Archive for the 'Comedy' Category

03
Oct
18

Potted Potter: The Unauthorized Harry Experience – A Parody by Dan and Jeff

 

Potted Potter: The Unauthorized Harry Experience – A Parody by Dan and Jeff

Lunchbox Productions

QPAC Playhouse

October 2 – 7 2018

 

Reviewed by Xanthe Coward and Poppy Eponine

 

 

Discover your Hogwarts house here

 

It’s not essential but it’s nice to know which house you’re in prior to seeing the smash hit Potted Potter, an unauthorised parody of Harry Potter’s Hogwarts’ experience, attempting to condense all seven Harry Potter books live on stage in 70 minutes. Actually, it’s just two funny British guys telling us what we already know about the boy wizard defeating the evil Lord Voldemort, and unashamedly failing to fill in the gaps. That’s it! That just happened!

 

Because we’d missed Potted Potter at the Powerhouse a few years ago, we walk in not knowing what to expect and walk out loving every bit of whatever irreverent clever comedy that was. 

 

The first thing to realise is that it doesn’t feel like 70 minutes because it’s so much fun. And the second thing to realise is that it’s so much fun because what seemed a solid plan, to recount Harry Potter’s adventures as they occur chronologically in J.K. Rowling’s famous series comprising seven books, is thrown out the window when it’s revealed very early in the piece that one of the two performers hasn’t actually read any of the books. Nor did he secure any actors to play over 300 roles, or get the set and props required to accurately represent the story on stage for a discerning audience of Potterheads and their parents.

 

While Scott is a legit Potterhead, the authority figure to Dan’s little boy persona, super serious at first and intent on sharing his knowledge with us, all Dan wants to do is play quidditch. He’s obsessed! Like a kid who’s been promised a trip to the beach after a week of rain, he can’t let quidditch go. For Dan, quidditch is the answer to everything. Interestingly, without reading the books, and without being familiar with the characters, quidditch-obsessed Dan manages to nail a Powerpoint presentation summarising Book 3 (Harry Potter and the Prisoner of Azkaban), before the quidditch World Cup has even occurred! It’s a mystifying muggle miracle! 

 

Dan’s quidditch match, played live in the theatre with the audience divided into Gryffindor and Slytherin fans, is an absolute highlight for most, it’s so much fun. As silly as it is, there’s just something about a big inflatable ball being shared with the audience, isn’t there? And a special side note from Dan to everyone seated above in the balcony might have them booking earlier in future, in order to secure seats in the coveted stalls where all the action is! These offhand comments, obviously irresistible, and usually coming from naughty, distractible Dan, are typical of the frequent funny hooks for the “casual fans”, who may miss some of the actual Potter references. Rather than admonishing him, Scott just about falls about laughing with him, which makes the whole experience even more relatable and enjoyable, although we’re quite sure there are some cynics in the crowd thinking, “Get on with the storytelling!” and “I thought this was a Harry Potter show!” 

 

 

Other hilarious meta-references are at the expense of teachers and Trump’s America. After Dan questions the greatest wizard in all the world choosing to become, of all things, a teacher, an awkward silence follows and he fills it by innocently observing, “Who knew there were so many teachers in Brisbane!?” We all remember when Harry Potter and the Philosopher’s Stone became Harry Potter and the Sorcerer’s Stone for the Americans, giving Dan licence to admit that it’s a pleasure to be back in an intelligent country. Further political references ensue, including a dire warning that “Donald Trump is coming for you, Australia!” These jokes (however terrifyingly too-real!), are met with cheers and applause from an appreciative audience. The prepared improvisation is exceptional, and exceptionally funny. These guys gain the respect of the Potterheads and the casual fans, appealing to all ages and sentiments. 

