‘Cabaret in the box: Tales and songs of Brissie life’ are presented as part ofAnywhere Theatre Festival
Duration: 60 minutes
Venue: The Red Box, State Library of Queensland
Bursting out of Brisbane’s box – the Red Box – comes Crystal Shine, Belinda Raisin, and, the smooth stylings of Betty and the Betties with tales and songs of Brissie life.
Crystal Shine has a five-step plan to be “all that I can be in Brisbane”. Following her West End guru’s advice, she grounds herself, finds her inner colour chakra (pink) and identifies her spirit animal – a pink unicorn. Steps four and five will be revealed later in the show.
Our hostess with the mostest, Jenny Wynter, and the audience introduce ourselves. Where are the best and worst places for nights out in Brissie? Where’s the best place to meet someone? Tony and Fiona will be the lucky recipients of a specially-written song.
Belinda Raisin, accepted to perform at the Melbourne Fringe Festival, delights with her musical comedy on the joys and frustrations of being Brissie-born and bred. How sweet it is to return from the cold southern states to sun in the sky, breeze feathering bare arms, and big backyards. “Ah, the pets I have known,” she laments.
The final bracket belongs to Betty and the Betties, Brisbane’s answer to the Andrews Sisters. Betty reveals her late husband Earl’s rise to be a City Cat driver – from skippering a tug between Brookfield and Ipswich – to his untimely demise. It’s an electric set.
Jenny closes the show with a sing-a-long anthem which she believes is quintessentially Brisbane: “Neighbours should be there for one another: that’s when neighbours become good friends.”
The State Library’s Red Box is a glass-walled amphitheatre fronting the river. Night-time on the river – City Cats, paddle-wheel steamers, cars on the expressway – are a great backdrop to these tales and songs of Brissie life. Life is a cabaret!
Performance seen: 17 May
Review: Shirley Way. Read more at her blog Brisbane 2 Bay
Cast: Jenny Wynter, Belinda Raisin, Crystal Shine, Betty and the Betties
Belladiva and Little Black Dress Productions present ARIA MODERNA as part of Anywhere Theatre Festival
Venue: The Gallery, State Library of Queensland
Duration: 60 minutes
In Aria Moderna, opera goes electric.
Styled in blood-red gowns, the four sopranos of Belladiva channel opera’s heroines from the earliest decades of the art-form to the present.
Belladiva are Bethan Ellsmore, Alicia Cush, Laura Coutts and Michelle Bull. They’ve been exploring the boundaries of pop opera since 2008 and have a dedicated following. It was standing room only for this one night performance.
Superbly aided and abetted by their musical collaborators, the emotive and narrative core of each piece has been explored, challenged and re-presented for the contemporary audience.
The opening number Pur ti miro from Monteverdi’s The Coronation of Poppea(1643) received a modern makeover: a lush house track by Maberley and Petein, verses sung in English by Bethan and the main duet theme in Italian became the chorus.
In Paradis/The Bell Song (Leo Delibes, 1883), Maberley and Petein create a sonic forest in prelude to the ringing of Lakme’s magic bell as she saves Vishnu from wild beasts.
Each collaboration brings a new and gorgeous electro-pop dimension to the arias.
Kathryn McKee’s track evokes the exotic as Laura channels the beauteous dancer La Charmeuse (Massenet, 1894); Nuxe places Madama Butterfly amongst cherry blossoms as she waits for the return of her lover in One Beautiful Day (Puccini, 1904); Stephanie Ganfield’s track breaks the heart as Dido (Alicia), abandoned by Aeneas, prepares to mount the funeral pyre (Purcell, 1688); and, Sammsonite lays tracks fit for Queens – Cleopatra in Il destino (Handel, 1722) and the Queens of Spades in Arcadia (Tchaikovsky, 1890).
