Greece Lightning review | Melbourne International Comedy Festival | Comedy Republic

Garry Starr's Greece Lightning has been doing the rounds for some time and it's a show that has been on my radar, but I’ve never been able to make its seasons. Last night, I finally did, and boy oh boy, do I regret having waited so long, because Greece Lightning is a comedy masterpiece.

This is Damien Warren-Smith’s third outing as the dim but absolutely delightful Garry Starr, (Garry Starr Performs Everything and Garry Starr Conquers Troy), and he is bigger and better than ever before as Garry attempts to perform all of Greek mythology to save his homeland from economic ruin.

Odd Sock review | Gabbi Bolt | Melbourne International Comedy Festival | The Butterfly Club

Within the first few minutes of claiming to have nothing left to sing about, Gabbi Bolt has already brought up gender, race, privilege, anxiety and a whole range of other issues and topics. But yet, she still feels like an odd sock, and with her new comedy show Odd Sock, she describes the various ways in which this manifests through music, singing and storytelling.  

Bolt covers a number of relatable topics, including the relationship and power dynamics between a dog and its owner, the perils of lusting after a celebrity obsession (and in the case of Bolt's pick, you really can't blame her), and the joys of working retail (spoiler alert, there aren't any). Each song consists of sharp, witty observations of not only the world around her but also about Bolt's own life.

With some bright coloured nail polish and eye shadow, flower earrings and a floral top (and a pair of odd socks), Bolt's lively personality clearly comes through even while spending most of her time sitting behind her keyboard. She makes smart use of a TV screen to visually stimulate, and her light audience interactions helps diversify the structure of the show.

Despite her singing about and expressing her anxiety, Bolt has full command of the stage and it wouldn't surprise me if performing is one of those times where Bolt feels most confident and calm. She knows what she is doing, she knows how to engage with her audience, and she knows how to give the audience a good time. There are a few instances where she makes a pun or joke and then playfully rolls her eyes and concedes they are bad. While this could be a play on her anxiety, it would be more comical if she owned it and didn't pretend it wasn't working, because it does.

After the amazing success of last year's I Hope My Keyboard Doesn't Break, Odd Sock is a great return for Bolt to the Melbourne International Comedy Festival. It’s another winning combination of musical comedy and Bolt's attempt to unpack the things in life that cause her stress and concern, but which provide plenty of laughs for us.

SHOW DETAILS

Venue: The Butterfly Club, 5 Carson Place, Melbourne
Season: until 23 April | Tues - Sun 7pm
Duration: 60 minutes
Tickets: $37 Full | $33 Concession | $30 Tightarse Tuesday
Bookings: The Butterfly Club and Melbourne International Comedy Festival

IN-VOCATION たまおこし review | Yumi Umiumare | Dancehouse

After an utterly incredible show with Buried TeaBowl - Okuni last year, performance artist Yumi Umiumare returns with IN-VOCATION たまおこし, a potent pairing to the 2022 show. With its predecessor exploring time, ritual, the past and the present through her connection to Okuni, a 17th century Japanese dancer credited as being the founder of kabuki theatre, this new show digs deeper into Okuni's life, with a focus on releasing the "Okuni spirit" inside all of us.

Joining Umiumare are two Japanese artists, Kayo Tamura, a shaman in theatre and Kyoko Amara, a professional clairvoyant and singer. This trio perform music, dance, rituals and storytelling as they share and discover the many characters of Okuni. With the Japanese title of the show translating to provoking / awakening the soul, it's fitting that a shrine to the womb sits in the middle of the stage as the three build and release the female power and energy of Okuni. They go big and bold in their acts but maintain an intimacy and authenticity with their audience that allows us to open our minds and hearts to what we are witnessing.


Triptych review | Temperance Hall

Anyone who has witnessed a Phillip Adams dance work knows to expect the unexpected. Adams has a knack for creating daring and disruptive pieces that explore themes around sexuality in its rawest form. His newest work Triptych, takes inspiration from Francis Bacon’s 1970 triptych painting, Triptych, in which Bacon used distortion and fragmentation to call attention to his own ideas around love, sex and religion.

In the first of three parts, four dancers (Harrison Hall, Samuel Harnett-Welk, Benjamin Hurley and Oliver Savariego) dressed in simple yet stunning Toni Maticevski designs, spend forty minutes writhing and convulsing on a circular pink carpet to a highly piercing and penetrating score by David Chisholm and Duane Morrison. While one pair appears to have more intimate and vulnerable interactions, the other pair is more aggressive and brutal. The two pairs circle each other, and at times make physical contact with each other, indicating how civility and animal instincts can easily be interchanged, something that Bacon depicted with his art. There are times where you wonder if Adams has choreographed this or if the dancers have completely given themselves over to these urges and being spellbound by the stirring composition. It's a rare experience to watch a performance and feel such intensity permeate throughout the room and be utterly transfixed by what is unfolding.

Burgerz review (Midsumma Festival)

In April 2016, Kikki Temple had a burger thrown at them at Flinders Street Station. The person who threw it called out a transphobic slur. There were over 100 people around at the time, and no one did anything to help. Written by Travis Alabanza - whom this actually happened to - Burgerz uses the humble burger to discuss gender identity and violence against trans people through an interactive cooking show and confessional storytelling.

Kikki Temple dazzles in this production. She establishes brilliant rapport with the audience and her interactions with us are sincere. Engaging in conversation with us means there is a level of uncertainty and spontaneity with what could happen, but Temple remains in control and her razor-sharp responses and reactions never stop coming. She's gentle with us at the beginning and gradually the anger, hurt and fear begin to come through and the implicit responsibility we must all take for the burger assault become clearer.