Archive for the 'Events' Category

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.

02
Apr
17

Harry Potter and the Philosopher’s Stone In Concert

 

Harry Potter and the Philosopher’s Stone In Concert

J.K. Rowling’s Wizarding World & CineConcerts

Brisbane Convention and Exhibition Centre

Saturday April 1 2017

Reviewed by Xanthe Coward

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We’re at Brisbane’s Convention and Exhibition Centre with a crowd that is not your ordinary theatre crowd, although perhaps it’s a new theatre-ish crowd, and we get some interesting looks ourselves, as if we’re the odd ones out. We’ve swept into the venue at the last second, having parked at QPAC because we always park at QPAC (it’s automatic now; the car can magically get itself there), which means that when the show is not there, a graceful-as-a-giraffe little run down Grey Street and across the road is required to get to the right box office. This mixed crowd, in the Convention Centre foyer, is not expecting an evening of live theatre.

They’re here for a movie concert, the first of a new genius series from CineConcerts, featuring your local symphony orchestra playing every note of a Harry Potter film shown on a 40-foot screen.

It may be a movie night but it’s an entirely theatrical event! The vibe is electric and a great number of hard-core fans are proudly wearing Gryffindor shirts, and ties and sweaters and robes. Everybody is so excited to be here.

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We take our seats moments before the house lights go down and when Conductor, QSO’s Sarah Hicks, appears, she is welcomed by appreciative applause. She smiles and asks if there’s anyone who’s never been to a live orchestral performance. Many hands go up, and she smiles encouragingly, inviting everyone to get involved. In true pantomime fashion, we should feel free to cheer for our hero and boo the villains. There’s no question about whether or not we’ve seen the film or read the book… No matter what our individual stories are, we’re in for a treat!

I wonder how the orchestra will precisely match the action, but only for half a second before Hicks raises her baton and the Warner Bros logo appears on screen as we hear the first sounds from the string section. A collective shiver runs through the Great Hall. It’s perfect. It’s actually intense. Every moment of the movie becomes sharper and more vital. The entire underscore, which we might forget is there sometimes, when we see the film at home or originally, in the surround sound cinema, comes alive. Every moment of discovery, joy, anticipation, trepidation, celebration and dread is able to be fully experienced, savoured.

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And unless we glance at the musicians on stage from time to time, or become mesmerised watching them at their craft, as I do while the harp plays to keep three-headed Fluffy asleep (it’s so beautiful, the sound of faerie slumber), or while the percussionists keep up with thousands of magical additions, intellectually, we almost take for granted that the music is live. But at the same time, soulfully, we’re experiencing something very special. Like a festival event, there’s a true communal feeling, a momentary connection with people we’ve never met, because we all just want Harry to defeat Voldemort! We know this is only the very beginning of an epic battle, which represents something for everyone. And it’s delightful to see this film again, so beautifully realised, and it’s so funny, I’d forgotten.

Poppy has been terrified for years by the more frightening moments in the film, and has never actually watched in its entirety, The Philosopher’s Stone or any of the subsequent films. I’d made this event a surprise so she couldn’t back out and offer her seat to someone else, and she was hesitant about it, telling me she might need to hide under my wrap when we know Voldemort is about to appear. Well, she did hide towards the end, but after settling into the first few magical bars of the music I saw a grin spread from ear to ear as Harry celebrated his 11th birthday and took off to Hogwarts with Hagrid. Guess what’s on in the background as I write this? Poppy has taken out the DVD box collection and put on The Philosopher’s Stone, and as we hear the familiar strains of John Williams’ evocative opening bars, she laments, “The music’s not as good!”

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Our Queensland Symphony Orchestra gives The Philosopher’s Stone a new, unique, incredibly magical quality, the full, rich sounds of the live music letting us dive in deeper, remember our original experience of the film and enjoy J.K. Rowling’s Wizarding World all over again.