Acoustic interludes are accompanied by recent Conservatorium graduate, Joel Woods, on guitar. Bethan and Laura in The Two Faces of Gretchen hauntingly explore Gretchen’s troubled infatuation for Faust (Schubert, 1814), and, in the standout closing number, El Fauno (Navarrete, 2006), Belladiva take us deep into Pan’s Labyrinth as a young girl tries to survive fascist Spain.
The concert was conducted in the round – not in the centre of the audience – but by creating stage spaces on three walls so we rotated to face them. This allowed for some more intimate settings than a large stage for some pieces.
Belladiva excite with their vocal harmonies, technical excellence and dramatic polished delivery accompanied by the rich sonic landscapes of their collaborators.
One night only is not enough.
Performance seen: 17 May
Review: Shirley Way from Brisbane 2 Bay. Check out her blog and other reviews here.
Belladiva: Bethan Ellsmore, Alicia Cush, Laura Coutts and Michelle Bull
Guest musicians: Joel Woods (guitar), Maberley and Petein, Kathryn McKee, Nuxe (Willem Bakker), Stephanie Ganfield, Sammsonite (Sam Grace)
Presented by Dead Owl Factory and 2013 Anywhere Theatre Festival
HERE’S TO US
Performance: 16 May, 2013
Directed by Jaya Crothers and Caitlin Page
Stage Manager: Bec Lawes
Cast and Collaborators: Chelsea Crothers, Zeb Davy, Katie Farr, Paul Hewett, Robert Lipar, Jess Moxon
Review: Rosemary Chance
Dead Owl Factory opened their four-day run of ‘Here’s to Us’ at Juggler’s Art Space in Fortitude Valley twenty minutes late last night with a full house and perhaps a karmic twist, as their show came dangerously close to their bête noire: boring and bad theatre.
It was redeemed by the talent of the players and their obvious sincerity despite the fact that they used the ploy of a continuing argument amongst themselves to create dramatic tension. Pockets of humour included the fabulous ki-ki dance and the ‘electron’ segment; in fact, movement in general was their forte last night and costuming was excellent.
The advertising for the show tantalised: “We’ve been meaning to talk to you.”, “You will be invited to question, connect and party with the cast”. The suggestion of humorous and entertaining banter was reinforced as the audience entered a venue full of friendly faces and was invited to ‘pop a question in the box’, but it did not materialise. The questions were briefly satirised and the only audience connection was a fruitless interview with an apparently randomly-chosen teenager.
They did talk about some of the big questions – death, loneliness, lack of a feeling of self-worth – and they did this with fervour but without context, so that there was little truth to be shared or comfort derived.
The show ended as it began with a tirade on death. Was it the end? The clock said so and the final actor said the others had already gone – he followed them and so did we with a smattering of applause on a show best remembered as a building block for its successors.
Lots of promise here and some very talented people; last night they didn’t quite pull it off but they may well turn that around. Go along and find out; the venue’s interesting and it’s licensed.
Tickets: $12
Dates: Thu 16 to Sun 19 May @ 7:30pm (excl. Sun @ 4pm)
Place: Jugglers Art Space, 103 Brunswick Street, Fortitude Valley, 4006
Duration: 60 mins
Transport & Places of Interest: 2 minutes walk from the Fortitude Valley Train station. The Sky Room Bar is on Wickham st, just up the road; or if clubbing is on your ind after, there is Cloudland just up Brunswick and around the corner (not to mention the kebab shop on the way)!
This show is proudly supported by Griffith University.
Review – 2013 – When We Were Idiots (A Walking Tour)
Hosted by Xavier Toby with special guests
By Elizabeth Scales
Head down one of the trendiest alleys in Brisbane and you will happen upon Brew, a bar and coffee house just chilling at the bottom of Burnett Lane. Hanging with the hipsters of Brisbane, I await the arrival of my host for this comedic walking tour. Enter a penguin; a very tall and funny penguin. We’re not in Kansas anymore Toto!
