Archive for the 'Events' Category

24
Jul
17

Short+Sweet 2017

 

Short+Sweet – the biggest little play festival in the world!

Launch Event 

Brisbane Powerhouse

July 26 – August 5 2017

 

Attended by Claire Harding 

 

 

The Short + Sweet theatre and cabaret festival kicked off in style this week, with an interactive collage of contemporary theatre bites that was some of the most entertaining theatre I have had the pleasure of attending. A mixture of short stories and moving movement pieces, the audience was engaged at every turn.

 

 

It was exciting to see the return of old talent and new, including cabaret and musical extraordinaire Emily Vascotto, expertly accompanied by Ben Murry, bearing her soul recounting past love and heartbreak in The Confession, direct from Melbourne Fringe Festival (and directed by Gabriella Flowers). 

 

This theme ran strongly through the entire showcase, including Jamie Kedal and Gina Limpus’ exquisite physical theatre piece, The Attachment Theory, a beautifully choreographed work that is sexy and violent. The pair explored the three phases of attachment, from infatuation through to separation. This was followed by a two-hander featuring Hannah Belansky and Paige Poulier performing a female duologue, which comments on the social expectations of women, and contrasted starkly with the very politically incorrect comedy duo, The Foxy Morons, known for their performances at Queensland Cabaret Festival, showing us through the Aussie country culture, that they are not fans of Pauline Hanson, whom they describe as more vicious than a cassowary.

 

 

Another funny fierce force was life coach, Kaitlyn Rogers, a fitness fanatic who idolises Shannon Noel and Whoopie, which is exactly what she did to the audience. It’s entertaining with enough serious moving moments and issues, addressing political correctness, racism, love and relationships, to give the performance purpose and meaning.

 

The opening night show culminated with a performance from the winners of last year’s event, having developed their work into a full-length show. Written and performed by Caitlyn Hill and Peter Wood, Boys Taste better with Nutella, lived up to the hype, taking the audience on a journey of relationship ups and downs including asking where do we turn to for love? Nutella and the internet! Frederick aims to make himself feel better by gaining popularity and turns a pleasure and pastime into a business eating things for viewers, which is popular in Korea; a trend which has him questioning his relationship with food and body image as he receives backlash for his imperfections and ‘must be cute not fat’. A string of lights, which the actors jumped in and out of, creates the set and shifts the focus from outer to inner monologue, between past, present and future. This tempo, along with the sound tracks and dance pieces, drives the piece and keeps the audience wanting more, remaining true to its Short+Sweet theatrical conventions.

 

 

With a different line up each week, this amazing and entertaining competition is now a global event! With shows across Brisbane and the Gold Coast venues for the next 4 weeks, get along, you won’t be disappointed. 

18
Jul
17

ONE DAY MORE to support Sunshine Coast and Brisbane artists dance (nearly) naked in Japan

 

In case you have been hiding under a rock, or unaware of our campaign, or ignoring all cries for help across our social media platforms, let me fill you in:

IN JUST 10 DAYS WE ARE DANCING (NEARLY) NAKED IN JAPAN

 

I’M EXCITED AND A LITTLE BIT SCARED

 

 

We are 10 students from the Master of Professional Practice in Performing Arts (MPP), an innovative postgraduate course offered for the first time in 2017 by the University of the Sunshine Coast (USC), created by Zen Zen Zo’s Dr Lynne Bradley.

We have received an exclusive invitation to join Japan’s highly acclaimed butoh dance company, Dairakudakan, for 10 days in July-August during an intensive summer camp in Hakuba, Japan. This is a once-in-a-lifetime opportunity for Australian artists to train and perform with butoh Master, Akaji Maro and an ensemble of 40 dancers.

We’d LOVE you to help if you can, to cover the cost of our travel and training.

We need your support to train and perform with Japan’s best butoh artists.

