Cirque du Soleil’s OVO

OVO

Cirque du Soleil holds a pretty prominent position in my family’s conversations.

My sister has just returned with her little family from a year’s stint overseas with the Saltimbanco troupe. She’s been calling the show (that’s theatreese for what the Stage Manager does) all through Europe and the Middle East. Her husband will re-join the company next week (in Italy!), after his short tour break here, to continue his role in the tech department until the show closes, after 20 sell-out years, in December.

I should mention that they’ve toured 27 countries with 3 young children!

We all want to run off and join the circus but this family actually did it!

(PROPS TO THE PARENTS WHO TRAVEL INTERNATIONALLY WITH KIDS). 

Speaking of family, I know that my dad will absolutely love Cirque’s newest Australian touring production, OVO. He’s an Entomologist. And quite the Drama King. A presentation he gave at a conference in New Zealand was titled:

Managing avocado pests with romance, intrigue and war –

integrating pheromones, assassins and weapons of mass destruction

Who knew the enemies of the avocados could be so fascinating?

He does love a good eco-drama. And the circus. But then, who doesn’t?!

THIS circus – Cirque du Soleil –  is for everyone! The whole family!

And Queenslanders get to experience it first. Brisbane will host the Australian premiere season of the critically-acclaimed and family-friendly big top production OVO, under the trademark blue-and-yellow Grand Chapiteau (big top) at Northshore Hamilton, with the 2012-2013 national tour then moving to Sydney, Adelaide, Melbourne and Perth.

Portuguese for “egg”, OVO is a headlong rush into a colourful ecosystem teeming with life, where insects work, eat, crawl, flutter, play, fight and look for love in a non-stop riot of energy and movement.  When a mysterious egg appears in their midst, the insects are awestruck and intensely curious about this iconic object, which represents the enigma and cycles of their lives.

When a gawky, quirky insect arrives in this bustling community and a fabulous ladybug catches his eye it’s love at first sight!

The cast of OVO is comprised of 55 performing artists from 14 countries specialising in many acrobatic acts. A highlight of OVO is the stunning Flying Act in which a group of scarabs soar high above the stage, from both edges to the middle landing on a platform. This breathtaking act combines many circus disciplines: banquine, Russian swing and swinging chair.

The Creative Team behind the world of OVO is:  Artistic Guides Guy Laliberté and Gilles Ste-Croix; Writer, Director and Choreographer Deborah Colker (first female director at Cirque du Soleil); Director of Creation Chantal Tremblay; Set and props Designer Gringo Cardia; Costume Designer Liz Vandal; Composer and Musical Director Berna Ceppas; Lighting Designer Éric Champoux; Sound Designer Jonathan Deans; Acrobatic Equipment and Rigging Designer hting Designer éclairagesa creative team for the first time at Cirque du Soleilerms of distance between stations.Fred Gérard;  Acrobatic Performance Designer Philippe Aubertin; and Makeup Designer Julie Bégin. 

Cirque du Soleil

From a group of 20 street performers in 1984, Cirque du Soleil is a major Québec-based organisation providing high-quality artistic entertainment.

The company has 5,000 employees, including more than 1,300 artists from more than 50 different countries.

Cirque du Soleil has brought wonder and delight to more than 100 million spectators in more than 300 cities in over forty countries on six continents.

CIRQUE DU SOLEIL - OVO - 2012/2013 AUSTRALIAN TOUR

Brisbane – From July 14 2012, Northshore Hamilton

BOOK NOW

HOT TIP: book the VIP Rouge Experience - especially if it’s your first time – which offers you premium seating and the complete VIP experience.

I wouldn’t see a Cirque show any other way!

Naturally 7

Naturally 7

QPAC Concert Hall

22nd May 2012

Reviewed by Michelle Bull

1992. I was ten years old. Singing in choirs, into hairbrushes and holding mini concerts in our garage for anyone who would come and watch for the high price of 50 cents a ticket. Obsessed with Boys II Men’s hit song End of the Road, I would sing along with each harmony, often adding my own into the mix…an odd little thing in tacky 90’s jumpers, scrunchie in my ponytail and rolled-down ankle socks…getting my first appreciation of vocal harmony…

On Tuesday I relived the above memory as I ventured to QPAC to experience Naturally 7 as they descended upon Brisbane as part of their VOCALPLAY tour. Hailing from New York, this acapella, beat boxing, gospel, Motown, hip-hop vocal group perform a unique style aptly known as Vocal Play. Offering so much more than your average harmony group, Naturally 7 took the jam-packed Concert Hall on a journey through funky originals, mashed-up pop favorites and moving acoustic medleys using nothing but their velvety toned voices to cause the entire Concert Hall to dance in the aisles.

