tag:blogger.com,1999:blog-82819773876132252882024-03-17T07:29:59.084+11:00My Melbourne ArtsReviews on the independent and professional performing arts in Melbourne, and interviews with those who create it. Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.comBlogger1015125tag:blogger.com,1999:blog-8281977387613225288.post-59742859146996094562024-03-17T07:28:00.001+11:002024-03-17T07:28:59.772+11:00Future Proof review<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhGPhGsrmWkJQNzuNh4ZaMQj6YLn4IUBphlGNMAxd_k2jdwonR87XmZ0JCtQsLoobcSm6FagSYe7hsE6MDVKYCJsV3dw7I1rJCDU2L2BHCOg1q6goZ_u1RpAM3HrGjDqwDeh0LlipIizxngRPRq5S_CXhRkeq4Uv5lqlFOmLTXwPJG71XZc7AmnnwqRfOg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="2668" data-original-width="4000" height="313" src="https://blogger.googleusercontent.com/img/a/AVvXsEhGPhGsrmWkJQNzuNh4ZaMQj6YLn4IUBphlGNMAxd_k2jdwonR87XmZ0JCtQsLoobcSm6FagSYe7hsE6MDVKYCJsV3dw7I1rJCDU2L2BHCOg1q6goZ_u1RpAM3HrGjDqwDeh0LlipIizxngRPRq5S_CXhRkeq4Uv5lqlFOmLTXwPJG71XZc7AmnnwqRfOg=w470-h313" width="470" /></a></div><span style="font-family: inherit;">Every day we are reminded that the world is in a critical state of affairs. It can be immensely disheartening to say the least. However, with <i>Future Proof</i>, Gravity Dolls have found the beauty within the despair in a captivating physical theatre / acrobatics piece that explores what keeps us going, what got us here and what we need to do to ensure that we can remain. <br /><br />The show opens with the performers - Harlow Casey, Tim Rutty, Karina Schiller, Nina Robertson, Cassia Jamieson and Easa Min-Swe - moving on a revolving circular platform as they each express various "what if" questions around life, death and the world. It's a great introduction to <i>Future Proof</i>, with their brightly coloured outfits by Rutty and Harlow's direction, where we see the gripping chaos of a world colliding with ideas and ideals. This is perfectly executed with the following act that presents as a sales pitch for more plastic in the world with breathtaking design and adept direction as Rutty walks and sits on clouds of plastic bags that envelop the remaining performers.<span><a name='more'></a></span><br /><br />Rutty's set and costumes, Ian Moorhead's sound and Richard Vabre's lighting in particular, are inspired and innovative and work hard with the ensemble to create unique acts. But where <i>Future Proof</i> excels, is also where it stumbles, because there is often too much happening on stage to fully appreciate and consider Casey's poetic text. When you've got performers on stage doing intriguing things with their bodies with stunning visual and aural elements coming at you at the same time, it can be overwhelming to focus on the words and take in the overall intention of each piece.<i><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiNiRfhtmY0sv1lLpGAdGPzP-MJ0PH-S-cC9YvuWkUBIbC5JY_8lUW1BC6ywbZ8C1Tix9aQJV5KWTD8u_fdMdPOEiQN-S9EwrBniL0Va7FNGaWMqTSTiClMLrsy5L0nZD4z0AsKOtMPagGlShR53D3UY5j459bv7M18C99ok419LF_MOOEbJ_MZWT3P6pU" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="2668" data-original-width="4000" height="288" src="https://blogger.googleusercontent.com/img/a/AVvXsEiNiRfhtmY0sv1lLpGAdGPzP-MJ0PH-S-cC9YvuWkUBIbC5JY_8lUW1BC6ywbZ8C1Tix9aQJV5KWTD8u_fdMdPOEiQN-S9EwrBniL0Va7FNGaWMqTSTiClMLrsy5L0nZD4z0AsKOtMPagGlShR53D3UY5j459bv7M18C99ok419LF_MOOEbJ_MZWT3P6pU=w433-h288" width="433" /></a></div>Future Proof </i>is raising important concerns about the state of our world, and while these are nothing new, the contrast in which these concerns are presented with strong direction, design and performances offers a whole new perspective, even if some of its messaging does get lost in all the noise.</span><div><p></p><p><i>Future Proof</i> was performed 14 – 16 March at <a href="https://arts.darebin.vic.gov.au/Arts-venues/Darebin-Arts-Centre" target="_blank">Darebin Arts Centre</a>. </p><span style="font-size: inherit;"><b>Image credits:</b> DarrenGill</span> <br /></div>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-76020693174629590192024-03-10T11:33:00.002+11:002024-03-10T11:33:28.663+11:00Eat Your Heart Out review<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj48kpqWKw5e4nUBViUOJNSQEIAuQn5OYgO6wrdqHsRI--1wl9MnaNjUQHc0krT32yUhH9UjavJ_FvuS-iS2pPYrlYoEM907c6IQYaUQ9eNb949zKQLnMintddWJ8yudgCZr-aTFZP9dhIGslCGNjg7Qm5PhSWQmpdzvg0CmoX9sWLgfA3hpbo3UA47rps" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="625" data-original-width="934" height="370" src="https://blogger.googleusercontent.com/img/a/AVvXsEj48kpqWKw5e4nUBViUOJNSQEIAuQn5OYgO6wrdqHsRI--1wl9MnaNjUQHc0krT32yUhH9UjavJ_FvuS-iS2pPYrlYoEM907c6IQYaUQ9eNb949zKQLnMintddWJ8yudgCZr-aTFZP9dhIGslCGNjg7Qm5PhSWQmpdzvg0CmoX9sWLgfA3hpbo3UA47rps=w554-h370" width="554" /></a></div>
<p></p><span style="font-size: small;"><span style="font-family: inherit;">Two sisters meet for lunch every Tuesday. They discuss the important things in life: food, fashion, money, and gossip. They are the ladies who lunch; the ladies who are well-off and well-dressed and really have nothing to worry about. Until now. In Angela Buckingham's <i>Eat Your Heart Out</i>, Carolyn Bock and Helen Hopkins play two siblings who find themselves forced to question life's bigger mysteries when tragedy befalls.<br /><br />Buckingham's script borders on the ridiculous, as we witness Beatrice and Eleanor try making sense of the world around them and looking for a greater purpose to the affluent lives they lead. She allows them to make some observations and realisations but effectively show their hypocrisy and arrogance through the way they treat the service staff at the restaurant they are dining at.<span><a name='more'></a></span><br /><br />Bock and Hopkins have a good understanding of their characters and while they are exceptional performers, you can't help but wonder if director Peter Houghton has made them overplay the sisters, where it begins to feel like we are watching a farce. If the wild gesticulations, loudness and lack of awareness were toned down, then we could focus on what they are saying and give the two characters the opportunity to experience some real transformation or change.<br /><br />Throughout the sisters' lunch, a waitress tends to their needs, refills their glasses, prepares the myriad of dishes they request and cleans up their mess. Clare Bartholomew is perfect in these roles of servitude, expressing her frustrations and helplessness as to how she is seen (and not seen), treated, spoken to and valued, not only by the sisters, but everyone else at the restaurant and also by society as a whole.<br /><br />A clever lighting design by Matt Scott and set design by Sophie Woodward lets us see behind the dining area and into the kitchen of the restaurant, and further highlight the absurdity of how little these women actually care for what is going on around them, even when they are speaking about it.<br /><br />There's plenty to admire in <i>Eat Your Heart Out </i>but Houghton seems to have bitten off more than he can chew in this instance, as there is a disconnect between the text and the performances that results in this production being an ineffectual exploration of life and its meaning.<br /><span><span><span><span><span><span><span><span><span><span><span><span><u><b><br />SHOW DETAILS</b></u></span><span><b><span></span></b></span></span></span></span></span></span></span></span></span></span></span></span></span></span><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><span><span><span><span><span><span><span><b><span>Venue: </span></b><span>La Mama Courthouse, 349 Drummond St, Carlton<b><br />Season:</b> until 17 March | Wed 6:30pm, Thurs - Sat 7:30pm, Sun 4pm <b> <br />Duration:</b> 70 minutes<b><br />Tickets:</b> $35 Full | $25 Concession<b><br />Bookings: <a href="https://lamama.com.au/whats-on/summer-2024/eat-your-heart-out/" target="_blank">La Mama Theatre</a></b></span></span></span></span></span></span></span></span> </span></span></span></span></span></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><b>Image Credit:</b> Darren Gill</span></span></span></span></span></span></span></p><p></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-33984144132282767152024-03-04T20:20:00.004+11:002024-03-04T20:50:45.305+11:00Ruthless! The Musical review<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiIJv6Cb1966jgYdxVMTJw3wPpontnklDxPZ3UTxMP5CW9WwHiMVJMFuptcZ_FFc0a1kgczSFzvk_8OlUXIut0kP9KEyfRZ4RVYw9v35UwPogMsWjMsLR_TRGGQc9JPmNm4X2dxNrfiHNvuHwUTnymEdHp0i4SXeYOgDHsZL8lAU2ji_zPXqUJZI7mskLA" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="4790" data-original-width="7182" height="345" src="https://blogger.googleusercontent.com/img/a/AVvXsEiIJv6Cb1966jgYdxVMTJw3wPpontnklDxPZ3UTxMP5CW9WwHiMVJMFuptcZ_FFc0a1kgczSFzvk_8OlUXIut0kP9KEyfRZ4RVYw9v35UwPogMsWjMsLR_TRGGQc9JPmNm4X2dxNrfiHNvuHwUTnymEdHp0i4SXeYOgDHsZL8lAU2ji_zPXqUJZI7mskLA=w519-h345" width="519" /></a></div><p><span style="font-size: small;"><span style="font-family: inherit;"></span></span></p><span style="font-family: inherit;"><span style="font-size: small;">Everyone wants to be talented. But not everyone can be talented. First performed Off-Broadway in 1992, <i>Ruthless! The Musical </i>is all about the lengths that people will go to be known and adored. This is the kind of show where you think it can't possibly go there, and it does, with much glee, audacity and campness. <br /><br />Melbourne icon Dolly Diamond takes centre stage as talent agent Sylvia St. Croix who is determined to make Tina Denmark a star, even if it means creating a monster. Chloe Halley, giving off fabulous <i>Little House on the Prairie</i> Nellie Oleson vibes, as the menacingly charming 8-year-old acting prodigy. Britni Leslie as Tina's talentless homemaker mother finds great comedic timing and delivery as Judy and provides some devilish surprises for the audience in Act 2. Despite having a supporting role, Olivia Charalambous steals every scene she is when let loose as Eve, an obsessive and slightly unhinged assistant.<span><a name='more'></a></span><br /><br />The story by Joel Paley is ridiculously over the top and fun, and Chelsea Matheson ensures this is reflected in her direction. Elaborate entrances and exits, wild gesticulations and flamboyant movement are a recurring occurrence and a constant source of entertainment by the cast. However, it’s with Dave Barclay's musical direction where the production fails to light a spark. The music begins to feel repetitive early on and the performances during the musical numbers need more variation. There's not adequate differentiation between the acting and the singing with the latter subsequently coming across as quite flat. <br /><br />The pastel set design in Act 1 is simply gorgeous and perfectly underscores the domestic bliss and seemingly innocent lifestyles that Judy and Tina lead. In Act 2, with the stakes having drastically increased and murder, deceit and betrayals aplenty, the set takes on a fittingly darker and colder aesthetic. This tonal change is also highlighted by the costume substitution from flowing bright pink and yellow dresses to more dramatic and body hugging black and silver outfits.<br /><br /> While it's been over 30 years since it was initially staged, <i>Ruthless! The Musical </i>has plenty of twists and turns to keep fans of any soapie or melodrama intrigued. While the musical numbers might be a letdown, the performances and the script are a winning combination that results in this deliciously extravagant production.</span></span><span style="font-size: small;"><span style="font-family: inherit;"><u><b><br /><br />Show Details<br /></b></u></span></span><p><span style="font-size: small;"><span style="font-family: inherit;"><b>Venue: </b>Theatre Works, 14 Acland St, St. Kilda<br /><b>Season:</b> until 24 Mar | Tues - Sat 7:30pm, Sun 2pm<br /><b>Duration:</b> 60 minutes<br /><b>Tickets:</b> $65 - $72 Full | $58 - $65 Concession<b><br />Bookings:</b> <a href="https://alextheatre.au/ruthless-the-musical/" target="_blank">Alex Theatre</a></span></span></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-23345614518594237392024-03-03T10:50:00.001+11:002024-03-03T10:51:40.493+11:00Every Lovely Terrible Thing review<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfDzTaXCGM4mWJwpjB__4iir8G1juLDBy6nIpDVjRPkEDx-sGTliNsST4sIw9if2d6vxWK9fUag0kIj-pS6HSUD6VU55yZvZPIGMSHy7CzL14Em83rwsRoul8pGMHmNEitbjSnR8ghKdoAZi758rk76SJk07HLhMXfAIDdQMkWt8pj3BjkN8UhEyd5Ea4/s8192/LabKelpie_ELTT_photoPiaJohnson_074.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="5464" data-original-width="8192" height="337" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfDzTaXCGM4mWJwpjB__4iir8G1juLDBy6nIpDVjRPkEDx-sGTliNsST4sIw9if2d6vxWK9fUag0kIj-pS6HSUD6VU55yZvZPIGMSHy7CzL14Em83rwsRoul8pGMHmNEitbjSnR8ghKdoAZi758rk76SJk07HLhMXfAIDdQMkWt8pj3BjkN8UhEyd5Ea4/w506-h337/LabKelpie_ELTT_photoPiaJohnson_074.jpg" width="506" /></a></div><p><span style="font-size: small;"><span style="font-family: inherit;">We all love a bit of family drama and conflict don't we? Well the Coleman household certainly do. In Adam Fawcett's <i>Every Lovely Terrible Thing</i>, we are introduced to six members of the one family across three generations. Over the course of several months, tensions escalate and secrets are revealed that will shatter the fragile domestic unit that they are all living under.<br /><br />The ensemble confidently find their footing with their characters and deliver some very natural performances. Wil King is fascinating as Cooper, the youngest of the Colemans. Struggling with their own identity while also having to constantly deal with their father's constant beratement, a chance encounter with local tradie Lachie, sets them on a path that they may not be ready to face. Lyall Brooks and Sharon Davis are a formidable pairing that are required to do most of the heavy lifting as bickering twins Charles and Britta where each harbours their own pain, shame and regrets. Its testament to the skills the cast have that they can make us care for these people despite the fact they are not easily likeable figures.</span></span></p><a name='more'></a><span style="font-size: small;">The dialogue is sharp and snappy and Fawcett imbues individual humour and perspectives for each of their characters, which serves as a great outlet for the audience to release the tension that builds throughout the production. Musical interludes are surprising and effective, particularity those around Cooper and his infatuation with Lachie.<br /><br />While the dialogue is engaging, it is the narrative that has a few missteps. There are developments that play out too simplistically, such as Lachie's blossoming relationship with Cooper, where given his circumstances it's difficult to believe the tradie would casually be sitting on the sofa watching a movie at Cooper's home with their family outside. Other events occur out of the blue, which although they create a shock, some build up or foreshadowing would benefit the audience and not startle us out of the world being presented.<br /><br />Director Justin Nott plays a delicate but rewarding push-pull with the drama and comedy, slowly drawing the audience in, until the full force of the Colemans wildness is unleashed upon us. Nott possesses a firm understanding of the story and brings this to animated life with strong performances and a terrific design team. Harry Gill has constructed a highly effective domestic stage with a connecting living room, kitchen and dining room and a backyard that feels lived in and used. Along with Sidney Younger's lighting design, we are given a dose of familiarity with a sprinkling of gloom and anxiety into the space with the lampshade lighting. The empty void that surrounds the home and the constant blackouts within the script, further play with the darkness that is enveloping the Coleman household.<br /><br /><i>Every Lovely Terrible Thing </i>is a striking exploration on trauma and grief and the challenges that come with staying together as a family when it becomes increasingly clear that healing is not possible when together. Fawcett‘s story brings many laughs and sadness but it also serves as a hopeful reminder that you can still be scared and do things to make life better. <br /></span><p></p><p><span style="font-family: inherit; font-size: small;"><u><b>Show Details<br /></b></u></span></p><p></p><p><span style="font-family: inherit; font-size: small;"><b>Venue: </b>Theatre Works, 14 Acland St, St. Kilda<br /><b>Season:</b> until 16 Mar | Tues - Sat 7:30pm, Sat 5pm<br /><b>Duration:</b> 140 minutes (including 20 minute interval)<br /><b>Tickets:</b> $45 Full | $35 Concession | 20 for $20<b><br />Bookings:</b> <a href="https://www.theatreworks.org.au/2024/every-lovely-terrible-thing" style="color: blue; text-decoration-line: none;" target="_blank">Theatre Works</a></span></p><p><b>Image credit:</b> Pia Johnson</p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-28792199572484939172024-03-02T11:48:00.003+11:002024-03-02T11:49:45.674+11:00Dry Land review<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy4q43n6e_TjhT08gQwwjW4zugTci8UfecKRSf7QxvY6OKVzn3oQniGrvcqJhAmJcv3sEyIgMF6UKtFZYO1tRLjquVzny2ThFchClnj0MSYf690rbV_1eu5KsIN5uc0CqgjqfFzO58JZJl2b2aUcyEGVGcwXf6ljO8xt652vIM7enLDk8YQkplHizG3k4/s4394/DRYLAND_website.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2471" data-original-width="4394" height="287" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiy4q43n6e_TjhT08gQwwjW4zugTci8UfecKRSf7QxvY6OKVzn3oQniGrvcqJhAmJcv3sEyIgMF6UKtFZYO1tRLjquVzny2ThFchClnj0MSYf690rbV_1eu5KsIN5uc0CqgjqfFzO58JZJl2b2aUcyEGVGcwXf6ljO8xt652vIM7enLDk8YQkplHizG3k4/w511-h287/DRYLAND_website.jpg" width="511" /></a></div><span style="font-family: inherit; font-size: small;">Amy and Ester share very little in common, apart from their place in the school swim team. But dive a little deeper and these two women discover they actually have many things in common, as well as secrets of their own. In Ruby Rae Spiegel's <i>Dry Land</i>, we are introduced to the (private) lives of schoolgirls and the real issues they are facing.<br /><br /> Luce Wirthensohn (Amy) and Cassidy Dunn (Ester) have a great ability in giving layered performances for their complex characters, but they are let down by a script that throws too much at them and the characters end up being driven by the narrative rather than driving the narrative. <i>Dry Land </i>would have been far more effective had we focused on the relationship between Amy and Ester, and by extension their individual lives, and not introduced to a number of secondary characters that add little to the story.<b><br /></b><span><a name='more'></a></span><br />There’s no denying Spiegel has put plenty of thought in constructing the stories of Amy and Ester, but <i>Dry Land </i>requires some editing and cuts, particularly with knowing how to end the show. There is a climatic moment between the two in the change room that would have been a fitting way to close, but three additional scenes follow, that diminish its powerful impact.<br /><br />Dion Spyropoulos' sound design, which is used during scene changes, represents the sense of release these two people are yearning for. Its gentleness and calmness is a reference to the freeness that Amy and Ester feel when they are swimming in the water.<br /><br />Abbey Stanway's change room set design is functional but successful in supporting the idea of how the swimming pool is where Amy and Ester can escape the pressures and frustrations they are facing while highlighting the importance this environment plays in their lives. <br /><br /><i>Dry Land</i> is the first production by new theatre collective flatpack and the company delivers on its promise for bold storytelling and presenting theatre that tackles serious subjects. It's unfortunate that <i>Dry Land</i> has some inherent hurdles with plot and character development that weighs this production down.<br /><br /></span><span style="font-size: small;"><span style="font-family: inherit;"><u><b>Show Details<br /></b></u></span></span><p><span style="font-size: small;"><span style="font-family: inherit;"><b>Venue: </b>Theatre Works Explosives Factory, 67 Inkerman St, St. Kilda<br /><b>Season:</b> until 9 Mar | Tues - Sat 7:30pm<br /><b>Duration:</b> 90 minutes<br /><b>Tickets:</b> $35 Full | $28 Concession | 20 for $20<b><br />Bookings:</b> <a href="https://www.theatreworks.org.au/2024/dry-land" style="color: blue; text-decoration-line: none;" target="_blank">Theatre Works</a></span></span></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-5781767868472714262024-02-23T12:58:00.002+11:002024-02-23T13:09:58.021+11:00The Crying Room: Exhumed review<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjICeupgSckHHwceEVvHs2ypCyQhNujt3cY9a7sroyv4fqLCYF6eUyFEaJNSMq50lZ3ntSSAcFH-gqanrrMh2cpLG5NG99PzVFzo_Q9xwcX1t6NQcmCOPcK0VyTEyOwnn3i879NwPu8Dm2lowOLR3TP2hz4zPSao6MDFzaa475SETzDEoqdVgSYnRyj6W4" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="498" data-original-width="873" height="295" src="https://blogger.googleusercontent.com/img/a/AVvXsEjICeupgSckHHwceEVvHs2ypCyQhNujt3cY9a7sroyv4fqLCYF6eUyFEaJNSMq50lZ3ntSSAcFH-gqanrrMh2cpLG5NG99PzVFzo_Q9xwcX1t6NQcmCOPcK0VyTEyOwnn3i879NwPu8Dm2lowOLR3TP2hz4zPSao6MDFzaa475SETzDEoqdVgSYnRyj6W4=w516-h295" width="516" /></a></div>A crying room is a small, soundproof room in theatres and churches where a person can visit if they are feeling emotional but want to continue to be part of the experience via one-way glass and live audio feed without disturbing the rest of the audience. In <i>The Crying Room: Exhumed</i>, performer Marcus McKenzie brings this place to the forefront where he tempts us to spend time in our own private chambers, and to call on and welcome the tears. The show is an extension to the 2020 online zoom production of <i>The Crying Room</i>, conceived during lockdown and had McKenzie dealing with the death of his brother.<br /><br />As we are ushered into the space, our attention falls on McKenzie writhing and contorting himself up a flight of stairs. Along the hall are closed doors leading to rooms that have been renamed the dying room, the wrying room and the purifying room, which has a red light and bubbling sound emanating from inside. Shortly after McKenzie has disappeared from sight, a blindfolded figure with a black robe and holding incense enters from a room and leads us the rest of the way. From here, McKenzie and his team of creatives put on a show with powerful imagery and highly effective design as he examines his own trauma and grief to losing his sibling.