 

 

Renowned for their visually exotic, highly physical and confronting work about contemporary issues in an apocalyptic world, Dairakudakan dancers and Master butoh performer and director, Akaji Maro, will work with us over 9 days of intensive performance training before we join company members on stage in a culminating performance, choreographed and directed by Maro.

 

This once-in-a-lifetime opportunity gives us access to contemporary Japanese training and performing that has evolved from a highly respected ancient art form, rarely seen or taught in Australia.

 

 

Your contribution will go towards the ensemble’s travel and training costs, helping to give 10 talented performing artists access to a unique international training and performance opportunity, and the chance to establish and nurture valuable relationships between Australian and Japanese performing artists so that future collaborative work can be considered.

 

Upon returning from this trip, at our own cost, members of the MPP Dairakudakan ensemble will continue training with Australia’s leading physical theatre company, Zen Zen Zo, and work collaboratively to create opportunities to share our knowledge and experience of butoh, Japan’s exquisite performance art, with Australian artists and audiences.

 

WE HAVE ONE DAY MORE OF OUR AUSTRALIAN CULTURAL FUND CAMPAIGN

 

13
Jun
17

Screw Loose

 

Screw Loose

Queensland Cabaret Foundation

Queensland Multicultural Centre

7-8 June 2017

 

Reviewed by Katy Cotter

 

 

Arriving at the Queensland Multicultural Centre in Kangaroo Point, I was puzzled as to why I hadn’t been there before. This venue is Brisbane’s best hidden secret, it seems, with a large theatre performance space. As part of Queensland Cabaret FestivalEmily Vascotto took to the stage in her hilarious show Screw Loose. With direction from Gabriella Flowers and accompanied on piano by Ben Murray, Vascotto delves into her experience as a self-confessed stalker. She takes the audience on a journey of past relationships from kindergarten to adolescence to now, with passionate (and somewhat embarrassing and obsessive) stories, and songs of her struggles with letting go. By the end of the show, Emily Vascotto is just a woman scorned, misunderstood. She is far too fabulous and gorgeous for any man to handle. But don’t worry, she’s not one to give up easily, and her search for Mr. Right or MR RIGHT NOW continues.

 

Screw Loose is quirky and unsettling in the best way.

 

I found myself wondering if all these absurd tales were in fact true and taken directly from Vascotto’s life. She introduces herself as “Emily.” Is this an alter-ego?

There is one moment I feel is taken too far. Trigger/Spoiler alert: During one song, a set of keys are used to cut a lover’s name into skin. It went on for longer than necessary and it felt a bit insensitive.

Also, the space seems too large for the show. A curtain drawn to hide the depth of the stage would have created more intimacy. In saying that, Vascotto’s performance is physically spot on. She knows how to work it, never missing a beat, knowing exactly how to draw the audience in. With a flick of her luscious auburn locks, the wink of a smoky eye, she exudes confidence and sass, and is a joy to watch on stage. She keeps the audience on their toes, having everyone falling in love with her and then with a simple twitch of the head or a change in her tone, has us all thinking “this girl really does have a screw loose.”

I am blown away by Vascotto’s voice. Holy moly, what a set of pipes! And it isn’t only during the songs (that she wrote, by the way), but the musicality of her speaking voice, which is just as captivating.

Regarding cabarets and musicals, there needs to be a flow between story and song. The beginning of Screw Loose seemed a little stagnant, though a better momentum was found as the show progressed. It is hard when the only thing on stage is a performer and a pianist – there is nowhere to hide. But more often than not, that’s cabaret. Vascotto has an amazing presence, which she uses to her advantage.

It’s a shame the season was so short but this isn’t the last we’ll see of Emily Vascotto. With this year’s Tony Awards just announced, it seems appropriate to ask, will it be Broadway next?   

    

10
Jun
17

Song Lines

 

Song Lines

Brisbane Powerhouse & Charming Rebel

Brisbane Powerhouse Visy Theatre

Thursday June 1 2017

 

Reviewed by Xanthe Coward

 

 

 

What’s your song line? Do you know? Do you know where you come from; where you’ve been and what’s brought you to this place? If you do, that story is your song line, your living narrative, connecting you to all things, past and present. For many Indigenous cultures, their personal and cultural maps are far-reaching networks of songs, creating connections between people and place.