 

 

Dan’s interpretations of the characters are deliberately at odds with the original characters, which is very funny. Ron becomes Gangsta’ Ron in a bright orange wig and Hermione sports blonde schoolgirl plaits beneath a straw hat, more Hanging Rock than Hogwarts, and a baritone voice; there’s room for a Priscilla style drag queen act here. (Of course, no spoilers re the finale, but we also enjoy plenty of Priscilla-playing-next-door references, ie. “You won’t see that in Priscilla“)! Lord of the Rings, Narnia and even (the “inappropriate, Scott!”) Fifty Shades of Grey get a nod, as do Star Wars, Shrek, Wicked and little orphan Annie – not Ginnie – introduced as the youngest of the Weasley family. Unsurprisingly, Scott recoils when Dan-as-Ginnie-not-Annie tries to give him a kiss.

 

The running joke, repeated ad nauseam (almost too often, just as the set up appears to run too long before the show really starts), remains stubbornly focused on the amount of production money spent not on actors or scenery or props, but on the fire-breathing Hungarian Horntail dragon featured in Book 4 (Harry Potter and the Goblet of Fire), not an enormous animatronic King Kong creation but a hand puppet accompanied by Dan’s vocal effects and sweeping gestures. Scott Hoatson is the perfect foil to Daniel Clarkson’s ridiculous antics throughout, always trying to get the show back on track and simply tell the story. We love his Scottish accent, his undying trust of Dan and the constant deferrals to him, and his determination to honour his “close friend” J.K. Rowling’s storytelling. These guys are a super talented pair and it’s a delight to see them work so effortlessly at this style of comedy. It’s even funnier to share the jokes and the happy accidents with them, as they lose it and laugh on stage. It makes the whole experience special, just for us, and totally relatable, as if we’re sharing our favourite Harry Potter moments amongst friends.

 

The clever incorporation of props at precisely the right time helps to punctuate the most dramatic or poignant moments from each book. When Dan opens the coffin on stage to take two hats for our quidditch seekers (willing volunteers from the crowd), from a skeleton’s hand, he addresses the skeleton as Cedric, thanking him as he takes the hats. Complete silence follows. “Too soon?” he asks. More uncomfortable silence. Still in shock, we miss the Twilight reference that follows but others laugh hysterically. We always notice that we like to laugh during uncertain times, don’t we, and this show is just the thing. Whether or not you’re a Potterhead is irrelevant; the laughs are in the polished-unpolished, superbly confident and cheeky, transparent performances more than in the content.

 

Nevertheless, our own memories of reading the books for the first time, of seeing each film, of sharing our favourite moments with family and friends who are just as obsessed (or not!) with Harry Potter as we are, come flooding back during the show and afterwards, as we recall the funniest scenes on stage, either very loosely handled or very precisely manipulated – who can say? – by Director, Richard Hurst. 

 

Potted Potter relies on a relaxed sense of humour and our knowledge of Harry Potter’s world, or at least the knowledge acquired through osmosis by those who live with Potterheads, and follows a deceptively simple formula of broken expectations. It’s the sort of childlike, improvised, never-to-be-repeated genius that you might expect to see in the living room around Christmas time, a play put on by the kids, involving every stuffed toy and unassuming adult in the house. This show is so crazy it just works. You can’t help but love it and laugh out loud.

28
Jun
18

Guru Dudu’s Silent Disco Walking Tour

 

Guru Dudu’s Silent Disco Walking Tour

Out of the Box

QPAC Cascade Court

June 26 – July 4 2018

 

Reviewed by Xanthe Coward

 

 

The Brisbane Guru Dudu team boasts four energetic and very brightly clad tour guides – Maja Hanna Liwszyc, Stefan Cooper-Fox, Daniel Cabrera and the original Guru Dudu, David Naylor – who take turns to take super fun silent disco walking tours.

 

The concept is not only an Out of the Box smash hit but also, a private-party-in-public-spaces phenomenon sweeping Australian and UK cities.

 

I think we all wish we’d thought of it.

 

We arrive on QPAC’s front steps to be greeted by staff in their black and red, and to greet festival volunteers in their orange. That distinction is deliberate, many of them being a bit shy, or else, not yet in character as Effervescent Festival Vollies. We are issued with a set of headphones each, and instructions to meet Guru Dudu and the green group at the top. Fortunately for punters on the first day, most of QPAC’s staff, being not quite as shy, and a number of them having survived several Out of the Box festivals since 1992, knew a good deal more about where things were and indeed, what things were, than many of the vollies. We’ll put misdirection and reticence down to opening day/night jitters. 

