe in the 1950s, living in Cooma and working on the Snowy Mountains Scheme.

Today, Cooma is a stop before the snow fields, but there’s still the avenue of 27 flags representing the nationalities of the people who worked on the scheme. And it’s not difficult to imagine a town of 24-hour music and dance that balanced the back-breaking, life-risking work of tunneling through the mountains and bringing power to a nation. And I know why the best road-trip pie I’ve had was in Cooma.

The gentlemen, who share lead vocals on this album, find the hearts and souls of the migrants and refugees who made a home in mountains so far from where they were born. And they bring the music that travelled with them to find a new space for their extraordinary blend of polka, waltz, ballad, and rock and roll that always has room for an accordion or musical saw.

In Melbourne, the album launched in the lavish gold time-warp of the Thornbury Theatre; a venue that could have been built and decorated by the gentlemen in another time line.

Always in character, but never distanced from their audience, their mix of cabaret and theatre is a genre that’s owned and defined by this group.

While After the Flood brings a time and place to visceral life, the tour has a second act with the favourite songs that won the lust and wonder of their dedicated fans and unleashes the unpredictable passion of the magnificent Mikelangelo.

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Review: Singin' in the rain

May 26, 2016, 10:13 pm
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Singin' in the rain
Lunchbox Theatrical Productions,avid Atkins Enterprises, Michael Cssell Group, Dainty Group
14 May 2016
Her Majesty's Theatre
to 2 July
singin.com.au

Singin' in the Rain. Photo by Jeff Busby

The success of Singing in the Rain' is its mix of homage, iconic film moment re-creation – it really rains! – and a sprinkle of surprising original moments.

Jonathan Church's UK production moved from The Chichester Festival Theatre to the West End in 2012 and was a hit. Church is also the new Artistic Director of the Sydney Theatre Company and – even though this is a re-mount – it's a good opportunity to see what might be in store for Sydney.

It's a theatre musical based on the 1952 Hollywood musical film set in Hollywood in the 1920s when talkies are introduced. Silent stars Don Lockwood (Adam Garcia) and Lina Lamont (Erika Heynatz) are in trouble because Lina doesn't sound as smooth as she looks, so Lockwood and his best friend Cosmo (Jack Chambers) scheme to dub her voice with that of Lockwood's new love Kathy (Gretel Scarlett).

It has been taken off the screen and made to feel like it belongs on a stage. Andrew Wright's choreography winks at the 1920s, embraces the ensemble identity of screen musicals from the 40s and 50s, but feels new; Simon Higlett's design has fun with the 1920s while showing how the same styles could be worn today; the newly-filmed screen scenes feel like being in the cinema in the 1920s; and the rain is so spectacular that the front rows are supplied with plastic ponchos.

The ensemble are a consistent treat and Scarlett, Heynatz and Chambers bring enough joy to their characters to let them love being who they are. They are rarely matched by Garcia, who shows little more than the Lockwood's superficiality.

There's plenty to love about this expensive production. Resources create spectacle, but it doesn't bring a contemporary or even a fresh vision to the story.

The old men slap women's bottoms and expect – and get – a laugh, the women are cast based on height and size, the men are cast based on height and size, the puddles left by the rain are deeper than the characters; and the inevitable happy ending is based on a woman being a bitch. For everything that's wonderful about it, it still feels as dated and dull as its pie-in-the-face gag.

This was on AussieTheatre.com.au.

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Review: Resident Alien

May 26, 2016, 10:38 pm
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Review: Il Signor Bruschino

June 9, 2016, 11:58 pm
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Il Signor Bruschino
Lyric Opera
9 June 2016
Chapel off Chapel
to 12 June
http://www.lyricopera.com.au

Il Signor Bruschino. Lyric Opera. Photo by Kris Washusen

Like many independent Melbourne companies, Lyric Opera consistently punch above their weight to produce work that deserves the financial support and the audiences that assume that great opera needs huge stages and velvet-covered seats. Their current production of Il Signor Bruschino, Rossini's 1813 operatic farce, is an absolute delight and proves that great opera can be made with little more than terrific singers, great musicians, and creatives who treat the score and text like it's new.

...

The full review is on AussieTheatre.com.au and will be here soon.



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CABARET FESTIVAL: Playing to Win

June 15, 2016, 9:47 pm
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MELBOURNE CABARET FESTIVAL
Ash Flanders: Playing to Win
15 June 2016
Chapel off Chapel
to 19 June
melbournecabaret.com

Ash Flanders

It's nearly 10 years since I wrote one of my first reviews about a Fringe show with a young graduate called Ash Flanders.