Before Naturally 7 took to the stage, warming the crowd was Brisbane’s own beat boxing champion Tom Thum. Taking the audience on a round the world trip with his charismatic vocal pyrotechnics, this 20-something Brissie-boy is no ordinary beat boxer. Awe-inspiring and funny to boot, I first discovered Tom at the Adelaide Fringe Festival, and have been a huge fan ever since. Tom’s ability to vocally reproduce every instrument in the orchestra as well as those not yet invented…is only matched by his endless repertoire of vocal percussion…throw in a loop pedal and a dash of cheeky boyish charm and Tom gives our homegrown talent serious cred!

Then as Tom left the stage to a cheering crowd, it was time for Naturally 7.

One by one the members of the band took to the stage layering tones, beats and bass and building to an all-encompassing sound so legit I could feel it in the pit of my stomach.

Uninitiated to the musical -world of Naturally 7, I wasn’t familiar with their original music (Keep the Customer Satisfied, Life Goes On) but killer arrangements and sensitive musicality made this irrelevant. Scooping up the uninitiated with familiar pop rock mash ups (Burt Bacharach’s What the World Needs Now, Mr. Mister’s Broken Wings, Phil Collins’ Feel It In the Air Tonight) sung and orchestrated with freakishly impeccable tuning and musicality made me a instant fan of this lively group.

Arrangements by musical director Roger Thomas utilised harmonic and rhythmic devices from classical, jazz, world and even early music; culminating in a place where hip-hop met harmony through songs that served as perfect vehicles for the groups extensive vocal orchestra. Their world class beat boxing skills stood side by side with their vocal reproductions of sounds that stretched from double bass, electric guitar and clarinet to harmonica, scratching and percussion. The overall effect was absolutely unbelievable and a true demonstration of what human voices are capable of.

With natural camaraderie and solid sense of ensemble, Naturally 7 balance heart-felt emotion with playfulness, rounding it all off with obligatory boy-band-esque choreography that only their cheeky stage personas let them get away with. It seems ridiculous to highlight any one voice amongst seven incredible sets of cords but I found myself unexplainably excited when Bass singer ‘Hops’ Hutton stepped forward for a solo (there’s just something about Basses…what can I say!). That being said, each singer brought something unique to the group, which was evident in each performer’s solo moments that found me finding a new favourite singer with every song.

Personal highlights were the moments where all the production was stripped away, showcasing the seven legitimate voices as they filled the acoustic that is the Concert Hall wall to wall. A Simon and Garfunkel medley was completely soul stirring as was the encore performance of Amazing Grace.

Naturally 7 are what great singing is all about. While I am not as much of a fan of R&B and hip-hop as I once was back in my jumper wearing, scrunchie styling days, I AM a fan of good musicians, great vocalists and kick-ass performers and Naturally 7 are all of the above. With a talent that surpasses simply great singing, the musical bar is raised…now how on earth do I “reverse dry-kick” while sustaining a high C? Hmmm….

The Miser

The Miser

Growl Theatre

Windsor State School Hall

18th – 26th May 2012

Reviewed by Michelle Bull

Last Saturday night, I headed out to see Growl Theatre’s latest production ‘The Miser’ by French playwright Moliere.

With greed being a central theme, it was a rather apt choice of entertainment for the night as I had just swiped the last of my fiancé’s chocolate on my way out the door… a frequent (and rather impolite) habit of mine!

Entering the space and settling myself with a glass of wine, I was immediately drawn to a character I could only assume to be La Flèche (Luke Farrow) wandering across the stage, casually sweeping under the audiences feet and mingling silently with the audience. This immediate intimacy was a welcoming beginning to the play, and one, which I was not expecting given the open aesthetic of the space.

Known widely as a comedy of manners, ‘The Miser’ is typical of Moliere’s character-driven writing. Typically it focuses on the exploitation of a specific attribute, often journeying to the point of the ridiculous to make the point. The Miser focus’s largely on the greed of the protagonist Harpagon, a rich, ill tempered Miser, who values money and wealth more than the welfare of his own children, Elise (Rosanna Brennan) and Clèante (Matthew Seddon). Love is also a reoccurring motive as the children both yearn to run away with their respective lovers, Valère (James Meggitt) and Marianne (Ellen Carseldine). Enter a comical archetypal supporting cast; a stolen casket of gold, and watch the drama unfold.

Staged in Windsor State School Hall, Growl Theatre made the most of a space that, while functional, lacked theatrical atmosphere. The play itself was set in Harpagon’s living room, the stage simply dressed with a focus on functionality. Despite this it managed to evoke a sense of the play’s personality with quirky touches like a stack of books propping up a table leg.

Minimalistic sets always appeal to me, and in this case the choice was obviously fitting to the frugality of the central character, but it also gave the actors the opportunity to make the space come alive without the distraction of an overly- stuffed stage.