<span><a name='more'></a></span><br /><br />McKenzie displays incredible skill at establishing bonds with his audience, where although he addresses us as a group, it is like he is speaking to us directly. Even when we are watching him on a screen, he gives a personable and intimate performance where you connect with everything he is saying, expressing and feeling. He presents a confident grasp of a fast-paced and wordy monologue where it’s almost impossible to keep up with him as he sermonises on time, death, grief and mourning. It’s as if we are in McKenzie's head and trying to make sense of everything he has thought about in the last few years and no doubt continues to. There are some profound moments that occur which uniquely impact each person, but there are also some funny, silly moments that McKenzie finds a smart balance of.<br /><br />While McKenzie might be the lead artist of <i>The Crying Room: Exhumed</i>, it is a deeply considered and fully realised ensemble production by its other creatives and performers. Drummer Maria Moles provides the score and sounds, including a number of ASMR effects and finger-tap drumming that create an unease and urgency to the proceedings. Romanie Harper's red-centric set and costumes, including drapes that hang throughout the space and McKenzie's outfit, symbolic of life, health, love, anger, war and religious fervor, work in parallel with McKenzie's themes without overstimulating the mind. This is further supported by Richard Vabre's exemplary lighting design in setting scene, mood and tone.<br /><br />The finale of <i>The Crying Room: Exhumed</i> is intense and heartbreaking with a rawness and genuine vulnerability that catches you off guard and sits with you for quite some time after the show has concluded. Shows like this site-specific work at The Substation don’t come around often and not only is <i>The Crying Room: Exhumed </i>a stunning work on time, trauma and memories but it also solidifies McKenzie's exceptional skills and knowledge around language, performance and experimental theatre.<br /> <br /><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><span><span><span><span><span><span><span><u><b>SHOW DETAILS</b></u></span></span></span></span></span></span></span></span></span></span></span></span></span></span><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><span><span><span><span><span><span><span><b><span>Venue: </span></b><span>The Substation, 1 Market St., Newport<b><br />Season:</b> until 24 Feb | 7:30pm <b> <br />Duration:</b> 90 minutes<b><br />Tickets:</b> $40 Full | $30 Concession<b><br />Bookings: <a href="https://thesubstation.org.au/program/the-crying-room-exhumed" target="_blank">Substation</a></b></span></span></span></span></span></span></span></span> </span></span></span></span></span></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><b>Image Credit: </b>Damien Raggatt</span></span></span></span></span></span></span><span class="dig-Theme dig-Theme--bright dig-Mode--bright In-Theme-Provider" style="display: contents;"><span aria-current="page" class="dig-Breadcrumb-link dig-Breadcrumb-link--current"><span class="dig-Title dig-Title--size-small dig-Title--color-standard dig-Breadcrumb-link-content" data-testid="digBreadcrumbLinkContent"><span class="dig-Breadcrumb-link-inner"><span class="dig-Breadcrumb-link-text"></span></span></span></span></span></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-63567108277371257992024-02-23T08:29:00.003+11:002024-02-23T08:29:50.011+11:00RENT review<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhi16NR7vvW9aY4VRTQB-tah3RNjtqTAx_DwcWvRCA2SwWOYSgkVHpnqhMRBaye-u7PBaQS180bjQsn2XUsuOz9iWqPbskxWYw2gWILBVW4h15Ay7U4ZVb0p-mCSrz8uCvIXb9pagiEMNi2ipoeh8ztHHb7KoUEpsPGqca7csPulVn7avoPX7a-6kRPx9E" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="545" data-original-width="819" height="374" src="https://blogger.googleusercontent.com/img/a/AVvXsEhi16NR7vvW9aY4VRTQB-tah3RNjtqTAx_DwcWvRCA2SwWOYSgkVHpnqhMRBaye-u7PBaQS180bjQsn2XUsuOz9iWqPbskxWYw2gWILBVW4h15Ay7U4ZVb0p-mCSrz8uCvIXb9pagiEMNi2ipoeh8ztHHb7KoUEpsPGqca7csPulVn7avoPX7a-6kRPx9E=w563-h374" width="563" /></a></div>It's been almost 30 years since <i>RENT</i> had its world premiere. A critical success at the time, she show was also marred with its own tragedy when its creator Jonathan Larson died the night before opening night from an aortic dissection. It leaves a bittersweet taste as we watch a group of misfit friends in New York City's East Village in 1991, dealing with homelessness, addiction, sexuality, poverty and death.<br /><br />Martha Berhnane as Mimi has a vivacious energy on stage and traverses the emotional journey of the drug addicted HIV positive exotic dancer with complete commitment. Nick Afoa gives an understated but highly effective performance as a gay, philosophy student with HIV particularly with the devastation that impacts him in the second act. Calista Nelmes and Thndo have an incredible chemistry on stage as lesbian couple Maureen and Joanne with some entertaining but hefty sparring that puts their relationship to the test.<span><a name='more'></a></span><br /><br />Even with these energetic performance, it's difficult to get swept up by the drama of the production and this lies predominantly with the various narratives, which perhaps is starting to show its age. The story, with all the twists that are thrown at these people, is not compelling anymore, particularly with the sensationalism and melodramatic way their struggles and tribulations are presented. It forces the characters into caricature territory and there is very little emotional connection, even when death strikes.<br /><br />Director Shaun Rennie often leans towards going big when going small would have yielded more powerful moments. And yes, the show is taking place in the State Theatre that holds 2000 people, but there is a lack of nuance in the way characters are written and presented. Andrew Worboys musical direction is a highlight of this production with a live band bringing the music to vibrant life and encapsulating the mood of these residents. <br /><br />Dann Barber's industrial set design allows for moving set pieces to be brought on and off stage by the cast. The moveable pieces are also rotated giving swift and easy set changes without compromising on the momentum of the production. Ella Butler's costumes further depicts the circumstances these people are facing and heightens the excitement of their wins and a reminder of why these losses are happening to them.<br /><br />There were plenty of fans in the audience for <i>RENT</i> on opening night, and it seems like a lot of them have a long and loving history with it, but those such as myself, who have never seen the production before may find themselves looking for a different rental accommodation pretty quickly.<br /><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><u><b><br />Show Details</b></u></span></span></span></span></span></span><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><b> Venue: </b>Arts Centre Melbourne, 100 St. Kilda Rd, Southbank<br /><b> Season:</b> until 7 March | Tues - Sat 7pm, Fri/Sat 7:30pm, Sat 2pm, Sun 1pm and 6pm <b><br />Duration: </b>155 minutes (including interval)<br /><b> Tickets:</b> $59.90 - $159.90<br /><b>Bookings:</b> <a href="https://www.artscentremelbourne.com.au/whats-on/2024/musical/rent" target="_blank">Arts Centre Melbourne</a></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"> </span></span></p><p><b>Image credit:</b> Pia Johnson<b><br /></b></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-64047785082809573202024-02-20T07:29:00.002+11:002024-02-23T13:10:37.663+11:00House of the Heart review<p><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhOeH0_4s2IOjwg2Z97x8EiAnzE9EW6-q9_lRzQk85OfhH5HHnVZGaFhzgw1BbmC8XjkWMD7en1YzGe5qVNwqlCCgIQ4Zkhrng13GnTlh5xz1Uyl6igUQfGmguP7CbM_eLzCy2QEGA34dPFLKwFq9dtkeyBumB9UjAuaf5fYejQ6xZmXYSSCN5jhIia6vA" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="635" data-original-width="949" height="325" src="https://blogger.googleusercontent.com/img/a/AVvXsEhOeH0_4s2IOjwg2Z97x8EiAnzE9EW6-q9_lRzQk85OfhH5HHnVZGaFhzgw1BbmC8XjkWMD7en1YzGe5qVNwqlCCgIQ4Zkhrng13GnTlh5xz1Uyl6igUQfGmguP7CbM_eLzCy2QEGA34dPFLKwFq9dtkeyBumB9UjAuaf5fYejQ6xZmXYSSCN5jhIia6vA=w486-h325" width="486" /></a></div>It’s inside the Dragon Gallery of the Chinese Museum where the heads of three processional Chinese Dragons that have been used during city parades over the last century reside. Symbolic of strength and generosity, and as we celebrate the Year of the Dragon in the Chinese New Year, it is fitting that Finucane & Smith should also have their cabaret<i> House of the Heart </i>staged here. <p>The evening is full of heartwarming and heart-wrenching storytelling and musical performances from artistes including First Nations jazz blues legend Lois Olney. Accompanied by guitarist Dave Johnson, Olney delivers loving tributes to her deceased family members and recounts anecdotes with Finucane about their lifelong friendship beginning when they were just twelve. Home comes in many ways and can easily change, but as Finucane tells us at the beginning of the show, it's heart and love that keeps us connected.<span></span></p><a name='more'></a>There is a strong Chinese presence with singer Sophie Koh performing stirring songs in English and Mandarin, and star-in-the-making Zitao Dang, who has a voice that absolutely needs to be heard by more people. While some of these songs may be in a language I don't understand, the emotion emanating from the singers speak volumes on what they are saying. Cellist Xiao Xiao is on hand to provide outstanding musical accompaniment, including her first ever composition, as does Rachel Lewindon on the keyboard and the theremin, a fascinating instrument that is controlled without physical contact, and Koh on the guzhen, a Chinese plucked instrument.<br /><br />Directors Finucane and Jackie Smith have a masterly vision in bringing these artists from different personal and professional backgrounds together, and allow them to share the stage in a beautiful way. Dance storyteller Paul Cordeiro describes a touching act about his Singaporean family but is joined by others on stage to maximise the impact. This is done throughout <i>House of the Heart</i>, and it's great to see all performers in the limelight as well as in roles that support and help each other. Lewindon's musical direction and Emily Mangan's sounds further aid in painting vivid pictures for the stories being told, including Finucane's Antarctic penguin tale.<br /><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjCfm3cS_OE8_wG-CWijUZsK4t9K99byZvdzJfHU35ShJgggijKkUeJ1dgJieBvjTx8pvK1qnaNOEOzZgOBQsu1qp1WhYXMeS9YIzF6xR_nxaDpLX5qVmOrZ7eZ9eG5ryUTUAcI530-DTC0WRbtOngDNHfu4nnZwQYZ4hXQovpV2NT10y_p1N-wb0te21I" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="634" data-original-width="793" height="272" src="https://blogger.googleusercontent.com/img/a/AVvXsEjCfm3cS_OE8_wG-CWijUZsK4t9K99byZvdzJfHU35ShJgggijKkUeJ1dgJieBvjTx8pvK1qnaNOEOzZgOBQsu1qp1WhYXMeS9YIzF6xR_nxaDpLX5qVmOrZ7eZ9eG5ryUTUAcI530-DTC0WRbtOngDNHfu4nnZwQYZ4hXQovpV2NT10y_p1N-wb0te21I=w339-h272" width="339" /></a></div><p></p>Other acts include Raksha Parsnani's remarkable belly dancing routine that alludes to her relocating to Australia from Mumbai six years ago to follow her belly dancing dream, and Kate Foster's amazing rendition of Peter Allen's 1970 song "Tenterfield Saddler", that recounts the moving story of the singer's life.<br /><br />With a number of guest artists popping in throughout its season, <i>House of the Heart </i>wears its heart on its sleeve and extends an invitation to the audience to do the same. Love is what is going to keep us together and love can accomplish many wonderful things, like creating <i>House of the Heart</i>.<p></p><p><a href="http://www.mymelbournearts.com/2024/02/heart-to-heart-with-moira-finucane-and.html" target="_blank">Click here</a> to read our interview with Moira Finucane and Sophie Koh.<span style="font-size: small;"><span style="font-family: inherit;"><b> </b></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><b> </b></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><b> <br /><br /></b></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><b><u>SHOW DETAILS</u></b><span><span><span><span><span><span><b> </b></span></span></span></span></span></span></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><span><b>Venue: </b></span></span></span></span></span><span><span>The Chinese Museum, 22 Cohen Place, Melbourne</span></span></span><br /><span><span><span><span><span><span><b> Season:</b> until 10 March | Thurs - Sat 7:30pm, Sun 5:30pm<br /><b>Duration: </b>120 minutes<br /><b> Tickets:</b> $88 Table Seating | $68 Full | $58 Concession<br /><b>Bookings: </b><a href="https://www.chinesemuseum.com.au/Event/house-of-the-heart-24" target="_blank">The Chinese Museum</a> <br /></span></span></span></span></span></span></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><span><b>Main image credit: </b></span></span></span></span></span></span></span></span>Jodie Hutchinson<br /><b>Secondary image credit:</b> Abhijit Pal<br /><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><span> </span></span></span></span></span></span></span></span></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-31967980874300172832024-02-17T08:05:00.000+11:002024-02-17T08:05:09.026+11:00Heart to heart with Moira Finucane and Sophie Koh<p><span style="font-family: inherit; font-size: small;"><span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit; font-size: small;"><span><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjprV4Vfdqm6B4gsdnLtLkuOe_AotkvQXQ7uUUXAXO3FGO6O3_YYYnmyKnre4LzYuHaRlCJOZjqWdDzNX3RCBNdg-yXQXgFouDc6OEKVDBIw8sINUIaY0lvz2f_U1C9VkDUhLKZrmiypy1-ndiOn3mv33ih-Y5k_-0gkbkVZujGPfYkAtdEYIkpO9bpWXI" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="558" data-original-width="659" height="396" src="https://blogger.googleusercontent.com/img/a/AVvXsEjprV4Vfdqm6B4gsdnLtLkuOe_AotkvQXQ7uUUXAXO3FGO6O3_YYYnmyKnre4LzYuHaRlCJOZjqWdDzNX3RCBNdg-yXQXgFouDc6OEKVDBIw8sINUIaY0lvz2f_U1C9VkDUhLKZrmiypy1-ndiOn3mv33ih-Y5k_-0gkbkVZujGPfYkAtdEYIkpO9bpWXI=w467-h396" width="467" /></a></span></span></div><span style="font-family: inherit; font-size: small;"><span>Finucane & Smith are back and painting the town red with a return season of <i>House of the Heart</i>, a </span></span><span style="font-size: small;"><span style="font-family: inherit;">cabaret exploring the themes of <span id="m_-6009432132937349788m_5935305005945941181m_9196544581774448814m_4917916425165738688m_-5601274559216295493m_-8108846793194859609m_-381079098784243052m_3049078455705817754m_4439032855605579924m_-3013111582369535556m_3941154780820780886m_-6002379370889257868m_-2637495084144014266m_-4527513246297600553gmail-docs-internal-guid-16e86ded-7fff-aa25-3cd5-dbc29ed85834"><span style="background-color: transparent; color: black; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">home, belonging, journey and heart</span></span> through <span id="m_-6009432132937349788m_5935305005945941181m_9196544581774448814m_4917916425165738688m_-5601274559216295493m_-8108846793194859609m_-381079098784243052m_3049078455705817754m_4439032855605579924m_-3013111582369535556m_3941154780820780886m_-6002379370889257868m_-2637495084144014266m_-4527513246297600553gmail-docs-internal-guid-aa1f6e2c-7fff-309a-5579-a7f7b5a0e6a3"><span style="background-color: transparent; color: black; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">song, opera, storytelling and dance. </span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span id="m_-6009432132937349788m_5935305005945941181m_9196544581774448814m_4917916425165738688m_-5601274559216295493m_-8108846793194859609m_-381079098784243052m_3049078455705817754m_4439032855605579924m_-3013111582369535556m_3941154780820780886m_-6002379370889257868m_-2637495084144014266m_-4527513246297600553gmail-docs-internal-guid-aa1f6e2c-7fff-309a-5579-a7f7b5a0e6a3"><span style="background-color: transparent; color: black; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">With a line up of </span></span></span></span><span id="m_-6009432132937349788m_5935305005945941181m_9196544581774448814m_4917916425165738688m_-5601274559216295493m_-8108846793194859609m_-381079098784243052m_3049078455705817754m_4439032855605579924m_-3013111582369535556m_3941154780820780886m_-6002379370889257868m_-2637495084144014266m_-4527513246297600553gmail-docs-internal-guid-aa1f6e2c-7fff-309a-5579-a7f7b5a0e6a3"><span style="background-color: transparent; color: black; font-family: inherit; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-size: small;">13 extraordinary artists from varied cultural backgrounds, ages and life experiences, i</span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span id="m_-6009432132937349788m_5935305005945941181m_9196544581774448814m_4917916425165738688m_-5601274559216295493m_-8108846793194859609m_-381079098784243052m_3049078455705817754m_4439032855605579924m_-3013111582369535556m_3941154780820780886m_-6002379370889257868m_-2637495084144014266m_-4527513246297600553gmail-docs-internal-guid-aa1f6e2c-7fff-309a-5579-a7f7b5a0e6a3"><span style="background-color: transparent; color: black; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;">t's fair to say that co-director, performer and recently declared a Melbourne Fringe Living Legend, Moira Finucane is more than a little excited to be presenting this show in Melbourne again, <br /></span></span></span></span><p></p><p><span id="m_-6009432132937349788m_5935305005945941181m_9196544581774448814m_4917916425165738688m_-5601274559216295493m_-8108846793194859609m_-381079098784243052m_3049078455705817754m_4439032855605579924m_-3013111582369535556m_3941154780820780886m_-6002379370889257868m_-2637495084144014266m_-4527513246297600553gmail-docs-internal-guid-aa1f6e2c-7fff-309a-5579-a7f7b5a0e6a3"><span style="background-color: transparent; color: black; font-family: inherit; font-variant-alternates: normal; font-variant-east-asian: normal; font-variant-numeric: normal; vertical-align: baseline;"><span style="font-size: small;">One of the many impressive elements of a Finucane & Smith show is the spread of talent they bring to the stage. While there's certainly challenges in getting so many performers together, when you've had a long and varied career as Finucane, having performed around the world and in countries such as Chile, China and Colombia, it certainly becomes easier. "We find <span style="font-family: inherit;">our performers t</span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;">hrough travelling, putting on shows, directing, talking,
touring, listening to lesser heard voices, taking risks ... so many risks!" she tells me. "People
have told me throughout my art making career (even when I worked for free in
nightclubs!) "Oh Moira, that will never work!" but I listen and I am
curious, I look and I marvel, I am always marveling at people's diversity, and
capacity to make beautiful art."<br /></span></span></p><a name='more'></a><span style="font-size: small;"><span style="font-family: inherit;">"The artists of <i>House of the Heart</i> are artists I have know
for years, such as Ngarluma jazz blues legend Lois Olney who was my best friend
when I was a teenager, right through to the newcomers of singer/songwriter Zitao Deng
and the stunning cellist Xiao Xiao who I worked with recently when I was an artist
in residence at Monash University. Paul Cordeiro guest starred in <i>The Burlesque
Hour</i> at the Sydney Opera House in 2005 and we have worked with him ever since
as a dancer and singer. He's an artist that I think of as joy embodied. Rachel
Lewindon began her work with us by composing a response to my Art vs Extinction
work in Antarctica, by creating an EPIC piano piece the same day I sent her a
field recording of penguins and avalanches. And of course there's the luminous and extraordinary Sophie Koh, who has
composed and sung, and broken and mended hearts with us around the country and
the world."</span></span><p></p><p><span style="font-size: small;"><span style="font-family: inherit;">"</span></span><span style="font-size: small;"><span style="font-family: inherit;">Moira and I first
met four years ago, when I auditioned to be the lead artist of a new Sydney
Festival show and Moira was the director," Koh recalls. "I had never worn high heels,
delivered a narrative, wore sequins or put on fake eyelashes in my life, until I
met Moira. She has created creative spaces for me to be challenged and succeed. I
think that's a great relationship to come back for more."</span></span><br /><span style="font-size: small;"><span style="font-family: inherit;"><br />"</span></span><span style="font-size: small;"><span style="font-family: inherit;">The voices of the artistes in <i>House of the
Heart </i>are from so many places, journeys, cultures, art forms, spiritualities,
identities and experiences. Each artist brings their unique voice to the work</span></span><span style="font-size: small;"><span style="font-family: inherit;">," Finucane adds. "We are deeply committed to lifting lesser heard voices,
and celebrating those who don't get celebrated enough on our stages and
places of performance. It makes for wilder, richer, deeper, more
surprising, and more unexpected art!" </span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiSiZCTy5D91kMreeSc1jCDJcXtfSE-oGqqGatq2lAwYmArgMj82u4cHwu07lg9x_nvH9PnvGTjs5gUhSRlz1F22_xNaYrLzpNZWDtSGiv_NG-EDAaKt277Q72BJayS8K8_vgKdg4wGZU8GlpRE3kOykF2PsKJ6Nay_o0rCe92JVXwAvXcLRTBYwrLoF2g" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="630" data-original-width="895" height="338" src="https://blogger.googleusercontent.com/img/a/AVvXsEiSiZCTy5D91kMreeSc1jCDJcXtfSE-oGqqGatq2lAwYmArgMj82u4cHwu07lg9x_nvH9PnvGTjs5gUhSRlz1F22_xNaYrLzpNZWDtSGiv_NG-EDAaKt277Q72BJayS8K8_vgKdg4wGZU8GlpRE3kOykF2PsKJ6Nay_o0rCe92JVXwAvXcLRTBYwrLoF2g=w481-h338" width="481" /></a></span></span></div><span style="font-size: small;"><span style="font-family: inherit;">"</span></span><span style="font-size: small;"><span style="font-family: inherit;">My audience are also my
greatest partners in this adventure. I never wanted to perform only for a coterie of
friends and ex-lovers; I wanted to take my work to everyone, everywhere. To
places and people that may have never met anyone like me, to people who would
rather chew their own arm off or go to the dentist than see 'feminist theatre'," she laughs.