And look where we are now!

My review is on The Age/SMH.
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Review: Retrofuturismus New World

July 24, 2016, 12:21 am
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Retrofuturismus New World
Anni and Maude Davey
8 July 2016
fortyfivedownstairs
to 31 July
fortyfivedownstairs.com

Teresa Blake. Photo by Ponch Hawkes
There’s a gap between nostalgia and embracing retro fashions, as there’s a chasm between the future world we want and the one we’re likely to have. This space in between is where Retrofuturismus New World create, dream and play; where they fill the emptiness with feminist performance art that questions itself and dares its audience to enjoy themselves even when they know that every thought and act is political.

Maude and Anni Davey host in gold jumpsuits with retro-future shoulder pads (they will be back), comfy rubber heels and hair buns that show man-buns how to bun. They don’t hide their 50-somethingness and don’t concede to any ideas that women in their 50s shouldn’t be astronauts or cockroaches, or that burlesque, cabaret or circus should adhere to dated ideas and expectations.

They are joined by Anna Lumb, who always brings the unexpected with hoops; Gabi Barton, who leaves everyone wanting to dye their ‘unsightly’ body hair bright yellow; and Teresa Blake, who remembers the phrase “shit a brick”, makes a reverse strip even more questioning, and knows that being naked isn’t always about sex or enticement.

Each bring themselves to their art and love that their work is so much the better by always asking why. They are joined by a guest artist each week, with Kura Puru (13–17 July), Yana Alana (20-24 July) and The Huxleys (27-31) July. But week one was Azaria Universe.

Azaria Universe. Photo by Ponch Hawkes

Universe performed on a single trapeze in frilly retro bikini and elastic bands that cut into her bare body every few centimetres. It must hurt, it exacerbates the fat on her strong and fit body and she smiles because she has to; why would a woman do that to themselves? Maybe ask the women in slimming underwear that doesn’t let them eat, or breathe, and shoes that they take off as soon as they sit down.

Retrofuturismus New World is a space that loves the future image of the past in the likes of Barabella but re-invents the way women are treated in the film. Theirs is a future that’s created by the best of now and one that re-invents any ideas that women are hysterical creatures that should never dare to be themselves.

This was on AussieTheatre.com.
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Review: Cain And Abel

July 24, 2016, 8:18 pm
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Cain and Abel
The Rabble and The Substation
21 July 2016
The Substation
to 30 July
thesubstation.org.au


Cain and Abel. The Rabble. Photo by David Paterson

The Rabble don't make easy theatre, but it's an easy choice to see them.

Always starting with a well-known text – Orlando, Frankenstein, The Story of O, Room of Regret(The Picture of Dorian Grey) – they deconstruct, bring the subtext to the front, and rework the text until it's distilled into something that's somewhat unrecognisable but holds the essence of the work. You don't need to know a text to understand a Rabble work, but when you do, you will have to read it again.

This story is Cain and Abel's; their chosen text is the Christian Bible. Cain was the firstborn of Adam and Eve and killed his brother Abel because God preferred Abel's gifts. There's a lot to unpack in those few verses. This is the text that explains and tries to justify so much of the hatred and violence that we're arguing about everyday on Facebook.

With Dana Miltins, Cain, and Mary Helen Sassman, Abel, they begin by re-imagining it as two sisters and placing the story deep within the implied and actual violence that women experience.

It far from easy to watch, but it's impossible to look away because the astonishing can occur at any time; blink and you could miss Abel putting glitter on her steak-covered eye.

With Kate Davis's design of white, red and silver, there are punching bags the size, weight and feel of humans. The sound when they are beaten is heavy enough to feel. And they bleed. There's a lot of blood. From the watery runny to the thick and clotted that hides its truth in the red.

The red and white belong together and are made more insidious with silver glitter. It's the stuff worn by drag queens and teenagers to make them shine, and it floats from above as a god comes back into the story and director and lighting designer Emma Valente makes it sparkle and change like it's a living swarm, and dares us to gasp at its beauty as it falls on the clots and floods of red.

Cain and Abel. The Rabble. Photo by David Paterson

Sassman and Miltins are remarkable. Working with Valente and Davis for many years, they have created a style of performance that encompasses everything in and around the text, but is internalised and cut back until it's a moment of truth; a moment that's felt as much as it's seen. It's like waking up from a dream that lasted seconds but felt like hours. They confront us and dare us to look away or to laugh at the horrific and to cheer – and maybe forgive – the side we're meant to despise.