 

Don’t miss the next exciting event in the QSO / Cineconcert series on October 7 Harry Potter and The Chamber of Secrets 

 

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10
Mar
17

Boys of Sondheim

 

Boys of Sondheim

Brisbane Powerhouse & Understudy Productions

Brisbane Powerhouse Turbine Studio

February 2 – 4 2017

Reviewed by Xanthe Coward

I was a little bemused by the collateral for this one, a highlight of this year’s MELT Festival. Surely Stephen Sondheim is only recently recognised as “one of the most significant gay artists of the 20th Century”? I grew up with his music and have always recognised him as an artist. I don’t have people within my circles for whom this distinction is anything other than a source of pride and solidarity. MELT has a sense of wonderful community about it, which is typical at Brisbane Powerhouse, regardless of the programming; it’s my favourite venue as much for its vibe as its unlimited possibilities for performance and socialising, but during this festival there’s always something a little more electric (and eclectic) than usual. The energy is super charged and the collective pride shared by the artists and patrons during this time each year makes for an even more appreciative audience, and closer connections. The ‘standard’ of the stuff on show seems to be largely inconsequential. What it comes down to is this: we just want to hear our stories.

Sondheim’s music is some of the most intricate and difficult EVER. It’s not just about hitting the notes (nothing ever is), and given the chance to perform it, most artists will leap in the general direction and enthusiastically “perform” the piece. Some will even sell their song and earn heartfelt applause, and even fewer will leave someone in their audience in tears, or breathless and aching for…something that’s perhaps just out of reach.

Sometimes I do a heap of research and read about previous productions, and their creators and directors and artists, I peek at what the critics have noted, I ask friends what they think, I catch up with the artists or message them to get a sense of where they’re coming from and what they want us to get out of the work. But this is a brand new work, a world premiere, and there’s no precedent except for every other celebration of Sondheim’s music ever. This is certainly a celebration, a tribute to one of the defining voices of musical theatre and mostly, an interesting and entertaining night out, but it’s not all I’d hoped it would be. After a brief development period, the show lacks the polish it needs to win us over completely. It has some heart and some guts, and it’s a great vehicle for its talented performers, but I’d like to see it again in 6 or 9 months time when it might know better what it wants to be.

A narrative penned by Anthony Nocera offers us mostly amusing fleeting glimpses of some of the joys and pitfalls of gay dating and loving and living. Not unlike Dean Bryant’s GAYBIES, the structure relies heavily on these brief monologues, delivered in turn by the actors, to break up the musical numbers, an assortment of somebody’s favourite songs, loosely stitched together in an it’s-interesting-to-be-gay overarching way. Unfortunately, towards the end, the narrative breaks up one of Sondheim’s greatest accomplishments and Being Alive is brought to a painful death by continual interruptions. This makes it almost impossible for Tim Carroll to build the song and bring it to its bitter sweet soaring end, and makes me wonder, why?

With only a few shows in this short season, the opening number needed to be ready for opening night, and the insecurity or reticence or something of three quarters of the cast members makes the first 8-10 minutes ever so slightly uncomfortable. This is so weird, because they’re all fantastic performers, but the music is challenging and the lesser known songs don’t help to win us over. I love Kurt Phelan’s choreography, utilising the catwalk and the narrow space in front of a gay-mancave-bar, the conceit being that these guys have gathered in someone’s home for a lovely champagne catch up.

Kurt Phelan, Sean Andrews, Stephen Hirst, Alexander Woodward and Tim Carroll certainly go to some lengths to expose the “soulful, masculine underbelly” of Sondheim’s work as well as much of the comedy (Hirst’s (Not) Getting Married Today is sidesplittingly funny), but we know there’s more to this lovely little show and I can’t wait to see it reborn and restaged sometime.

28
Feb
17

Matilda Awards 2016

Matilda Award Winners 2016

 

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Last week the Matilda Awards took place for the first time at Brisbane Powerhouse. Queensland artists were celebrated in a dazzling awards ceremony directed by Kris Stewart, and hosted by Melissa Western and Dash Kruck.

The committee has wanted to raise the bar for a little while now, and put on a highly entertaining and social event that honours our artists in a way that can be more genuinely felt by all in attendance (and by all those playing at home). Industry feedback has been very positive and the committee, working collaboratively with the newly appointed executive committee, will continue to consider suggestions from the artists and companies whom these awards were designed to celebrate. In 2016 the committee attended a record number of shows and added an award category to recognise physical theatre and circus arts in 2017 and beyond.