"I want to meet with them in a place we have created, a wildly hospitable,
entertaining, cherishing untamed and respectful place and converse about
humanity, the future and beauty. My experience of taking this
approach, everywhere in the world, has almost always
surprised and delighted me. It's magic."</span></span><span style="font-size: small;"><span style="font-family: inherit;"> </span></span><p></p><p><span style="font-size: small;"><span style="font-family: inherit;">With her shows always seen as a mix of celebration and love with calls to leave this world in a better state than we entered it, it's no surprise that hope is what inspires Finucane. "</span></span><span style="font-size: small;"><span style="font-family: inherit;">Hope is one of the first things oppressors try to extinguish from
people's lives and hearts, and they use horrible weapons to diminish hope:
hatred, misogyny,<span> </span>racism, poverty, war,
violence... but hopeful people are powerful people. Hopeful communities are
powerful communities. That's what makes Hope so dangerous for those who seek to
oppress others. Hope is the weaponised human heart."</span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;">"</span></span><span style="font-size: small;"><span style="font-family: inherit;">The concept for <i>House of the Heart </i>came about when I was on
the Tibetan plateau, working with Sophie
and an amazing acrobatic troupe The Qinghai Acrobatic Troupe. We talked about
heart and home, and what keeps us drawn to home, even when sometimes we are
separated by distance, or time, or passing generations," Finucane says. "Last year our
touring cabaret show, Dance Hall, went to 55
regional towns and centres Australia-wide and everywhere we went, we found
ourselves talking about heart and home with towns folk, and local performers,
farmers, artists, presenters and all sorts of people." </span></span></p><p>This sentiment is also echoed by Koh who sees <i>House of the Heart</i> as an opportunity for everyone to come together and celebrate what it means to be Australian. "<span style="font-size: small;"><span style="font-family: inherit;">Being Australian means we don't just<span> </span>celebrate, but we elevate ALL voices," she explains. "Being
Australian is being hyper diverse. <i>House of the Heart</i> jam-packs this elevation
and celebration through song, laughter, dance, family and sharing.
Australians need real human connection more than ever and this show provides that
connection, shoulder to shoulder."</span></span><span style="font-size: small;"><span style="font-family: inherit;"><br /></span></span></p><div><p><span style="font-family: inherit; font-size: small;"><span><span><span><span><span><span><span><span><span><span><span><span><u><b>SHOW DETAILS</b></u></span><span><b><span><br /></span></b></span></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><span><b>Venue: </b></span></span></span></span></span><span><span>The Chinese Museum, 22 Cohen Place, Melbourne</span></span></span><br /><span><span><span><span><span><span><b> Season:</b> until 10 March | Thurs - Sat 7:30pm, Sun 5:30pm<br /><b>Duration: </b>60 minutes<br /><b> Tickets:</b> $88 Table Seating | $68 Full | $58 Concession<br /><b>Bookings: </b><a href="https://www.chinesemuseum.com.au/Event/house-of-the-heart-24" target="_blank">The Chinese Museum</a></span></span></span></span></span></span></span></span></p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><span><b></b></span></span></span></span></span></span></span></span></div>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-68205567224263702032024-02-16T07:42:00.001+11:002024-02-16T07:42:08.317+11:00A Suffocating Choking Feeling review<p></p><p><span style="font-size: small;"><span style="font-family: inherit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjQAjE5RIktQauGN6mkdO6k1ZYM_67nswF_emUbPjOgiNgiPDES3MXH1yl4sPddVnCZL7d-B67Xeep0MmPEF1yqIrYK9RwzVr7xWHeNqrksGh6hE1Mc7cOfF-5Q9xTo-Eob_aPTEBnnlSjgNXpIBu_GoZ93p8tX7r2-f_UuOEeJCGkVYOk7NAlq7VEHpYM" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="565" data-original-width="743" height="337" src="https://blogger.googleusercontent.com/img/a/AVvXsEjQAjE5RIktQauGN6mkdO6k1ZYM_67nswF_emUbPjOgiNgiPDES3MXH1yl4sPddVnCZL7d-B67Xeep0MmPEF1yqIrYK9RwzVr7xWHeNqrksGh6hE1Mc7cOfF-5Q9xTo-Eob_aPTEBnnlSjgNXpIBu_GoZ93p8tX7r2-f_UuOEeJCGkVYOk7NAlq7VEHpYM=w444-h337" width="444" /></a></span></span></div><span style="font-size: small;"><span style="font-family: inherit;"><i>A Suffocating Choking Feeling</i> is a hybrid live and digital performance presented by the innovative duo of Simone French (performer and creator) and Tom Halls (director and technical) aka TomYumSim, that looks at how we use social media and how quickly the lines can blur between being authentic and being performative. French plays Simone Hamilton, a wannabe social media influencer who in her desire to have all the likes, follows and shares, gives herself a terminal illness that spirals out of control.<br /><br />We see Simone livestream her days across various locations including her studio, a hotel room, and of course, at the hospital, but French lets us into the behind the scenes moments as Simone prepares her ring light, camera stand and applies finishing touches to her outfits before going live, leading us to doubt the legitimacy of what is being put out and who Simon actually is. This is a show where the use of our phones is not a gimmick, but integral to its success and it is used to great effect as it presents the rabbit hole that influencer and influencee can fall into.<span><a name='more'></a></span><br /><br />We are encouraged to log on to Instagram live and interact with our sickly viral sensation as she shares her talents and thoughts. It's an approach that speaks volumes on its impact. Despite having (only) 25 people watching, there are a number of people whose comments and responses Simone feeds off; she is looking for all the praise and endorsement she can get. 25 people might not be many, but had it been 250 people with a quarter of that number praising you, it would be difficult to not give into the temptation of wanting more and more.<br /><br />French gives a committed performance, one that is carefully considered and thoughtful in approach. It's over the top and obnoxious when needed yet beneath the confidence and excitedness, she taps into instances where the cracks in the facade begin appearing.<br /><br />Hall's sound design stirs some intense moments, including one where we hear the internal chatter in Simone's head as she scrolls through all the public comments being hurled at her. Hall's direction in bringing together visual effects, video and live performance is filled with surprise and anticipation, as we're never quite sure where we will be taken next.<br /><br />While Belle Gibson, who faked having cancer, inspired this production, this is not about Belle Gibson, although she does feature during the show. <i>A Suffocating Choking Feeling </i>is about all the Belle Gibsons who project images that are not real and manipulate their fans and audience to suit their needs. It also leads back to the audience interaction where people post and comment with their best zingers and sassy comments for their own recognition and clout. What TomYumSim do so well is leave us questioning how complicit we are in creating the Belle Gibsons (and Simone Hamiltons) of the world and how we engage with social media.<br /></span></span><p></p><p><span style="font-family: inherit; font-size: small;"><span><span><span><span><span><span><span><span><span><span><span><span><u><b>SHOW DETAILS</b></u></span><span><b><span><br /><br />Venue: </span></b><span>La Mama HQ, 205 Faraday St, Carlton<b><br />Season:</b> until 18 Feb | 7:30pm, Sun 4pm <b> <br />Duration:</b> 60 minutes<b><br />Tickets:</b> $35 Full | $25 Concession<b><br />Bookings: <a href="https://lamama.com.au/whats-on/summer-2024/a-suffocating-choking-feeling/" target="_blank">La Mama Theatre</a></b></span></span></span></span></span></span></span></span> </span></span></span></span></span></span></p><p><span style="font-family: inherit; font-size: small;"><span><span><span><span><span><b>Image Credit:</b> Darren Gill</span></span></span></span></span></span></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-46340154450489201952024-02-12T23:18:00.006+11:002024-02-23T13:10:46.692+11:00La Nonna's Saucy Sauce Day review (Midsumma Festival)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhKiMCF13AhXNMNC7Ul104aiEYysdpS6kfK4PLSGteHmEsWqbs2sFr4lpIHPrP9pUM5HUgnVpZyChAcEN51FLfUIanPJ-bKXcwZB2bwiFx6PCv8g1xdD9f0vXDBivmADKXwTWQUXzc7uB8LeecSGLRklCjV11k5J1utnQIEUdKRz_ZkwEpBcNNqtiAsa24" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="571" data-original-width="1236" height="242" src="https://blogger.googleusercontent.com/img/a/AVvXsEhKiMCF13AhXNMNC7Ul104aiEYysdpS6kfK4PLSGteHmEsWqbs2sFr4lpIHPrP9pUM5HUgnVpZyChAcEN51FLfUIanPJ-bKXcwZB2bwiFx6PCv8g1xdD9f0vXDBivmADKXwTWQUXzc7uB8LeecSGLRklCjV11k5J1utnQIEUdKRz_ZkwEpBcNNqtiAsa24=w523-h242" width="523" /></a></div><p>In 2019, Samuel Dariol presented a tender homage to his nonna with <i>La Nonna</i>, where he shared her life and choices that led her to moving to Australia and raising her family. In 2024, we once again meet nonna (and nonna) but this time it's all about sauce making day with <i>La Nonna's Saucy Sauce Day</i>. I may not be Italian but I am very aware of how significant sauce making day is for Italian families.<br /><br />Dariol and Anna Cerreto are exceptional as the nonnas. It's testament to Dariol's strong performance from 2019 that the 2024 nonna feels so familiar and welcoming. The mannerisms of the nonnas are scarily accurate and they display effective commitment to these matriarchs. The inclusion of some contemporary dance breaks are highly entertaining and seeing how they attempt to make this day a success is a joy to watch unfold, despite their setbacks.<span></span></p><a name='more'></a>The nonnas face crisis after crisis as they try to make this the best sauce-making day ever, with the first obstacle being rallying the entire famiglia - including the Australian in-laws - to attend. But the nonnas hit breaking point when they realise that they don't have enough tomatoes for the day. What are two nonnas to do but use their Catholic faith and summon the Black Madonna for assistance.<br /><br />While this will lead to potential spoilers, it is impossible to give <i>La Nonna's Saucy Sauce Day</i> an accurate review without mentioning this. Instead of summoning Black Madonna, the nonnas summon Blak Madonna, an Indigenous spirit who teaches them about community and caring for the land. It's a nice twist in exploring the differences and similarities between the two cultures’ practices and customs, however, the way this plays out in this show completely breaks the tone and mood of the chaotic Italian kitchen and hyperbolic nonnas and leans too far into being a lesson about Indigenous land rights and caring for the land.<br /><i><br />La Nonna's Saucy Sauce Day </i>is a camp, drag performance with storytelling, music, dancing and most importantly...food. Its incorporation of Indigenous culture is clever but for this show to be a success overall, it needs to keep the focus on the nonnas and their story.<p></p><p><i>La Nonna's Saucy Sauce Day </i>was performed 7 - 11 February at <a href="https://lamama.com.au/" target="_blank">La Mama Theatre</a>.<br /><br /><span style="font-size: small;"><span><span style="font-family: inherit;"><span><span><span><b>Image Credit: </b>Darren Gill</span></span></span></span></span></span></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-90641706064793447762024-02-11T10:12:00.001+11:002024-02-11T10:17:20.129+11:00Love That For You review (Midsumma Festival) <div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNFpiW1GcQlZ2r0toEaD4GAe0E94B84X1qvpvHIQbOQ-6Poa6OwayM4KDfkDota2GZY9CP2HYYr45_MJC8fRNzCo1GmQw0mKxNWnhonakyJP8PPMfsS4bA0ELgaGFFjKKhdVMrlcbVFsYsi3JpycuyOaKY5UJUlBUaDFGH894YgDWkJWxsB1_ROGV6IQo/s920/Screen%20Shot%202024-02-04%20at%208.17.46%20pm.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="520" data-original-width="920" height="293" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNFpiW1GcQlZ2r0toEaD4GAe0E94B84X1qvpvHIQbOQ-6Poa6OwayM4KDfkDota2GZY9CP2HYYr45_MJC8fRNzCo1GmQw0mKxNWnhonakyJP8PPMfsS4bA0ELgaGFFjKKhdVMrlcbVFsYsi3JpycuyOaKY5UJUlBUaDFGH894YgDWkJWxsB1_ROGV6IQo/w518-h293/Screen%20Shot%202024-02-04%20at%208.17.46%20pm.png" width="518" /></a></div><p></p><p>Anyone who has followed Tash York's career will have witnessed her evolution from a life full of nuggets, wine and desperately seeking happiness to marking out a place for herself in the world and dealing with ageing. In her new show, <i>Love That For You</i>, York has moved on from adulting and on to seeking the values that are true and meaningful in an intrinsic nature. This is of course presented through York's trademark sassy and camp cabaret numbers.<br /><br />Gracing the stage in gold coloured outfits full of sparkle and some very imposing shoulder pads, York shares anecdotes of life's crossroads where doing what you want to do is more important than what you ought to do, something York has a bounty of experience in. She's in her mid-30s and childless, she's bisexual but married to a man, and she straddles the line between drag and cabaret. So when she sings an amusing song about DINKWACs it serves as a reminder that labels and expectations have ultimately no bearing on securing our own personal happiness.</p><a name='more'></a>With all original songs, York further displays her musical and lyrical skills with improvising a song about an audience member that pokes at her crossroads in life in a humourous yet gentle way. York is joined on stage by backing singers and music makers The Red Red Wines (Peppy Smears on keys and Vivian Fontey on violin) who provide witty banter with York that is highly entertaining. Smears and Fontey find many opportunities to flaunt their own comedic (and musical) abilities while ensuring that everything they do is to support York and make her look good.<br /><br />She may have one of the biggest hair styles in the cabaret and drag scene, but York also has one of the biggest voices, a voice that has plenty to say and sing about with great panache and even greater talent. <i>Love That For You</i> is a dissection on the current chapter of York's journey through life, and just like a fine wine, she and her shows keep getting better and better with time.<i> </i><p></p><p><i>Love That For You</i> was performed between 9 - 10 February at <a href="https://chapeloffchapel.com.au/" target="_blank">Chapel Off Chapel</a>.</p><p><b>Image credit:</b> Mark Gambino<br /></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-23825158531602372162024-02-09T14:46:00.000+11:002024-02-09T14:46:10.025+11:00Perpetual Stew review (Midsumma Festival)<p><span style="font-size: small;"><span style="font-family: inherit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEijBKlRrQqr0Mwmfa6cBym7qWGB0vYz2MAe8qNRein9Z3m_BljuvZDpfkqxeJJGstBSbKVtRw_FSEgQfUoy9uPac48PzV88ySxWZZGZixDEToDdf7_4TBcpAl0WM4MxO8JTZ3iatdacYGQoojjfIsqcV1LaSkeytlFeC3z2KxRj6e58_lT7Bp676Ey6gEA" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="495" data-original-width="874" height="290" src="https://blogger.googleusercontent.com/img/a/AVvXsEijBKlRrQqr0Mwmfa6cBym7qWGB0vYz2MAe8qNRein9Z3m_BljuvZDpfkqxeJJGstBSbKVtRw_FSEgQfUoy9uPac48PzV88ySxWZZGZixDEToDdf7_4TBcpAl0WM4MxO8JTZ3iatdacYGQoojjfIsqcV1LaSkeytlFeC3z2KxRj6e58_lT7Bp676Ey6gEA=w512-h290" width="512" /></a></span></span></div><p></p><span style="font-family: inherit; font-size: small;"><i>Perpetual Stew</i> is a sketch comedy of scenes that play out around food, and while some of these take place at the dinner table, there are many that give a very creative interpretation of what a "dinner table" may be, including two ants carrying food on their backs for their Queen and a Do It Yourself fruit salad table spread.<br /><br />With all the sketches revolving around food, the writers (Milly Walker, Charlie Lawrence and Victoria Barlow) ensure that each of these scenes is unique and that there isn't repetition or monotony in what we see. Various pairings of the four cast members alters dynamics and everyone gets a chance to play different types. Highlights include the aforementioned ants and their pondering of purpose, a roast dinner for a visiting critical mother and an influencer family getting together to discuss some life changing news.<span><a name='more'></a></span><br /><br />Of course, the nature of sketch means that there will be some misses too, and one of these is a noire-styled narrative of a mouse that we return to two more times that tends to disrupt the momentum of Perpetual Stew. Another between a rock and a river, while interesting in its approach, is too much of an outlier with respect to the rest to the rest of the evening.<br /><br />While all these scenes have some humour to them, they are also often serious and honest in how drastically relationships can change over the course of a meal. This is when big things happen – expressions of love and declarations of no longer being in love, and realising your life is about to change but not in the way you wanted.<br /><br />The cast of four (Sam Eade, Courtney Crisfield, Conagh Punch and Victoria Barlow) take to each scene with good commitment and swap into their numerous characters with relative ease. Barlow is particularly impressive and you can sense there is a strong comedic flare from her so it feels like a missed opportunity that she is not provided enough of these occasions.<br /><br />Food is such an important part of life, but it's not just the eating of food, but the rituals that go with it. It is the chance to share news and make changes in life. We all do it whether we realise it or not. Perpetual Stew brings forth these ideas through its absurdly dramatic and comedic sketches that will leave you eager to revisit what this group of creatives can cook up next.<br /></span><p><span style="font-size: small;"><span style="font-family: inherit;"><a href="http://www.mymelbournearts.com/2024/01/cooking-up-storm-with-charlie-lawrence.html" target="_blank">Click here</a> for our interview with co-writer Charlie Lawrence. <br /></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><b><u>SHOW DETAILS</u></b><span><span><span><span><span><span><b> </b></span></span></span></span></span></span></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><span><b>Venue: </b></span></span></span></span></span><span><span>The Motley Bauhaus, 118 Elgin St, Carlton</span></span></span><br /><span><span><span><span><span><span><b> Season:</b> until 10 Feb | 6:00pm<br /><b>Duration: </b>60 minutes<br /><b> Tickets:</b> $35 Full | $28 Concession and Preview<br /><b>Bookings: <a href="https://www.midsumma.org.au/whats-on/events/perpetual-stew/" target="_blank">Midsumma Festival</a></b></span></span></span></span></span></span></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><span><b>Image credit: </b>Jax Oliver Studio<b> <br /></b></span></span></span></span></span></span></span></span></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-90752063991754683662024-02-03T13:43:00.000+11:002024-02-03T13:43:22.168+11:00Groundhog Day review <p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeDLZHHFl9ZCyODi8I4hH52tslXBZThgpf2VueElNPerCbMDK7yaFAgroFIWnbHdAENDXK17x0FejxDXXwo6MVRdrC73t9y1EQL7bIHJlfSqRoFXT2zMtOU0BERfyz-hBM9diW-YwjaVAm-eeaYAZYe0BMW4NsP-SBhLZ5D-fvT9kFBBitnCjYsFjHKRc/s1011/Screen%20Shot%202024-02-02%20at%207.47.08%20pm.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="601" data-original-width="1011" height="324" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeDLZHHFl9ZCyODi8I4hH52tslXBZThgpf2VueElNPerCbMDK7yaFAgroFIWnbHdAENDXK17x0FejxDXXwo6MVRdrC73t9y1EQL7bIHJlfSqRoFXT2zMtOU0BERfyz-hBM9diW-YwjaVAm-eeaYAZYe0BMW4NsP-SBhLZ5D-fvT9kFBBitnCjYsFjHKRc/w546-h324/Screen%20Shot%202024-02-02%20at%207.47.08%20pm.png" width="546" /></a></div>It's been 30 years since the movie <i>Groundhog Day </i>was released, where a cynical weatherman wakes up to find that he's stuck in a time loop, repeating the same day over and over and over again. The audience gets to watch his journey of personal growth before finally breaking this repetitive soul destroying cycle.<br /><br />Fast forward to 2016, and the film becomes a London musical stage production with music and lyrics by Tim Minchin and a book by Danny Rubin to rave reviews and audience responses. Fast-forward to 2024, and it is finally Melbourne's opportunity to see this award wining play, and the wait has definitely been worth it.<span><a name='more'></a></span><br /><br />Andy Karl, who originated the role of weatherman Phil Connors in the London and New York productions, once more dons the coat, scarf and snarky disposition for the Australian production, and oh, how lucky we are. Karl has the challenging task of getting the audience to be on the side of this antagonistic and patronising individual, and he does so flawlessly. Karl displays Phil's negative personality traits while showing his insecurities and vulnerabilities at pivotal scenes and presenting a character that could easily have been a one-note stereotype as a complicated and conflicted individual. This is clearly a character that Karl loves to play and this comes through in his extremely winning performance.<br /><br />A talented ensemble surround Karl, including Elise McCann as Rita, the associate producer who is given the difficult task of managing Phil. The two share brilliant chemistry and while we know where they'll inevitably end up, watching them go through the journey together is still a lot of fun. The two do not disappoint with the show’s big musical number in the philosophical duet "If I Had My Time Again".<br /><br />It's not easy to play drunk convincingly but Conor Neylon and Connor Sweeney as town drunks Gus and Ralph hit the right notes with excellent line delivery and performances that feel authentically inebriated. Ashleigh Rubenach has a near show-stealing moment with her song "Playing Nancy", where she questions whether she is destined to lead a life purely for the pleasure of men. It is a wonderful song lyrically and musically, but it feels out of place with no real further exploration around this idea and it is moved on from as soon as it is over. Tim Wright is also a delight as the lively life insurance salesman Ned Ryerson who harbours his own darkness, marvellously highlighted by the song "Night Will Come".<br /><br />Minchin's lyrics are the reason why <i>Groundhog Day</i> works so well. When most of the audience know the film, or have seen variations of it, and when scenes are repeated three or four times, Minchin manages to keep the excitement and freshness going trough humorous and surprisingly affecting lyrics. While Phil is our main character, Rubin's book allows for the audience to meet a myriad of Punxsutawney locals and hear their stories, but perhaps Minchin and Rubin needed to take Rita's advice and slice off ten minutes from the second act.<br /><br />Matthew Warchus's direction is full of gusto and movement and some truly inspired moments, including a police car chase involving Phil, Gus and Ralph, and magical happenings on stage that will leave you scratching your head as to how it was achieved. The set and costume designs by Rob Howell are visually captivating and bring the town of Punxsutawney to vibrant life despite its dark winter weather.<br /><br />Whether you've seen the film or not, whether you liked the film or not, this musical production of <i>Groundhog Day</i> is one to put into your calendar.<br /><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><span><span><span><span><span><span><span><span><span><span class="im"><span style="color: black;"><span style="color: black;"><b><u>SHOW DETAILS</u></b></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><span><span><span><span><span><span><span><span>
