Set in 1979, Falsettos is an entertaining yet affecting musical of a New York family trying to keep it all together. With music and lyrics by William Finn and the book by Finn and James Lapin, the story explores the complexities of life and the struggles we face to find the balance in the different roles we lead.
Dom Winsor as Marvin manages to show the varying facets of his life with an intimacy that is rarely seen in musical theatre with his relationship with his son (played by Riley Flood on the night attended) being one of the most rewarding ones to watch unfold. Flood delivers a highly convincing portrayal of a teenager who is intellectually on the same playing field as the adults around him. Playing Marvin's on/off boyfriend Whizzer, Sam Ward brings confidence and charm to the character, however the chemistry between Marvin and Ward, which is integral to Falsettos, feels the weakest of all the relationships in the show.
Drag artist Panti
Bliss rose to prominence in 2014 after her speech about homophobia went viral, where
even the Pet Shop Boy remixed her impassioned words into a song. As part of this year's
Midsumma Festival, Panti's High Heels in Low Places is the opportunity for Melbourne audiences to be personaly regaled by The Queen of Ireland's stories, experiences and thoughts.
Panti
has an innate ability in creating a welcoming, open and safe
atmosphere in the room as she walks into the audience, introducing
herself to various people, and on the evening I attended, actually meeting one of her cousins for
the first time!
At the age of 24, Jacob Boehme, a
descendant of the Narangga and Kaurna nations of South Australia, was diagnosed
with HIV in 1998. As a Blak, gay and poz person, a sense of community and
belonging can be difficult to attain. Through his own journey to find his
identity, as an individual and a collective, Boehme, along with ILBIJERRI
Theatre Company, devised the dance performance piece, Blood on the
Dance Floor.
The overall focus with this show
is Boehme's anxiety in letting potential partners know of his HIV status, and
while his bloodline with his father and ancestors has the power to unite and
bond, this same blood has the potential to divide and alienate him from being
loved. One of the most powerful moments of Blood on the Dance Floor
occurs with Boehme standing on stage staring into the audience as audio
recordings are played of mens' various responses to his HIV status. It is confronting
and hearbreaking.