Thanks to ongoing Arts Queensland and Brisbane City Council funding, and an ever widening circle of fantastic supporters, the Matilda Awards and the annual ceremony can continue to evolve.

(Missing from pic, below, are committee members James, Baz and Elise). More pics on Instagram and Facebook. Search #matildas16

 

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GOLD MATILDA AWARD

Dead Puppet Society celebrating their exceptional body of work.

SILVER MATILDA AWARDS

Best Mainstage Production

Bastard Territory, Queensland Theatre Company and JUTE Theatre Company
George’s Marvellous Medicine, shake & stir theatre co and QPAC
Switzerland, Queensland Theatre Company
The Wider Earth, Queensland Theatre Company and Dead Puppet Society

Best Independent Production

Carrie: The Musical, Brisbane Powerhouse and Wax Lyrical Productions
Hanako, Brisbane Festival, Brisbane Powerhouse and Belloo Creative
True West, Brisbane Powerhouse, Troy Armstrong Management, Thomas Larkin and Annette Box
Viral, Shock Therapy Productions

 

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Best Musical or Cabaret

Carrie: The Musical, Brisbane Powerhouse and Wax Lyrical Productions
Hairspray, Harvest Rain Theatre Company
Terror Australis, Brisbane Powerhouse and Leah Shelton
Snow White, La Boite, Opera Queensland and Brisbane Festival

Best New Australian Work

Bastard Territory, Stephen Carleton
St Mary’s in Exile, David Burton
The Wider Earth, David Morton
Viral, Sam Foster & Hayden Jones

Best Director

Caroline Dunphy, Motherland
Ian Lawson, Bastard Territory
David Morton, The Wider Earth
Zoë Tuffin, Carrie: The Musical

Best Male Actor

Matthew Backer, Switzerland
Sam Foster, Viral
Benhur Helwend, Bastard Territory
Thomas Larkin, True West

Best Supporting Male Actor

Julian Curtis, True West
Jackson McGovern, American Buffalo
John McNeill, Endgame
Silvan Rus, Twelfth Night
Steven Tandy, Bastard Territory

Bille Brown Award for Best Emerging Artist

Masako Mizusawa, Hanako
Sophie Perkins, Carrie: The Musical
Paige Poulier, Twelfth Night
Emily Weir, Tartuffe

Best Female Actor

Kerith Atkinson, A Slight Ache
Andrea Moor, Switzerland
Sophie Perkins, Carrie: The Musical
Kimie Tsukakoshi, Hanako

Best Supporting Female Actor

Jennifer Flowers, Endgame
Libby Munro, Disgraced
Paige Poulier, Twelfth Night
Emily Weir, Tartuffe

Best Set Design

Aaron Barton & David Morton, The Wider Earth
Georgina Greenhill, American Buffalo
Leah Shelton, Terror Australis
Anthony Spinaze, Switzerland

Best Costume Design

David Morton & Aaron Barton, The Wider Earth
Kris Bird, Bastard Territory
Karen Cochet, Snow White
Jessica Haack, Twelfth Night
Josh McIntosh, George’s Marvellous Medicine
Leah Shelton, Terror Australis

Best Lighting Design

Jason Glenwright, Carrie: The Musical
Jason Glenwright, The Tragedy of King Richard III
Ben Hughes, Switzerland
David Walters, The Wider Earth

Best Sound Design / Composition

Dane Alexander, Hanako
Tony Brumpton (Sound Design), Lior & Tony Buchen (Composition), The Wider Earth
Rob Pensalfini & Silvan Rus, Twelfth Night
Steve Toulmin, Switzerland

Best Audio Visual Design

Tiffany Atkin & John Grist, Hanako
Justin Harrison (AV Design) & Anna Straker (Illustration), The Wider Earth
optikal bloc, Terror Australis
Nathan Sibthorpe, Viral

 

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27
Jan
17

A Night at the Musicals

 

A Night At The Musicals

Brisbane Powerhouse and Strut & Fret Production House

Brisbane Powerhouse Visy Theatre

January 25 – 29 2017

Reviewed by Xanthe Coward

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MELT Festival exploded onto the Brisbane scene this week with its iconic pastel inflatable icy poles, brightly coloured cocktails, stilettos galore, a glitter cannon and a wall of 100 naked men.

