I'm Fine review (Melbourne Fringe Festival)

Saxon Evans is a 29-year-old dental assistant who is hurtling towards gay death... he is turning 30. But does his depression run deeper than just getting older? Written and performed by Evans, I'm Fine is a one-man play that explores millennial mental health and navigating self-acceptance and belonging.

Performing as a character based on himself, Evans has a pleasing presence on stage that is evident from the moment he appears. His pace, tone and delivery of lines highlight his personality and perspective of how he sees and understands the world around him, and in turn, establishes a strong connection with the audience.

Even as he deals with mental health, suicide and self-harm, Evans finds good doses of humour to scatter throughout I’m Fine, ensuring that we are never left overwhelmed with what we are learning and comprehending the gravity of the circumstances he is in.

While Evans is an engaging performer and the narrative is entertaining, the structure remains a little rough, particularly with its ending. Evans provides great insight into the mind of this angry dental assistant, but the final act feels hurried and concludes quite abruptly. Some re-working of this would ensure this part of the play is afforded the same care and consideration as the rest of the show.

Variations or Exit Music review

Variations or Exit Music takes a deep look at one person's three great loves and their struggle to see through the heartbreak and believe in the possibility of finding love again. Written and directed by Justin Nott, it is a personal response to his past relationships and the depression that these breaks ups brought on.

Despite its personal nature, Nott's script easily connects with his audience. The conversations, the thoughts and the dreams that are portrayed on stage, are the exact same ones we've all had - regardless of sexuality. It is intense and reflective with moments of light humour. At times, he runs the risk of mashing together a number of complex ideas with long scenes but this is balanced out with shorter, simpler exchanges, like when Justin and his partner Sam share everything they have done for each other.

Misery - Melbourne International Comedy Festival review

Neil Triffett loves misery and misery loves company so it's only natural that Triffett would choose to make a comedy show about it, after all, he did write and direct a feature film called Emo the Musical. Armed with a piano, ukulele and his memories, Triffett talks and sings his way through Misery while highlighting how sadness and anxiety can impact your outlook on life. 

Triffett's wry sense of humour is evident from the beginning as he discusses being a 12-year-old boy in Port Arthur coming to terms with his sexuality, while also trying not to minimise anyone else's just-as-valid circumstances. His catchy musical numbers display Triffett's ability to express complex emotions through common situations and stories. They provide an insight into his mind where traditional storytelling would perhaps struggle to be as successful.

Mockingbird review

Giving birth and becoming a mother are supposed to be some of the most fulfilling and happiest moments of a woman's life. Except when it's not. Postnatal depression (PND) affect 1 in every 7 women who give birth and in Mockingbird, writer and performer Lisa Brickell places PND under the spotlight.

Through comedy, cabaret and mask play, Brickell weaves a tale that follows four generations of women from one family and how PND impacts each woman and the cruel and painful ways that it was treated and the stigma they had to endure. Our protagonist is Tina, a counsellor who is experiencing some anxieties about having children with her partner. Tina begins to share with us the stories of her great grandmother, grandmother and mother and how these events have come to play on her mind with regards to becoming a mother.

Chemistry review

Chemistry is a play about the chemistry between two young people who fall in love. But more importantly, it is about the chemistry between two young people who fall in love who have a chemical imbalance in their brains. Jacob Marx Rice’s Chemistry was the first in his trilogy of what the playwright refers to as his “Suicide Comedies” - preceding Coping and Cracks - that looked at mental illness through a raw yet comedic lens. 

On the surface, Steph and Jamie (Monique Fisher and Thomas Filer) could not be more different. She works in a pub with a signature look of an oversized Janis Joplin t-shirt, black stockings and Doc Martens. He works for the government, and wears fitted suits and ties, with pens in his jacket pocket and hair kept perfectly in place. However, they are linked by their mental illnesses and a chance encounter at a psychiatrist's office has the two entering into a passionate relationship. While Steph has been living with chronic depression for most of her life and is quite the expert on various medications and treatments, Jamie has only recently been diagnosed with unipolar mania after an incident in which he did not sleep for days, ended up with him tearing off sections of his skin.

2:20am review

2:20am is a new Australian play by award winning playwright Rebecca Lister on the aftermath of suicide and how those closest to a person who has suicided, attempt to move on with their own lives. Drawing from her own personal experience with a family member who committed suicide, as well as a series of interviews conducted with those bereaved by it, 2:20am is an affecting story of mourning, acceptance, resilience and hope. 

In 2:20am, a group of people who have all had a family member commit suicide, come together in a writing workshop in their efforts to heal from the hurt and the emptiness, and to face the reality of their circumstances. There is some strong work from the talented ensemble, Izabella Yena, Joanne Davis, Michael Treloar and Zoe Ellerton-Ashley, as they build authentic relationships between their characters from their initial introductions until their "graduation". I've only seen Yena on stage a handful of times, but each time I do, her performances have been a highlight of the show with the freshness and energy that she brings, and I just don't know why we are not seeing more of her.