<span><b>Venue:</b> </span></span></span></span></span></span><span><span><span><span><span><span>Princess Theatre, 163 Spring St, Melbourne</span><br />
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</span><span><b>Season:</b> Until 7 April | Tues 6:30pm, Wed - Fri 7:30pm, Sat 2pm and 7:30pm, Sun 1pm and 6:30pm</span><br />
<span>
</span><span><b>Duration:</b> 150 minutes with a 20 minute interval<b><br />Tickets:</b> $56 - $235<b><br />Bookings: <a href="https://groundhogday.com.au/tickets/" target="_blank">Ticketek</a></b></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><b>Image credit:</b> Jeff Busb<span style="font-family: inherit;">y</span> </span></span></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-8144833172329454172024-02-02T14:42:00.010+11:002024-02-02T14:46:15.638+11:00Overflow review (Midsumma festival)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiqJoIcJwWnXJQSLqnMNKE-8EGqFpE4diaavTApytzf8vu87mNShRkX54oPifkL94qtgLLh_odxxX_p_mjRpxMOL1lFZ1flyVgIUNWfzekW2HJpv6nZ8a1wqE5-Oi26v8s0Dg5AS_y7c4gJlvcb9w1qE4a7c3K8OF47TLCQ6dodN5SEuK6UwSU3N0mpqPs" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="599" data-original-width="1006" height="318" src="https://blogger.googleusercontent.com/img/a/AVvXsEiqJoIcJwWnXJQSLqnMNKE-8EGqFpE4diaavTApytzf8vu87mNShRkX54oPifkL94qtgLLh_odxxX_p_mjRpxMOL1lFZ1flyVgIUNWfzekW2HJpv6nZ8a1wqE5-Oi26v8s0Dg5AS_y7c4gJlvcb9w1qE4a7c3K8OF47TLCQ6dodN5SEuK6UwSU3N0mpqPs=w533-h318" width="533" /></a></div>Rosie has locked herself in a nightclub bathroom after catching the eyes of some transphobic attackers. In Travis Alabanza's <i>Overflow</i>, Rosie uses this time to assert her place in this world while looking at past encounters and friendships and the impact they continue to have on her.<br /><br />Janet Anderson carries the production with grace and prowess in her portrayal of Rosie. From the opening minutes of this 70 minute monologue, she provides a deeply understanding and confident representation of who this person is - having most likely gone through these experiences herself - with everything she says coming from a place of anger, fear, warmth and hope.<span><a name='more'></a></span><br /><br />Director and set designer Dino Dimitriadis presents an authentic nightclub bathroom construction with its cold, sterile steel design. The entire set sits on a raised platform with plenty of empty space between the stage and the audience, which further heightens the confinement Rosie feels. Dimitriadis' direction of Anderson utilises every inch of the bathroom and through the accomplished lighting design by Benjamin Brockman and sound design by Danni Esposito, we are given the opportunity to see this space in surprising and exciting ways.<br /><br />Brockman's harsh bathroom lights leave nowhere for Rosie to hide from as she begins to share her life with us. The smooth transitions from that to coloured, flashing club lights are intelligently executed, and a single spotlight during a flashback of student interrogations about who is flooding the toilets at school keeps us simultaneously in the past and present settings. Esposito’s sound design is an example of how less can be so much more as we are transported through Rosie's various memories and recreations of her life.<br /><br />This is an enthralling production by a team of creatives who have worked together with a unified vision to tell a story where transgender people are constantly forced to fight for their right to simply be, in every facet of their life. Overflow is a powerful and timely reminder to cis people that an ally is more than just a word and it's a reminder for transgender and gender nonconforming people about how strong they are and can be.<br /><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><u><b><br />Show Details</b></u></span></span></span></span></span></span><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><b> Venue: </b>Arts Centre Melbourne, 100 St. Kilda Rd, Southbank<br /><b> Season:</b> until 4 February | Fri/Sat 7:30pm, Sat 3pm, Sun 5pm <b><br />Duration: </b>70 minutes<br /><b> Tickets:</b> $49 - $59<br /><b>Bookings:</b> <a href="https://www.artscentremelbourne.com.au/whats-on/2024/theatre/overflow" target="_blank">Arts Centre Melbourne</a></span></span></span></span></span><span style="font-family: inherit;"> </span></span></p><p><b>Image credit:</b> Robert Catto<br /></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-91406374675937371692024-01-25T20:58:00.001+11:002024-01-25T20:58:25.722+11:00Malevo review<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjsZA6XPHWHWWYoeR8l-3a7F_7rjA0EYR1a5UGjjMsm1Imc6KgCWqkBBKEBhIWOl2jLdJSCpq_HOJzXDOTvZR7kIFnpi0D2iKvruYggl11mO8egGySCInS8ifObs60BPXewdaghMjfLTAaoc24aq2gEpJSKj0opg16QGCkhyQmsB6lshOkmYc9aNWoU98w" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="528" data-original-width="780" height="322" src="https://blogger.googleusercontent.com/img/a/AVvXsEjsZA6XPHWHWWYoeR8l-3a7F_7rjA0EYR1a5UGjjMsm1Imc6KgCWqkBBKEBhIWOl2jLdJSCpq_HOJzXDOTvZR7kIFnpi0D2iKvruYggl11mO8egGySCInS8ifObs60BPXewdaghMjfLTAaoc24aq2gEpJSKj0opg16QGCkhyQmsB6lshOkmYc9aNWoU98w=w475-h322" width="475" /></a></div><p>A South American dance troupe that reached the semi-finals of <i>America’s Got Talent</i> can now add Australia to the list of countries they have performed in. Created by director, choreographer and dancer Matías Jaime, the 11 men of Malevo show exceptional skills in moving their bodies, specifically through malambo, an Argentinian style of dance that includes zapeteo, a signature footwork combining elements of tap dancing and flamenco.</p><p>The group stomp and tap their feet in heeled boots in perfect unison with their energy starting at 100. While this is impressive on its own, throughout the concert, the dancers strap themselves with drums, whips and boleadoras which add a further level of difficulty, skill and thrill. Not only do their legs, hands and bodies move at such fast-pace speeds you can barely glimpse them, but they do it in rhythm and in sync with each other that comes across as effortless. It would not be easy to undertake this choreography where they are often physically close together with whips being cracked and boleadoras getting spun in the air.<span></span></p><a name='more'></a>Joining the dancers is a four piece band that also display extreme dexterity in playing the drums, guitar, violin and accordion. Four instruments that together could result in a cacophony of sounds but just like the dancing witnessed and the origins of malambo, it's about proving their own prowess and vigor. Throughout the production there are solo acts, acts performed in a small enclosed circle of others and as a group. They are dances that are seen as challenges and dances that require the support and commitment of the entire ensemble.<p></p><p>The performances are flawless and the music is exhilarating but at 80 minutes, it does lose some of its excitement when we see a bit of repetition of similar routines with similar props and equipment. Despite this, Malevo is a memorable experience of South American culture rooted in the 19th century that has been contemporised to continue telling and sharing its traditions, customs and history.</p><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><u><b>Show Details</b></u><b><br /><br /> Venue: </b>Arts Centre Melbourne, 100 St. Kilda Rd, Southbank<br /><b> Season:</b> until 28 January | Thurs/Sat 7:30pm, Sat/Sun 2pm <b><br />Duration: </b>80 minutes<br /><b> Tickets:</b> $89 - $120<br /><b>Bookings:</b> <a href="https://www.artscentremelbourne.com.au/whats-on/2024/dance/malevo" target="_blank">Arts Centre Melbourne</a></span></span></span></span></span></span><br /></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-23489579244315374062024-01-23T22:08:00.002+11:002024-01-23T22:08:29.186+11:00The Inheritance review (Midsumma Festival)<p><span style="font-size: small;"><span style="font-family: inherit;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: inherit;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhbSKafU9oJReJrQoPdLjzmvavIzlazz65n3_3qm80PAjS6qGFyGTm9lnZ8BkM7YqPbVJIIdazNo0JWVRSQN1ZOukvFNd2iqGqpPKXAN_r-ENn0GZ1nDBjbt8Pfo6RQwhoIRpay3JovFRIAfSH6pWDtBo2dnmdJ1xBkN1Qc9tL7vinf5UdPJJAFiD1OvpE" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="619" data-original-width="934" height="317" src="https://blogger.googleusercontent.com/img/a/AVvXsEhbSKafU9oJReJrQoPdLjzmvavIzlazz65n3_3qm80PAjS6qGFyGTm9lnZ8BkM7YqPbVJIIdazNo0JWVRSQN1ZOukvFNd2iqGqpPKXAN_r-ENn0GZ1nDBjbt8Pfo6RQwhoIRpay3JovFRIAfSH6pWDtBo2dnmdJ1xBkN1Qc9tL7vinf5UdPJJAFiD1OvpE=w478-h317" width="478" /></a></span></span></div><span style="font-size: small;"><span style="font-family: inherit;">We don't often get epic seven-hour plays being performed, especially when the idea of sitting in a theatre for that long and watching a story unfold not only seems foreign but also incredibly difficult. I too am guilty of this as I often catch myself questioning whether I really want to see a play over two hours. But exceptions there are, and in this case it is Matthew López's <i>The Inheritance</i>. First staged in 2018, the narrative focuses on a group of gay men spread across three generations as they try to find their place in the world while understanding the world that has opened up for them due to the fights and struggles of those from their past. Under the direction of Kitan Petkovksi, this Melbourne production of <i>The Inheritance</i> vividly brings these characters and stories to life in a deeply emotional and affecting evening that needs to be experienced by all.<span><a name='more'></a></span><br /><br />Petkovksi has achieved a remarkable feat of assembling such a formidable cast. Charles Purcell as the 30-something Eric Glass, a middle class Jewish man living in New York brings forth a genuine optimism and hopefulness despite a number of obstacles being thrown at him. Tomáš Kantor delivers a compelling performance as the self-absorbed but highly troubled writer boyfriend to Eric, Toby Darling. Kantor shows great skill in their ability to simultaneously convey Toby's arrogance as well as his anxieties and fears in a very challenging role. Purcell and Kantor make a wonderful pairing with their scenes together as they elicit a strong sense of history and familiarity to their relationship.<br /><br />Dion Mills provides the plays most powerful moment of <i>The Inheritance</i> during Walter Poole's heartbreaking monologue where he tells/reminds Eric (and us) the devastating impact of the AIDS virus in his community during the 80s. It is a lot of exposition but Mills brings pain and love to each and every single word he utters and he ends up presenting an absorbing story for the audience to acknowledge and sit with. In a smaller but very effective role is Jillian Murray as Margaret, a woman who has lost her son to AIDS and now tends to Walter's property. Her retelling of her regrets when it came to accepting her son for who he was is harrowing to see unfold.<br /><br />The gay chorus (Iopu Auva'a, Rupert Bevan, Juan Gomez, Javon King, Joss McClelland, Christian Taylor and Alex Thew) are also brilliant and utilised superbly by Petkovski to fill the space, make comments or observations (both verbal and non-verbal) and provide props for each scene. They are particularly impressive when adding their own sexual energy when Toby and Eric start getting hot and heavy with each other. There are a few opening night nerves of speaking over each other but given the demands of being on stage for so long with so many people in a scene it's something that will quickly be overcome. They also take on supporting roles throughout the production and it's hard to take your eyes off King's portrayal of Tristan, a physician with HIV. The way he moves his body and changes his facial expressions depending on the situation playing out is absolutely captivating. Bevan is a joy to watch when he flexes his comedic muscles as a theatre usher and a self-important "faux art" artist.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLj7s4alQCbQlt_-3ryUHnzWIP_B9gWb1KktEQbaalRyVZqbHTxXZeUOG8DF5CL7Jr5xFVwy1ticvi39msTziBMUX0XmtoTeTT5BIRPIiVv7D0TAKm8udzV6TloZyBLkIL4-4TTIqA67QmMw7P14cYX2PocKHIdsdJ1pxNNJycyUaLDc-9n26VXw3t9qY/s938/Screen%20Shot%202024-01-23%20at%2010.01.59%20pm.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="626" data-original-width="938" height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLj7s4alQCbQlt_-3ryUHnzWIP_B9gWb1KktEQbaalRyVZqbHTxXZeUOG8DF5CL7Jr5xFVwy1ticvi39msTziBMUX0XmtoTeTT5BIRPIiVv7D0TAKm8udzV6TloZyBLkIL4-4TTIqA67QmMw7P14cYX2PocKHIdsdJ1pxNNJycyUaLDc-9n26VXw3t9qY/w417-h279/Screen%20Shot%202024-01-23%20at%2010.01.59%20pm.png" width="417" /></a></div>While López script falls victim to a few instances of forced political and social problems conversations, the way he explores the three generations is something that ought to be recognised and commended. López affords these characters the opportunity to breathe and to be. We get to spend time with them and watch them spend time with each other and build relationships that compel us to consider what current generations of gay men owe those that have come before them, living and dead, and also the role that the gay men of the present play in guiding the younger generations.<br /><br />Petkovksi has not let the limitations of being an independent production prevent him and his creative team from delivering on exceptional design elements. A play of this calibre does not mean you need to go big with set, lighting or sound designs, you just need to be smart and perceptive with what the scene needs. Rachel Lewindon's sound design beautifully sets up scenes and helps paint the picture for much of the exposition that occurs and works well with Katie Sfetkidis' intuitive lighting design. Bethany J Fellows' set design fits perfectly within the worlds of each of the three generations that allow López's script, Petkovksi's direction and the ensemble’s performance to add the detail to the scenes.<br /><br />Petkovski has no doubt spent hours, days, weeks and months preparing this local production of <i>The Inheritance</i>. Taking on this Tony-award winning play would have been a daunting task but he has smashed many expectations on what independent theatre can achieve. Shows like this do not come around often and <i>The Inheritance</i> is bound to be one of the best shows of the year.<br /><a href="http://www.mymelbournearts.com/2024/01/kitan-petkovski-on-bringing-most.html" target="_blank"><br />Click here</a> for our interview with director, Kitan Petkovksi.<br /></span></span><p></p><p><span style="font-size: small;"><span style="font-family: inherit;"><u><b>Show Details</b></u></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><b>Venue: </b></span><span style="font-family: inherit;">fortyfivedownstairs, 45 Flinders Lane, Melbourne<br /><span><b> Season:</b> until 11 Feb | </span>7pm<br />This is a two-part production. Date pairs are pre-determined by
the venue and cannot be altered or mixed. The assigned date pairings can be viewed by clicking on the bookings link below.<br /><span><b>Duration: </b></span>Each part runs for approximately 190 minutes<span><br /><b> Tickets:</b> $109 Full | $99 Concession<br /><b>Bookings: </b><a href="https://www.midsumma.org.au/whats-on/events/the-inheritance/" target="_blank">Midsumma Festival</a></span></span></span></p><span style="font-size: small;"><span style="font-family: inherit;"><b>Image credits: </b></span><span style="font-family: inherit;">Cameron Grant<br /></span></span>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-29943132607320618622024-01-20T12:22:00.003+11:002024-01-21T09:09:34.049+11:00Forest Collective on getting tangled up with new immersive opera Labyrinth (Midsumma Festival)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8tUR8-WqJOyUNmVS3PCzAZBbV06pagb_3sf3PgOZHCkWVrX-VDcux12zIyrJJ1qtQecYQbNCvyszL9hjVtF-G8Uoyg2y-18P4RN6jIvR8YlSB_qexXdLBjBwqlYqMZ317p3zo01gWL6syccwkcXJCXhVAlpkxKeplMENvMAaneqIOud7z05vpABkGfa4/s1054/Screen%20Shot%202024-01-14%20at%207.55.33%20pm.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="546" data-original-width="1054" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8tUR8-WqJOyUNmVS3PCzAZBbV06pagb_3sf3PgOZHCkWVrX-VDcux12zIyrJJ1qtQecYQbNCvyszL9hjVtF-G8Uoyg2y-18P4RN6jIvR8YlSB_qexXdLBjBwqlYqMZ317p3zo01gWL6syccwkcXJCXhVAlpkxKeplMENvMAaneqIOud7z05vpABkGfa4/w559-h290/Screen%20Shot%202024-01-14%20at%207.55.33%20pm.png" width="559" /></a></div><p>It's impressive how Forest Collective constantly deliver chamber music performances that are so vastly different from each other. This trend continues with their upcoming immersive production <i>Labyrinth</i>. This opera will fittingly take place in the corridors beneath Abbotsford Convent as we follow the story of Theseus, Ariadne and her half-brother, the Minotaur. Opera singer Daniel Szesiong Todd will not only be taking on the role of Theseus he is also <i>Labyrinth</i>'s librettist, with the tenor's interest in this mythological story stemming from the contemporary issues that can still be applied to it.<br /><br />"The popular myth of the bloodthirsty half-bull, half-man called the
Minotaur comes from ancient Greece, where the hero, Theseus, kills the
beast with the help of a plucky young princess, Ariadne, who guides him
through the labyrinth with her thread. But should we ever take a monster
at face value?" Todd asks. "The myth’s strange backstory reveals that the Minotaur
is actually Ariadne’s half-brother. Ariadne’s father, King Minos, had
refused to sacrifice a bull to the god Poseidon, who became angry and
cursed his wife, Queen Pasiphaë, to fall in love with the bull. The
Queen then commissioned Daedalus to build a hollow cow puppet that she
could crawl inside, so she could have sex with the animal. Eventually,
she gave birth to a bull-human-hybrid child, who she named Asterion. Filled with shame and humiliation, King Minos
shunned Asterion, hiding him away in the labyrinth and feeding him only
human sacrifices from conquered Athens. In this way, innocent Asterion
was made into a monster – the Minotaur – literally the bull of Minos."</p><a name='more'></a>"This
begs the question, how could Ariadne volunteer to help a stranger kill
her brother? Did she see him as a monster, or her misfit sibling,
brutalised since birth? Perhaps both? In any case, it’s clear that the
Minotaur was punished and mistreated for the shame and sin of others and eventually becoming a brutal, powerful monster, stalking the darkness of
the labyrinth."<br /> <br />"These ideas have many powerful echoes for our
modern world, where we must regularly grapple with the prejudice and
judgment of others. We are constantly negotiating the shames and
“shoulds” imposed by society, religion or family as well as outdated gender norms.