As I accept my high visibility vest, I am also informed that I have successfully travelled back from 2113 to see Brisbane, as it was in 2013 – When We Were Idiots. As penguins in 2113 are the most apt of tour guides, I know that I am in safe hands with Xavier the Penguin; descendent of Gorgeous Pete… The Penguin. Xavier proceeds to take us on a journey of Brisbane in 2013, pointing out the historical facts of pre-2013 and the not so factual fiction of the historical future.
Xavier Toby (aka the Penguin) is a seasoned comedian. Having taken his comedy walking tour to all major cities in Australia, Xavier has integrated his cheeky comedic style into a hilarious part factual, part fiction tour of the city. Taking most of his fodder from observations of his surroundings, historical fact, topical news, and the human condition, Xavier engages his humour to comment on the ridiculous side of society highlighting just how crazy this affluent existence is becoming.
With his perceptive, relevant, and intelligent comedy styling, Xavier has created a laugh out loud show, which never loses the audience attention. Both figuratively and literally for that matter!
Xavier is very quick on his feet, possessing exceptional improv comedy skills and adapting to the city, traffic, hecklers, and even disgruntled Optus employees who shall remain nameless… Mitch.
2013 – When We Were Idiots is a site specific and thoroughly entertaining look at the city we live in and how we live in it.
Review – Guerrilla Grrrls
Presented by Edge Improv
Review By Elizabeth Scales
Laugh Kookaburra Laugh… The Kookaburra Cafe on any given night is a prime place for great company and sensational food. What makes this particular night a little more special?
The transformation of the rear alfresco dining area into an amphitheatre, which is just ideal to host an audience and an improv troupe. Luckily the Guerrilla Grrrls are here to ensure a night of light-hearted entertainment.
Directed by Brad Daniels, this fresh ensemble of improv players make their debut as part of Anywhere. With the tried and tested framework akin to Whose Line Is It Anyway and their unique touch of swapping the directors hat as the show progresses, Guerrilla Grrrls brings back to the life the joyful play of improv theatre from days gone by.
The ensemble is made up of a mix of seasoned and new players of the improv genre. Though solid as an ensemble, it is sometimes clear to see that these connections are new with the rhythm and/or ideas occasionally being dropped. Some attention also needs to be placed on costuming, as the ensemble looked a little too casual to be presenting to a paying full house.
That said, these tiny glitches are just teething marks and the potential to develop into a seasoned, unified ensemble is imminent.
The live music, offered by the talented Rob Zosars, only adds to the atmosphere and showcases the brilliant musicality of the players. I personally love improv songs, and Guerrilla Grrrls definitely delivered in this area.
With clever banter, ideas, and scenarios being played out (all to the audiences’ delight), Guerrilla Grrrls are sure to make their mark on the Brisbane comedy scene. Maybe Steve at Kookaburra Cafe should set up a regular happening for this fresh all female ensemble?
Review – A World Without Sex By Lemon Lips Productions
Review By Elizabeth Scales
Bypass Irish Murphy’s on the corner of George and Elizabeth and follow the Astroturf down to Bean/The Bird Gallery; yet another hip hang out for the cool kids of Brisbane. This intimate space oozes the ambience of a cosy gallery space come cabaret venue. Perfect for Lemon Lips Productions and their saucy cabaret show, A World Without Sex.
The cheeky and thoroughly entertaining show incorporates jazzy adaptations of popular songs, dance, comedy, burlesque, and a multitude of other quirky and original delights to result in a laugh out loud spectacle of frivolity.
Hilarious, polished, and engaging, this original cabaret explores the concept of the epidemic of human populating, which needs to be stemmed off through the banning of human copulating.
As the quirky cast embark upon this journey (sans afternoon delight) the desire for some sexual healing intensifies much to the audiences’ delight.
What is so satisfying about A World Without Sex is the skilled performance of the all female ensemble who are not only hilarious, remaining faithfully committed to their character states (and plight) throughout, but who are also wonderful jazz singers possessing the talents to both harmonise as a chorus and individually hold their own in song.