I particularly enjoyed the use of the space off stage as an entrance and exit point. I would have loved for some more of the dialogue to have happened from these points to really immerse the audience, as the few times this was done were by far the most engaging moments in the play. Frequently breaking the fourth wall with direct dialogue to the audience is a charming characteristic of this work and one that I felt could have been used to greater effect with some different staging choices.

The cast of The Miser presents this story with a great deal of enthusiasm and dedication to the archetypes that underpin each character. While on the whole the characterization was rather one dimensional, however each performer had a certain charm or skill they bought to the role.

Jason Sharland in the role of Harpagon is tireless in his approach, and performs the role with consistent energy and a clear understanding of the characters motivation. Sharland incorporates a physicality to the role that is reflective of Harpagon’s age and vigor, however I would have liked less of an affect on his vocalization of the role, which at times got in the way of a clear delivery of the text and the credibility of a weighted tone.

Rosanna Brennan in the role of Elise and James Meggitt as her love interest Valère both gave wonderfully natural and well measured performances. Showing a respect for the natural rhythm and shape of the text they are clear in their characterization of the roles although at times Brennan’s lack of vocal projection meant some text became lost. As Valère, Meggitt gave a well-considered performance of the text but tended to rush his delivery. As love interests they had a wonderfully believable chemistry onstage and showed a keen awareness of ensemble.

Matthew Seddon as Clèante exuded a boyish charm in his role and an energy that matched those playing opposite. His portrayal of the character was most effective when it was also embodied physically (another strong offstage moment), as at these points in the play it had a natural rhythm and pace that at other times seemed artificial.

Clèante’s love interest Marianne, played by Ellen Carseldine was a standout for me in this production.  With an insightful treatment of the text, this young performer showed a wonderful depth to her characterization, balancing the parameters of the archetype with a sincere interpretation of character.

The other standout performer for me in this production was Luke Farrow in the role of La Flèche. A wonderfully natural performer, he performed with a casual elegance that added weight to his scenes. With an innate sense of comic timing and natural physicality onstage he was utterly believable in a role that he clearly has established ownership over.

Lee St Clair as Anselme, Master Simon and Brindavoine also gave a strong performance, his commanding stage presence aided by some striking costume design (Anne Grant). Likewise Rhiannon Said in the role of matchmaker Frosine, brought an liveliness and enthusiasm to the role that was matched by a clear and strong vocal delivery.

Simon Corvane as Master Jacques and Jude Marko in the roles of La Merluche and the Police Officer also brought comic relief and a sense of joyfulness to their roles, playing the archetypes with a sense of abandon that although perhaps in need of some refinement were a constant source of energy throughout the show.

The Miser is the second offering from new organisation Growl Theatre. An ambitious undertaking, director Nicole Tate succeeds in delivering a play of good dramatic pace and momentum with a cast that give it their all. I look forward to seeing this new organisation continue to grow and evolve.

Biddies

Biddies

CDP Production

QUT Gardens Point Theatre

18^th – 19^th May 2012

Reviewed by Meredith McLean

Friday often comes and goes by me with a comedy of errors. I like to think I’m part of the Age of Awkward. I threw my back out at the gym while trying to look energetic. As night came around I threw on a scarf and hunched over towards the bus. In the city I banged my leg on a bench. Why was that bench even there in the first place? Clearly it is in the way of my path. As I got closer to QUT’s Gardens Point Theatre the chill bit into me and I wrapped my scarf like a shawl. Waddling up the steps with my sore back and hobbled leg I looked like I was part of the show, another in the cast of Biddies.

Biddies lights up to five little old ladies enjoying a good old “stitch and bitch” in their old classroom. Unforeseen circumstances leave them locked in their coop with nothing but their wits to guide them. The most important thing to remember is they are anything but old. There are songs to be sung, dances to be danced and even gossip sessions that have passed decades. Each biddie reveals their triumphs and flaws of the past. The constant theme of “Men: can’t live with them. Can’t live without them,” is something each woman in the audience can’t help but laugh at.

Just because these ladies are still blasé and youthful in their age does not mean the kids can come along too. I started to self-consciously giggle to myself at some of the crude wisecracks coming from these ladies mouths. It wasn’t long before all of the audience cracked up too, casting aside any guilt in something so rude. It’s anything but a serious affair.  But somehow the jokes reminded me these old ladies have stories we can all relate to. Very cheekily calling out ,“Said the actress to the bishop,” at the drop of a suggestive comment. It sent a shiver down my spine, how similar it was to something I might say to friends. The modern adaption being something along the lines of “That’s what she said!” Though I’m a lady, I would never, ever say such a thing…”

Of all the cast two wildly youthful biddies caught my attention. Donna Lee is no stranger to theatre. Every rude comment, every break into song completed with tap dance and spinning parasols; her role as Connie was behind it. She preempted the laughter for me. On the other end of the character scale was Agnes played by Maggie Blinco. She’s a television icon of four generations in her own right. Watching her take on the role of independent spinster Agnes instilled all the wisdom of a powerful woman every young girl dreams of. She needs no man to save her and with just a dash of Sambuca in her coffee she can quip the words of Shakespeare or Wordsworth. She’s the kind of sassy old woman I wouldn’t mind being when I’ve seen decades of change before my eyes.