And like King Minos, we often bury that shame deep within our own
internal labyrinths. We brutalise and fear it as a monster, instead of
caring for it, like a unique and innocent child," Todd explains.<p></p><p>Todd is a core artist with Forest Collective, and once he and artistic director, Evan J. Lawson discovered the space hidden away at Abbotsford Convent, he became more and more excited and intrigued by this story's potential. "Evan and I hatched the idea for <i>Labyrinth</i> when we saw this evocative, winding basement beneath Abbotsford Convent. It was exactly
the kind of unusual and haunting location that would suit an immersive
opera experience. I knew immediately that I wanted to delve below the
surface of this well-known monster story."</p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiEUgsn_CdYm7IrKP3Hgy82diOeyx0HrPWjiuNjL3IH3HaRIuzZlTZRvYltzSCy7J-ZIrXvBv6WeUMj26D6YQnLUkABFpr21ki3oaAjggPpCoa7P6N5CC92279gQkzJCC1Xsl-CrI8VvvHprEtU-XGQQgVQTFNFzBmLy4_Byl0hyosq6uxD3Dxv_HaJVWc" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="348" data-original-width="528" height="270" src="https://blogger.googleusercontent.com/img/a/AVvXsEiEUgsn_CdYm7IrKP3Hgy82diOeyx0HrPWjiuNjL3IH3HaRIuzZlTZRvYltzSCy7J-ZIrXvBv6WeUMj26D6YQnLUkABFpr21ki3oaAjggPpCoa7P6N5CC92279gQkzJCC1Xsl-CrI8VvvHprEtU-XGQQgVQTFNFzBmLy4_Byl0hyosq6uxD3Dxv_HaJVWc=w410-h270" width="410" /></a></div>"The immersive element will allow people to experience the show as Athenians being offered up as human
sacrifices to feed the Minotaur," Todd tells me. "They will enter the labyrinth with
Theseus, facing the unknown terror in the dark. As Theseus explores the
labyrinth, audiences will follow him, experiencing all that he experiences,
and meeting all the people he meets. As such, the audience will be in close proximity to the singers, dancers and musicians while they make their way through the labyrinth."<br /><br />It's not just the story that excites Todd but also the opportunity to play Theseus and dissecting how a hero should behave and feel. "I’m very interested in subverting the hero stereotype and going beyond
2D toxic masculinity, and exploring the vulnerabilities that motivate
Theseus’ actions. Like the Minotaur, Theseus was rejected at birth by
his father, King Aegeus of Athens, and now feels the need to continuously
prove himself with heroic deeds. He is full of determination, but this stems from a very sad and lonely place, where love has been replaced
with the adulation of others," he says.<p></p><p>With 13 years of studying and performing, Todd's talent has seen him performing all over the world, where he has worked hard at breaking people's stereotypical opinions of what opera is and challenging them to see it for what it can be. "I do think opera has a bit of an image problem though,' he admits. "It is often
perceived as an old-fashioned, aristocratic form of entertainment, but
this is like saying all novels are like <i>War and Peace</i>, or <i>Sense and
Sensibility</i>. Opera is a vibrant and living art form of infinite variety,
which is fundamentally about storytelling, enhanced by powerful music.
This music can be incredibly beautiful, but can also be unsettling,
jarring and deliciously ugly. Opera can express our innermost darkness
as deftly as it reveals our shining, triumphant light."<br /><b><br />MIDSUMMA QUICKIES: <br /></b><br /><b>1) My favourite meal is … </b>Har Mee (Penang-style prawn noodle soup). Wherever I am in the world, part of my soul is always in my birthplace – Penang, Malaysia.<br /><b> 2) A TV show I would like to be cast in is ... </b>anything Star Wars-related. I’ve been a huge fan since I was a kid.<br /><b>3) A little known skill I have is ...</b> Hand-modelling.<br /><b>4) My proudest professional moment is… </b>successfully overcoming post-viral fatigue over 3 years, while singing at the Hamburg State Opera in Germany.<br /><b>5) Happiness is ...</b> feeling deeply connected; whether to culture, a place, a partner, friends, family – anything!</p><p></p><p></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><span><u><b>Show Details</b></u><br /><br /><b> </b></span></span></span></span></span><b>Venue:</b> Abbotsford Convent, 1 St. Helliers St, Abbotsford<br />
<b>Season:</b> 6 - 10 February | 7:30pm and 2:30pm (Sat)<br />
<b>Duration: </b>40 mins<b><br />Tickets:</b> $40 Full | $35 Conc</span> | $20 Preview<br />
<span><b>Bookings:</b> <b><a href="https://www.midsumma.org.au/whats-on/events/labyrinth/" target="_blank">Midsumma Festival<br /></a></b></span></span></span><span style="font-family: inherit; font-size: small;">*P</span>lease be aware that you will be standing for the duration of the work. Seating will be made possible for those with
particular needs. The performance is wheelchair
accessible.*<br /> <br /><span style="font-size: small;"><span style="font-family: inherit;"><span><b>Main image credit:</b> Jasmin Bardel<br /></span></span></span><b>Secondary image credit: </b>Simone Ruggeiro<span style="font-size: small;"><span style="font-family: inherit;"><span> <br /></span></span></span></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-77637303129699408052024-01-14T19:41:00.002+11:002024-01-15T10:14:35.382+11:00Cooking up a storm with Charlie Lawrence and Perpetual Stew (Midsumma Festival)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjL5lSiPLFo4saO5jXwEvJ2AVaWOrgw9D7ug38sYD_NscAEyjtVoDYrRCHL4rDJVshmtNPuFRaVQsrS_2AOAdcUEITZnhRDiPxDQjWWilWzF1i0OmveUGSsAPksdoNMePxsBbf3YvZiVbNftKjXJBy5dGOnBmI4H-j93JD-GS7Qfct54M7RG30QiyC82Wo" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="540" data-original-width="1069" height="288" src="https://blogger.googleusercontent.com/img/a/AVvXsEjL5lSiPLFo4saO5jXwEvJ2AVaWOrgw9D7ug38sYD_NscAEyjtVoDYrRCHL4rDJVshmtNPuFRaVQsrS_2AOAdcUEITZnhRDiPxDQjWWilWzF1i0OmveUGSsAPksdoNMePxsBbf3YvZiVbNftKjXJBy5dGOnBmI4H-j93JD-GS7Qfct54M7RG30QiyC82Wo=w569-h288" width="569" /></a></div><p>Good dinner scenes in film, TV and theatre are filled with plenty of awkwardness and drama, with a group of people confined to one place and forced to get along for the next few hours. For Midsumma Festival, writers Milly Walker, Charlie Lawrence and Victoria Barlow will be bringing their own variations of the dinner scene to life through a number of bite-sized courses full of absurdity, drama and comedy with <i>Perpetual Stew</i>, where every guest brings their own baggage to add to the pot.<br /><br />It was an idea that had been with the three for quite some time and just needed the right moment until it boiled over into something more concrete. "At the early ideation stages we were playing with different
story formats and structures and decided that we wanted to write a
show that could fit all three of our distinct voices," Lawrence tells me. "During this
process we all became drawn to exploring the dinner scene as it allowed
us to explore a range of stories and gave us space to add our voices in a
harmonious way. Not only did the dinner scene hold appeal structurally, but
it also enticed us with its place in society and art. To us, food has
always been a tool in which we share, whether it be deep truths, love,
or commiserations."</p><a name='more'></a>"To gather with biological or chosen family is a
central experience for many queer folk. What we were drawn to was the
way in which dinner scenes in fiction are viewed through this
culmination of interpersonal drama in both subtle and overt ways. For
example the iconic <a href="https://www.youtube.com/watch?v=tnrHMzedPaQ" target="_blank"><i>Gossip Girl</i> episode</a> where five
separate story lines reach their climax and half the table leave Thanksgiving dinner all to the tune of Jason Derulo’s "Whatcha Say". While the sitting down for dinner is something that can be seen as
everyday or mundane, we wanted to expand on what fiction has
been doing for a long time (both intentionally and unintentionally)
which is queering the dinner scene," he says.<p></p><p>"So <i>Perpetual Stew</i> results in a collection of stories that fall on a
broad spectrum from conventional realism to abstract absurdism. While
most of the scenes are comedic, audiences can also expect sides of
poignant vulnerability. This isn’t your parents' anthology of dinner
scenes, we want audiences to laugh, cry, and get weird with us."</p><p>"We threw around a lot of concepts when we were trying to decide on a
title for the show but when we arrived at <i>Perpetual Stew</i>, we knew that
it was the one. It basically refers to an old type of stew that was
indefinitely left on the boil and continuously replenished by the people
who ate from it," Lawrence explains. "In some circumstances people would come and add an
ingredient to the stew, so that everyone eating it had contributed
something. We felt this was a really apt title for our show as we’re
providing an anthology of scenes that revolve around how we meet,
interact, and let ourselves be vulnerable over food."</p><p> The coming together of this trio has led to new collaborations and processes for the three despite knowing each other for a number of years. "Victoria and Milly have been making theatre and collaborating on events
since 2016, while Milly and I co-wrote student theatre together
back when we were at university in 2015," Lawrence says. "Fast forward to 2023 and in order to pursue creative endeavours we found ourselves sharing an apartment in Prahran, so working on a show together became more of an inevitability than anything else. Given we each have our own distinct voice and style, writing <i>Perpetual Stew </i>provided a unique opportunity to see how that could interact and push each other’s limits."</p><p>Having three other actors performs their words (Courtney Crisfield, Conagh Punch, and Sam Eade), means these three will be the chefs of this kitchen, standing in the back watching their creations being enjoyed by the guests. "To have actors read and ultimately interpret a script can be daunting, especially with something that is comedic, but is not too dissimilar to how an audience would be interacting with a work upon viewing. We have a strong belief that through the rehearsal process, getting additional actors on board will be able to elevate the script that we have written. This could be perceived as a slight challenge but we’re embracing it as a beautiful opportunity to let our ideas expand or shrink in the rehearsal room," he tells me.</p><p>While all this talk of dinner and food has got us hungry, I do need to ask, what is the best dinner scene? "The one that we found we returned to time and time again, a text so rich it’s essentially a religious artefact, was the first episode of <i>Fleabag</i> season two. To call it a scene is maybe cheating as it is the duration of the episode but all of the dramatic elements are there, just drawn out. The primary tone of the dinner is comedic but it pushes to the forefront what so many people dread about a dinner with family: uncomfortable probing questions, snide remarks, and having to save face when your step mother says something totally inappropriate."<br /><br />"It’s rooted in reality but the direct address to the audience breaks the form in a way that allows the narrator to have her drama and comment on it too. It’s not pretentious but it does make you feel like you’re in the know. And of course a human in all her humanness is still very much the centre of the scene. It’s funny, uncomfortable, and full of relatable mess, everything we hope Perpetual Stew will bring to Midsumma audiences."<br /><b><br />MIDSUMMA QUICKIES</b><br /><b><br />1) My favourite meal is ... <br /></b>Milly: Right now it’s pork wonton soup that I hand-make myself. That’s a flex. <br />Charlie: Duck ragu because it is objectively the best type of pasta sauce. <br />Victoria: Creamy mushroom pasta because Charlie is wrong about the best type of pasta sauce.<b><br />2) A TV show I would like to be cast in is</b> <b>...</b><br />Milly: <i>Deadloch</i> because love the Kates and love Lesbians. <br />Charlie: <i>Survivor</i> because I would bring the drama. <br />Victoria: <i>Great British Bakeoff</i> because I want to be their friends.<br /><b>3) A little known skill I have is ...</b><br />Milly: I can drink 8 espresso shots before midday and still have an arvo nap. <br />Charlie: Being able to perfectly distribute the same amount of liquid into many glasses. <br />Victoria: I do a great Scooby Doo impression. Ruh roh Raggy.<br /><b>4) My proudest professional moment is ...</b><br />Milly: Making a fart machine for Starlight Foundation.<br />Charlie: Announcing the results of the last federal election on community radio. <br />Victoria: Leading a successful crowdfunding campaign for Vulcana Circus.<br /><b>5) Happiness is ...</b><br />Milly: No more jobs.<br />Charlie: A negroni by the pool.<br /><span style="font-size: small;"><span style="font-family: inherit;">Victoria: Sleep ins, sunny days, and finding an Iced Soy Mocha for under $6. </span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><b><u>SHOW DETAILS</u></b><span><span><span><span><span><span><b> </b></span></span></span></span></span></span></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><span><b>Venue: </b></span></span></span></span></span><span><span>The Motley Bauhaus, 118 Elgin St, Carlton</span></span></span><br /><span><span><span><span><span><span><b> Season:</b> 6 - 10 Feb | 6:00pm<br /><b>Duration: </b>60 minutes<br /><b> Tickets:</b> $35 Full | $28 Concession and Preview<br /><b>Bookings: <a href="https://www.midsumma.org.au/whats-on/events/perpetual-stew/" target="_blank">Midsumma Festival<br /></a></b></span></span></span></span></span></span></span></span></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-24701474097732814372024-01-08T19:16:00.001+11:002024-01-08T19:16:21.396+11:00Choir of a Man review<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7LBiQplgig25__tqJ-agTE_3ayUcSJoOnD5MG1-jgmpezE54m4HMjfE3ARv-SQ4G8xR1vUVXNSR2izOrOCe2l2OntheyOJfTvDhUmt-Sgdxw2vHQeNuQxuMxPo9j1-bqXbzKno69H6jxC-kzaKH4-tGWBgp0hAYOF56bRz13_RvMyQ8JmJ1HwIq7-L0g/s726/Screen%20Shot%202024-01-05%20at%2010.46.38%20pm.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="447" data-original-width="726" height="325" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7LBiQplgig25__tqJ-agTE_3ayUcSJoOnD5MG1-jgmpezE54m4HMjfE3ARv-SQ4G8xR1vUVXNSR2izOrOCe2l2OntheyOJfTvDhUmt-Sgdxw2vHQeNuQxuMxPo9j1-bqXbzKno69H6jxC-kzaKH4-tGWBgp0hAYOF56bRz13_RvMyQ8JmJ1HwIq7-L0g/w528-h325/Screen%20Shot%202024-01-05%20at%2010.46.38%20pm.png" width="528" /></a></div><i>Choir of a Man</i> has nine men gathering at their local pub for singing, dancing and good times, all as they down a pint or two. Created by Nic Doodson and Andrew Kay, the show has been performed around the world since it premiered at Edinburgh Fringe Festival in 2017.<br /><br />The nine performers display great camaraderie and the direction and choreography by Freddie Huddleston ensures that the confines of the pub are used creatively and refreshingly with each song, while also making evident the familiarity these men have with each other.<span><a name='more'></a></span><br /><br />There is no denying the vocal skill of the ensemble (even with some microphones issues at various points). A range of songs are covered including Adele's "Hello", Sia's "Chandelier", John Farnham's "You're the Voice" (with strong encouragement from the audience to join in) and the opening number, and show highlight, a mash up of Avicii's "Wake Me Up" and Eagle-Eye Cherry's "Save Tonight".<br /><br />So while the performances are energetic and the musical numbers with a live band set up above the bar are grand, the heart of this production seems to be missing. We hear monologues about the importance of the pub and the friends and "family" that are made here, and get detailed stories about each of the nine men's conveniently different personalities and where they come from, yet we never see the relationships and feelings between them expressed. There is so much potential with a show like this and breaking stereotypes about men, masculinity and expressing vulnerability but it feels squandered when we instead get a rendition of Red Hot Chili Peppers' "Under the Bridge" as three men urinate in the toilets and compare dick sizes. It's frustrating that the audience members who get pulled up on stage - very willingly mind you - for a few minutes end up showing more personality than the characters we meet in this pub for almost two hours. <br /><br />There is nothing wrong with a jukebox karaoke but given the countless monologues that we hear on the wonderful community and bonds that are present but we never witness, <i>Choir of a Man</i> requires something beyond frivolous fun. Either give these characters much needed depth and opportunity to grow or simply remove the monologues and just allow people enjoy the music, singing and dancing.