What’s more; it is so nice to see an all female comedy ensemble tackle the topic of sex with such confidence and without resorting to the old tricks. Though some tried puns and stereotypes are touched upon, the ensemble have been successful in embracing a fresh take on the taboo subject of sex; keeping it tasteful, witty, light and cheeky, whilst skilfully maintaining the comfort zones of the audience throughout.
A World Without Sex is an absolute romp. Partially political, mostly ridiculous, and totally enjoyable, this is a must see of the Anywhere Theatre Festival.
Black Fox Theatre, the team who brought us Bard Wars: Hope Renew’d in 2012, has discovered a new Shakespearean adventure in the form of The Empire Striketh Back. I missed last year’s offering but I’d heard good things. Apparently, so had a lot of other people — it was standing room only in the Bleeding Heart Gallery, with the audience packed in to see tales of gallantry.
This hilarious adaptation of The Empire Strikes Back, performed in the style of Shakespeare, strips a modern tale down to its universal bones. It is performed with minimal sets and props — certainly no fancy special effects. Audience members are encouraged to conjure the scene in their mind’s eye.
True to the style of Elizabethan theatre, lightsabres become swords, ships chase each other over the high seas and red rags represent blood. Some of the text is lifted straight from Shakespeare’s best known plays, to our amusement.
As incongruous as it may sound, this mix works a treat. The characters are easy to identify, the plot is easy to follow, the jokes are easy to laugh at. It doesn’t take long to get the hang of the flowery language, and understand that this is a low-tech world where Artoo (complete with whistles, beeps and kazoo) and Threepio are slaves, and Chewbacca is a very hairy pirate.
It helps, of course, if you know the film. But although it’s been a number of years since I’d seen The Empire Strikes Back, I was still able to follow and enjoy the action. It’s also packed with other pop culture (and geek culture) references for the win. The audience goes wild for it.
Three minstrels supply wonderful incidental music and two black-clad stage managers play The Force. Yoda is a delightful puppet brought to life with the help of some skilful voice acting. While most of the action takes place on the main stage, the stairs and balcony inside Brisbane’s old School of Arts also get a look in, and the side door lets in all kinds of monsters…
I thoroughly enjoyed this play. It was raucous, funny, packed with action and cleverly staged, even allowing for scenes to be intercut. I get the impression that writers John Grey and Daniel Broderick Grey are fully conversant in the Star Wars universe, olde English and the work of Shakespeare. Massaging them into this wonderful mashup is truly a work of art, and it’s carried through to the stage by some excellent acting from the talented cast. They promise another instalment in the form of The Jedi Returns. I can’t wait.
“To do or to do not: that is the question”. Bard Wars does, and does it well.
Reviewed by Nerissa Rowan
Bard Wars
presented by Black Fox Theatre as part of the 2013 Anywhere Theatre Festival
Bleeding Heart, 166 Ann St, Brisbane
16–18 May
Bookings: www.anywherefest.com
I’m on Victoria St, West End, for an Anywhere adventure. A lone Queenslander sits in a street of commercial buildings. We are led into the backyard. Into the unknown.
I wasn’t really sure what to expect from The Life is Theatre. What I found was an exuberant group of performers who use the entire backyard, and beyond, to tell a simple tale which touches on humanity, morality and psychology.
Performers from the not-for-profit community group Maraccas, which stands for Mobile Active Recreation and Creative Community Art Space, use a very physical theatre style at times, which combines aspects of circus and dance. They invited the community to learn and rehearse with them, and the performance space is big enough for a large crowd to watch as the story unfolds.
As the performance takes up the entire backyard, the audience is encouraged to float around the space to be close to the action. But it’s best not to get too close — the physical aspects come with a hint of chaos.
The show begins at 5pm, so there is still plenty of ambient light. But later, as the sun sets and the frantic pace settles to the soothing rhythms of the sea, a lone spotlight on the performers adds to the drama.
The staging is innovative — it has to be when telling an epic story on a tight budget. It opens with a verbal tour of our surroundings, setting a scene of opulence. I don’t want to give too much away — after all, this is an adventure — but my favourite technique was the simple creation of waves using an old blue tarp. It sparked my imagination to fill in the blanks.