Admittedly, Biddies was not particularly my cup of tea. I’m not even a tea drinker. I think that’s the problem. I was craving a flat white from Merlos and I got a cup of Earl Grey.  The play indulges a certain frame of humour, very marginalised with not too many surprises. Not to say the play is uneventful. There are certainly some great surprises in the show.

Ultimately these limitations of genre were no chip on my shoulder. I spent the night laughing, as did everyone else in the theatre. It’s one of those light-hearted pieces of writing that leave you feeling strange. Words like pleasant, or splendid and other adjectives I don’t usually utter come to life. Because that’s what this is: a splendid evening with some anything-but-old Biddies.

 

short + sweet sunshine coast

SHORT+SWEET BRISBANE+GOLD COAST+SUNSHINE COAST

10 DAYS UNTIL DEADLINE!

 

Submissions for Actors, Directors and Independent Theatre Groups close on May 31st 2012

 

Got a 10 minute play? Sure you do!

 

Simon Denver adapted So, Where Is It? from the original one-act play, which he wrote for a festival in a matter of days after Sam Coward said one day over a few beers, “WHY NOT? WE’RE GOOD AT VIOLENCE.”

The 10 minute version only came about when I received a phone call during rehearsals for our gig at The Sydney Children’s Festival inviting us to submit something to Short + Sweet and Sam said, in the dressing room of the Seymour Centre, “WHY NOT? WE’RE GOOD AT VIOLENCE AND IT’S JUST 10 MINUTES.”

So, Where Is it? won Brett Klease Best Actor at last year’s Sunshine Coast Theatre Festival and the 10 minute version took out 1st place in the Gold Coast & Brisbane Short+Sweet competitions. It then went to Sydney (thanks to some of YOU! THANK YOU!), where it won third place.

With so many one-act play festivals happening across the Sunshine Coast, why not do the same? Or register your 10 minute play from the recent season in Buderim. IT’S JUST 10 MINUTES! YOU CAN DO IT!

You CAN do it. But do you need some help taking the red pen to your script? Register first! Just do it and then let us know! We can help edit and workshop your one-act play down to just 10 minutes or help you find a new script to work on.

Check out the vast collection that the 10 Minute Play Master, Alex Broun, has made available online for FREE.

The Short+Sweet QLD 2012 Brisbane+Gold Coast+Sunshine Coast theatre season runs from 1st August to the 19th August at

The Loft (QUT Creative Industries)

The Arts Centre Gold Coast

Lind Lane Theatre, Nambour

 SAVE THESE DATES

June 16th Director briefing and welcome drinks

 

June 23rd Sunshine Coast auditions

 

June 30th Rehearsals commence

ACTORS, DIRECTORS AND INDEPENDENT COMPANIES REGISTER NOW!

Remember, it all starts with an idea….. 

This one was just so crazy…it worked!

 

The Alleyway Project

 

The Alleyway Project

Cradle Productions & The Alleyway Collective

Winn Lane

14th -15th May 2012

Reviewed by Michelle Bull

FULL. ON. SHOW.

Theatre that pushes boundaries…

“Are you sure this is it?” asked my concerned fiancé, dropping me off in front of a grimy looking laneway in the bowels of the Valley…”

“Yep!” I grinned as I eyed a chalkboard sign crudely pointing down Winn Lane, where a mishmash of people wandered wide-eyed into the darkness…

Kissing him goodbye, I joined those heading to see The Alleyway Project, a new work presented by Cradle Productions & The Alleyway Collective and directed by Kat Henry for the Anywhere Theatre Festival 2012. With stories of love, loss and chaos from Brisbane playwrights Dan Evans, Eloise Maree, Dan Maloney and Maxine Mellor, The Alleyway Project was set to breathe new life into little ol’ Winn Lane; turning it into an eclectic performance space full of possibility.

Upon arrival I was welcomed into the atmospheric little space by costumed alley-cats encouraging me to help myself to the hanging casks of goon suspended from the rafters and pull up a milk crate and cushion for my comfort. Half a cup of Sav Blanc and a few ‘cat-mask-wearing’ happy-snaps later, a commotion started up behind me and the show began.

Entering from the street came a disheveled barefoot reveler; frantic and slightly unhinged, he ambled through the audience befriending some and using the bemused expression of others to play out his hysteria. Searching for his missing loafers and recounting a hectic tale of his boy’s night out we soon learnt that despite his plucky exterior, something was fatally amiss. Stripping down to reveal a bloodstained shirt and gradually unraveling to a sobbing heap before us, the audience was left silent and captivated by the spectacle.

