Brisbane Powerhouse with Charming Rebel & Wax Lyrical Productions
Brisbane Powerhouse Turbine Platform
November 25 & 25 and December 3 2016
Reviewed by Xanthe Coward
Lizzie Moore’s latest show doesn’t quite match up with Joel Devereux’s slightly erotic and very inviting publicity image for it, but this bold cabaret makes a strong statement about the way we continue to view the women in our lives and the way we present ourselves, as women, to the world. Featuring a cast of circus, burlesque and musical theatre performers, Other Women asks the tough questions, and leaves us to come up with the answers we’d like our sons and daughters to hear. Are we going to keep putting every sort of woman in a box? Are we going to keep measuring every sort of woman by the same yardstick? Are we going to continue to laugh uncomfortably at the misogynist jokes and references our friends and family members and the media make rather than actually make changes to the language we use every day, and fuck off the cultural lies that keep women from just showing up and feeling genuinely confident to be who they want to be without shrinking or making themselves invisible or putting on an unsustainable OTT Wonder Woman act? Phew. DISCUSS.
We were all allowed to call ourselves feminists…as long as we were not pricks. We were allowed to have one but just not behave like one.
– Barry Stone
Who are the other women? Moore is joined on stage by circus dilettante Freyja Edney, burlesque darling Rosie Peaches and aerial artiste Eliza Dolly, with special guest vocalist Chloe-Rose Taylor, who also performs a contemporary dance. She brings Mad Men ordinary-housewife-and-mother gritted teeth to the story, along with the infuriating, smiling, winking sentiment of Wives and Lovers. That’s before I’m invited up to hold a placard that reads JUST A HOUSEWIFE, alongside other audience members self-consciously displaying STUD and SLUT and BOSS. These labels appear to be self-nominated since we came by them via an audience elimination survey, in my case,
judging damning leaving with hands up, only those who chose to have children and stay at home with them for longer than 2 years.
But this is how quickly and casually we assess ourselves and each other.
Each individual in the Other Women lineup has her own skill set and distinct style, adding colour and texture, perspective and fierce energy to a show that could almost as easily do without all of it…and perhaps the original concept was just that. Moore could certainly carry this show on her own. But that’s not the show. That’s an entirely different show, and perhaps that’s worth exploring another time. Moore is such a strong, super sexy performer, she doesn’t need anyone but the band on stage. (And the three-piece band is fantastic… Bradley McCaw is actually everywhere again at the moment, isn’t he?!).
In February during MELT you can see Moore in her original one-woman show On a Night Like This: The Erin Minogue Experience
An engaging, entertaining storyteller, Moore minces and sizzles on stage and off, and sings up a storm of epic feminist street protest proportions. Her bold Man-Eater entrance through the audience sets the tone from the outset and The Other Woman offers a glimpse of the stripped-back, rather more raw Moore. In this show she’s a provocateur and she’s here to disrupt, but nicely. It seems she’s here to “misbehave with integrity” (Dr Clarissa Pinkola Estes).
The show is strongly political – we can’t possibly miss the message (a Big Book of Misogyny segment spells it out in case you weren’t already paying close attention) – and if we don’t feel any more empowered than we did when we walked into Wonderland, at least (At Last), we feel uncomfortable enough to continue to challenge the status quo.