Cain and Abel was first seen at Belvoir in Sydney and this second season has been developed at The Substation in Melbourne. The opportunity to develop original works and get them beyond a first season is crucial. Creators need multiple seasons and audiences to change and perfect work. Too much great work gets lost with single seasons and too many astonishing shows, like this, never have the chance to be shared.

This was on AussieTheatre.com.





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Review: Conviction

July 28, 2016, 8:07 pm
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Conviction
The Zoey Louise Moonbeam Dawson Shakespeare Company
Darebin Arts Speakeasy
24 July 2016
Northcote Town Hall
to 6 August
darebinarts.com.au

Ruby Hughes, Caroline Lee, Troy Reid. Conviction. Photo by Pia Johnson

There's a point in self indulgence that's so personal that is becomes universal.

Writer (often director) Zoey Dawson and director (often writer) Declan Greene (The Unspoken Word is "Joe") are back together for Conviction.

Dawson said in her writer's notes:

"When I went to VCA to do my Masters, I was genuinely ready to embrace the real play and stop writing plays about myself. Partly out of concern for my financial future, partly because I thought I was doing theatre "wrong". But mainly because every time I wrote a play about myself, it really seemed to piss people off."

Fortunately, she didn't listen to herself. And has hopefully stopped listening to the pissed-off voices because there are a lot of voices who want to hear her voice – even when it's raw and indulgent, and especially when she's mouthy about women being pushed into the background.

Ruby Hughes. Conviction. Photo by Pia Johnson

Dawson's work is personal and it's the connection to the writer that's the pumping heart of her work. I remember seeing I know there's a lot of noise outside but you have to close your eyesin 2011 with another no-where-near-20-something friend, and we spent the rest of the night talking about how much the show made us remember being in our 20s and having a lot of sex.

Conviction was mostly funded by a Pozible campaign with donations – mostly reflections of how much theatre makers earn – from some of those not-pissed-off voices.

Funded by Melbourne's indie theatre community, Conviction's meta is meta.

Which means...

If you know what it means, I don't need to explain it. If you don't know what it means, it doesn't matter; it's still hilarious – except when it's confronting or scary. If you miss the theatre in-jokes or dark feminist satire, there are plenty of back-up laughs.

In an attempt to not write about herself, Dawson writes an Aussie settler drama-mystery with Caroline Lee, Dushan Phillips and Troy Reid and Ruby Hughes, who's a young woman who thinks she can write a story about herself as a young woman.

It doesn't work: the not writing about herself or the settler drama-mystery. Neither does the contemporary drama or the dystopian future horror. Is there any time when young women write about themselves?

Conviction. Photo by Pia Johnson

As genres smash into each other like some fringe theatre nightmare – made more real by the design by Romanie Harper (design) and Amelia Lever-Davidson (lighting) that reveals its own jokes and surprises – , we get closer to Dawson. Or maybe to Lee, Hughes, Phillips and Reid. We know she's over being expected to write "real" theatre, and also that she has a Gorman top that she never wears and that she once only slept with men with girlfriends.

And as it spirals into being more about Dawson, Conviction gets closer to its audience. Somewhere in her confessions there must be something everyone has done or felt, even if it's just having an endless inner-voice that we wish would shut up.

Greene's direction lets the inner voices run wild, until he yanks them back. The tone-perfect control in the chaos shapes the work into something that reflects the community and city that it made in and promises to reach beyond.

Sounds like real theatre.

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Review: We Will Rock You

September 7, 2016, 6:34 am
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Review: Lilith, The Jungle Girl

September 7, 2016, 6:45 am
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Lilith: The Jungle Girl
Neon Next and Sisters Grimm
3 September 2016
The Lawler
to 1 October
mtc.com.au

Candy Bowers, Genevieve Giuffre in Lilith: The Jungle Girl. Photo by Jeff Busby

My review is in The Age/SMH.

Ash Flanders in Lilith: The Jungle Girl. Photo by Jeff Busby

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Review: Imagined Touch

September 7, 2016, 9:09 pm
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Imagined Touch
Jodee Mundy Collaborations and Arts House
7 Septemebr 2016
Arts House, North Melbourne Town Hall
to 11 September
artshouse.com.au

Imagined Touch. Photo by Bryony Jackson

Imagined Touch is "a deafblind live art experience" at Arts House in North Melbourne. Deafblind artists Heather Lawson and Michelle Stevens have been developing this remarkable piece for four years with director Jodee Mundy – everyone in Mundy’s family is Deaf, except for her, so Auslan is her first language.