With well-written dialogue and solid acting, The Life is Theatre was a fun experience, despite the constant threat of being devoured…
Reviewed by Nerissa Rowan
The Life is Theatre
presented as part of the 2013 Anywhere Theatre Festival by Maraccas
80 Victoria St, West End
17–19 May
Bookings: www.anywherefest.com
At last year’s Anywhere Theatre Festival, Betsy Turcot and Eleanor Jackson filled a record shop with their heartbreakingly beautiful poetic dialogue She Stole My Every Rock and Roll, a journey through the life cycle of a relationship. Chosen Family is less of a journey and more a spoken word exploration of what it means to be family. It’s not a sequel to the successful 2012 show, but it’s a close relative.
We gather at the back of Justice Earth in West End. It’s reminiscent of a family gathering — friendly chatter and warm greetings on a backyard veranda. To make their guests feel cosy on a chilly night, there are blankets and cups of tea.
Each night a member of their “chosen poetic family” opens the show with a piece based on the show’s title. At this performance, Liz Bennet tells of joy and heartbreak in her quest for new life. It harmonises beautifully with the theme of the show.
Then Betsy and Eleanor take the stage. Their smooth, calm voices lead us easily through the suburb, opening the curtains to a series of windows so we can peer into the world of nuclear families, and those less “conventional”. We glimpse expectations and decisions, abuse and disappointment, but the strongest themes are those of love and the need for human connection.
And as audience members, we get what we crave. These two confident performers create a connection with their audience through their words and eye contact. In spoken word, there is no movement, no sets, no incidental music to fall back on. And yet the pictures they paint are almost as vivid as having it acted out in front of you.
These poems segue into a patchwork quilt of scenes, stitched with repetitive threads. It doesn’t seem like an hour has gone by when the show ends.
While it doesn’t resonate with me as strongly as last year’s offering, this show has aspects everyone to relate to. Chosen Family is a touching family portrait, complete with Peter Pan collars.
Reviewed by Nerissa Rowan
Chosen Family
presented as part of the 2013 Anywhere Theatre Festival
Written and performed by Eleanor Jackson and Betsy Turcot
Justice Earth Building, 192 Boundary St, West End
16–18 May
Bookings: www.anywherefest.com
Impromafia present ‘The Lore School’ as part of the Anywhere Theatre Festival
Venue: Queensland Terrace, the State Library of Queensland
Duration: 60 minutes
Review by Shirley Way at Brisbane 2 Bay
The lost works of Shakespeare may be found anywhere – and where better than a library?
Impromafia dip their quill into audience members’ daily lives to prove that the bard drew inspiration from real life.
An annoying habit? Snoring. How did two friends meet? At a jungle reggae party. A hobby or something you’ve done today? Presented on community radio.
In today’s edition of The Lore School, the Duke declares that all who snore in the marriage bed shall be executed. His sleep has been disrupted by the night-time whistling and snorting of his townspeople.
Meanwhile, two friends compete for the affections of the Duke’s daughter. One declares his love to the winsome maid, while the Duke appoints the other as Snore Master-General with a command to kill all snorers.
Be assured: the twists and turns of this unlikely tale are tidily resolved.
The audience delighted in the improbable plot and the creative language – from brandy as the drink of legislation to the highly colourful and inventive descriptions of snoring.
The set is simple: a mat of green, a few trees (forest), backed by the State Library’s Great Wall of China – the feature display of cups and crockery at the Queensland Terrace – which doubles as the Duke’s palace in Venice.
The audience was too few for this improvised delight.
For any given performance, Impromafia may channel Shakespeare, Austen or Conan Doyle. The author that emerges is sure to delight!