<br /><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><u><b>Show Details</b></u><br /><br /><b> Venue: </b>Arts Centre Melbourne, 100 St. Kilda Rd, Southbank<br /><b> Season:</b> until 11 February | Tue - Fri 7.30pm, Sat 3.30pm and 7.30pm, Sun 2pm<br /><b>Duration: </b>100 minutes<br /><b> Tickets:</b> $89.90 - $109.90 Full | $79.90 - $99.90 Concession<br /><b>Bookings:</b> <a href="https://www.artscentremelbourne.com.au/whats-on/2024/contemporary-music/the-choir-of-man" target="_blank">Arts Centre Melbourne<br /></a></span></span></span></span></span></span><b><br />Image credit: </b>Danysha Harriott</p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-3230985490686446302024-01-07T11:10:00.004+11:002024-01-07T11:10:52.968+11:00Circus 1903 review<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgHfunyU8wBFnXv5RAAmH6415_0FwMSXvkNixt5daYiyQxXfrUHbobfT3uW4HSuqUig3QG1niCGrETLJ4jdLqlrMtl_P1JGP3lwXmN0LRwaFAoIz2ccp9CGLtQnjZhWXhsmEBXq1tebMumpuZJFdtlolTdId4nlK_VphyNHjzJakZfUQdjvdV_4JesEsdQ" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="443" data-original-width="723" height="314" src="https://blogger.googleusercontent.com/img/a/AVvXsEgHfunyU8wBFnXv5RAAmH6415_0FwMSXvkNixt5daYiyQxXfrUHbobfT3uW4HSuqUig3QG1niCGrETLJ4jdLqlrMtl_P1JGP3lwXmN0LRwaFAoIz2ccp9CGLtQnjZhWXhsmEBXq1tebMumpuZJFdtlolTdId4nlK_VphyNHjzJakZfUQdjvdV_4JesEsdQ=w513-h314" width="513" /></a></div><p>As you take your seat and look at the stage of <i>Circus 1903</i>, it really feels like you have been transported back 120 years ago to a big top circus. World-class talent undertake breathtaking acrobatics and routines that show what can be achieved if you put your mind to it. An appearance by an African elephant and her baby calf further heightens the excitement felt over a century ago when circuses would travel into small towns offering locals opportunities to witness extraordinary artists and exotic animals, and for a limited season, it is Melbourne's turn to experience this.<br /><br />Every act is a highlight and while favourites among the audience varies, there's no denying the absolute skill possessed by the Icarian Games performers Mohammed Ibrahim and Hamza Seid, in a stunning routine of foot juggling a human body. At one point, 23 consecutive rotations are completed one after the other and watching the strength and flexibility in both these performers is simply jaw dropping. Mekdes Kebede's contortionist act is utterly engrossing as she manipulates her body into positions that should not be feasible, and receives plenty of gasps from the crowd.</p><a name='more'></a>Yoann Benhamou and Emeline Goavec present a duo-trapeze act, using a single trapeze to deliver a beautifully choreographed piece. Oskar Norin, Karl Wiberg and Anton Persson use a teeterboard that has them soaring to spectacular heights and Yani Stoyanov and Valeri Tsvetkov show us exactly why they are called the strongmen of this circus. Elena Suarez-Pariente entrances us with her hair-raising hair-hanging aerial artisty, David Schnabel stops us in our tracks with an acrobatic bicycle act and Francois Borie shows off his juggling prowess with incredible speeds and dexterity.<br /><br />Ringmaster Willy Whipsnade (David Williamson) keeps everything and everyone under control, including various children who are eager to get on stage and be part of the circus. He has a wonderful knack of making sure they enjoy themselves and remember this special moment while also cracking jokes in front of them that are directed to the adults in the theatre.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgd4pxM-Qo1o6L51V7AEUMJXVVdvZSwEBuclS9_8cUIkABZaXvHtwAqeUGQYycWA15MWObPdc6U2f1qT53JtFj1jnjDZHi3htoJzGWSvBSV-vlIQvwsFAE3QD43s6Ze6hn2YBJfmqGFs_OKytt2vF3SFo6fvyZI8BLqZciYaGmxDrSfHM8oVmLIdMj3_MQ" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="445" data-original-width="718" height="265" src="https://blogger.googleusercontent.com/img/a/AVvXsEgd4pxM-Qo1o6L51V7AEUMJXVVdvZSwEBuclS9_8cUIkABZaXvHtwAqeUGQYycWA15MWObPdc6U2f1qT53JtFj1jnjDZHi3htoJzGWSvBSV-vlIQvwsFAE3QD43s6Ze6hn2YBJfmqGFs_OKytt2vF3SFo6fvyZI8BLqZciYaGmxDrSfHM8oVmLIdMj3_MQ=w428-h265" width="428" /></a></div>But it’s the majestic elephants Queenie and her calf Peanut, that win over the audience, although for Peanut you may want to add cheeky to the mix. These life-size elephant puppets created by Significant Object are a sight to be seen. The puppets are designed as realistically as possible with regards to movement, temperament and appearance. With three puppeteers inside Queenie and the one inside Peanut barely visible, it's easy to give over to your imagination and perceive these animals as living, breathing creatures.<br /><br />The entire cast and crew, including costumer designer Angela Aaron, have worked tremendously well to bring the magic of 1903 to Arts Centre Melbourne. While there is a hiccup with the final act, which ends abruptly and doesn't carry the wow factor that all the preceding acts have, <i>Circus 1903 </i>is an extremely enjoyable night out and you can't help but take home some of that dreamlike energy from the circus, where anything is possible. <br /><p></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><u><b>Show Details</b></u><br /><br /><b> Venue: </b>Arts Centre Melbourne, 100 St. Kilda Rd, Southbank<br /><b> Season:</b> until 14 January | Tue/Thurs/Fri 7.30pm, Wed/Sat 2pm and 7.30pm, Sun 1pm and 6.30pm<br /><b>Duration: </b>130 minutes, including a 20 minute interval<br /><b> Tickets:</b> $79 - $119 Full | $69 - $109 Concession<br /><b>Bookings:</b> <a href="https://www.artscentremelbourne.com.au/whats-on/2024/circus-and-magic/circus-1903" target="_blank">Arts Centre Melbourne<br /></a></span></span></span></span></span></span><b><br />Image credit: </b>Jason Lau and Arts Centre Melbourne 2024<br /></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-2579472226684708922024-01-06T12:24:00.000+11:002024-01-06T12:24:24.864+11:00Kitan Petkovski on bringing the most important American play of this century to Australia (Midsumma Festival)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig3gqxpLSofmImChp8WLo2IIxTfGsedZ11QD6cxiC7U0fTNBLbguJmaxpvldrbKgRHqThbI7d2TiDRC5Md9-t5k3z-WAZ15ZKpPPy58De52klg1IzhEgiQG8pRnddj8PI0APLgg8A4NaZqcMC2SGc6Y7qXT-KoJus0gat5aWdYyMC-aAQ8azVwJDMZofo/s1002/Screen%20Shot%202024-01-03%20at%208.38.58%20pm.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="538" data-original-width="1002" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig3gqxpLSofmImChp8WLo2IIxTfGsedZ11QD6cxiC7U0fTNBLbguJmaxpvldrbKgRHqThbI7d2TiDRC5Md9-t5k3z-WAZ15ZKpPPy58De52klg1IzhEgiQG8pRnddj8PI0APLgg8A4NaZqcMC2SGc6Y7qXT-KoJus0gat5aWdYyMC-aAQ8azVwJDMZofo/w462-h249/Screen%20Shot%202024-01-03%20at%208.38.58%20pm.png" width="462" /></a></div><p>Said to be "the most important American play of this century", Matthew López's <i>The Inheritance</i> is making its way to Melbourne for Midsumma Festival. Directed by Kitan Petkovski, this seven hour play (told in two parts) brings together three generations of gay men living in New York City decades after the height of the AIDS epidemic while exploring what it means to honour the past and those who came before us.</p><p>Petkovski has been aware of the play and its prominence but it wasn't until he was approached by Cameron Lukey, Artistic Director at fortyfivedownstairs, that this production started to gain traction. "Earlier last year, Cameron asked if I had heard about <i>The Inheritance</i> and if I'd be interested in reading the script. I had known about the play, mostly that it has won the Olivier and Tony awards 2019-2020, and that it was a work inspired by E. M. Forster's <i>Howards End</i> but that was about it," Petkovski tells me. "I read both parts over a weekend and remember feeling a sense of catharsis that I don't usually experience after reading most plays. I guess it's because it's a story connected to my queer community, and it reminded me of the history that has been lost and was never passed down from previous generations, and how upsetting that still is. It is up to our generation of LGBTQI+ communities to ensure that our history and stories in the making are not erased."<span></span></p><a name='more'></a>Petkovski has directed a number of critically acclaimed and award-winning productions over the last few years including <i>The Gospel According to Jesus, Queen of Heaven, <a href="http://www.mymelbournearts.com/2023/02/burgerz-review-midsumma-festival.html" target="_blank">BURGERZ</a></i> and the recent Patricia Cornelius work, <i>In The Club</i>, but <i>The Inheritance</i> is a whole new ballgame, and one that he is excited to be involved in. "In terms of scale and length, this is absolutely the most ambitious project I have worked on! I mean, how many seven hour plays exist, let alone get presented on our stages?" he says. "I haven't seen the West End or Broadway productions, but have spoken to a few that have and I'm aware of the impact the work can have on an audience. It's important to note that we are staging an American play in Australia, and we are doing this on an independent scale, so I hope those who have seen the show, come to fortyfivedownstairs with an open mind and understanding that this is a new production, performed by a stellar Australian cast in a very intimate setting." <p></p><p>Petkovski is building a name for himself as someone with unique creative visions that draws audiences in, and for this production he is joined by a number of highly skilled and equally inspiring designers with Bethany J Fellows, Katie Sfetkidis and Rachel Lewindon. "It's been a true pleasure working with Bethany, Katie and Rachel again. We have collaborated on a number of shows together, and I knew that <i>The Inheritance</i> could benefit from a design team who knew and trusted each other, and could work in shorthand if and when required," he explains. "Matthew López uses narration to transport us between locations and time periods, so a lot of the world building is beautifully expressed in the writing. Set, costumes, sound and lighting design will guide the audience symbolically and more on a subconscious level. When I think about the overall design right now the words that come to mind are queer, lush, delicate and hilarious."</p><p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRHLQN1cwCMvqRQQXqdoQjAXpwyGp1r4NIPxKYbhctBkNKUNkbS2WBcg0XK1kVCmfTln1BhViWvUV7MPEtaMvAst7qLC07erSOGaWFuO7O-oJoBRrsvaeJQ4Fxzx4KPAQQ6U_zOoXzHYO6QOf7JObMTdEiU3-Yu-HpmTcur-H5g7605ljF9BTsXyctqrg/s1440/Kitan%20Jan%202022.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1439" data-original-width="1440" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRHLQN1cwCMvqRQQXqdoQjAXpwyGp1r4NIPxKYbhctBkNKUNkbS2WBcg0XK1kVCmfTln1BhViWvUV7MPEtaMvAst7qLC07erSOGaWFuO7O-oJoBRrsvaeJQ4Fxzx4KPAQQ6U_zOoXzHYO6QOf7JObMTdEiU3-Yu-HpmTcur-H5g7605ljF9BTsXyctqrg/w256-h256/Kitan%20Jan%202022.jpeg" width="256" /></a>And of course, behind every great show, or in this case, in front of every great show is a great cast, and Petkovski could not be more thrilled with the ensemble of thirteen actors that has been assembled. "We have completed the fifth week of our six week rehearsal period and I don't think
any of us have worked harder or faster on any other project. In saying this,
rehearsals have been an incredible joy and every day I'm in awe of the cast
and our creative team," he says. "I still don't know how actors can remember so
many words and actions, and perform them each time with freshness and
authenticity. The number of times I have laughed at the same jokes, and
cried in the same moments, in the play will make me sound like a mad
person, but it's true - the cast are able to do this, time and time
again. I can't wait for audiences to see them and celebrate their brilliance." <br /><br />We end our chat with how we began this interview, reflecting on how <i>The Inheritance</i> has been referred to as "the most important American play of this century" and how this can translate for Australian audiences. Petkovski is looking forward to presenting this local independent production and have audiences understand how critical it is to value the past in order to live for the future. "I hope this play encourages people to remember, to partake and to celebrate queer history. We need to cherish inter-generational exchanges between gay men and appreciate the battles fought on our behalf. We need to not take our queer freedoms for granted, uplift our LGBTQI+ communities and look out for future generations."<br /></p><p><b>MIDSUMMA QUICKIES:</b><br /><br /><b>1) My favourite meal is ...</b> pizza because who doesn't love melted cheese? <br /><b>2) A TV show I would like to be cast in is ... </b><i>The Block</i> because who doesn't love a make-over? <br /><b>3) A little known skill I have is ...</b> I can speak to cats (ccrrrttttsssstppeop - for my cat pals that might be reading this)<br /><b>4) My proudest professional moment is ... </b>driving a car through a theatre stage door (guess the show!) <br /><b>5) Happiness ... </b>lies in your own hands, it took me much too long to understand (Madonna, 1994).</p><p><span style="font-size: small;"><span style="font-family: inherit;"><u><b>Show Details</b></u></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><b>Venue: </b></span></span>fortyfivedownstairs, 45 Flinders Lane, Melbourne<br /><span style="font-size: small;"><span style="font-family: inherit;"><b> Season:</b> 21 Jan - 11 Feb | </span></span>7pm<br />This is a two-part production. Date pairs are pre-determined by
the venue and cannot be altered or mixed. The assigned date pairings can be viewed by clicking on the bookings link below.<br /><span style="font-size: small;"><span style="font-family: inherit;"><b>Duration: </b></span></span>Each part runs for approximately 190 minutes<span style="font-size: small;"><span style="font-family: inherit;"><br /><b> Tickets:</b> $109 Full | $99 Concession<br /><b>Bookings: </b><a href="https://www.midsumma.org.au/whats-on/events/the-inheritance/" target="_blank">Midsumma Festival</a></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><b>Main image credit: </b></span></span>Benny Capp<span style="font-size: small;"><span style="font-family: inherit;"> </span></span></p><p></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-67516677192154921522023-12-30T22:33:00.004+11:002023-12-31T12:41:45.585+11:00Oh Great, It's Jessie Ngaio! (Midsumma Festival)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgn7C-oaXVg9AaO2HXKlAvEj7qUS26WGw9zVYg3W6thVa1Sl_6mFHCAe8yqbTgc9RZ_betE8_CKvpDmUBUu02tJW5Sjl4q9rEpZJpc4CH5oOe0UNHITp8OnaZwJ556eXDbqvw3MGxQaCuvQuKjkq8fZMr7dGW-Pgpz7ARH667wge5-m9zkcOOfu-KO3puY" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="667" data-original-width="1000" height="343" src="https://blogger.googleusercontent.com/img/a/AVvXsEgn7C-oaXVg9AaO2HXKlAvEj7qUS26WGw9zVYg3W6thVa1Sl_6mFHCAe8yqbTgc9RZ_betE8_CKvpDmUBUu02tJW5Sjl4q9rEpZJpc4CH5oOe0UNHITp8OnaZwJ556eXDbqvw3MGxQaCuvQuKjkq8fZMr7dGW-Pgpz7ARH667wge5-m9zkcOOfu-KO3puY=w516-h343" width="516" /></a></div><p>From a young age, Jessie Ngaio has fantasised about killing herself. Originally performed in early 2023, <i>Oh Yuck, It's Me</i> is her dark yet exceptionally entertaining exploration of sexuality, trauma and climate anxiety and finding the will to survive when everything seems stacked against you.<br /><br />Ngaio received much acclaim during her original season, leading to two 2023 Green Room Awards for Best Performer and Best Production. In 2024, <i>Oh Yuck, It’s Me</i> returns as part of the Midsumma Festival, where she one again hopes to engage her audience with the wider themes of the show while offering an outlet of mutual laughter, vulnerability and honesty. <span></span></p><a name='more'></a>"In Buddhism there is a concept of bodhichitta which I have heard described as the rawness of a broken heart; bodhichitta awakens us from our numbness and apathy and reconnects us to tenderness and interconnectedness," she tells me. "By sharing the story of my own intensely personal struggles with suicidal ideation, chronic pain and emotional abuse, I have deliberately constructed the show that keeps me open and vulnerable by using my own deep grief in order to connect to the hearts of the audience. I wanted to use my own personal stories as a metaphor and means of exploring the much bigger and more terrifying crises we find ourselves in as a species. I am greatly inspired by the Brené Brown quote “we cannot selectively numb emotion. If we numb the dark, we numb the light.” I’m interested in the question of what the role of art is during dark times and I’ve been thinking a lot lately about how in the West, we have separated art, science and spirituality into different categories and maybe that’s a mistake," Ngaio says.<br /><br />Ngaio successfully combines these three ideas in <i>Oh Yuck, It's Me</i>, so that while it deals with mental health and suicide she provides plenty to laugh at through her unique perspective on seeing the world. It is a delicate balance that came with its own anxieties but it has ultimately resonated with people. "I’ve had people who saw the show telling me that it changed their life.
