Something Perfectly Innocent

Ed’s note: Apologies for the late post! I have just emerged from a six year old’s birthday week, which included compulsory school attendance, afternoon teas, family dinners, horse riding, cake baking, the annual Eurovision semi-final living room dance party and the return of three of the six year old’s cousins from their extensive tour with Cirque du Soleil! Then I slept for 2 days. Hence, we only now have the final Anywhere Theatre Festival post from Miss Meredith. Thank you, Meredith! x

Something Perfectly Innocent

Marcus Lilley

10th – 14th May 2012

Delivered via Twitter

Reviewed by Meredith McLean

Earlier this May I sat down to my laptop readying myself for my regular fix of Twitter updates, tumblr posts and Facebook newsfeeds. What can I say? I’m more than comfortable doing this daily, more often than not when I should be doing something more productive. However, I had something up my sleeve this time when my always well-meaning Mum made her weekly concerned phone call telling me to, “Study more. Sleep more. Eat healthy and for God sakes, Meredith, get off the computer!” Like any good daughter I omitted certain stories and instead insisted this week I needed to be on the computer for another reviewing gig.

  (Sorry, Fran – Ed.)

Something Perfectly Innocent. A play that takes place solely on Twitter.  I was really excited to check in each day and read what Claude Nixon; the fabled traveler was getting up to in Brisbane. I was ready for dazzling photos and video clips of subways and alleyways, laneways and skyways, elevators and escalators, friends and adventures; all of it being fed to me through Nixon’s Twitter account. Unfortunately reality fell short of expectations.

The plot is original enough to satisfy but the idea isn’t a new one. Theatre hybrids have been popping up all over the world. From Punchdrunk production’s videogame-theatre concoction in London to Sandra Carluccio’s This Is Kansas City, a play that leads individuals around via text message and phone calls right here in Brisbane. The great thing about this neo-theatre is the possibilities are endless. The concept is future driven. Directors not only have to look to the future and what it may one day contain but also bring the future to their own stage. The Internet posing as a stage is a strange concept that makes me giddy.

In this case I just wasn’t sold. Something Perfectly Innocent consisted of our character, Claude Nixon, a traveler new to Brisbane being embroiled in am inner-city murder mystery. But there were no innovative stunners. Black and white photos, occasional questions to the small 27 Twitter followers for where to find a free newspaper and tweets popping up every hour or so was all it had to offer us. I was looking for interactive videos, topic starters spurning retweets and obscure links leading me on wild chases. There was none of that. It was a very basic multimedia story. Introduction. Complication. Resolution. Curtain Call. That’s all.

I suppose I’m most surprised because Marcus Lilley, British creator behind the concept, seemed so much more promising. In an interview with group Creative Drinks, Lilley confessed he had imagined a different platform with more content for the show but for unspecified reasons ended up basing the play on Twitter. It is not by accident that his interest in film noir is reflected in Something Perfectly Innocent but it wasn’t emphasised as much as what it could have been.

The downfall of Something Perfectly Innocent is not the play itself but that it didn’t reach its full potential. What it didn’t become is more disappointing than what it was. The challenge we set ourselves when taking on multimedia projects is to make it something extraordinary. Twitter, Facebook, the lot of it has become the norm. It’s now nothing of consequence in day-to-day life. By providing theatrical entertainment in these mediums something has to rise above the mundane. Something unique that the audience wishes could be tangible is what creators must strive for. Sadly, Something Perfectly Innocent just wasn’t it. Regardless, I look forward to seeing more interactive theatre and multimedia dramatics. This experience hasn’t deterred me yet. Hopefully I’ll be able to see more of Marcus Lilley’s work. I have faith he can prove to me that this is not his best.

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.

 

 

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.

 

Opa! it’s (honey puff) Paniyiri time!

It’s that special time of the year again…

PANIYIRI Greek Festival THIS WEEKEND!

When people first meet me, they often assume I’m Greek. It’s the name. It actually means yellow, which is the version of blond I tend to get if I miss an appointment with my girls at Suite Three Hair and Beauty.