 

Michael Tuahine’s song line is not only his story, but those of his parents too; an Aboriginal mother and Maori father, and just like the slice of heaven that is the New Zealand production, Daffodils (sorry, if you missed it, it was superb), Tuahine’s debut solo show features his parents’ relationship and the soundtrack of their lives. His own story almost takes second place, however; it’s made very clear that the story continues, and that at this point, Tuahine’s 42 and single!

 

We hear the troublesome tale of his mother’s experiences as a young girl, at the hands of white Australians, and her resolve to start her life again in New Zealand, the only place to which an Australian Aboriginal woman could escape without a passport. I feel like we want to see a whole show about Tuahine’s mother… Let’s make that happen.

 

Once, once in a while

You’re gonna find her

Waiting for some recognition

It’s her transition to recognition

She has to be loved

She want to be needed

Don’t want to be hated

Just loves to be wanted

 

 

Tuahine’s deep connection to family and place comes through so beautifully and authentically.

 

We share in some of his fondest memories, of the fun and lively extended family gatherings, involving rich voices and guitars, and beers and footy, and good food and great kids; we understand perfectly, the deep sense of belonging and returning, and returning again to wherever home is made. Then of course there are the career moments that had to be had, including the relative success of the 90s boy band AIM 4 MORE. While the photos of the band and the family, which are shared as slides, add a personal element to the show, I think I’d expected something a little more sophisticated in the presentation. We’re accustomed to the audio visual work of the likes of optikal bloc, and perhaps we’ll need to see something more engaging in the next version of the show. Have we seen already, the screen shots of the family pics shared on Facebook, with all the likes and comments and emojis? That would be a neat way of sharing these precious memories for a social media savvy cabaret audience. This is an artist who can get away with such a gimmick.

 

 

Tuahine himself is nothing short of engaging. He’s charismatic, quick witted, cheeky and very funny; he’s quite a catch! (What are you doing about it, women of Australia?!). He’s able to bring pathos and proper crooner compassion to the ballads, certainly his strong point. At times the rock numbers lose a little of their impact, but this is easily remedied if Tuahine is to continue to work with musical directors such as Bradley McCaw, who is musically brilliant and brilliantly entertaining on keys, guitars and vocals. In fact, this three-piece band could easily travel with Tuahine to the far ends of the earth for gigs. They work beautifully together.

 

Roy Orbison’s Crying will always make me think of Mulholland Drive, but this rendition is in remembrance of Jimmy Little, the Aboriginal artist who encouraged Tuahine to pursue his dreams of becoming an entertainer, and inspired him to go to Queensland Theatre Company’s AD, Wesley Enoch, with the concept for Country Song.

 

When we hear She Has To Be Loved and Tuahine’s favourite Maori numbers and Australian Aboriginal songs, we hear his whole heart and soul.

 

This beautifully packaged show, taken under the gentle wing of someone willing to quietly coax a little more out of it, and with all the charm and sincerity of its rising star, will be as far-reaching as any song line. Keep an eye out for its return.

 

 

07
Jun
17

Seven On Sinatra

 

Seven on Sinatra

Brisbane Powerhouse

Brisbane Powerhouse Theatre

Friday June 2

 

Reviewed by Katy Cotter

 

 

American singer Frank Sinatra was one of the most popular and influential music artists of the 20th Century. He sold more than 150 million records worldwide and was the recipient of eleven Grammy Awards, including the Grammy Trustees Award, Grammy Legend Award and the Grammy Lifetime Achievement Award.

 

Sinatra was a class act, making the ladies swoon and men wish they were as suave and charismatic.