No one has said that about any other art I’ve made so I’m remounting it
to see if that magic spell is still an effective one. It may be uncomfortable for some as it is, in true autistic fashion, incredibly earnest. But it’s also stupid, funny and joyous. I hope that when I share the story of my own healing and awakening to self-compassion, that I might help others awaken to love for themselves, each other and all life on this beautiful, little speck of space," she explains.<br /><br />"When I made this, I was worried that it might be too grim and depressing. We live in such hard times, I didn’t want to make media that would leave people feeling miserable and heavy and this is where my clown, Lulu, came in. She is the host of the show and she’s really bad at it because Lulu comes from the red nose clown lineage which is all about sublime stupidity, you give the clown tasks that are impossible for them. As one of my clown teachers, Pedro Fabiao, said “we love to see the clown in the shit”. The shit I put Lulu in, is hosting a show for me where I am falling into spirals of self-loathing and shame and having flashbacks to times of immense trauma. Lulu is desperately trying to hold the show together and the comedy comes from her being utterly unqualified for the job," Ngaio tells me.<br /><br /><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjRi4OFBA2dGp5jI3R4i5WKdetfHhGadOFQd9jjlJjTz82ftr7h_psXBs2TeuC6-d0yEHy-_UXBkXrS38HPGCK-cpcgeRF37hKeRpn_jx5Oih-85zOfpqIlRqbQnOh-3x9efuFVR_3wNJcNfBwtCjJNgjg4_qjBt21eKwFn43_SIWN20vINGug7xL00JWQ" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="" data-original-height="562" data-original-width="979" height="258" src="https://blogger.googleusercontent.com/img/a/AVvXsEjRi4OFBA2dGp5jI3R4i5WKdetfHhGadOFQd9jjlJjTz82ftr7h_psXBs2TeuC6-d0yEHy-_UXBkXrS38HPGCK-cpcgeRF37hKeRpn_jx5Oih-85zOfpqIlRqbQnOh-3x9efuFVR_3wNJcNfBwtCjJNgjg4_qjBt21eKwFn43_SIWN20vINGug7xL00JWQ=w448-h258" width="448" /></a></div>Along the way she has had advice from a number of renowned and ground-breaking performance artists in their own right that have guided Ngaio in various ways in how she would ultimately present this work. "One of my clown teachers and mentors, Giovanni Fusetti, describes theatre as co-regulation and I believe that is true; when we watch the body of a performer, our mirror neurons are firing and we come into empathetic connection with one another. In times of disembodied disconnection, it’s incredibly powerful to be in the same space with other bodies and to use my body as a vessel to take the audience on a journey with me is a profound honour that I take seriously," Ngaio says. "One of my other mentors for this show was Emma Maye Gibson otherwise known as Betty Grumble, and she ran a workshop entitled “Theatre as Medicine” which influenced how I wanted to make this show. My goal was to connect to the older aspects of theatre, those that are related to practices of ritual and transformation which was also influenced by the mentoring I have received from Butoh legend, Yumi Umiumare."<br /><br />In addition to her performing arts experience and the mentoring she has received, Ngaio's own visual arts practice, as a sculptor and painter, has also guided how <i>Oh Yuck, It's Me</i> was constructed. "I have a strong visual imagination. When people are talking to me I see pictures moving and morphing inside my skull, which is both a blessing and a curse. Visual arts was the first way that I learned to bring the pictures inside my head into this world and I moved into the performing arts with one core desire: to bring my visual art to life and make it move. I daydream constantly about the visions I could realise if ever I had a proper budget!"<br /><b><br />MIDSUMMA QUICKIES:</b><br /><b><br />1) My favourite meal is ... </b>gorging on a whole ripe mango because I grew up in Aotearoa, New Zealand where mangoes aren’t really a thing and gorging on one makes me feel like I’m a queen feasting in a tropical garden of goddamn Eden! <br /><b>2) A TV show I would like to be cast in is ... </b><i>The Righteous Gemstones</i> because that show has some of the most sublime character comedy I’ve ever seen.<br /><b> 3) A little known skill I have is ... </b>I used to work for a porn company where I got trained to video edit.<br /><b>4) My proudest professional moment is ... </b>actually doing this show!<br /><b>5) Happiness is ... </b>running across white sand dunes in the outback then looking up into the sky and seeing a hawk flying in front of the sun so that its wings become transparent. Australia is an incredible country. <br /><p></p><p><span style="font-size: small;"><span style="font-family: inherit;"><u><b>Show Details</b></u></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><b>Venue: </b>The Butterfly Club, 5 Carson Place, Melbourne<br /><b> Season:</b> 29 Jan - 3 Feb | 7:00pm<br /><b>Duration: </b>60 minutes<br /><b> Tickets:</b> $37 Full | $33 Concession<br /><b>Bookings: </b><a href="https://www.midsumma.org.au/whats-on/events/oh-yuck-it-s-me/" target="_blank">Midsumma Festival</a></span></span></p><p></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-38076567291306621442023-12-22T10:35:00.001+11:002023-12-22T10:37:48.423+11:00Top 10 Shows of 2023<p><span style="font-family: inherit;"><span style="font-size: small;"></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi-jhr25nnzhbXBByEdcPRTpF6pl0BL2vEzdA9XZbwq6awOiXmE1lr9NBbtbnlkPB4eWASVemyYJTHdIF4XZ6k3taV_F7-ja8Epd_65NCOVUVcdgkh7sNfT73o4kFBUTlBEOtk4zpCtwef1puH_-hnIE3q8XvNeEN93cAIksT_nyCD2AAt6AkkYJF0NwVc" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="1165" data-original-width="1170" height="355" src="https://blogger.googleusercontent.com/img/a/AVvXsEi-jhr25nnzhbXBByEdcPRTpF6pl0BL2vEzdA9XZbwq6awOiXmE1lr9NBbtbnlkPB4eWASVemyYJTHdIF4XZ6k3taV_F7-ja8Epd_65NCOVUVcdgkh7sNfT73o4kFBUTlBEOtk4zpCtwef1puH_-hnIE3q8XvNeEN93cAIksT_nyCD2AAt6AkkYJF0NwVc=w356-h355" width="356" /></a></span></span></div><span style="font-family: inherit;"><span style="font-size: small;">It was a much welcomed return for live shows in 2023. The intimacy, connection, and engagement with a variety of works was much needed after the last couple of years. From theatre to dance to live art, from satire to comedy to drama, it was an exciting time once again for the Melbourne independent performing arts scene. This year I managed to attend 141 shows and the below ten are the ones that left an impression on me. If I reviewed the show, a link to the review is provided.<br /><br />And as I always like to remind people, sometimes the show that you remember for a long time after is not the big splashy extravagant piece with recognisable names and a huge budget, but the one that was on for four nights with ten people in the audience. Support your independent theatre makers and venues - some shows can cost you as little as $20 and can be one of the most original, inspiring and though provoking performances you might see.<br /><br />As I request of you every year, take a risk, seek something new, unknown and different in the new year.<br /><br />Here we go:</span></span><p></p><p><span style="font-family: inherit;"><span style="font-size: small;"><span></span><span></span></span></span></p><a name='more'></a><span style="font-size: small;"> </span><span style="font-family: inherit;"><span style="color: #2b00fe;"><span><b><span style="font-size: small;"><span><span style="line-height: 18px;">1. Lé Nør [the rain] - <a href="http://www.mymelbournearts.com/2023/05/le-nr-rain-review.html" target="_blank">review<br /><br /></a></span></span></span></b></span></span></span><div class="separator" style="clear: both; text-align: start;"><span style="font-size: small;"><span style="font-family: inherit;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYapxISGdJzhBt2k7nNS4ZZX4quVEZNIPC6hON6tyxaofudbcqpa6JvTiNS7L5O8JI7YCoKvtlZUgb-sIdIA60sZDSZ8bDZhtQWAWktxO65QzAA9gWtQhY-VIReTqmiCaYS3DbNnWokX_T6C_yNuCkli9caDR0XUsjKQLxCK6Rzg_UfMA_HAZrMI-WtqA/s640/IMG_3201.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="479" data-original-width="640" height="279" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYapxISGdJzhBt2k7nNS4ZZX4quVEZNIPC6hON6tyxaofudbcqpa6JvTiNS7L5O8JI7YCoKvtlZUgb-sIdIA60sZDSZ8bDZhtQWAWktxO65QzAA9gWtQhY-VIReTqmiCaYS3DbNnWokX_T6C_yNuCkli9caDR0XUsjKQLxCK6Rzg_UfMA_HAZrMI-WtqA/w371-h279/IMG_3201.JPG" width="371" /></a></div>FACT: If there is ever a show being presented by The Last Great Hunt, I will be there. This is one of my favourite theatre companies around and I curse the fact they are based in Perth and not here. They never cease to amaze with the innovation and excitement that they make theatre and <i>Lé Nør [the rain]</i> exceeded expectations.<br />Spoken in a fictitious native language on the fictitious island nation of Sólset and with a fab 80s inspired set and costume design, the team brilliantly combined live theatre with film making allowing the audience to be immersed in the world depicted, while also being privy to see who the magic is created, including witnessing the rising waters in the flooding city and an amusing conversation in an apartment stairwell.<br /></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span><i>Lé Nør [the rain]</i></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span> is an important piece of work on the effects of climate change where every element came together for a fully realised production that has not only stayed with me all year, but bound to for years to come<span style="color: #2b00fe; font-family: inherit;"><b>.</b></span></span></span></span><span style="color: #2b00fe; font-family: inherit;"><span><span><b><span style="font-size: small;"><span><span style="line-height: 18px;"> <br /></span></span></span></b></span></span></span></div><p><span style="font-family: inherit;"><span style="font-size: small;"><span><span style="color: blue;"><b>2. Fountain - <a href="http://www.mymelbournearts.com/2023/02/fountain-review-midsumma-festival.html" target="_blank">review</a></b></span></span></span></span></p><div style="text-align: left;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdpJwYBMDWWSAZ3lotmOYoFEerIk1aT5kqJu9hbPZardT6PGxOFF-MC88__vWU-VfagG298A7d-WL9BB4xNfA1WR4qCMyljkte01FVqX2y3a774Nt1TMafm-2u_78Lqivpnb9D0DkuQFx-cV9pyJVXwStoufLBeBRgHhvD8SfvlDVfuSSMO6UndEYpCBQ/s470/IMG_3202.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="313" data-original-width="470" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdpJwYBMDWWSAZ3lotmOYoFEerIk1aT5kqJu9hbPZardT6PGxOFF-MC88__vWU-VfagG298A7d-WL9BB4xNfA1WR4qCMyljkte01FVqX2y3a774Nt1TMafm-2u_78Lqivpnb9D0DkuQFx-cV9pyJVXwStoufLBeBRgHhvD8SfvlDVfuSSMO6UndEYpCBQ/w372-h247/IMG_3202.JPG" width="372" /></a></div><span style="font-size: small;"><span style="font-family: inherit;">This was one of the first shows I saw this year and it left such an impression on me. Forest Collective have built a strong and credible reputation for bringing classical chamber music into contemporary settings, and with <i>Fountain</i>, they presented an orchestral arrangement of pop singer - songwriter Max Lawrence's music. <i>Fountain</i> explored the fluidity and transient nature in our interactions with our environment and ourselves.<br />The company's artistic director and director, Evan J. Lawson seamlessly blended these two musical genres that resulted in a deeply moving experience for the audience. </span></span><span style="font-size: small;"><span style="font-family: inherit;">Through the course of the evening Lawrence performed 19 musical numbers, with a mix of their own songs and covers, including a beautiful performance of SOPHIE's "It's Okay to Cry", that all shared the running theme on the changing nature of love, identity and environment. </span></span><span style="font-size: small;"><span style="font-family: inherit;">It truly was a privilege to see such stunningly talented performers come together for an incredible evening of music</span><span style="font-family: inherit;"><span>.</span></span></span></div><div style="text-align: left;"><span style="font-size: small;"><span style="font-family: inherit;"> </span></span><span style="font-family: inherit;"></span></div><div style="text-align: justify;"><span style="font-family: inherit;"><span><b><span style="color: blue;"><span><span>3. This is Personal - <a href="http://www.mymelbournearts.com/2023/06/this-is-personal-review.html" target="_blank">review</a></span></span></span></b></span></span>
<span style="font-family: inherit;"><span><b><span style="color: blue;"><span><span><span> </span></span></span></span></b></span> </span><div style="text-align: left;"><span style="font-family: inherit;"> </span></div>
</div><span style="font-family: inherit;"></span><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"></span></div><span style="font-size: small;"><span style="font-family: inherit;"><span></span></span></span><span style="font-size: small;"><span><span style="font-family: inherit;"><span><div class="separator"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNY2AozPHd1uDiDl2z2qJBOucYsvrT05SzQCQUdIR_mFFFBchjpolHi1H0LvbI29EhE1KSzLo9W32A3iollEhaqdxQEFc3HN3xwVw6uyjN3wCtslqIVa1roIw3DSh1tfjgahrKHU9nz3OzoKukWdMdu30sY77blCev8KS2yMByYfyn3SXxbPVUxMC6fLc/s828/Screen%20Shot%202023-06-28%20at%205.12.11%20pm.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="549" data-original-width="828" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNY2AozPHd1uDiDl2z2qJBOucYsvrT05SzQCQUdIR_mFFFBchjpolHi1H0LvbI29EhE1KSzLo9W32A3iollEhaqdxQEFc3HN3xwVw6uyjN3wCtslqIVa1roIw3DSh1tfjgahrKHU9nz3OzoKukWdMdu30sY77blCev8KS2yMByYfyn3SXxbPVUxMC6fLc/w371-h246/Screen%20Shot%202023-06-28%20at%205.12.11%20pm.png" width="371" /></a></div></span></span></span></span><span style="font-family: inherit;"><span style="font-size: small;">To many, the name
Mary Coustas is an instant reminder of the Australian icon that is Effie
Stephanidis, the character Coustas portrayed on the television comedy <i>Acropolis Now</i> that ran between 1989 and 1992. With her solo show <i>This Is Personal</i>,
Coustas let free the woman under the big wig and make-up, and opened up
about the fears she has on not being alive to be there for her daughter
when she will need her most.<br />I am not a parent and I do not want children, but Coustas' storytelling was so powerful and clever that I could feel the fear and the anxiety she felt about leaving her child behind as if she were my daughter. </span></span><span style="font-family: inherit;"><span style="font-size: small;">Her life is her
life and her story is unique but Coustas tapped into something
special that connected with every single person in the audience where we were constantly switching from laughing to crying, and sometimes both at
the same time. At a minimum, <i>This Is Personal</i> definitively cements Mary Coustas to Australian icon status also.</span></span>
<p>
<span style="color: blue;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><b>4. <span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">The Fence - <a href="http://www.mymelbournearts.com/2023/08/the-fence-review.html" target="_blank">review</a></span></span></b></span></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span></span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpUl1M3G6cK6AiT3JMP4gwjx2nI4Vm3rkzbPtbhFoD16pwLFAh5zEJ7Lq0lFLHu7LmubCCg-zArtsJUDZSmo5tvmuyYeJyImFigsXr5lfiYN0_abgaDEc6JSrNXaUsWU-Z4CuCNlKaG7sJgKZ9NZPP8IJ1l1avmegQL1dn55zavfCFQzY-oExvuyajbVk/s554/IMG_3216.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="554" data-original-width="554" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpUl1M3G6cK6AiT3JMP4gwjx2nI4Vm3rkzbPtbhFoD16pwLFAh5zEJ7Lq0lFLHu7LmubCCg-zArtsJUDZSmo5tvmuyYeJyImFigsXr5lfiYN0_abgaDEc6JSrNXaUsWU-Z4CuCNlKaG7sJgKZ9NZPP8IJ1l1avmegQL1dn55zavfCFQzY-oExvuyajbVk/w308-h308/IMG_3216.JPG" width="308" /></a></span></span></span></span></span></div><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><span><span>What I loved about <i>The Fence </i>was how the cast and crew were able to bring complexities and surprises in what is such a common and straightforward story. </span></span></span></span></span></span></span></span><span style="font-size: small;"><span style="font-family: inherit;">Louisa Mignone
played a happily married woman with a daughter living a content suburban life, but when a
couple move in next door and tear down the fence between them, it leads
to emotions and feelings that begin to impact her life as she struggles
with the implications of turning a blind eye or calling out what she
suspects is taking place next door.<br />Fleur </span><span style="font-family: inherit;">Murphy's poetic
style of writing complemented the natural language and vocabulary that
the Woman used and it was an effective contrast to the disturbing events
happening next door that is supported by an imaginative and well thought out set, sound and lighting design.<br /></span></span><span style="font-family: inherit;"><span style="font-size: small;"><i>The Fence</i> was a compelling production about the decisions we are forced to face
when our sanctuary and safety of home is challenged by outside
influences, and the moral dilemma in minding your own business or
stepping in and saying something.</span></span><span style="font-family: inherit;"><span style="font-size: small;"> </span></span></p><p><span style="font-family: inherit;"><span style="font-size: small;"><br /></span></span></p><p><span style="color: blue;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><b>5. <span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Greece Lightning - <a href="http://www.mymelbournearts.com/2023/03/greece-lightning-review-melbourne.html" target="_blank">review</a></span></span></b></span></span></span><a href="http://www.mymelbournearts.com/2022/05/buried-teabowl-okuni-review.html" target="_blank"> </a><br />
</p><div style="text-align: right;">
</div><p><span style="font-family: inherit;"><span style="font-size: small;"><span><span><span><span></span></span></span></span></span></span></p><p><span style="font-size: small;"></span></p><div class="separator" style="clear: both; text-align: center;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifTK4r0q6D0EoLnYW3KPyO2tN8B1v6b7dKPKwj-JnAIWCX-N4PtHfUPi6h2y11tMBazsJJ46IWfgIwipdjfg-57XK48MBjCHOZE7b0Q4Hk7t5F1NnZcpAZZ09G1gLbSzNf5FG8tHq8utFQg3cwfy_XuxpZP39VRMR8Aj9BOMWYzo6hyphenhyphennYLKIGCpud9MnM/s640/IMG_3205.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifTK4r0q6D0EoLnYW3KPyO2tN8B1v6b7dKPKwj-JnAIWCX-N4PtHfUPi6h2y11tMBazsJJ46IWfgIwipdjfg-57XK48MBjCHOZE7b0Q4Hk7t5F1NnZcpAZZ09G1gLbSzNf5FG8tHq8utFQg3cwfy_XuxpZP39VRMR8Aj9BOMWYzo6hyphenhyphennYLKIGCpud9MnM/w375-h281/IMG_3205.JPG" width="375" /></a></span></div><span style="font-family: inherit; font-size: small;">This was Damien Warren-Smith’s third outing as the dim but absolutely delightful Garry
Starr, (<i><a href="http://www.mymelbournearts.com/2018/04/garry-starr-performs-everything.html" target="_blank">Garry Starr Performs Everything</a> </i>and <a href="http://www.mymelbournearts.com/2019/03/garry-starr-conquers-troy-melbourne.html" target="_blank"><i>Garry Starr Conquers Troy</i></a>),
and with this, he was bigger and better than ever before as Garry attempted to perform all
of Greek mythology in order to save his homeland from economic ruin.<br /></span><span style="font-family: inherit; font-size: small;">Warren-Smith
displayed an amazing skill for wordplay and one-liners, as Garry stumbled through his reasoning for doing this show and constantly mispronouncing his
words. The set pieces and props complemented Garry’s personality by being quite
basic and simple but highlighted Warren-Smith’s incredible creativity and
attention to detail.<br />Every
joke landed in <i>Greece
Lightning</i> and if you like your comedy to be utterly ridiculous and
absurd, then this is the show for you. Garry
Starr is definitely one very clever sausage.</span><p></p><p><span style="font-family: inherit; font-size: small;"> </span></p><p></p><div style="text-align: justify;"><span style="color: blue;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><b> </b></span></span></span></div><div style="text-align: justify;"><span style="color: blue;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><b>6. <span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Packing - <a href="http://www.mymelbournearts.com/2023/10/packing-review-melbourne-fringe-festival.html" target="_blank">review</a><br /></span></span></b></span></span></span><br />
<div style="text-align: right;">
</div><span style="font-family: inherit;"><span style="font-size: small;"><span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ0UBDeOu_2jj-L3CmbXjqzSrQmA7-4fXWCCq31odIZTYGj8t3j9IIPOPhRdOY0hvftgms3KrYTK4i9uTipwkkvuzCepmwiinaIuiVm3Xei4syG_TyLC9DT03NhB4VMwDrIw1PaYIeJAGQpFpFzX8Fuxu3qRZwzAiznYY2ziLnYpa-clGCm6i4HG7IHt8/s3024/IMG-1347.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="3024" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZ0UBDeOu_2jj-L3CmbXjqzSrQmA7-4fXWCCq31odIZTYGj8t3j9IIPOPhRdOY0hvftgms3KrYTK4i9uTipwkkvuzCepmwiinaIuiVm3Xei4syG_TyLC9DT03NhB4VMwDrIw1PaYIeJAGQpFpFzX8Fuxu3qRZwzAiznYY2ziLnYpa-clGCm6i4HG7IHt8/s320/IMG-1347.jpg" width="320" /></a></div></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><i>Packing</i> was