The intimacy of an actor in the same space as their audience is often as problematic as it is effective. Despite a few visual restrictions, in this case, it is used to great effect. The familiarity created between audience and actor fostered much needed empathy for the highly charged emotional journey to follow and although extreme, made it more easily digestible through an authentic and honest performance by the actor.

The next performer made a quiet yet strong entrance. With a wonderful feel for language, this tale of unrequited love and gritty lust was both beautiful and grotesque. I enjoyed the audience connection created particularly by the first actor, whose settled performance also showed respect for the rhythm and shape of words as a vehicle for sincerity. I felt this was not executed as well by the object of his affections, Ren, who whilst presenting a wonderfully courageous performance, was outweighed in this respect by her counterpart.  That being said, she brought a wonderful physicality to the role and showed a commitment to character that made for a believable and truthful performance. It was in this scene however, that visually much was lost, as a rather large number of audience members were unable to see the focused performance space and were therefore disconnected from the story.

As the lights went down on this story of young love, we were ushered onto the staircase and told to pack in tight. Like kids at a school assembly, we perched shoulder to shoulder, as fittingly, a chattering pack of schoolgirls came into view. With bra straps showing and all the bravado of youth, this scene held nothing from the imagination as vulgarity spewed from their pink-chapsticked lips in the form of bullying, racism, sexual escapades and even abuse. While this scene had quite a few lighter moments in its characterisation, in reflection it was probably the most affecting.  There was a gravity that was not overlooked as it hinted at abuse and the ability of pop culture to become a tool for its distribution. All three actors gave strong performances that made no apologies for the sensitivity of the subject matter. I particularly enjoyed the Queen Bee and her interpretation of what was a challenging role. Although at times I found the interpretation a little one-dimensional, her commitment to character and onstage energy was captivating to watch. All in all, the three embodied these overtly sexual school-aged characters in a way that left me stunned and wondering if this was a true representation of the sexualisation of high schools today?

The final part of our Alleyway journey came in the form of a scene that I fear may be more common than not in the Valley on a Saturday night. Emerging from the shadows a vomit-soaked couple, interrupted in their moment of passion schlepped slowly into the space. What followed was an amusing conversation about ‘hooking up’, labels, drugs, promises and eczema, providing light-hearted relief to what had been a heavy journey so far. The actors in this scene had a great chemistry that made their interchanges hilariously raw and dreadfully believable. Embodying the stereotypes to a tee, they navigated their way through chunks of vomit and cheesy pickup lines to a place where common ground was found and the nature of a drunken hook up exposed. While often light-hearted, I felt this scene made interesting comment on the casual nature of relationships and sexual encounters within the club scene, presenting without judgment, the gritty underbelly of this side of social culture. It was a fitting and somewhat gross end to what was an exhausting yet enjoyable journey.

Overall, The Alleyway Project is a lot to chew on. The themes presented are shockingly real and hard to swallow in an intimate setting. This however, is also a huge strength of the show and one that I hope audiences do not shy away from. The actors are to be commended for rising to this challenge, as are the writers and director for their courageous choices. The Alleyway Project engagement with the space was also on the whole, highly successful, enlivening the quiet laneway in a manner that enhanced the poignancy of the themes inherent in the material, whilst embodying the true spirit of the Anywhere Theatre Festival.

 

 

A Hoax

A Hoax

La Boite & Griffin Theatre company

The Roundhouse 

5th – 26^th May 2012

In a pristine white setting (Designer Renee Mulder), against a photographer’s backdrop used in conjunction with images projected onto 2 screens (Music, Sound & AV Designer Steve Toulmin) to create “hotel room”, we meet four mismatched characters, each with their own issues and their own perfectly acceptable selfish agendas. One is a literary agent and one is her PA. One is a writer. No one has heard of him because he’s a middle class, white skinned social worker. One is an Aboriginal girl. No one has heard of her because she’s a lower class, black skinned Indigenous chick. They are all desperately unhappy in their ridiculous situations (ie normal life) and seek success and happiness via that dodgy vehicle, fame. And why not? Everyone’s a star! Aren’t they?

Now, don’t go blaming Andy Warhol! He was talking about 15 minutes. 15 MINUTES, PEOPLE!

(Thank you, that’s all we need today).