Suite Three Shine Collection

urbandictionary.com will also tell you that it means I’m an urban legend.

Alicia Witt isn’t Greek either.

Also, importantly, I was named after the Greek Goddess and not after the chick with the robots.

Nope. Never read it. Is it any good?

I once put on my CV that I was Greek-Romanian-Indian-Spanish-Australian. I was auditioning for Miss Saigon. I wanted to cover all ethnic bases. Apparently, I was just “too young”. At least they were honest.

HI, I’M XANTHE. I’M NOT REALLY GREEK AND I LOVE PANIYIRI

(AND HONEY PUFFS)!

WHAT? YOU’VE NEVER BEEN TO PANIYIRI?!

Dine al-fresco en masse, inhale the smell of the Greek BBQs, dance the Zorba into the Guinness World Record books, smash plates, soothe your inner Greek with the live sounds of the bouzouki and the lira, eat 25 honey puffs in one minute, see a film, experience traditional Greek cooking demonstrations, stomp grapes and see inside the stunning Greek Orthodox Church! And that’s not all!

Paniyiri started 36 years ago. Fast forward to 2012 where more than 50,000 Greeks and honorary Greeks will once again descend on Musgrave Park in South Brisbane for the city’s biggest, loudest and yummiest party, Paniyiri Greek Festival! Join George Houvardas (Packed to the Rafters) and Rob Palmer (Better Homes and Gardens) on Saturday May 19 and Sunday May 20, when Brisbane overloads on Greek gastronomy and Hellenic hospitality as this legendary kaleidoscopic cultural explosion takes over Brisbane town.

Here’s what you need to know in 2012….

GREEK DANCING WITH THE STARS

Be there to find out what happens when George Houvardas a.k.a Nick ‘Carbo’ Karandonis from Channel Seven’s Packed to The Rafters, and Better Homes and Gardens’ DIY expert, Rob Palmer, fight it out on the dance floor yet again during the hotly contested Greek Dancing with the Stars competition on Saturday May 19 at 7.10pm. GREEK Dancing with the Stars promises to be colourful, comical and controversial, when celebrities including George Houvardas and Rob Palmer, plus Seven presenter Liz Cantor, Queensland Weekender presenter Chris Parsons, B105 presenter Pete Curulli and Emily Everywhere blogger Emily Jade O’Keeffe, and 4BC’s Peter Dick collide chaotically in a challenge that will separate the twinkle toes from the two left feet.

GUINESS WORLD RECORD ZORBA ATTEMPT

Brisbane, it’s time to step up and step out to take the Guinness World Record for the Longest Zorba! The attempt to set a new Guinness World Record for the World’s Longest Zorba will happen on Saturday May 19 at the Paniyiri Greek Festival at Musgrave Park, at 6pm. Leading the Zorba World Record attempt will be Packed to the Rafters star and good Greek lad George Houvardas, together with his best mate, Better Homes and Gardens resident DIY guru, Rob Palmer!

PLATE SMASHING

There is something about the Greeks that makes you want to smash plates!  Sure to be a smash hit with festival goers, test your speed and dexterity with the quintessential Hellenic act of breaking plates which will take place several times over during Saturday May 19 and Sunday May 20.

EAT

Help Brisbane eat their way through 200,000 honey puffs, 500kgs of haloumi and take a journey of the senses through 30+ food stalls representing the Aegean, Mainland Greece, Cyprus, Chios, Crete, Rhodes and more all day Saturday May 19 and Sunday May 20 at Musgrave Park.

TRADITIONAL GREEK COOKING DEMONSTRATIONS

Learn the culinary secrets behind Greek cuisine with sweet and savoury demonstrations all weekend at The Greek Club. At 3pm on Saturday May 19 Channel Seven presenterLiz Cantor and Queensland Weekender presenter Chris Parsons will battle it out on stage to see who will come out victorius in the kitchen. A 3pm on Sunday May 20 George Houvardas (Packed to the Rafters) and Rob Palmer (Better Homes and Gardens) will heat things up when two best mates don the aprons and stir, beat and fold their way through a Greek recipe. AND PROSPECTIVE CHEFS NOTE: the producers of My Kitchen Rules will be scouting for potential talent over the two days!!!