Worth It - Melbourne International Comedy Festival review

If you go to Worth It expecting "a post-industrial, consumer-based, sustainable comedy show for the new economy", you are going to be sorely disappointed. Canadian comedian DeAnne Smith informs us at the very beginning of her show that she won't be talking about this and instead looks at other equally fun conversation topics like phobias, depression and death. Yay!

Fortunately, Smith has a plethora of incredulous experiences to share that fill the room with laughter. Ranging from first date disasters (that I still find difficult to believe), responses to when animals attack and to parents who have passed away, her casual approach in telling such stories is a winning combination.

Top 10 Shows of 2017

Another year of some unforgettable theatre and live performances comes to an end, and what a year it has been, managing to get to a respectable 200 shows. Not quite sure how I stayed sane in doing that, but there you go. 
Naturally I kept a list of all the shows I saw and below I present my top ten of 2017. If I reviewed the show then a link to the review is also provided.
2018 is shaping out to be the time of innovative and exciting theatre, so make sure you go and see some of it. While it's nice to make a night out of seeing some big name performers and shows, remember to also support your independent theatre makers and venues where some shows can cost you as little as $15 per person.

Here is my list:

1. Angels In America
- review

Grant Cartwright and Dushan Philips. Photo Credit: Sarah Walker

What an epic seven-hour production this show was. Tony Kushner's Pulitzer Prize winning work, Angels in America: A Gay Fantasia on National Themes was performed at fortyfivedownstairs under Gary Abrahams' brilliant direction.
Abrahams brings together a remarkably talented ensemble of actors to tell this story, which despite being set in the American 80s still has extreme relevance and prevalence today regarding social stigma of homosexuality and AIDS.
Some of the strongest performances of the year were present here including those from Simon Cornfield, Grant Cartwright, Emily Goddard, Helen Morse and Dushan Philips, with the evocative sound and lighting providing greater insight into the minds and thoughts of the various characters.
Also, can't not mention how amazing that wooden four-poster bed was by how it was utilised and what it represented during the show. If there were an award for best use of a single prop, this would be the winner.
Put simply, Angels In America was gripping, powerful and affecting theatre at its best.

Awakening review

Sex, suicide, masturbation, rape and depression. These are a few of the themes that German playwright Frank Wedekind explored in his 1891 play Spring Awakening. While controversial at its time, it was an opportunity for teenagers to see themselves as people who have big ideas, difficult choices to make, and an awareness of sex and sexuality. Fast forward 126 years and Daniel Lammin's adaptation, Awakening - in collaboration with students from Monash Uni Student Theatre - is just as powerful, important and necessary as the original in giving people a true insight as to what teenagers must contend with in today's society.

Lammin has put together an extremely talented cast who excel in the challenging roles they share. Nicola Dupree, Samantha Hafey-Bagg, Eamonn Johnson, James Malcher, Sam Porter and Imogen Walsh all have great chemistry on stage and a clear understanding and appreciation of who their characters are, leading to some incredibly intuitive performances. Of particular note are Walsh, Dupree and Malcher, who take on each role with outstanding commitment and emotional intensity.

Monkey See, Monkey Do review | Melbourne International Comedy Festival | ACMI

Every now and again you come across a show that days later continues to linger on your mind, and to be perfectly honest, you wouldn't expect it to be from the Melbourne International Comedy Festival. However, Richard Gadd has done just that with Monkey See, Monkey Do, a comedic yet honest look at mental health and masculinity.

For six years Gadd has had a monkey on his back, filling his every thought with anxiety and worry. His attempts to outrun it lead to momentary reprieves but it always finds its way back. With this in mind, it makes perfect sense that the entirety of the show is spent with Gadd running on a treadmill as he tries to escape the monkey's grasp. It effectively creates the physical manifestation of the exhaustion and relentless nature of dealing with anxiety and depression.

Give Up review | Melbourne Fringe Festival | Arts House

Guillym Davenport has given up. His depression has finally got the better of him so he's spending the night alone, in his bedroom, eating pizza and drinking booze - with us. The show isn't ready, and he's not prepared, but come on in anyway... In Give Up, Presented as part of the Melbourne Fringe Festival, Davenport looks at the issues of mental health and what happens when it all gets too much.

Davenport is charming, funny and very likeable on stage and there is some intelligent discussion generated around mental health. Unfortunately his attempts at pairing this with the deconstruction of theatre do not work well, creating a haphazard show that doesn’t quite seem to know where it’s headed.

4:48 Psychosis review

Playwright Sarah Kane suffered from severe depression and it was at 4:48am when she would often wake up. Kane's final play 4:48 Psychosis, is an experimental show that has no characters, nor a number of actors required, no clear narrative and upon viewing it, feels more like a piece of poetry rather than theatre text.

Director and actor, Kendall-Jane Rundle is in the challenging role of the 'protagonist' in this production. Unfortunately, a stronger emotional connection to the material and work was needed to build on the subtleties required for a person experiencing the emotions described. Jeff Wortman does well in predominantly a role that attempts to keep Rundle's character safe and not listen to the fear and anxiety enveloping her. Alisha Eddy and Jessica Stevens complete the cast, and together are a  Greek chorus of two, often commenting on what is happening on stage or adding to the emotional tension.  

