Reefer Madness was originally a 1939 film intending to dissuade youth from smoking cannabis and highlighting the risks linked to this "pastime". In 1999, Kevin Murphy and Dan Studney opened their musical version of the show in Los Angeles and 17 years later it is presented by RL Productions, and the entire time watching, I kept wondering - why?
While I understand the tongue-in-cheek humour and the satirical nature of the cult show, I simply cannot find any laughs in rape or domestic violence. I will admit that I am not familiar with the film and unsure to what extent it makes these references but stating women will be raped if they are stoned and watching a female character being physically and verbally assaulted by a male - and played for laughs - is not on. Yes, you can argue that it was in the musical's book (from 1999), but these issues are so problematic for today's audience that I felt this production needs to consider and address this in some way.
"Give me a home among the gum trees, with lots of plum trees..." How the Australian dream has changed since 1974. But has it been for better of for worse? Presented as part of the Poppy Seed Festival, Hotel Now's What's Yours Is Mine explores Australian values and ownership of a land that was never ours to own, with an elaborate touch of campness.
The show begins at a reunion for Olympic Games volunteers where three friends - Milly, Ollie and Syd - reconnect and decide to go on a road trip together; Milly has just quit her job, Ollie has a car and Syd just wants to get away from everything. Cue road-trip montage and offbeat adventures as the three friends travel through the country.
We've all made choices in our lives or been in situations that we've
lamented over. In Bijou: A Cabaret of Secrets and Seduction, we are
taken back to 1933, into Bar du Papillon where Bijou, shares her memories
of secrets, sorrow and love through story-telling and song.
Chrissie
Shaw has selected a variety of songs and music authentic to the era
and her voice perfectly encapsulates the emotions experienced with each
song, from anger to sadness to joy. While I don't understand a word of
French, when Shaw breaks into French vocals throughout the show, her
body language, facial expressions and tone still allow the meaning behind the song to be conveyed. Accompanying
Shaw on piano is the highly talented Alan Hicks, who plays - and sings - with aplomb and is very much at
ease in his interactions with the audience.
When Madame Nightshade appears in her garden and welcomes the audience in her own unique style, you quickly realise that all bets are off and anything can happen in this absurdist clowning show, and that no matter where you sit, you are not safe. Performed as part of La Mama's Explorations seasons for work in various stages of development, Madame Nightshade's Poison Garden is a show that will leave you stunned and flabbergasted with plenty of laughs.
Madame Nightshade's Poison Garden is like watching two shows. The first half has a twisted, macabre and imaginative whimsy to it. Vegetables are manipulated into hilarious firearms and grenades and while there is a scene with liquids and test tubes that could cause some anxiety in audience members, there is a sadness and a disturbing sweetness to Madame Nightshade's actions and behaviour. However, upon drinking her "poison" Madame Nightshade transforms into a creature that is difficult to describe, but one that closely resembles a Dr Jekyll and Mr Hyde situation.
When you hear the quote "let them eat cake", you can't help but think of Marie Antoinette. Interestingly enough, there is no official account of the lady ever having said this, and most facts point to it being almost impossible for it to have been coined by her. Performed as part of the Poppy Seed Festival, LadyCake looks at the life of Marie Antoinette through the eyes of three of her handmaidens and how there is much uncertainty on what is fact and what is fiction when it comes to the last Queen of France.
The three performers, Candace
Miles, Madelaine Nunn and Anna Rodway - who also created the story - seem to relish playing the three handmaidens, and to be having real fun in messing with history in such a macabre and ostentatious way. While set in the 18th
century, the script includes references to modern innovations - such as the internet - darkly reminding
us that despite the centuries, the roles women play in society have not
changed that much. This is further highlighted in the scenes where they each play Marie's disapproving mother Maria Theresa, and of the general population who slowly began to turn against the Queen.