THE MUSIC, THE DANCE

Paniyiri is famous for non-stop dance and music. This year witness the Bouzouki Spectacular (when), when 10 Bouzouki players perform together in a first on Australian soil. Experience hours of Greek entertainment including The Hellenic Dancers, Aegean Groove, DJ Kossi, Herc & Xena and more all weekend. Festival-goers can burn off the Haloumi and Honey Puffs at Trella: The Official Paniyiri After Party with sounds from Brisbane’s own DJ Kossi and more at The Greek Club on Sunday May 20 from 8pm. Tickets available for $25 at the door

GREEK ORTHODOX CHURCH OF ST GEORGE

Explore the history and mystique of the renowned South Brisbane Church with guided tours on Saturday May 19 and Sunday May 20.

CULTURAL LECTURES

Delve into the past with a feast of knowledge delivered through a series of lectures by a number of interesting speakers from the University of Queensland in the Greek Club’s Acropolis Room on Saturday May 19 and Sunday May 20.

HONEY PUFF & OLIVE EATING COMPETITIONS

Devour your way through countless juicy Greek olives or treat your sweet tooth to mountains of mouth-watering Honey Puffs all day Saturday May 19 and Sunday May 20. Heats for both the competitions will take place on the Channel Seven stage, with the finals on the Coffee Club Stage in Musgrave Park.

SIDESHOW ALLEY

Plan a detour down Musgrave Park’s vibrant Sideshow Alley to find a host of amusement rides and games for the young, and young at heart, all day Saturday May 19 and Sunday May 20 at Musgrave Park.

KID’S ZONE

Get creative in the Kid’s Zone with mural painting, art and craft, storytelling and face painting on Saturday May 19 from 1pm until 4.00pm and on Sunday May 20 from 11.00am until 4.00pm. Barn Yard Babies will also keep the little ones entertained as they pet, play and have their photo taken in the gorgeous animal nursery.

FIREWORKS

Sample Greek sweets while watching the spectacular fireworks display explode across the skies of South Brisbane on Saturday May 19 from 8:45pm and Sunday May 20 from 7pm.

FASHION – Friday May 18

Brisbane’s most fashionable set will officially kick off Paniyiri Greek Festival with a flurry of ruffles, colour and Grecian glamour. Working their way down the catwalk,  Greek-Australian models will showcase celebrated Greek designers and retailers plus seasons trends  from Westfield Chermside including the crowd favourite children’s segment. Bazaar Market Stalls staring Hellenic retailers and a complimentary Revlon Booth for guests will help keep faces and wardrobes glowing all night! Tickets are $20 through the Greek Club (3844 1236) or on the door on the night.

Paniyiri is Queensland’s signature celebration of all things Greek. Paniyiri is a community initiative of the 25,000-strong Greek community of South East Queensland. Funds raised are channeled back into the community via the Greek Orthodox Community of St George, Brisbane’s oldest Greek community established in the 1920s.

Paniyiri 2012 Fast Facts

                         Saturday May 19 & Sunday May 20, 2012

                     From 12noon on Saturday and 10am on Sunday

               Musgrave Park & The Greek Club, Edmondstone St, South Brisbane

 $10 Adults (13+), $2 Aged Pensioners, Children free

      www.paniyiri.com or 07 3844 1166

Check out this Queensland Weekender story (remember this year’s dates are this weekend, 18th – 21st May)! And enjoy again, my favourite “zorba” of all time!