The Resilience Project: Gratitude, Empathy and Mindfulness

My smile hides a lot. It hides my fear, my sadness, my loneliness and my anxiety. It hides the fact that I still feel like my life has had little accomplishment and always wondering when my break will come. When will I feel accepted? When will I feel loved? When will I be happy?

A year ago, I wrote about my (self-diagnosis of) depression after having watched Bryony Kimmings's "Fake It Till You Make It", and it was about then I started seeing a psychologist. While Dr C determined I did not have depression, he did diagnose me with severe general anxiety disorder. Great I thought, I've been diagnosed now I can get fixed. I saw Dr C fortnightly - sometimes weekly - for a year, and we would discuss different techniques and exercises I could do to manage my anxiety and while I always walked out of the session determined to do them, I never did.

How I Met My Son

A parent's love for a child should forever be unconditional, and that's exactly what Yolanda Bogert has displayed to her son Kai his entire life.Her new book How I Met My Son: A Story of Love that Transcends Gender looks at the moment when Bogert made worldwide news, when in December 2014, placed a birth notice in the Courier Mail.

It read: ‘A Retraction: In 1995 we announced the arrival of our sprogget, Elizabeth Anne, as a daughter. He informs us that we were mistaken. Oops! Our bad. We would now like to present, our wonderful son – Kai Bogert. Loving you is the easiest thing in the world. Tidy your room.’

How I Met My Son looks at that moment of accepting her transgender son and the impact the story had on their lives, ‘the sky didn’t fall, and our family didn’t fall apart. We just started using different pronouns. Oh, I had to change the name stored in my phone with his number. That was a bit of a pain,’ Bogert says.

Despite the positive awareness of transgender issues it raised, it is something that Bogert now regrets doing. One quick Google search of ‘Kai Bogert’ will quickly alert any potential employer of Kai’s transition, which means Kai will never ‘pass’ as being born male.

The launch of her first book coincides with International Day Against Homophobia, Transphobia and Biphobia, and to celebrate, Bogert and her son Kai, will lead a panel discussion with a focus on parenting trans kids at Hares and Hyenas. The event will include parents and transgender people including head of Transgender Victoria, and winner of 2015's GLBTI Person of the Year award Sally Goldner and writer Fury.

People Piss In Here review - Melbourne Fringe

Jo is suffering from a mental illnesses find herself unable to leave the bathroom at work. Is she having a heart attack or a panic-attack? She's not quite sure. Her friend, Sam, also suffering from a mental illness, goes in to help her. Performed as part of the 2015 Melbourne Fringe Festival, Isobel Marmion's People Piss In Here is an absurdist take at living with mental illness.

The exploration of mental illness is explored honestly and sensitively but also humorously through the characters as they react and respond to the effects of their conditions. The fears and uncertainties expressed in Marmions' script (written in consultation with individuals diagnosed with mental illnesses) about living a fulfilled life while battling these, is subtle and reflective.

I'm Not Alright review - Melbourne Fringe

Daley King has been living with depression for over a decade, and longer, if you consider the fact his father has also lived with it. In his 2015 Melbourne Fringe Festival show debut, I’m Not Alright, King takes us on a poetic journey on mental illness via physical theatre, jazz soundtrack and puppets.

Apart from using his own experience, King has interviewed a variety of people with mental illness to create this story. King has a great ability to engage us with the poetic flow of his words as they paint a picture of a person who is struggling with his sadness and loneliness. The jazz music creates a contrasting image of laughter and chatter that signifies the mind-set that people with depression can have without King needing to explicitly state.

FAG/STAG & Minnie and Mona Play Dead presented by The Last Great Hunt - Melbourne Fringe Festival preview

I saw a play called Hope Is The Saddest during the Melbourne Comedy Festival in 2013 and thought the entire production was brilliant. So I was thrilled to see the writer behind it, Jeffrey Jay Fowler, is coming to Melbourne Fringe with two shows being presented by Perth based theatre company, The LastGreat Hunt: FAG/STAG and Minnie and Mona Play Dead.

"With Hope is the Saddest we were exploring loneliness specifically, and lack of connection or understanding between people. FAG/STAG however, came from an interest (co-creator) Chris Isaacs and I had in what makes a friendship between straight and gay men different to other friendships," Fowler explains. "It explores how people of different sexualities can benefit from one another's company. I find my friendships with straight men much less tricky than my friendships with gay men."

Faking it for 16 years

For 16 years, I have felt helpless, worthless, anxious, lonely and depressed. 16 years. That is literally half my life. It's a scary thought when I think about that. 16 years of virtually hiding who I am. This no doubt has affected my relationships with friends, family and boyfriends. There are constant feelings of life passing me by and there is constant disappointment about where my life has headed. 

I guess I have been fortunate that even though I have had suicidal thoughts, they have been far and few in between and I never realistically thought of going through with it. The closest I ever came was running a push pin up and down my arm till I bled. Just ended up looking like a cat had scratched me. This was during my late high school years and early university life and have since realised that that type of behaviour is not at all healthy and the faint scars on my arms remind me of this.