 

We could see our Guru Dudu (Stefan Cooper-Fox) and as soon as we had our earphones in place we could hear him, and that the party had already started! We joined the group and I made a strong offer of a classic disco move. Not being known for my enthusiasm when it comes to audience participation, I’m not sure if it was me or Poppy who was more surprised by this unusual willingness to be involved. Panic at the disco? Having to talk the talk in recent devising sessions? Actually, it’s harder not to join in; the music makes us want to move. This silent dancing/walking caper is hard to resist! It’s actual real-life living-in-the-moment stuff without the memes, instant heightened awareness, just-add-earphones increased confidence, without inhibiting levels of self-consciousness. It’s liberating and laughter inducing.

 

Of course, we’re not really aware of anything happening outside of the world created by Guru Dudu. We realise on some level that without earphones, onlookers don’t know what’s happening; all they know is what they see, which is a group of super confident disco dancers of all ages and abilities having super amounts of uninhibited, silent, silly fun. Going by the raised brows and wide smiles, it must be hilarious to witness. A mum shares her headset with a random woman, her bewildered expression transforming into one of recognition. She knows the song and she suddenly understands the set up. She offers a big smile and double thumbs up, passes back the headset and continues on her way with a new bounce in her step.

 

The song choices are good, with a few of them kitsch enough to be cool – it’s a kids’ festival after all, but the grown ups have to make it through the day with some humour too. The Mission Impossible theme is the first challenge, as we move like Super Spies across the walkway, heading towards the museum and art galleries. Bjork’s Quiet is performed conspiratorially, now that we’ve all bonded during our impossible mission, just as we might expect to see it at an early Wakakirri rehearsal (or an early evening karaoke effort), with parents getting down low to join Guru Dudu and kids, gesturing “SHHH” and singing along, although whether or not any of them are singing the same notes as Bjork is anyone’s guess.

 

Not as popular with the adults as with their children are the more literal song and dance tasks, including being dinosaurs to Katy Perry’s Roar, and dancing like monkeys to a track that was previously unknown to me: Disney Junior’s Big Block SingSong Two Banana Kind of Day. I don’t recommend it.

 

Everyone happily joins a conga line, and takes their turn At the Carwash, although Poppy thinks this one is odd and I remind her that everyone – even the kids of Rydell High – have their variation on a tribal initiation or celebration circle. We wind down with some actual circle dancing, as any sub-culture would, with parents pushing their offspring into the centre, confident that with so much live on-camera experience after this, their children are well and truly ready to be reality television stars. Walk Like An Egyptian garners massive support from tour participants and randoms, and we finish up with a fun free dance and enthusiastic high fives for Guru Dudu.

 

Despite the exquisite pressure of a tight turnaround before the next tour and a couple of unintentionally quiet moments that occur at the push of a wrong button (these are met with merry laughter), Guru Dudu has been relaxed and fun, keeping things moving at a safe, steady, contemporary, public-space-disco pace. It’s been real.

 

There is obviously safety in numbers and everyone feels comfortable to do their very best silly dance moves in a big group. Guru Dudu’s Silent Disco Walking Tour is so much fun. There’s no right or wrong; we’re free to be ourselves and have some uninhibited fun.

 

Guru Dudu is one of the most exciting inclusions in this year’s program, with a terrific payoff for participants and an awesome ongoing opportunity for artists. And the festival is always amazing – you can see its success in the smiles on small faces and the stats in the press – but I miss the amazing festival feeling of previous years, when school groups and families all settled in the sunshine, on the grass by the river, sharing the open outdoor space, a village, a common ground. Without that now, and everything happening instead within the QPAC building and cafe areas, it all feels very safe and neat and contained, a little like the development and support of the arts in this country generally. I mean, it’s hard to believe that there’s a festival on at all. I guess in good weather over the weekend, the Cultural Forecourt will come to life again. 