Mother Country

Mother Country

heartBeast

The Terrace, State Library of Queensland

13^th – 18^th May

Reviewed by Meredith McLean

Sunday night kicked off with the excitement of a new play ahead. Then it crashed and burned when I realised how cold it was! Suddenly the cotton black jacket over my dress that was more an accessory if anything, seemed useless on my shivering shoulders. I could only imagine the thick woolly jacket I had contemplated wearing, strewn on the floor laughing at me. But I had to press on. The gang from heartBeast was back with another make-you-hang-off-your-seat production. The build up for this play had been tempting me since April. No amount of chilly breeze and cold winter night could stop me. This time the object of attraction was a performance pulling the curtain on a period of Australian history we’re not so fond of.

Mother Country is not by any means your typical, rustic period drama of good ol’ aussie struggle. This time Michael Beh from heartBeast has teamed up with Jacqueline McCarthy-Kerr to bring us dark fables of a history we’ll never truly understand.

Four women, four stories, the hiss of trees in the wind; this is what I walked into when the doors opened. Out on the white tiles of The Terrace a man bundled up in a Victorian era officer’s coat ordered us into the centre. The nip of the wind adds something to the chill of his angry command. There’s not much else to do but obey the officer’s orders and watch a scene unfold within the crowd of the theatregoers. Women flung to the cold, hard tiles for stealing linen and lace. I almost stepped forward to ask if the first girl was okay, it looked like she had been thrown that harshly. Others were dragged screaming and howling. The best thing to do was cover my mouth before I blurted something out.

Again we were ordered by the officer to move our chairs and be quiet. After watching the women realise they had been condemned, I poised myself ready for a delicate tower of narrative to topple into a pile of devastation, also known as a cutthroat twist ending.

This doesn’t come however. In fact, I won’t spoil the show but these dark fables come out with some fair resolutions. Considering these stories are based on the true suffering of our ancestors I suppose it only right their terror relents for them. I should want that, right? A happy ending perhaps? I should want to wish mercy upon them. Yet somehow, somewhere in my mind, I still want something shocking to leave me miserable. I’m too selfish; I only want happy endings for my own affairs.

Regardless there are some moments that satisfy my desire for disaster. Cringe-worthy moments bound by genius staging and movement. The woman becoming the bow or for a more accurate description, carved mermaid of the boat, made me sit up and pay attention.

The most haunting of all moments though, definitely comes down to the dance. These beautiful women sing as a harmonic chorus and move as broken puppets might. Repeatedly being bent and battered by the disgusting, dogmatic men played by Ian Bielenberg and Jacob Paint.

Jacob Paint especially, dominated the outdoor terrace on the night. Right from the moment of the doors opening he barked at us to move, step or sit. He let go of any reservations a modern man of our century might have and flung women to the ground like potato sacks. Pulling and yanking them into whatever position he desired then finally spitting commands in their faces before moving again. Suddenly, as if one of the off-stage crew flicked a switch he became a tender, confused man. He transformed into a kindly butcher looking for someone to start a family in a way that was acceptable of those times.

Though I can’t go on without mentioning the lovely ladies of Mother Country. Each one of them spoke out with eerie passiveness whether in unison or speaking alone. Their faces fell apart under every sad hymn that left their lips. Then there is the queen of this troupe, Director Jacqueline McCarthy-Kerr. It takes a certain intuition to carry a play that doesn’t dominate in plot but thrives on symbolism and story telling. Each movement, whether it’s a graceful glide under dyed silk or the oppressed flails under a man’s grip, draws energy from the audience.

Mother Country is part of a cartel of plays being held anywhere in Brisbane. The Anywhere Festival is celebrating theatre that takes place everywhere but your typical theatre. Its running from the 10^th to the 19^th of May and Mother Country is one of the many performances to be involved. Book online for the final performances of Mother Country (Tuesday 15th – Friday 18th May).

There is one thing that sets Mother Country apart from the rest though. Where as many of Anywhere Festival’s plays are trying to hurtle themselves into the future of theatre, Mother Country is stubborn. It’s adamant on drawing from the past. Avoiding all technology where possible, this play, unlike its brothers and sisters, hurtles the audience to something historic. I even feel somewhat guilty typing this on a laptop now. But that’s okay! That is what I think Mother Country is trying to do. Make us stop and realise there are tales forgotten from long ago. Dark, sad but ultimately uplifting stories of women – our women – that above all things, need to be told.