 

Under the musical direction of Tnee Dyer, seven of Brisbane’s finest female singers took to the stage to honour Sinatra’s incredible legacy. The Powerhouse Theatre was packed, and with cabaret seating set out, there was a buzz of excitement in the air. Being born in the 80s (I’m proud to admit it), I am no Sinatra expert and I entered the show without expectations. By the end I was bopping in my seat, singing along, surprised at how many songs sounded familiar.

 

What I love about music is its ability to transport you through time and space. When listening to songs like Fly Me to the Moon and I’ve Got You Under My Skin, memories were conjured of my mum dancing and humming in the kitchen as she listened to the wireless. And hearing They Can’t Take That Away from Me I remembered being a teenager watching the movie Corrina Corrina over and over.

 

The set list included all the hits and the band was exceptional. The joy of listening to a swing or jazz band is tuning into those often surprising, intricate moments that showcase each instrument. There is a subtly between each transition. At one time the audience is engrossed with the lyrics, then the piano is the focus, and slowly a glorious crescendo of the trombone sneaks into your ear. I was filled with a warm and fuzzy feeling. Other times it was all go-go-go, with a hot to trot, get out of your seat, let’s dance kind of energy. The lighting design was amazing and lifted the performance again, with cool blues, booming reds, and sensual greens.            

Now to the seven ladies… Apart from the talented Liz Buchanan, who sang with such elegance and poise, I had not seen the other women perform. It was opening night (and sadly the only night) so there were some nerves shown by some at the beginning of songs. Jo Doyle had a smile from ear to ear and was a pleasure to watch as she weaved through the audience and danced with the band. Jacqui Devereux was clearly known and beloved by the audience who praised her with roaring applause. The beautiful Claire Walters was in her element; her voice was pure romance, making my eyes wander… “Could my love be here?” The vocal range of Bethan Ellsmore was otherworldly. She was a musical siren, seducing the audience back in time to 1930s New Orleans. Bombshell! Rebecca Grennan was an absolute delight and one of my favourites. She was cheeky and flirty, and the girl can dance! I did not want her to leave the stage. 

 

Two words. Melissa Western. This is a name you need to remember. One of Sinatra’s idols, Tony Bennett, said that Frank had “perfected the art of intimacy.” Western seemed to be channelling the man himself. Her performance was utterly captivating, wooing the audience with every word. Jaws dropped as she sang My Way. If she has a solo show, I need to know about it because she is dynamite.

 

 

 

 

(Melissa Western’s Gig Guide is here).

 

I thoroughly enjoyed Seven on Sinatra. This show was the perfect homage to the man and the music. 

07
Jun
17

The Really Real Housewife of Surfers Paradise

 

The Really Real Housewife of Surfers Paradise

Brisbane Powerhouse & Lisa LaCelle

Friday June 2 2017

 

Reviewed by Katy Cotter 

 

 

Yes, you heard it here first, Mercedes DeLuca-Jones is auditioning to become the new Really Real Housewife of Surfers Paradise. This lady has everything her heart desires, a husband with a large check-book, two beautiful children who have moved out of home. What more could she want? FAME!!!

 

The ever-versatile Visy Theatre was transformed into Mercedes’ luxurious sitting room on the Gold Coast. There sat a grand piano, a bar cart with only the most expensive French champagne, extravagant rugs, and a large statue of a Cassowarie – of course, darling! Mercedes, played by the beautifully charming Lisa LaCelle (as it turns out, a housewife of Brisbane) graces us with her presence in a fabulous sequinned number with diamonds sparkling on her ears and fingers.

This wickedly hilarious comedy-cabaret sees Mercedes gossiping about friends both alive…and dead. She recently lost her gay best friend, Ritchie, whose voice she still hears and believes now is her guardian angel. To help deal with her grief she’s hired a music therapist, Ivy, who sits behind the piano sufficiently boozed up, it seems, to withstand Mercedes’ rollercoaster of emotion.