In 2013, Lawson (who was born Deaf and lost her sight) and Stevens (who was born Blind and lost her hearing) said, “We need to make a theatre show that tells the truth about being Deafblind. We want to share our humour, grief and our profound isolation, to highlight the importance of human touch and tactile communication for Deafblind people”.

The work begins with the two talking with each other and telling the audience, sometimes through interpreters, how they met. As an audience – who can mostly see and hear, or see or hear – it's easy to imagine that they can "feel" our presence and support. And our curiosity. And perhaps a touch of condescending sympathy.

If you have a ticket for the show, maybe read the rest later because it is live art, which means that it doesn't exist without the audience's willing active participation.

We have an impression of the Deafblind, so it's time to feel it. We're given goggles that let us see light, some colour and shadow (and, in my case, the outline of the glasses that I kept on!) and headphones that play music and sound (by Tim Humphrey and Madeleine Flynn) that blocks out how hearing helps us move and position ourselves.

Once they were on, I reached for the hand of the friend I was next to – who was reaching for mine. We've been in countless blacked-out theatres, but this was immediately a new sensation. It was unexpectedly scary, especially as we were not sure what was happening around us. Then she squeezed my hand and could feel her being led away. I was no longer a “we”.

Then a stranger's hand took mine.

I had immediate and complete trust in that hand. I still don't know who it was. Or who any of the hands and arms and bodies I felt were, but one woman drew a smiley face on my hand and I'm sure we both laughed loudly because it was finally something we could understand.

In the third and final part of the show, Heather and Michelle perform. We still may not have any idea of their felt experience – our deafblind experience was a game where it was easy to trust every hand and touch – but we want to know more.

And both artists ensure that our expectations and assumptions are, challenged, dismissed and laughed at.

Imagined Touch – what a heartbreaking title – is shaped into a piece that defies expectations and genuinely tests, disarms and surprises its audience. It shares the lived experience of artists who don’t understand how their audiences experience their work, as their audiences don’t understand how they experience an audience. And, for a while, none of this mattered.

The was on AussieTheatre.com.


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Melbourne Fringe 2016

September 14, 2016, 3:54 am
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Melbourne Fringe 2016
15 September – 2 October
melbournefringe.com.au

Andi Snelling in Deja Vu

After reviewing at the last ten Melbourne Fringes, I'm having a break from blog reviews this year. My review brain was oozing out of my ears.

I'm still seeing lots of shows, will have some reviews in The Age and will be tweeting, hopefully in perfect quoteables.

Twitter #melbfringe is such a fun hashtag to hang out at. You get immediate responses to shows, can find out about last-minute ticket offers, and get to join conversations with other fringe-mad people about art, the universe and the best cheap eats near every venue.

I've met some of the absolute coolest people at #melbfringe, who I now know IRL.

And, there are super-cool writers seeing shows for AussieTheatre.com.

I am trying to answer every email; if I missed yours, send it again.

However it is impossible to see every show. It's impossible to see all the shows I really want to see. Then there are the shows that I didn't know I wanted to see until I hear how great they are...


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Review: Pressure Down

September 15, 2016, 11:46 pm
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Review: Bliss

September 26, 2016, 10:52 pm
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Melbourne Fringe
BLISS!
Isabel Angus
Courthouse Hotel
to 25 September
melbournefringe.com.au


My review is on The Age/SMH. 

Isabel is doing character comedy (and gender analysis) like no one else.

PS. Remember that I'm tweeting piles of #melbfringe @sometimesmelb.

And here's  The Jono Show to watch at home. 


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Review: Kill Climate Deniers

September 28, 2016, 8:08 am
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Melbourne Fringe
Kill Climate Deniers
Clan Analogue
303
melbournefringe.com.au
killclimatedeniers.com





A version of this is on The Age/SMH. 

In a Northcote bar, liberal lefties sculled their boutique beers and leapt to their feet to dance and cheer for a play called Kill Climate Deniers. Could Andrew Bolt be right?

At an Australian Parliament House gala, Fleetwood Mac perform – it’s filled with music jokes and has a joyous retro techno soundtrack – and armed eco terrorists attack.

To ensure no wasted taxpayer dollars, writer David Finnigan (from 2013’s controversial Kids Killing Kids) performs this version – it’s been a radio play, an album and an audio tour of Parliament House – using milk crates, an overhead projector and DJ Reuben Ingall.

Finnigan performs all the roles (all female) and interweaves the fiction with the real story about the reaction of a politician and Melbourne commentator Bolt to the play’s development funding from the ACT government.

Its satire is bitingly sharp and its truth could easily be satire. Both hurt with their absurdity.

PS. Remember that I'm tweeting piles of #melbfringe @sometimesmelb.
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