For some fantastic production shots by Gerry Nicholls, check out the Anywhere Theatre Festival Facebook page.

The Moreton Bay Whore

The Doll

The Dance of the Dolls

Wonderland, Gremlins & It Plays to Move

Anywhere Theatre Festival 2012

Saturday 12th May

Experienced by Kathryn Rose

Ever heard of a plane being piloted by a loaf of bread – with Gremlins as cabin crew?  Or a play being directed by someone who has never laid eyes on the script?  These are just a few of the bizarre circumstances you could find yourself in during the Anywhere Theatre Festival.

I first heard about this concept when my gorgeous boy, Matt, attended the TEDxBrisbane event in October last year.  He forwarded a recording of a presentation by Paul Osuch talking about the Anywhere Theatre Festival and its aims.

The main objective is to encourage, and provide opportunities for, more people to experience live performances in places other than the traditional theatre complex.  Artists pay to register their act and have it promoted on the Anywhere Theatre website, then get to pocket all the proceeds, thereby cutting out the middleman and hopefully channelling more remuneration to the actual performers.

Matt and I started our Anywhere Theatre experience on Saturday in Brisbane’s Queen Street Mall with Wonderland, a cirque-type act with a group of very talented young people. This free performance was very much appreciated by the large group of shoppers who stopped to have a look.

From there it was off to a very different venue in Auchenflower – the lounge room of Mark Theodossiou, an actor, producer and director from Australian Actors Network.  Due to circumstances beyond their control, Matt and I were the only audience members for that session.  But the show must go on (and we’d paid our $22!), so Mark and Michelle explained the concept of their performance.  We were offered the choice of four two-hander scripts and asked to choose the style and direction of delivery we wanted from our actors.  We had to nominate which actor would play each role and the emotion or motivational features we wanted from the characters.  We had a lot of fun watching Mark’s character, Linus, being besotted with the recorded voice on Linus’ mobile phone in Ma Belle. For the second selection I asked them to perform the play, Jammed, conventionally first then we mixed it up with some challenges for our capable actors. At the end, both actors said they really enjoyed my direction (I bet they say that to ALL the girls!).

After a leisurely dinner at Southbank, we continued our adventure and headed to a rather seedy part of Woolloongabba, where The Gremlins were performing.  The ‘venue’ was an enclosed area at the front of the Reverse Garbage warehouse, with a motley assortment of chairs arranged in rows.  We handed over our $12 each and collected our ‘boarding passes’ for the inaugural flight of the Gromlot family’s new budget airline. At 7pm we were all ushered into our barely-half-completed plane where our hosts proceeded to entertain us with pure escapist, joyful nonsense that had us rolling around laughing.  Because Matt had previously seen The Gremlins perform at Woodford, he had high expectations – and they definitely didn’t disappoint.

The Anywhere Theatre Festival is a wonderful mixture of random, artistic and highly-creative acts that is sure to catch on further around the world.  Let’s hope the Sunny Coast embraces this concept as well; the possibilities are endless!

Ed’s note: See the final performance of EPIPHANY by 2Muse Productions on Saturday 19th at 5pm at the Sunshine Coast School of Photography, Yandina.

Featuring Korean performance artists, well-known to Brisbane indie audiences, Younghee Park and Pak Hoyoung, with Mary Eggleston and seven young Sunshine Coast actors, this is a re-imagining of the production we saw last year. With funding to support the community development goals and the time to explore a few brand new plot points, it’s a very different show and well worth a (second) look. Incorporating effective AV elements (Sue Davis, Judy Barrass, Julia Dawson & James Muller), an evocative soundscape (Eggleston & Bruce Hamilton) and live musical accompaniment by popular Sunshine Coast entertainer, Simon Russell-Baker, EPIPHANY is a fine example of what an independent company can do with limited resources and limitless imagination, blurring the lines between training and entertaining and providing opportunities for young artists to develop their craft alongside professional performers without having to leave the beautiful Sunshine Coast!