If you must create this future for yourself, here is what you’ll need:

• A bit of ambition (it doesn’t take much, just enough to make you brave enough to take the first steps towards your new, incredible life as a famous person)
• A supportive somebody (it doesn’t matter who it is as long as they promise to stick to the script)
• A tough skin (never mind those cynics, they’re delusional themselves. Don’t they see what the public sees?)
• Access to the media (and a YouTube account, a Twitter account and a Facebook page that are all regularly updated by your brazen manager, agent or their PA. See below)
• A brazen manager or agent and their marginalised-in-whatever-way PA (none of them have to believe in you they just have to make others believe in you. They’re probably jealous of you anyway and will skim as much as they can off the top so you’d better be famous AND crazy wealthy)
• A story to make ‘em weep (or cringe in horror. n.b. it doesn’t need to be true it just needs to be SOLD)

So, you see? Achieving fame and notoriety is easy! Everyone’s a winner! So we are led to believe. This modern restoration comedy smashes that perception and then, strangely, disturbingly, reinforces it.

The star of the show is the brilliant premise and it’s a doozy! Inspired by some of the great contemporary literary hoaxes (the misery memoir or fake autobiography), A Hoax proves that Rick Viede was not a one hit wonder with his Premier’s Literary Award winner in 2010, Whore but an up and coming ROCK STAR. I can perfectly envisage his career catapulting, at the same rapid pace and in the same general upward direction, as the fictitious character Currah’s does during the course of the play. Let’s hope there’s no mistaking his identity though!

Remember Barry Levinson’s 1997 film, Wag the Dog, about the creation of a war hero? A Hollywood producer and a spin-doctor dream up a fictitious war to distract the American public from a presidential sex scandal. It works! It’s marketing! It’s ALL marketing. Of course, on the other end of every successful hoax, there’s human nature. In any context, we all want to believe.

I love the play – with some reservations because any variation on Stockholm syndrome is unnerving and the notion of anyone taking delight in the horrendous abuse she’s suffered is completely unsettling – it’s refreshing, raw work of heightened realism, allowing a great deal of profanity and non-PC-ness (sexism, racism and issues surrounding homophobia are rife), which means it is bound to work equally as well, if not better, as a screenplay. Viede states in the program notes that he is happy with the political shocks in the play but at times the heightened delivery does him (and the play) a disservice by sanitising the shocking truth of our modern media-run world.

I found the world premiere a little clunky. We could feel the gears shifting, as if a Learner driver had gotten their hands on a shiny new Ferrari! Shame! A week into the run, I have no doubt that this will have been remedied. I feel that, in its baby state, the piece is overwritten and I expect the red pen will come out before A Hoax goes on in Sydney. Interestingly, in conversation during the interval, with Griffin’s Artistic Director, Sam Strong, he commented that it was good to see the work getting “a bit of a clean up” on the Brisbane stage. Director, Lee Lewis, has clearly allowed for some play time during the rehearsal process and now her actors need to settle in and play!

Overwritten, slightly self-indulgent scenes in Act 1, that languish over a singular point, sometimes feel drawn out and a little repetitive. Act 2, at a cracking pace, works better. The climatic scene works like a shock to the system and it visibly affected the audience on opening night. In an instant, uncanny silence replaced uneasy laughter. We know what is going to happen, we’re dreading the cruel inevitability (it’s set up extremely well) but even just the sense of it is enough for me, without having to sit through the entire humiliating scene. Truly squirm-worthy, perhaps that’s the point. Overload the senses, boost the shock factor, get the people talking and get the sales!

Shari Sebbens is a wonderful, real and really pretty shocking Currah. She’s the brash, loud-mouthed (foul-mouthed) stereotypical Indigenous kid, with a fabricated past and a bright future, as long as she can gain – and retain – control of it. Sally McKenzie is at her best, in her driest version of the stereotypical Sydney literary agent, Ronnie Lowe. There’s a plum role for Sally in David Williamson’s play, Emerald City. I know because I played opposite Robyn Nevin in the role in Noosa for a special event produced by the Corrilee Foundation and Noosa Longweekend. Interestingly, Glenn Hazeldine directed the Melbourne production of One Night in Emerald City at the Malthouse.

The arc of A Hoax gives Tyrell Parks the biggest journey and Eric Morris trained Charles Allen doesn’t let up or let us escape from his side for a moment. He gets under our skin as we bear witness to his meteoric rise from rags to rehab to riches. He who dares wins! There is some brilliant, crude comedy from Allen before he reveals Tyrell’s darker side. It’s Hazeldine however, as Dooley, who impresses most, quietly simmering and staying hidden in the shadows, supporting his “ward” as far as the public are concerned but sticking his white, middle class nose in where it’s not wanted, according to Tyrell and Lowe. In this role, Hazeldine demonstrates how to beautifully underplay the pivotal character.

It’s taken me almost a week to write this review (sorry), because I really loved it but didn’t really LOVE it, you know? But A Hoax is so real and at the same time, so OTT that others are bound to love it. If you don’t, let me know and we’ll discuss it over a drink. Viede has my utmost respect and A Hoax gets my vote for most surprising new work – there’s no doubt it’s a sure-fire hit – but it hasn’t got all my love…yet.