 

Joel Devereux’s FOODP*RN is a photographic exhibition of perfectly plated portions of nude males, all thoroughly enjoying an array of condiments and special treats. What I can only imagine was a series of very messy shoots, smothered in chocolate sauce, covered in milk and cream and popcorn, dripping with glistening syrup, shaking toffee apple maraccas, balancing buns on top of buns and grasping bananas as if their love lives depended on it. If you’ve been following this project on Instagram, you will have seen the admiration Devereux has for each of his subjects, and the care with which he has approached each shoot as a unique show-within-a-show, something that comes through in the final result. The figures, even those in repose, leap out of a whirl of colour with the energy of the unconcerned, completely comfortable with the brief and clearly proud to be a part of such a magnificent celebration of so much deliciousness. There’s a sense of mischief about the piece as a whole and in its parts is so much variety – something for everyone – and so much delight that I can’t imagine anyone standing in front (or above) the work without a smile on their face.

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MELT celebrates queer art and culture, and not only those who identify as LGBT but those who support them. It’s Brisbane’s most diverse and original festival, flamboyant and genuinely friendly. I was proud to be a part of the program last year, appearing in Dean Bryant’s GAYBIES directed by Kris Stewart, with the likes of Bec Mac, Margi Brown Ash, Barb Lowing, David Berthold, Brad Rush, Christopher Wayne, Kurt Phelan and Lizzie Moore. You’ll see Moore (with Brad Rush on keys) return to the Powerhouse during MELT with her hilarious cabaret, On A Night Like This: The Erin Minogue Experience and Phelan in Kris Stewart’s exquisite Boys of Sondheim. Other MELT highlights this year include RENT, Hedwig 15, An Evening With Amanda Palmer and A Night at the Musicals. Cake Face, Queer Comics, Virtual Drag and the MELT Portrait Prize round out the visual arts component of the festival.

I wanted to get into musical theatre…so I became a drag queen.

– Jonny Woo

 

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Jonny Woo and Le Gateaux Chocolat raise the bar with their cabaret show, A Night at the Musicals, a self-effacing, funny look at a few of their favourite musical theatre things. Given the extraordinary talent of its stars, this show has the potential to evolve into a much slicker and more sophisticated something, but perhaps this is not the intention – ever – within the world of drag. Is it? I don’t know. I just love Trevor Ashley’s new-found class, which he brings to his latest show Liza’s Back (is broken), and the precision and artistry of impersonators such as Simply Barbra / Steven Brinberg, as opposed to the original misogyny of ugly “tacky drag”.

Drag is for everybody.

– Jonny Woo

 

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Perhaps it was RuPaul’s Drag Race or Priscilla, Queen of the Desert on stage, or Slide or the Butterfly Club, or Trashley’s latest work that’s helped to change the face (or the sound) of the drag scene here, but I had long been under the impression that even the most popular drag acts were lip syncs rather than singers and for me, no matter how good the lip synching, it’s not as satisfying as hearing a great voice live. Jonny Woo and Le Gateaux Chocolat have great voices, and when Woo indulges in some old-school lip synching, it’s highly effective. In the first instance we hear the ensemble of Les Miserables while he contorts his face and posture to mimic every single character actor in At the End of the Day and later, we hear Liza Minelli singing Mein Herr as Woo dons giant jazz hands and dances around and over an audience member seated in a cabaret chair centre stage. There’s nothing “ragged” about it, Woo is cheeky and carries out the original choreography with precision. It’s extreme clowning, the grotesque in a good way, and the statuesque Woo makes it both alarming and completely charming to watch.

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Le Gateux Chocolat’s indulgence is different, giving us a shamelessly Star Wars inspired Phantom of the Opera and then a quick rundown on how Fantine comes to chop her hair off before he sings superbly, I Dreamed A Dream. In what becomes a running joke for the rest of the night, he runs the opening words together (no one ever really knows the intro, do they?) before getting to the bits that really matter. And let’s not neglect to mention a glorioius rendition of Let It Go, with Woo’s budget conscious SFX, absolutely hilarious. His voice is rich, sonorous, just beautiful, but whenever we begin to take him too seriously, he breaks the slightly more sombre mood and breaks into a fantastic scat or free dance until we have tears of laughter streaming down our cheeks. 