Performance seen: 18 May, 2013
Review: Shirley Way
Cast: Impromafia
Presented By Maraccas
Review by Elizabeth Scales
The last standing Queenslander of Victoria Street bravely prevails as new developments are on the verge of rising around it. Enter through the side of this house and you will happen upon a large open yard backed by high rise apartments, which sets up a perfect amphitheatre venue. Thank goodness that though chilly, the changing lights of the twilight sky enhance the ambience of the space.
The Life is Theatre is the creation of Maraccas (Mobile Active Recreation And Creative Community Art Space), a young company committed to bringing theatre to the people. As the title suggests, the artists aim to take the audience on a dynamic journey which questions and highlights the theatricality of life. Unfortunately, the only thing that remains clear at the end of the production is, why?
The ideas and objectives are all there to create a free form style of theatre that is interactive and engaging of the space and audience; however, the artists have not quite mastered this quest as yet. From the first moments, the space did not feel ready to receive the audience and the beginning was unclear. There was not enough time spent to set up the balance of the world and its story (before it was set off balance) with the audience becoming a little lost as to what was unfolding.
For the most part the ensemble maintained a heightened energy throughout, however at times; there was a clear timidity in the actors in committing to the story and embracing the characters to interact with the audience.
The genre of theatre that Maraccas are aiming to deliver requires a strong energy and skill akin to Street Performance. Though the passion and enthusiasm was present, it did need refining as it felt as though we were witnessing children playing in the backyard.
The Life is Theatre is an adventurous creation and Maraccas are very brave in tackling this particular genre of theatre. With a stronger narrative and more time and thought taken into interacting with the space and creating the world being told, this young company has the potential to create fresh work that is of value in breaking the boundaries of the space by bringing theatre to the community.
Review by Nerissa Rowan
The Queensland Museum is a bustling place on a Friday, full of school groups and parents with their young children. But even the youngsters are captivated by durational performance The Wind in B Minor.
Three performers have taken over the Queensland Museum’s Inventorium space, to create an experience which explores different aspects of the wind and how we interact with it. This six-hour show is a mammoth event. Audience members come and go, are treated to cups of tea or at the very least, a sensory feast.
Using an impressive array of musical instruments (both conventional and unusual) and sound equipment, these performers create an immersive soundscape. It includes recordings and spoken word, but the highlight for me is the simple but beautiful live music.
Then they fill the space with dance, projection, windmills, shadow puppetry and movement. Having this performance in a children’s space creates a fascinating interaction between the kids and performers. Children are taught to fold paper aeroplanes. They are particularly excited by the shadow puppets, chasing them as they move up and down the screen. Later, older children sit mesmerized by the motion of the screen as it is blown about with a leaf blower. In this way, the audience becomes an integral part of the experience.
If you are anywhere near the Queensland Museum, it’s worth popping in for a unique moment of theatre. It does include reference to the violence of wind, for instance the destructive forces of cyclones, so it may not be suitable for children to see alone. But it is certainly an experience the whole family can enjoy.
The Wind in B Minor
17–18 May, from 10am to 4pm
Presented as part of Anywhere Theatre Festival
Supporters and Partners:
Artists: writer/performer – Sandra Fiona Long
Collaborator/performers- Naomi Steinborner, Andrew Davis
Sound Engineer- Stefan Lefabre
Design Consultant- Emily Barrie
“I’ve made you a mixtape.”
Sure, it’s an old-school concept — but you may remember a time when there was nothing more romantic than getting a mixtape of music chosen especially for you. Each one had a special meaning, hidden or overt. It was an intimate journey for a couple.
Scott Sneddon and Angela Willock allow us to eavesdrop on their mixtape conversation, as they get to know each other through the medium of music. It’s a show punctuated with recorded music as they play each other the soundtracks of their lives. There are some touching stories and embarrassing confessions — there are always songs we loved that will come back to haunt us.
In short, it’s a series of poetic love letters to the good and not-so-good music of our youth. Each track has a story behind it, a rationale for being included be it a happy memory, a moment of discovery or an admiration for musicians who change our lives.
But it also examines the beginnings of a relationship, the fears, hopes and taboos that come with starting something new. There were a few moments of awkwardness which could have been excellent acting, or genuine nervousness. In this kind of performance it’s difficult to tell.