Where the Wild Roses Grow

Where the Wild Roses Grow

Babushka Cabaret

10th & 12th May 2012

Reviewed by Sarah Knight

When I Google mapped (is that a verb?) the venue for Babushka Cabaret’s show Where the Wild Roses Grow, there was no venue…as such.

Situated at Hamilton Reach on Brisbane’s north side, in an abandoned warehouse, this is a typical Anywhere Theatre Festival venue.  The Anywhere Festival, in its second year, ‘reconnects audiences and communities with theatre, with storytelling and with performance… anywhere.’

As I enter the street for this ‘spooky warehouse’, as described on Babushka’s website, I am already getting the vibe for this show. Described as ’tales of murderous passion’, this is exactly the kind of place you would dump a body. Seeing no signposts I gingerly follow a car into what seems…well… let’s just say that parking was NOT an issue.  On a vast abandoned lot on the edge of the Brisbane River, where new cars were once unloaded from cargo ships, stands a small solitary warehouse. From the warehouse drenched in colourful lights, I can hear the sounds of Babushka’s femme fatales warming up so am relieved, this is the right spot.

The audience enters the warehouse through a door marked ‘bulk cargo’. Inside is pleasantly warm and cosy, softly lit with hues of blue and red. The intimate audience of 50 are set close to the staging area. Candelabras complete with burning candles send thin waxy trails of smoke up into the high ceiling. Slightly right of centre sits an electric piano. At the back are stairs that lead to a mezzanine office flooded with red light, where the warehouse foreman once worked.

The girls begin the show with Where the Wild Roses Grow by Nick Cave. Unamplified and a capella, dressed in black and red, the girls stand just inside the upstairs office doorway.  I am instantly struck by the power and beauty of their classically trained blended voices, which fills the upper reaches of the warehouse.

The show includes an eclectic selection of songs like Faure’s art song Prison, I’d Love to Kill You With a Kiss by Katie Melua and Sufjan Steven’s song about serial killer John Wayne Gacy.

The threads that connect the pieces of verse and narration include stories of murder and death. Like in the case of Dido’s Lament the the story of Gillian Barber who jumped from Brisbane’s Story Bridge to her death in 1996.

Babushka Cabaret’s line-up has changed since I last saw them. Missing are Alicia Cush (on maternity leave) and the hilarious Laura Coutts. Fantastic regulars Bethan Ellsmore and Michelle Bull are back and the beautiful, mezzo soprano Jade Moffat takes a guest spot. Moffat, seemingly new to cabaret performance does not exude the confidence of the rest of the group. This thought is momentarily dispelled with her stunning rendition of Purcell’s Dido’s Lament. Sung from the upper balcony, her voice, like syrup for the soul, fills the space and casts a spell on the audience.

Matthew Samer on keys is such a delightful accompanist. Positioned centre stage he is right in the thick of it, which is great. He has an eager smile and seems to enjoy the show, even chuckling at the jokes as he plays.

Half way through I became confused by the show’s direction; energy lagged and some narration threads seemed forced. I loved the absence of amplification that created a more intimate bond between performer and audience, however, at times lyrics were lost, mainly due to some overbearing keys. The tight harmonies and symbiotic singing this group are capable of was at times missing as well.

Ellsmore stole the show for me. On stage she is captivating. She has a carefree, take me as I am manner, which makes me watch her even more. Ellsmore switches from violin to playing the keys to belting her own original number Down by the Creek to ‘pinging’ top Cs (or higher) with ease.

The highlight performance of the night was Greenkeeper’s Lotion, a song about a killer (from the movie Silence of the Lambs) who gets girls to put lotion on their skin, then fillets them and makes clothes out of their skin and wears it. The Babushka girls were creepy and hilarious in this number and this performance sums-up everything I like about them. The gals of Babushka Cabaret may be classically trained but they are no self obsessed woofy opera singers. They are sexy, sassy and ready to tackle the absurd. Babushka Cabaret. Watch-out for their next cabaret mash-up.

 

The Rat Trap

The Rat Trap

Polytoxic & Queensland Theatre Company @ The Greenhouse

Bille Brown Studio

10th – 26th May 2012

Reviewed by Michelle Bull

In a dimly lit corner glistens the muscled physique of a Burlesque King come doorman. He watches intensely as a set of wide-eyed twins chatter and titter girlishly to the audience. A giant anchor dangles from above while Pacific culture is mounted phallic-ally on the wall beside a table laden with champagne…It’s Friday night and we’re here to spend the evening at The Rat Trap, a candy-coloured Tiki bar, that’s steamy, playful and more than a little bit cheeky.

Blending elements of dance, burlesque, circus, vaudeville and physical theatre, Polytoxic’s latest creation divulges tales of five characters caught in the sultry bordello of The Rat Trap. Stripping back to reveal a narrative that mashes pop culture with the Pacific; they whoop, wine and gyrate through high flying burlesque, airborne martial art fight sequences and breathtaking acrobatics, all serving as fitting expressions for their despair, delight and innate penchant for mischief.