an interactive performance made for one person at a time where we have
been hired to help Marigold pack up her art studio. Except Marigold
can’t make it and must communicate to us through What’s App on what to
pack as she shared snippets of her life, past, present, and future. This was
a beautifully captivating work by Eleni Telemachou that is over way too
soon.<br /></span><span style="font-family: inherit;">Through voice
memos and texts via What’s App, Marigold gave us clear instructions on
what to pack and when, and what to dispose of. This still gave us ample
opportunities to look – not snoop - through her personal belongings and
find letters, photographs, ticket stubs and other surprises in pockets,
frames and sketchpads. Each item provides a deeper indication of
Marigold’s story, including what led her to Australia and what is taking
her back home to Italy.<br />The joy
of a show like this is that you can create the narrative and have it be
whatever you want it to be. It can be as wild as your imagination. At
the same time, you are given the freedom to mull over your own
experiences of packing and unpacking. </span><span style="font-family: inherit;">It’s a quiet and
contemplative show and amidst the excitable hubbub of Melbourne Fringe
Festival, tucked away on the first floor of the Queen Victoria Women’s
Centre, <i>Packing</i> proved to be the hidden gem of the festival. </span></span></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span> </span></span></span></span></span></span></div><div style="text-align: justify;"><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span><a href="http://www.mymelbournearts.com/2023/09/eleni-telemachou-is-sending-people.html" target="_blank">Click here</a> for our interview with Eleni Telemachou.<br /></span></span></span></span></span></span></div><div style="text-align: justify;"><p style="text-align: left;"><span style="color: blue;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><b>7. <span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Arterial - <a href="http://www.mymelbournearts.com/2023/04/arterial-review.html" target="_blank">review</a></span></span></b></span></span></span><br />
</p><div style="text-align: right;">
</div></div><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghIQdPVpJeS-kWNjvke0lWE7ikKEAr3oZbqM-_7qp_2JYydWZGQl23YkOQXwcRXia5itnu-p7otmycK4e9AwsxzKdvueEcnYXextyDVn_zfb9sVh6-8dFQRl9RldvS8GUD27Sw-3eovEYOk8Gd9uWMXTtieIiCbUzJoA-CSvNrk4cCpWXyML3ilKCisnw/s483/IMG_3215.PNG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="311" data-original-width="483" height="247" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghIQdPVpJeS-kWNjvke0lWE7ikKEAr3oZbqM-_7qp_2JYydWZGQl23YkOQXwcRXia5itnu-p7otmycK4e9AwsxzKdvueEcnYXextyDVn_zfb9sVh6-8dFQRl9RldvS8GUD27Sw-3eovEYOk8Gd9uWMXTtieIiCbUzJoA-CSvNrk4cCpWXyML3ilKCisnw/w384-h247/IMG_3215.PNG" width="384" /></a></div>Good circus will always find ways to entertain its audience through the
impressive abilities of its performers as they display their strength,
flexibility and agility. Amazing circus will have this, but will also be
able to make you feel something deeper through its storytelling and
performances, and <i>Arterial</i> was one of the best examples of this in 2023.<br />Harley Mann - founder of Na Djinang and director of <i>Arterial</i> - was
extremely specific and clear in creating his vision and showing this
connection to story, to people and to country.<br />While there was a lot
of ground to cover, everything we saw and heard - and even felt - in
<i>Arterial</i> had purpose. <i>Arterial</i> was an evocative circus experience that highlighted all
the ways in which we not only remain connected to ourselves, each other
and our land, but what gives us life. It was a flawless production where
the ideas and thoughts that are raised during the show and our responses
to these, sat with you long after you had left the venue.<p><span style="color: blue;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><b>8. Miss Peony - <a href="http://www.mymelbournearts.com/2023/08/miss-peony-review.html" target="_blank">review</a><br /></b></span></span></span></p><p><span style="color: blue;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><b><span style="font-size: small;"><span style="font-family: inherit;"><span></span></span></span></b></span></span></span></p><span style="font-size: small;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjRAPFZ-p-_Rhv6R0WohYWp0e8Q7KfbSaVM6WsU4A4QJ40kmJzShV-ZsOHmfvw4g9dlY8Hzj5mO_FoDB8DiUBg1jShgTFIUQwiYCJgSDXLGHB7CL8Gk8SLu5eCgq8yHbtvhQNE5tDZBdLyMyXzClvZH10kw0L7N-PuEAsznxClhJp6o_XkWoPnarkvhgU/s640/IMG_3210.JPG" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="480" data-original-width="640" height="285" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjRAPFZ-p-_Rhv6R0WohYWp0e8Q7KfbSaVM6WsU4A4QJ40kmJzShV-ZsOHmfvw4g9dlY8Hzj5mO_FoDB8DiUBg1jShgTFIUQwiYCJgSDXLGHB7CL8Gk8SLu5eCgq8yHbtvhQNE5tDZBdLyMyXzClvZH10kw0L7N-PuEAsznxClhJp6o_XkWoPnarkvhgU/w380-h285/IMG_3210.JPG" width="380" /></a></div></span>We have all heard of the expression "be careful what you wish for", but in <i>Miss Peony</i>,
the more appropriate expression would be "be careful what you promise
on your Poh Poh's deathbed". When Lily agrees to enter - and win - a
beauty pageant competition just as her grandmother passes away, she is
forced to see it through or risk being haunted by her Poh Poh for the
rest of her life. Written by Michelle Law, <i>Miss Peony</i> took its audience into the world of beauty pageants with humour and heart.<br />The relationship between Lily and her Poh Poh (in the living and the
spiritual world) constantly moved from affectionate to exasperating as
Stephanie Jack and Gabrielle Chan touchingly displayed the underlying
tension, grief and regrets they felt. Chan was full of personality as
Adeline, Lily's Poh Poh. Her matter-of-fact attitude and dishing of
barbs was a joy to watch and while her fan dance is brief, it was one of <i>Miss Peony</i>’s most powerful moments due to the emotion that Chan carried in it.<br />Even with the multiculturalism one finds in Melbourne, it's not often we
see Asian stories or Chinese stories or women's stories on stage. <i>Miss Peony</i> gave us all three and so much more. There were plenty of laughs to be had, but <i>Miss Peony</i> served as a reminder of the moving and important stories that are still not making their way to the stage.</div><div style="text-align: justify;"><span style="font-size: small;"><span><span> </span></span></span></div><div style="text-align: justify;"><span style="font-size: small;"><span><span><span style="color: #2b00fe;"><b>9</b></span><b><span style="color: #2b00fe;">. SWAMP - <a href="http://www.mymelbournearts.com/2023/09/swamp-review.html" target="_blank">review</a></span></b></span></span></span></div><div style="text-align: justify;"><span style="font-size: small;"><span><span> </span></span></span></div><div style="text-align: justify;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQZYIEzK3A937YmPkMK1CSL12xFokd7H9eB_4QTn5_futggy5IxU66baklN3kcNTRiAXZcerY7GhgoVqgN9m6DLsFKBxI1zvo8JF3A7Um3BD-haO_2SaQ5WhCkvIVO2jxCo0LLkr7R856-tallZE5upJjS_H_UuOyNK0hh8W2AXh7pPAXVymjpycnAymo/s730/Screen%20Shot%202023-12-16%20at%203.10.47%20pm.png" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="410" data-original-width="730" height="215" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQZYIEzK3A937YmPkMK1CSL12xFokd7H9eB_4QTn5_futggy5IxU66baklN3kcNTRiAXZcerY7GhgoVqgN9m6DLsFKBxI1zvo8JF3A7Um3BD-haO_2SaQ5WhCkvIVO2jxCo0LLkr7R856-tallZE5upJjS_H_UuOyNK0hh8W2AXh7pPAXVymjpycnAymo/w383-h215/Screen%20Shot%202023-12-16%20at%203.10.47%20pm.png" width="383" /></a></div><span style="font-size: small;"><span style="font-family: inherit;">Created by Andy Freer and Nick Wilson, and presented by Snuff Puppets, <i>SWAMP</i>
sent its audience into a fascinating journey into the impact humans
have had on Earth's geology and ecosystems through the adventures of a
number of Australian animals.<br /></span><span style="font-family: inherit;">Large
scale intricately designed animal puppets - including koalas,
mosquitos, cane toads and lyrebirds - were bought to life by puppeteers
in "short stories" of their interactions with each other and their
changing environment. Varying in their humour and dramatics, each story
effectively showed their plight, and how humans have explicitly and
implicitly made their homes a risk to their safety and lives.</span><span style="font-family: inherit;"><br /></span><span style="font-family: inherit;">Snuff Puppets have been parading their puppets around the world for over 30 years and what they accomplished with <i>SWAMP</i> was phenomenal. It was an immersive experience that delivered unforgettable
imagery, strong emotional responses and a
remarkable evening of entertainment. </span><span style="font-family: inherit;"><b><i><br /></i></b></span></span></div><p style="text-align: left;"><span style="color: blue;"><span style="font-size: small;"><span style="font-family: "georgia" , "times new roman" , serif;"><b>10. Hot Fat Crazy - <a href="http://www.mymelbournearts.com/2023/10/hot-fat-crazy-review-melbourne-fringe.html" target="_blank">review</a></b></span></span></span></p><p><span style="font-size: small;"><span style="font-family: inherit;"><span><span><span><span></span></span></span></span></span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiCOoTmy2S8FcpJYHEyLn5rxnQZDJWz4HTIXMLtCfMzKZK3tk5sphEcCtXW8hoi5KA8hdXoCUy24U55sYHylcy5idDsK3QLA0KuNwZdvWXUM37UAtv7LHsyM3h2-QuoQqn7VJXryzHm-zlfgrvYqTon2RxDlTjElx27FmZFmZZXVpn2hI4BUspp_RIm1UQ" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="286" data-original-width="349" height="271" src="https://blogger.googleusercontent.com/img/a/AVvXsEiCOoTmy2S8FcpJYHEyLn5rxnQZDJWz4HTIXMLtCfMzKZK3tk5sphEcCtXW8hoi5KA8hdXoCUy24U55sYHylcy5idDsK3QLA0KuNwZdvWXUM37UAtv7LHsyM3h2-QuoQqn7VJXryzHm-zlfgrvYqTon2RxDlTjElx27FmZFmZZXVpn2hI4BUspp_RIm1UQ=w331-h271" width="331" /></a></div><p><span style="font-size: small;"><span style="font-family: inherit;"><span>If being mentally unwell was as much fun as <i>Hot Fat Crazy</i>,
I would have signed up years ago! Created and performed by Eadie
Testro-Girasole and Thomas Bradford, this musical theatre comedy followed
Eadie as she admits herself into a psych ward and begins to work
through her anxiety and depression.</span></span><span style="font-family: inherit;"><span><br />Testro-Girasole was absolutely charming and won the audience over from the opening
number, “Welcome to the Psych Ward”. She showed a vulnerable
confidence that grounded the character despite the wackiness and absurdity
that took place in this world, which makes sense given that this was
based on her own psych ward admissions</span></span><span style="font-family: inherit;"><span>.
Bradford was the perfect pairing to Testro-Girasole, brilliant in all of
his over-the-top characters, particularly when he is Eadie's diary and
as a homophobic cat. Yes, a homophobic cat.<br /></span></span><span style="font-family: inherit;"><span>The sketches were far-fetched yet believable, I mean, who hasn't fucked someone in a
psych ward? Even with a small stage, the performance
never felt confined or constricted thanks to the direction of Aubrey
Flood. The choreography was lively and animated and used the space
appropriately and effectively.</span></span><span style="font-family: inherit;"><span><i> <br />Hot Fat Crazy</i>
is a commentary of mental health and its treatment in Australia but
Testro-Girasole and Bradford ensured there was a huge dose of laughter and
enjoyment. Comedy value can be found in just about anything and the way
this duo has found it for this show is highly commendable and possibly
one of the more exciting things to come out of the Melbourne Fringe
Festival this year.<br /></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><span><span><br />And just because rules were made to be broken, here are the shows that were pipped at the post:</span></span></span></span></p><span style="font-size: small;"><span style="font-family: inherit;"><span>
<b>11. Stickybeak</b> (<a href="http://www.mymelbournearts.com/2023/10/stickybeak-review-melbourne-fringe.html" target="_blank"><b>review</b></a>) - Created by </span></span></span>Kimberley Twiner, Jessie Ngaio, Laura Trenerry and Patrick Dwyer<span style="font-size: small;"><span style="font-family: inherit;"><span><b> </b><br />
<b>12. A Dodgeball Named Desire</b></span></span></span><span style="font-size: small;"><span style="font-family: inherit;"><b> (<a href="http://www.mymelbournearts.com/2023/10/a-dodgeball-named-desire-review.html" target="_blank">review</a>) </b>- Created by Bloomshed</span></span><b><br /></b><span style="font-size: small;"><span style="font-family: inherit;"><b>13. Love Lust Lost </b> <b>(<a href="http://www.mymelbournearts.com/2023/09/love-lust-lost-review.html" target="_blank">review</a>)</b> - Created by Broad Encounters</span></span><br /><span style="font-size: small;"><span style="font-family: inherit;"><b>14. </b></span></span><span style="font-size: small;"><span style="font-family: inherit;"><b>For Love Nor Money</b></span></span><span style="font-size: small;"><span style="font-family: inherit;"><b><i> </i></b>- Written by Angus Cameron, directed by Justin Nott</span></span><br /><span style="font-size: small;"><span style="font-family: inherit;"><span><b>15<i>. </i>Burnout Paradise</b> - Created by Pony Cam<br /></span></span></span><p></p><p><span style="font-size: small;"><span style="font-family: inherit;">If you fancy a further trip down memory lane, then have a look at my <a href="http://www.mymelbournearts.com/2022/12/top-10-shows-of-2022.html" target="_blank"><b>Top 10 shows of 2022</b></a>.</span></span></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0tag:blogger.com,1999:blog-8281977387613225288.post-8417935779533402202023-12-17T17:31:00.001+11:002023-12-17T22:27:17.657+11:00Exposing the male form through echoes and whispers (Midsumma Festival)<p></p><div class="separator" style="clear: both; text-align: left;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEj04AkmP1sXfuyrKV1qZAinsM3_KJs7v6K91vycjjneseokglm3mKlITYWcrK_yppcVBptoInBdeIJkBo-Tu23M50IxabVF0RWG2zEqGbg1qrE4TpEZwkIwv6Kf_njk0QJomqDhZ0K7wsIiNtSdZco3i1OkZqDk-GDf8riz75EnavQ7tuEA0-uU0JevfKI" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img alt="" data-original-height="2400" data-original-width="1920" height="524" src="https://blogger.googleusercontent.com/img/a/AVvXsEj04AkmP1sXfuyrKV1qZAinsM3_KJs7v6K91vycjjneseokglm3mKlITYWcrK_yppcVBptoInBdeIJkBo-Tu23M50IxabVF0RWG2zEqGbg1qrE4TpEZwkIwv6Kf_njk0QJomqDhZ0K7wsIiNtSdZco3i1OkZqDk-GDf8riz75EnavQ7tuEA0-uU0JevfKI=w419-h524" width="419" /></a>It was back in high school when Evan Cooper picked up his first camera. His English and Journalism teacher decided to set up an extracurricular group for students that might like to learn photography. "In those days it was completely analogue so we learnt not only the basics of taking photos but also how to develop the film and print the images," Cooper recalls. "As someone that can be somewhat shy and content in my company, it became something I could do by myself while creating opportunities of being involved in certain activities like being the photographer at school events. Fast forward to 2024 and Cooper's solo exhibition will be held as part of Midsumma Festival.<br /><br /><i>Echoes and Whispers</i> will be a multiple exposure photographic exploration of the male form. "I started experimenting with different photographic processes as a way of playing with the medium by pushing or pulling the film, blurring, and the effects of different shutter speeds. With multiple exposure I found results that interested me, and I wanted to see where I could take it," he explains. <br /><br />"All of my multiple exposure work is captured in-camera and since I only see the one image when I take the photo I actually have to use my memory to plan how the image is possibly going to look when all three are taken. There is an element of serendipity with the final image, where some are better or worse than expected," he says. "Even though this work is shot digitally, I limit the editing of the images to what I would do in the dark room if I was developing film. So the things I edit are cropping, exposure, contrast etc. By limiting myself in this way I have to be more aware and present during the taking of the images, as I simply can't "fix it in post".<span><a name='more'></a></span> </div><div class="separator" style="clear: both; text-align: left;"> </div><div class="separator" style="clear: both; text-align: left;">Cooper works with his models to capture a moment (or three) they were both happy with. He does, stop short of attempting to capture anything more than that, preferring to allow people to form their own reasoning and thought. "Renior (French artist) is quoted as saying "Art is about emotion, if it has to be explained it is no longer art". This quote means a lot to me so I do not like to lead a viewer to what they should see, or feel, when viewing the work. I believe for something to be called art it has to cause a viewer to have some type of reaction that is either emotional or provokes thought," he tells me. "Even if it is totally different to what I believe the work shows, their reactions remain valid. I would rather a person walk out of the show and tell me what they think the work represents, rather than them just agreeing with my vision.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX6RF39GJrdb9OqLg1FXES1iPCJdsx2SKI1PRexR8itHIWuuatgS8CrQ9Ssv45Oi25Asam58rC3mK1_m6ctb8wiKX4n9PxgzdcU3S4-7PS_Buh9Ytbg6ugkfGXgpDUthIAeG5l4eNOzU2IRZN0pT5HmU7hrQQAhPSGHvjXdvyvwuG72uchu-04w-9c_Oc/s2400/echoes%20and%20whispers%20extra%204.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2400" data-original-width="1800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX6RF39GJrdb9OqLg1FXES1iPCJdsx2SKI1PRexR8itHIWuuatgS8CrQ9Ssv45Oi25Asam58rC3mK1_m6ctb8wiKX4n9PxgzdcU3S4-7PS_Buh9Ytbg6ugkfGXgpDUthIAeG5l4eNOzU2IRZN0pT5HmU7hrQQAhPSGHvjXdvyvwuG72uchu-04w-9c_Oc/s320/echoes%20and%20whispers%20extra%204.jpg" width="240" /></a></div>"I do not give detailed specific directions to the subjects. They enter the pose they are comfortable with and then I move to find the shot that I believe works. As the image is captured in camera, I am able to quickly show them what the images look like, which helps us both find the next pose as we know what is or isn't working."<br /><br />Due to the nature and effect that multiple exposure photography has, it was quite simple for Cooper to decide the name of his exhibition. “Echoes are the simple repeating of sound bouncing around a space that fades away and due to the way the images I took look, it seems to be the best reflection of that. Whispers are something you hear and you may not hear them clearly, or what one person hears is slightly different to another. Not everyone who looks at these images will "see" the same thing, it will be open to each person's interpretation."<br /><b><br /><u>MIDSUMMA QUICKIES:</u></b><br /><br /><b> 1) My favourite meal is ... </b>I have lots of favourite meals so hard to pick on - but my favourite meal location is definitely Pellegrini's Espresso Bar.<br /><b> 2) A TV show I would like to be cast in is ...</b> since I have a tattoo in honour of it - it has to be <i>Dr Who</i>. (but <i>Call the Midwife</i> is a very close second)<br /><b> 3) A little known skill I have is ... </b>being able to solve a 3 by 3 Rubik’s cube. (but once you know the "secret" it is actually quite easy) <br /><b>4) My proudest professional moment is ... </b> in the years before marriage equality was achieved, where I undertook a photo documentary project called The Commitment Project that documented queer couples that had been in committed relationships longer than the median length of Australian marriages. it was exhibited on on billboards in major train stations and at the Chill Out festival. The messages of support that project received was extremely rewarding <br /><b>5) Happiness is ... </b>just enjoying the simple things in life.<br /><br />*<i>Echoes and Whispers</i> is a free event at <a href="https://www.wolfhoundgallery.com.au/" target="_blank">Wolfhound Gallery</a> (Level 1,386 - 388 Brunswick St, Fitzroy) between
27 Jan - 11 Feb. No bookings required. For more information head to the
<a href="https://www.midsumma.org.au/whats-on/events/echoes-and-whispers/" target="_blank">Midsumma Festival event page</a>.*</div><p></p><p></p><p></p>Myron Myhttp://www.blogger.com/profile/15069330250925920888noreply@blogger.com0