 

Perhaps Guru Dudu’s tour group will be allowed to venture out into the open then, since this immersive event goes some way to filling the community festival feeling void (The other great crowd event is Dance…Like No One is Watching, don’t miss it!). We’d noticed the first tour group of the day moving through that riverside space, and I can only imagine the reasons to move to a more contained concrete area upstairs (weather and workplace health and safety considerations/risk assessment factors, and comments from carers who would rather not admit that in fact, they’ve always felt a bit insecure in their attempts to wrangle small persons in open spaces). It probably looks easier on paper to take it all inside. But easier is not often better or…funner.

 

 

Minister for the Arts Leeanne Enoch said Out of the Box was a great opportunity for Queensland children to engage with amazing arts experiences, to sing, dance, move, play, paint, create and imagine. “With ongoing support from the Queensland Government for more than 25 years, Out of the Box has presented quality performance and cultural activity that celebrates and supports learning, play, and discovery for children,” Minister Enoch said.

“Since the first Out of the Box in 1992, the biennial event has engaged more than one million participants and 3721 artists. It has presented 1534 performances, 2335 workshops and 9461 activities.

“Out of the Box has presented 103 brand new works, some of which have gone on to tour nationally and internationally and creating work for Queensland artists,” Ms Enoch said.

QPAC Chief Executive John Kotzas said the delivery of the biennial Festival and associated community engagement activities connects children with a variety of arts experiences and is a great example of how QPAC inspires our community to talk about broader issues in the world today.

 

 

 

17
May
18

Midsummers At The Lake

 

Midsummers At the Lake

Little Seed Theatre Company

Noosa Botanic Gardens Amphitheatre

May 12-13 & May 19-20 2018

 

Reviewed by Xanthe Coward

 

 

 

Little Seed Theatre Company, founded and directed by Johanna Wallace, continues to go from strength to strength, with this outdoor production of A Midsummer Night’s Dream for Anywhere Theatre Festival showcasing a couple of talented young performers in particular, largely due to great casting.

 

Admittedly, we experience this production in a slightly more traditional theatrical setting, and while Shakespeare in the park has its merits, when we add an immense body of water as the backdrop and frame the action with an amphitheatre inspired by ancient Greek design and gifted to the community, lakeside Shakespeare becomes the best sort. If you’ve never ventured out to this venue, here’s the perfect opportunity.

 

 

A light-hearted and entertaining production, this Dream features the comic talents of Oscar Long (Peter Quince), Luka Burgess (Nick Bottom) and QACI graduate, Alex Cox (Demetrius); each has a terrific sense of themselves in the open air space, a knack for slapstick and natural comic timing. Burgess in particular knows how to play the audience and as a result, he basically steals the show. The Mechanicals work energetically together, retaining their individual characterisations and appearing as a tight-knit ensemble at the same time, bouncing off one another (and into each other!) to the delight of the audience. Their play-within-the-play and the rehearsal scenes leading up to it could easily be considered a touring entity, and wouldn’t it be terrific for someone to sponsor such an opportunity for these enthusiastic young performers?

 

 

 

Nathaniel Knight (light on his feet without losing any of the weight of authority as Oberon) and Jack Miller (a lovely, lively Puck) embrace the same sense of spontaneity and mischief, and at times we see this in the Lovers too. Cox and Emily Potts (Helena) share some beautifully awkward moments. The over-the-top Potts also plays well with fourteen-year-old Virgo Nash (Hermia), who offers a surprisingly mature performance for one so young. In fact, it’s worth noting that as challenging as Shakespeare’s text and themes tend to be, there’s certainly a solid understanding of the play here, and only rarely do we miss a phrase. Some of the youngest members of this company have some vocal work to do, but if more mature performers such as Harper Ramsey (a firm, fair and distinguished Theseus) and Ayla Long (a stern Hippolyta and a playful fairy) are any indication of Little Seed’s training over the years, this too will come. 

 

 

A soundscape and a series of original songs by Heather Groves in collaboration with her musicians perfectly underscores the action, punctuates comical moments and sustains the magical mood, established early, when the fairies enter the amphitheatre from all directions. We’ve only seen this musical aspect of Shakespeare’s comedies bettered by Tim Finn, for Queensland Theatre’s Twelfth Night. I hope Groves continues this tradition and also, that other Sunshine Coast companies can feel inspired to make the effort to involve live musicians in their productions too; far too often now we lament aspiring and accomplished performers having to learn and perform their songs to click tracks, making the production cheaper to produce and often sounding cheaper and less professional as a result.