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Before the night is over we’re invited to offer suggestions and sing along to Summer Nights. There is no Funny Girl, despite hearing something from the soundtrack as we take our seats before the show. There is no Chicago or South Pacific orThe King and I or Singin’ In the Rain. No West Side Story or Oklahoma or Avenue Q. There is no Into the Woods or The Book of Mormon. No Aladdin. If you’re a serious musical theatre fan you might take the opportunity to shout our your suggestions during the requests segment of the show. You’ll be rewarded with an acapella excerpt of your preferred musical numbers. A Chorus Line complete with high kicks and The Lion King are the highlights for us.

In true, trusted Strut & Fret style, A Night at the Musicals offers a riotous evening in an intimate space, which we could easily enjoy again. If you haven’t yet come across Le Gateaux Chocolat or Jonny Woo – I just adore them both – this is your chance to discover a whole new beautiful world of quality high class camp entertainment. 

10
Dec
16

Phelan Groovy

Phelan Groovy

Brisbane Powerhouse & Kurt Phelan

Brisbane Powerhouse Turbine Studio

December 1 – 3 2016

Reviewed by Xanthe Coward

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Never let the truth get in the way of a good story.

– Kurt Phelan

Kurt Phelan is one of those hard-working, long-time-coming “overnight” success stories. You may have heard of him. He’s been in such shows as Kiss Me Kate, Priscilla Queen of the Desert, Singin’ In the Rain, Saturday Night Fever and Dirty Dancing. Phelan hails from Townsville and his cabaret show, the fantastically funny Phelan Groovy, is both a tribute and a tongue-in-cheek exposé of what it’s like to come from the tropics and conquer the world of musical theatre.

A natural performer, warm and genuinely welcoming, Phelan demonstrates from the outset perfect comic timing, a flair for rewriting our favourite musical theatre songs and a knack for nailing the sort of impersonations usually left to the drag queens. His delivery of Memory in (broken) Debra Byrne style, with her permission, of course, and complete with enormous dark sunglasses, an oversized martini glass and what could be a wrap or the green room rug thrown across his shoulders, is sidesplittingly funny and painfully accurate. Byrne is just one of the celebs Phelan dishes the dirt on during the show. When the balance is struck between a little bit nasty and a little bit naughty, these moments will land with greater aplomb.

A re-worked Dream A Little Dream paints the picture of Phelan’s birth on the laundry steps of his parents’ house up north. I Dreamed A Dream describes his heartbreak upon seeing the woeful film version of Les Miserables. And I’ve Had the Time of My Life is dedicated to the women who groped him during the touring production of Dirty Dancing (during the show!). Whether the entirety of this story – or any story – is truth or fiction we’ll never know, but the question doesn’t keep me from laughing until mascara tears stream down my cheeks.

When Phelan leaves the stage momentarily to slip into “something more comfortable” it’s to lose his dress shoes to flip flops. Only in Australia. And later, we’re certain only Peter Allen could be as comfortable as Phelan appears to be in a garish tropical shorts and shirt combo. Phelan wears it proudly. He’s a gorgeous performer with a cheeky grin that lets him get away with saying the most outrageous things in the most outrageous dress ups. Bare-chested and bold before conceding defeat in the face of Disney, he shares the infuriating discomfort of all the dads whose children are still singing/screeching Frozen’s Let It Go.

The show takes a serious turn when Phelan reflects on the too-soon deaths of some industry friends (Vanessa Carlton’s A Thousand Miles, stunning in its unadorned delivery) and again, as he shares JRB’s superb song, Someone to Fall Back On. It’s an incredibly difficult number to do, vocally demanding and emotionally complex, but Phelan sells it with a stirring, stinging honesty, just as he did during a masterclass with the composer.

There’s no ceremony about Phelan; he’s the real deal, as frank and honest, and as heartwarming and entertaining as any cabaret performer can ever hope to be. 