EPIPHANY is a whimsical, magical, fantastical tale, which you’ll relate to if you’ve ever wished you could escape your current reality. Escape once more on Saturday 19th May. 

EPIPHANY

EPIPHANY

 

THE ONLY SUNSHINE COAST CONTINGENT IN THE ANYWHERE THEATRE FESTIVAL

Sunshine Coast creatives Mary Eggleston and Sue Davis are breaking new ground on several fronts with their latest production to be staged as part of the Anywhere Theatre Festival this weekend.  This is the first Sunshine Coast production to be included in the Anywhere festival with the show being staged in a rather interesting ‘red shed’ in Yandina, currently housing the Sunshine Coast School of Photography.  2Muse Productions has also re-energised the traditional fairytale format with this show drawing on new media and various theatrical forms to tell a spellbinding story called Epiphany. Another feature of the process and performance is that young people are working alongside local and international professional artists, with the professional artists performing alongside the young artists on stage. (This makes it a community development project – Ed).

Younghee Park and Pak Hoyoung are performance artists from Korea who have extensive experience in physical theatre and performing for young people, but this is the first production they have worked on where they are both performing themselves while also mentoring young performers. They are working with the project organisers, Sunshine Coast’s own youth theatre directors, Mary Eggleston and Sue Davis to devise and shape this original performance piece.  The production crosses over artforms as well with input from video artist James Muller (of Earth Base Productions) and local musician and performer, Simon Russell-Baker.

Young performers hail from Caloundra to Cooroy and they have been working for months to create characters drawn from circus, vaudeville and freak shows.  The show was originally staged in a début performance in November 2011 at the SCAIP Black Box Theatre in Nambour but with the support of RADF funding has been totally reworked to showcase the talents of the young people and the Korean guest artists.

The show centres on the tale of young Queenie D, an Alice in Wonderland type character who is drawn into a fantastical new world that exists beyond the mirror.  The cast have been developing a unique physical language for the production and have been exploring new media and old with the performance featuring digital imagery using iPad Apps.

The show is the first Sunshine Coast production to be staged as part of the south-east Queensland based Anywhere Theatre Festival.  A unique festival, its parameters are that shows can be performed anywhere but in a theatre.

Writer and theatre reviewer, Simon Denver, counted Epiphany amongst the best of Sunshine Coast theatrical productions in 2011. Don’t miss it this time ’round!

Short + Sweet comes to the Sunshine Coast

Short + Sweet 2011 Winner Gabe McCarthy

Gold Coast and Brisbane Short + Sweet Winners Brett Klease & Sam Coward

Remember our SRT boys won the Gold Coast and Brisbane competitions?

Remember they came away from the national comp in Sydney in third place?

Should they accept an invite to perform in this year’s Melbourne comp?

This year is your chance to get involved too!

SHORT+SWEET QLD 2012

BRISBANE+GOLD COAST+SUNSHINE COAST

1 AUG – 19 AUG 2012

The Loft (QUT Creative Industries)

Arts Centre Gold Coast

Lind Lane Theatre (Nambour)

Registrations close MAY 30th

Image by Jom Photography

Who can enter Short + Sweet?

INDEPENDENT THEATRE COMPANIES (you can be an established group or just people with a ten minute play idea)

DIRECTORS (established or emerging, choose a script from all over the world, cast it and direct it)

ACTORS (be part of this worldwide festival, auditions announced on June 1)

Short + Sweet believes in the validity of the ten minute theatre form and that ten minute theatre works can stimulate, move and entertain audiences as effectively as longer theatre forms. Through an open call for scripts, general auditions and interviews with directors and Independent Theatre Companies Short + Sweet uses a vigorous merit based process to assemble a season of high quality ten minute theatre which incorporates a broad range of theatrical styles. Through the presentation of these works Short + Sweet aims not only to develop audiences for the ten minute form but to develop audiences for all theatrical forms.

theatre anywhere!