 

Little Seed creates a gorgeous atmosphere, using live music, and energetic and enthusiastic performers within the beautiful natural setting of the Noosa Botanic Gardens and amphitheatre, delivering a wonderful production of one of Shakespeare’s most loved plays.

 

 

 

17
May
18

Wilde Life

 

WILDE LIFE

3bCreative

Bloomhill Centre

May 11 & 12 / May 18 & 19 2018

 

Reviewed by Xanthe Coward

 

 

 

Posturing peacocks, adolescent chicks, old boilers, egg bound breeding hens and even old cocks feature in this ornithological study of a rarified species in a most “un” natural habitat.

 

Anywhere Theatre Festival celebrates art and artists, and their impact on audiences by activating ordinary and often extraordinary spaces, staging performances anywhere but in theatres.

 

Presented by Sunshine Coast company 3bCreative, in a room on a purpose-built stage complete with makeshift wings and the audience seated in rows of chairs, Wilde Life is perhaps an unusual inclusion in this year’s festival.

 

Walking into Bloomhill Cancer Care, renowned for its whole-hearted staff and beautiful natural bushland setting, the expectation – set high due to well-honed and widely distributed marketing material – was partially met by smiling eyes behind a terrific bar setup outside, the entire enclosed verandah decorated with calla lilies and fairy lights. With the exterior atmosphere established, we assumed the show would be delivered in the same space, or beyond, in the gardens. What the production lacks in imagination, in terms of its staging, is made up for by its costumes, beautifully designed and crafted, boasting peacock plumage and Victorian era shapes and textures that perfectly support the roles, created to highlight the similarities between high society and the natural behaviour of birds.

 

An outstanding performance by Alana Grimley (Juvenile Female) is reminiscent of some of the best Cagebirds ever seen on the Sunshine Coast, a company of senior drama students at my alma mater in 1989. Even without being familiar with that seminal piece, the posturing and preening of the characters in Wilde Life will make perfect sense to audiences. If not, there are always the program notes, which explain the parallel behaviour of the species and those well bred ladies and gents of the Victorian era upper classes, written about so wittily by Oscar Wilde.

 

Joining Grimley on stage to share excerpts from Wilde’s work are Helen Duffy (Breeding Hen), Libby Glasson (Juvenile Male – a breeches role), Joy Marshall (Mature Hen), Jody Collie (Mature Cock) and Kennedy Fox (Jack Dawe). Overly indulgent and slightly insecure narration from Fox as lecturer/emcee slows the pace for me, and the show feels longer than its 70 minutes, but for others appears to be highly amusing and engaging at every moment. Such is the broad appeal of live theatre comprising solid source material and committed performances. It’s an older audience on opening night, generous with their laughter and applause, enjoying this old-school style of performance. Some excellent scene work, particularly in excerpts from The Importance of Being Earnest, provided some of the more entertaining moments from Grimley, Duffy, Glasson, Marshall and Collie.

 

Created by Anne Grant and Julie Bray, and directed by Grant with musical direction by Stephen Cronin, Wilde Life is a more traditional theatrical production, delivered in a more theatrical setting, but if you love the wit and flourish of The Irish Peacock, you’ll enjoy this offer immensely.

 

03
Dec
17

Love / Hate Actually

Love / Hate Actually

Brisbane Powerhouse & Act/React

Brisbane Powerhouse Turbine Studio

November 30 – December 3 2017

 

Reviewed by Rhumer Diball

 

 

Two friends, Amy and Natalie, come together after ten years of friendship and countless Christmases of debating, to share their annual tradition of desperately debating and aggressively assessing the worth of the infamous 2003 Christmas rom-com film Love Actually. Love/Hate Actually is a fun and playful dissection of the Christmas cult classic with the key goal of determining whether it is a loveable product of Christmas joy or a plot-hole filled problematic mess.