Co-Created by Polytoxic and renowned physical theatre and circus director Anni Davey, it is clear that this playful production is determined to challenge, shock and delight its audience. With a soundtrack that takes us straight to the sticky backbench of a seedy bordello in the backstreets of Harlem, The Rat Trap is a visual and aural feast from start to finish. From the moment the doors of the Billie Brown Studio are locked and we meet our host for the evening JanUri, (a delightful diva in drag that to quote one audience member has “better legs than Barbie”), we are lured into the intoxicating world and the delightful ruckus that follows.

Ever the perfect hostess, JanUri (Fez Fa’anana) makes a glorious entrance clothed in a hooded robe and stiletto boots that add to this vaudeville superstar’s commanding presence and absolute magnetism. Destined for the spotlight and effortlessly sexy, JanuUri serves as ringmaster to the characters that take to the boards, as well as instigating much of the mischief that follows. Fez Fa’anana is riveting to watch in the role; his energy and dynamism make for an elegant yet cheeky performance that demonstrates his technical skill without any compromise to theatrical honesty. With strong character development and a clear commitment to the role throughout, it is clear just how much this performer loves his craft!

Helena and Marlena (Lisa Fa’alafi & Leah Shelton) are the next to appear. Siamese twins and all round diva femme fatales, they begin with a tale of a violent separation due to a freak boat anchor incident at sea. Playing out their anxiety upon the ropes (and lips) of the bordello stage, in tandem voice and turn of verse they tell their tale in a style that is reminiscent of a Greek chorus and schoolyard rhyme rolled into one. Particularly charming is the telling of a tale where their kimono robes double as a storyboard, such a unique and kitsch storytelling device! Both these performers show innate comic timing and a beautiful embodiment of their roles both emotionally and physically. In addition to possessing great technical skill in the physicality of their roles, the energy in their ensemble work was electric, and showed a true connection to character and narrative. Equally as strong as their duo are their solo moments, where we get a glimpse of another dimension of their characters and individual journey.

Maurice (Natano Fa’anana), father of the twins, Samoan chief and survivor of the Pacific slave trade is equally compelling in his role and adds a wonderful weight to the chaos around him. Maurice’s Pacific inspired dance and aerial routine, was stunning and had the audience dropping their drinks and jaws at Fa’nana’s physical skill and artistic expression. Never far from the chaos, the character of Maurice is constantly drawn into the rowdiness of his companions but his efforts to maintain composure amidst the commotion make him compelling to watch. Fa’anana quietly commands your attention with his portrayal of this role and performs with grace and theatrical honesty.

The dangerously handsome doorman Mohito (Mark Winmill), and his sparkling…personality were also hard to ignore. Cheeky as a five year old with sticky fingers and just as passionate, he ordered the attention of his audience with all but a devilish glint of his eye.  His ‘anchor’ aerial act was quite the showstopper, and immediately showcased this assured performers strength and physical expertise. Dramatically, Winmill performed with a fiery and roguish charm that made him utterly convincing in the role.

For all its glitter and grime, there is an abundance of touching moments in The Rat Trap, as we are given glimpses into the underbelly of these characters. Aided by the use of tastefully composed multimedia and a simplistic approach to choreography, moments of theatrical significance are ‘book-ended’ and given reverence without compromising the high energy flow of the production. My only disappointment in this production was that at times parts of the set were not visible from where I was seated. That being said, the space was used to it’s potential with the performers performing inclusively through the space, but with such a fantastic set and multiple performers onstage at all times I was greedy for more!

Overall this show is a fantastic offering by Polytoxic Dance Company. It cultivates a sense of danger, spontaneity and excitement within its audience that serves as a timely reminder of what is so thrilling about live theatre! The physical skill of each performer along with their dedication to a rich narrative, loyalty to ensemble and character driven drama makes The Rat Trap a mishmash of mischief too good to miss!

Following The Rat Trap on Friday night, Queensland Theatre Company’s Greenhouse program NightGarden welcomed us back into the world. Emerging from the show buzzing with excitement and wandering into a fairy lit garden where the wine flowed as fast as the post show chitchat was a brilliant way to share the experience with other audience members and fellow creatives descending upon the space for the nights festivities. Billed as “a visceral hothouse of art, ideas and exploration” the NightGarden treated us to pop up performances by Anywhere Theatre Festival participants  Instantaneous Associated: Define and SeeD Theatre Productions, as well as musical stylings by Michelle Xen & The Neon Wild. This new little hotspot is a fantastic hub of creativity and a wonderful way to share a wine or two with like-minded souls, not to mention a splendid way to end a magical night.

Mummy & Me Princess Par-tea!

 

 

Mummy & Me Princess Par-tea!