Between 10 – 19 May you’ll find new plays in alleys, puppets in bars, cabaret in warehouses, comedy in your home and office and performances you can be a part of online from Texas to London, Hamilton to Toowoomba.

Anywhere Theatre Festival is the brainchild of husband and wife power couple Paul Osuch and Alexandra McTavish. They’re pretty humble about conceptualising, developing and continuing to run the whole thing so when you see them around – anywhere but in a theatre for the ten days between the 10th and the 19th of May – please congratulate them and give them big hugs and a whole heap of love!

N.B. Some shows are already SOLD OUT!

What will you be seeing anywhere but in a theatre???

In the tradition of murder-balladeer Nick Cave, the femme fatales of Babushka invite you into their bloody nightmare to indulge in dark tales of murderous passion, sinister sirens and the infinite beauty of death in the debut season of Where the Wild Roses Grow.
Late night Cabaret at its finest.
DATES: Thu 10th & Sat 12th @ 9:30pm
PLACE: 275 Macarthur Avenue, Hamilton Reach

A family of Gremlins has taken residence in Brisbane. Roxoff, Mofball & Botolf Gromlot are trying to launch their new budget airline and fulfill their dream of flying. Tickets sales are going well, and their maiden voyage is due to take off shortly. There is only one problem….they haven’t built the plane yet.
DATES: Thu 10th to Sat 12th @ 7:00pm & Thu 17th to Sat 19th @ 7:00pm
PLACE: Reverse Garbage, 20 Burke St, Woolloongabba

As a collective the cast and the directors have come up with a collage of 5 scenes exploring life on the brink; public transport, romance, hospital drama and misadventure. 3 Windows will be an excellent opportunity to see Cinematic Theatre for and by Young People at it’s most vivid and vibrant… don’t miss it.
DATES: Fri 11th & Sat 12th @ 7:30pm
PLACE: 37 Manilla St, East Brisbane

Set in the heart of Fortitude Valley, four playwrights turn a dirty alleyway into the legends of nights out – where drunken youth roam free and the pavement becomes a stained and silent tapestry of history.
DATES: Mon 14th & Tues 15th @ 7:00pm ONLY
PLACE: Winn Lane, Fortitude Valley, 4005

 

10 Really Fast Festival Facts

 

1. Brisbane does it first
The 2012 Anywhere Theatre Festival is the only fringe festival in the world for performance anywhere but a theatre.

2. Already the biggest performance festival in Brisbane
The 2012 Anywhere Theatre Festival has over 50 productions and 200 performances already confirmed meaning it has more productions and performances than Brisbane Festival.

3. Attracting interstate and international
The 2012 Anywhere Theatre Festival features 6 companies from the U.K., Two from the U.S., one from New Zealand, Tunisia and France.

4. Brisbane proves it has a depth of untapped talent
Recognised companies such as Queensland Theatre Company and Circa Presents mix with independent and up and coming companies.

5. A theatre festival with performances on Twitter
A mix of international and local performances from streamed international performances to interactive augmented realities.

6. A Brisbane festival from the Sunshine Coast to Perth
Performance locations range from the Sunshine Coast down to the Gold Coast and across to Perth.

7. A two person volunteer team producing the biggest festival in Brisbane 
The festival is organised by a core husband and wife team over evenings and weekends with financial contribution from Arts Queensland.

8. Theatre Anywhere – even in your house
This year theatre anywhere will be taken to the extreme with performances you can book to come to your home or office! Other performances happening in elevators, parks, city cats (tbc).

9. A Brisbane idea to the world
The purpose is to bring fringe festival to everyone, especially to places with a lack of theatres. We are already discussing how the festival can move to regional centres and other states.

10. International institutions want to know how we do it!
Since the 2011 festival we have been asked to advise on how to do theatre anywhere and have an invitation from the Milan Commissioner of Culture to talk as they prepare for their 2015 Universal Expo.