 

Taking a sharp stance for or against the film, Amy and Natalie enter the space with gusto and clear attitudes of positivity or condemnation ready to break open the Christmas can of worms that they declare is causing arguments everywhere. First, Natalie affirms her critical stance against the film and enters the debate prepared with an in-depth analysis of every relationship depicted. She supports her arguments with visuals of hilariously detailed pie charts weighing up the annoying, the implausible and the uncomfortable subdivisions of content. Natalie is detailed in her breakdowns, sharp in her deliveries and altogether hysterically exasperated with the relentless love for what she sees as film created with a foundation of problematic, sexist and hollow content.

 

Amy on the other hand, bases her arguments in defence of the film in more persistently joyful and aesthetically dedicated love for the overall season itself, with the film working as an iconic product of worship for her devout seasonal spirit. While Natalie impresses with pie charts, logic and aggressive argument instigation, Amy electrifies with an exceptionally vibrant personality almost as bright as her Christmas tree-eqsue costume that combines festive colours and decorations, with a pope-like hat and sceptre. Her adoration-filled reasoning for the film’s worth stretches across a range of Australian Christmas traditions, a deep love for holiday rituals and an unwavering appreciation for romantic comedies. Her analysis of the film highlights memorable or charming flick moments, however her initial dismissal of Natalie’s more serious accusations against the film leaves the debate open for further realms of cheeky combat.

 

As the women delve further into the film’s assembly they break down their debate into a detailed examination of each storyline. With each new issue or problematic element discussed, the women veer into hilarious tangents including the dissection of workplace sexual harassment and audience-lead deciphering of content to differentiate pornography from art. Thanks to Natalie’s active investigation, a feminist lens drives much of the debate surrounding the film’s problematic elements, with particular distaste being expressed towards the film’s lack of diversity and its blatant sexist or one-dimensional depiction of women. Amy joins forces with Natalie during assessments of blatant sexism, body shaming and hollow relationships resulting in amalgamated respect for the need to address the film’s oppressive and toxic representations, dismissed every Christmas.

 

As a united duo the women are charming, hilarious and unapologetically themselves.

 

Their casual costumes and realistic banter feels uncannily like watching friends debate the film in a lounge room during a Christmas movie night. With delightfully silly PowerPoint slides and hilarious summaries of relationships and storylines, even audience members who haven’t seen the film in years, or have intentionally avoided the niche content altogether, can laugh along to the pair’s hilarious argumentative techniques, saucy and sarcastic skits, and overall cheeky comedic choices.

 

At its core Love / Hate Actually is a fun and friendly debate that welcomes both joy and bitterness from its audience and combines the passion and intelligence of two female friends, despite their opposing opinions. As an admitted hater of the film, like Natalie, I found the women’s hilarious show spectacularly surpassed the film in cohesion and insight. Whether a lover of the film or a hater of its problematic elements, this cheeky cabaret encourages a loving Christmas spirit and value of friendship regardless of your stance.

 

25
Nov
17

There’s Something About Mary(s)

 

There’s Something About Mary(s)

Brisbane Powerhouse & Cassie George

Brisbane Powerhouse Turbine Studio

November 23 – 26 2017

 

Reviewed by Amelia Walker

 

 

Wearing a black lacy slip and sloshing around a glass of rosè, Cassie George is the hot mess we all know from university. In her autobiographical show There’s Something About Mary(s), Cassie details her love life in a familiar story of ‘crazy girl’ stereotype, falling in love with practically every man she meets.

 

From overly dramatic teen flings, to misguided crushes on an unavailable best friend, Cassie manages to crack jokes and belt pop ballads about her cringe-inducing missteps in love. If there is a term for that balance of awkward humour that makes you snort-laugh, Cassie coined it.

The audience is taken through a chronological look at Cassie’s romantic endeavours, briefly visiting her Christian upbringing with a well-placed handjob joke. I wanted to hear more about this religious impact on Cassie: what was her take on the repression of her clearly active sexuality? It had the potential to be a thread that was perhaps revisited more through humour or through personal development, but instead served as another ‘plot point’ for Cassie to bounce off.