Joined by Luke Volker on keys for this Brisbane Wonderland season, Phelan shows us what it is to be human and fallible and funny and loveable and laughable, in that typically Australian, incredibly ironic sense. While the show in its current state is clearly meant for our audiences, and probably the more theatrically inclined among them, with a few tweaks it could travel, and it should. Phelan’s appeal is universal, and talent such as his in this context deserves a larger, broader audience.

08
Dec
16

More Than A Boy

More Than A Boy

Brisbane Powerhouse with Two&Co

Brisbane Powerhouse Turbine Studio

November 24 – 27 2016

Reviewed by Xanthe Coward

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Brisbane’s darling, Tom Oliver, in his fearless debut cabaret directed by David Bell, shares an epic family story, told to him countless times by his mother. We know it’s often the true stories that make the best cabaret shows. We also know cabaret is a genre we grow into, and it’s not for everyone. But Tom Oliver is made for cabaret and he comes of age in More Than A Boy

The 60-minute show feels like it’s got some settling to do and this will happen over time. Comprising a surprisingly eclectic mix of musical numbers, it’s a treat to hear original songs penned by Oliver, Andrew McNaughton and Wes Carr, alongside a few reimagined gems, each neatly placed to punctuate or advance the true tale of a young Croatian who flees a terror stricken Yugoslavia. Have you ever even heard Where Do I Go performed away from a production of Hair? Oliver sings this with the candour and longing of a refugee prepared to flee one life and cross unknown territory to find another, in this case in New Zealand. We go on a long, strange sea journey (More Than A Boy and McNaughton’s The Search and Tears in My Throat) before the shock and surprise of the clever, comical Swear Song, which reminds me of Briony Kimmings’ The Fanny Song.

The title track is a standout, a stunning songwriting achievement for McNaughton and for Oliver a terrific showcase. Could it be Oliver’s next new release? It’s a chair turner. It belongs on an EP with Carr’s Hey Brother and the sure-hit These Are the Times. Will somebody make that happen?

I sort of want the start of the show to let us know more clearly where we are headed – on one level we need earlier, clearer contextualisation – but then it’s such a lovely not-really-a-surprise-at-all to learn by the end of the journey that everything Oliver’s shared is about a family member and probably actually really happened that way.

Oliver succeeds in juxtaposing You’ve Got a Friend in Me (Toy Story) against I Won’t Grow Up (Peter Pan / American Idiot) followed by Queen’s Under Pressure and The Beatles’ beautiful Blackbird, and these are the transitions that will need to be a little smoother in the next incarnation of the show. Very smooth – we knew it would be – is Sondheim’s There Are Giants In the Sky (Into the Woods) and the deceptively gentle opening number Nature Boy cut short to good effect. These early numbers and later, literally shifting gears once more, a lilting Every Now and Then (Thirsty Merc), as well as a New Zealand accent and a gorgeous Colin Farrell/Colin Fassnidge winking Irish brogue, spot on, are delivered in Oliver’s signature style, his vocal work strong and sweet. He’s a young, wide-eyed sage, wisdom beyond this lifetime locked away behind a baby face, and able to bring out a powerful rock persona when things need to be taken up a notch.

But a one-man show is never simply that. Beneath the melody of many of the musical numbers, Oliver’s three-piece band offers a subversive late-night/all-night underground jazz vibe. At times this threatens to fray a song’s narrative thread but the essence remains, like messing with the Christmas Pudding. Everyone can see something funky has happened in the kitchen – perhaps the chef has enjoyed more brandy than the batter – and the flavour and foodie photos will be just as satisfying, of course, but it’s not what Mum used to make. This is both shocking and refreshing, a proper cabaret shake up in terms of what we’ve seen recently jumping from the bandwagon. Oliver tells me the sure, solid sound comes from the musicians having worked together before. And with just one rehearsal for this Brisbane Powerhouse Wonderland season, the result is impressive.

More Than a Boy will undoubtedly tour and deservedly so. It’s a highly engaging all-new-ancient universal coming-of-age tale. One of our most versatile and adaptable and adorable performers, Oliver genuinely connects with his audience, gives us his all and leaves us wanting more, much more.

If you missed it this time, look out for More Than A Boy’s return season somewhere, sometime…

In the meantime, there is VELVET