The story follows the highs and lows of Mercedes journey to be the next Housewife. She suffers shocking personal blows that see her husband Gregory running off with a Japanese exchange student, and her left clawing at her polyester Moo Moo in the hope to regain her dignity.

Alongside the witty and intelligent writing, the lyrics from hit pop songs weaved seamlessly throughout the show have been altered to suit the story. It was clear that LaCelle had a voice, but Mrs. DeLuca-Jones not so much, though it was the over-the-top performance of each song that had me in stitches. Her I don’t care what you think attitude got the audience on side from the get-go, and singing along.

With reality television taking over, this show is extremely current. It was entertaining and like reality TV, it was a chance to escape the hum-drum of everyday life, and have a laugh at another’s expense.

 

LaCelle’s performance is entrancing, throwing herself into the character, eliciting raucous belly laughs from the audience.

 

She was in complete control, even when phones starting ringing and people deciding to have loud conversations during the show, she powered on and I applaud her for that. It was a tough gig.

 

20
May
17

Deal Or Ordeal

 

DEAL OR ORDEAL

Ms. Demeanours Theatre

Anywhere Theatre Festival

May 10 – 20 2017

Reviewed by Katy Cotter 

You know the Channel 7 show Deal or No Deal? What an afternoon delight full of bright wigs, gold cases and a host, it would seem, on copious amounts of speed. Just joking, Andrew O’Keefe is hilarious. But like many of those afternoon programs spending money that our government should be saving to pay back our national debt, the viewers know it’s all a bit of frivolous fun. You can sit back and relax, and trust nothing life-altering will happen.

The creative team behind Deal or Ordeal was very aware of what their consenting audience was to experience. They wanted to start a conversation about Sexual Harassment and Rape Culture in Australia. Ms. Demeanours Theatre explained, “With consent being reduced to a game, and victims being blamed and dismissed, we thought, why not take that concept to a new level?”

This show was a part of Anywhere Theatre Festival, and I arrived at a residence in Highgate Hill, to be seated in a garage set up like a TV studio. There was a shimmering gold curtain and bright lights, it was brilliant!

The audience was introduced to three hosts (Mikaela Hollands, Sophie Gliori and Maddi Romcke), all charming ladies that were loud and over-bearing in their cause to win us over. The games resulted in sharing shocking facts about sexual harassment and rape in Australia and involved audience participation, but only to those willing. Before we entered, we were given a card that said DEAL on one side and NO DEAL on the other. If getting up on stage was too terrifying a thought, then you’d show the NO DEAL sign and you were saved from being forced to do anything you didn’t want to do. The audience’s consent was cherished during the performance. 

The work runs a fine line of being annoyingly over-the-top and cringeworthy, as well as being confronting, honest and informative. This was an intentional choice to allow people to enjoy the “entertainment” side and immerse themselves in the “game,” yet remaining unsettled because of the horrible topic being discussed. There came gasps of horror at some statistics – this show packed a punch!

The ladies made sure to acknowledge their awareness that men are also victims of sexual harassment by female perpetrators, however; they chose to focus around their own personal experiences in the creative development of the show. The focus on men was tedious at times, though ultimately it was the right choice to go with. I did ponder afterwards, what it would be like hearing from the male perspective…? 

My favourite moment came at the end when the three hosts dropped character, removed the blue wigs, and the performers as themselves were revealed. They each stood before us and recited a poem about one of their most intimate experiences. I applaud them for their bravery and I will carry those stories with me. It put the whole show into perspective. A heaviness was left in the air, a weight each audience member now carried and were responsible for. We now had the power to make a change. I found myself reflecting on my own experiences and relating to the women in front of me. I left more informed and with a fire in my belly to speak out. 

Deal or Ordeal is an intelligent piece of theatre, clearly well researched, and each performer passionate about making their voice heard.

There is a stigma, a white noise, around sexual harassment and rape. This show urges its audience to break the silence and get talking. With open communication and education, we can start to move forward as a society. We have the power to stop the shaming and the abuse, and promote safe and consensual sexual practice.