Her ability to laugh at herself, her circumstances, and her series of bad luck was inviting as an audience member. She lured us in with self-deprecating humour, and then made me lean back into the kind of discomfort that only my dad’s worst jokes can do. Outrageous humour had a place to land in this theatre full of friends.

Working on an ‘actor’s budget’, this production did well to create the feeling that it was taking place inside the bedroom of a young woman. This operated in conjunction with lighting to give Cassie just enough dramatic flair to stage dream sequences and even a dance that had the potential to be sexy if not for Cassie’s spectacular ability to take everything over the top.

The ‘queen-in-waiting’, as she calls herself, uses a cart-load of colourful terms to reference one of the biggest influencers in this struggle of romance: her gay, male friends. Cassie has nothing but love these people, and when she tells her story it is done with an endearing honesty. I worry, however, that naming her sample of gay, male friends ‘the entire gay community of Brisbane’ is at best a joke that doesn’t land, and at worse, a step back for representation.

Luke Volker’s onstage presence went a long way to bring something new and different to this delightfully tragic cabaret. His musical direction allowed Cassie to shine in what I believe worked best for her: self-referential jokes punctuated with an overly enthusiastic smile and an unhinged laugh.

Volker also managed to bring back some humanity to the gay men in Cassie’s life, as they sometimes only served as a backdrop to her extremely heterosexual cabaret. Navigating how to avoid making queer people merely a functionary element in a story about someone who is not queer is difficult. Rather than existing just for sassy comments and an indulger of gossip, Cassie finally gave some depth to her queer friends by acknowledging their flaws. It would have been satisfying to hear more about the struggle of a self-identified unhealthy symbiotic relationship, but it was only addressed briefly.

 

The underlying love story here is a platonic one between Cassie and a community she fully emerged herself in, but I’m not sure why it took the backseat so often. Love on just about every angle has been covered, so it felt like a missed opportunity that the intricacies of well-developed friendships were glossed over. The show was most successful when celebrating friend love and all the difficulties that come along with it.

 

There’s Something About Mary(s) is a fun new work that has a place in a theatre space such as the Powerhouse’s Wonderland Festival. Although it felt inspired by the problematic women behind the “gay best friend” trope, it was able to laugh at itself and acknowledge the troubles in desiring such a relationship. Celebrating friendship and platonic love in the age of Tinder is a nice spin on the saturated topic of young women and romance. And I can always get behind a rendition of Cher’s Believe.

15
Sep
17

Trigger Warning

 

Trigger Warning

Zoe Coombs Marr & Token Events

Theatre Republic – La Boite Studio

September 12 – 15 2017

 

Reviewed by Heather Blacklock

 

 

Zoe Coombs Marr brought Trigger Warning to the La Boite Studio for four shows only. Outside, in the precinct, an incredible space called Theatre Republic has been re-built for Brisbane Festival. There’s live music, scrappy bars, food stalls and seating to spare before you go in to see your show. I felt like I was in a giant treehouse.

 


I deliberately went into this show with very little information about what I was going to see. All I had picked up was that Zoë performs as the satirical character Dave. A fact I forgot to tell the friend accompanying me. My poor, darling friend spent the first 10 minutes or so wondering how the hell she was going to break it to me that this person was awful! So firstly, a warning (not a trigger warning) that Dave is going to challenge you in the best way.


The atmosphere flips between uncomfortably tense and explosively uncontrolled guffaws. We go on a journey with Dave that starts with stand up then moves to, of all things, clowning, and then deeper and deeper into a meta-mental breakdown. There’s a lot of sensitivity and vulnerability to Dave, despite his misogynistic instincts and I found myself feeling so much empathy for him despite reminding myself of my twitter replies after catching the attention of Men’s Rights Activists. There are so many layers here, and with it comes nuance in the commentary on being a female comedian, being a male comedian, challenges to privilege, feminism and identity.

 

I completely understand how Zoë has won multiple awards for this show, which has already toured extensively. It’s clever, socially aware comedy cut with bad puns, dick jokes and physical comedy that catches you by surprise. People will love it or hate it. I’m firmly in the love camp.