With a show like this there is plenty to relate to. It sparks memories of falling in love — be it with a girl, a boy or a song. It might make you think back on your own teenage years, consider the songs that shaped you and what your own biographical mixtape might contain. It celebrates awkward dancing and knowing all the words to the most embarrassing songs.
This is an enjoyable and well-constructed show that kept me captivated to the end. Mixtape will leave you with a smile on your face. Do yourself a favour…
Reviewed by Nerissa Rowan
Mixtape
presented as part of the 2013 Anywhere Theatre Festival
By Scott Sneddon and Angela Willock
Rabbithole Café, 22 Agnes St, Fortitude Valley
16–17 May, Bookings: http://anywherefest.com/mixtape
When you think of poetry, do you think Shakespearean sonnets or bush ballads? In Growing Pains, four writers show us there’s a lot more to spoken word than rhythm and rhyme. This is “poetry”. It touches on themes of ethnicity, relationships, religion and the trials of growing up.
They’ve taken over the Bird Gallery, a cosy space permeated with the smell of coffee and packed with chairs, cushions and beanbags. On the wall is a work in progress — a collage of baby photos and memories. The audience and cafe patrons are encouraged to add their own memories to the wall. Prompters like “what did you want to be when you grow up” and “what smell do you remember” are designed to inspire us to share our stories too.
“Herein you will find instructions on being an adult.” Martin Ingle’s hilarious piece about the rules of adulthood sets the tone for the next hour. He is confident and funny, bringing a stand-up comedy feel to the show, particularly when he asks the question: is it love or food poisoning?
His work is interspersed with that of the three other performers. Vuong Pham is quiet and reflective, bringing haiku and faith into the mix. The soft spoken but powerful words of Jo Sri make it obvious why he was the Queensland winner of the National Poetry Slam in 2012. His words are heartfelt, personal, humorous and often political.
We have to wait a little while before Josh Donellan takes the stage, but he brings more great slam and storytelling filled with wordplay and emotion. He’s the only one who comes close to fitting the traditional stereotype of a writer, with his 1984 t-shirt and a hat that, at first glance, looks like a beret.
There’s some creative metaphor, amusing wordplay and jokes at the expense of poetry. The audience laps it up.
The finale is a well-constructed collaborative piece which wraps up the show nicely. It brings the performers, their styles and themes together into a cohesive whole. Words are my thing, and I enjoyed this show immensely.
Reviewed by Nerissa Rowan
Growing Pains
presented as part of the 2013 Anywhere Theatre Festival
Presented by Mingle Productions
Presented by The Basics Project
By Elizabeth Scales
Arriving at the Northshore Shed in Eagle Farm, the background of the river and the skyline of the city ignite the ambience of this secluded yet abundant space. The vibe for the The Basics Project version of Steven Berkoff’s Metamorphosis is set as the area surrounding suggests the life of the working lot, which is so absurdly illustrated in the play.
I have seen Metamorphosis previously on a huge stage, with a huge budget, in London’s Lyric Hammersmith. Though captivating and thought provoking (as the writing naturally evokes in the audience) I was left wanting more visually and emotionally.
Luke Butlers’ version of Metamorphosis captures the spirit, essence, and power of what this play is about. By stripping back the technical aspects of the production and taking full advantage of embracing the life and character of the space being performed in, Butler has offered a powerful and interesting version of this dream-like story, managing to create a version that feels right in length by maintaining the audience’ attention throughout.
The physicality and direction of the play, coupled with the artistry of the musician creating the soundtrack for the action, produces a lively performance successful in being both entertaining whilst communicating the message that Metamorphosis sets out to comment about life and society.
The actors work well together as an ensemble and embrace the mix of stylised direction given in telling this story. However, at times, the stakes seem a little low in relation to the situation being presented and the connection and rhythm is occasionally lost between the ensemble.
A simple case of solidifying the acting choices made, and a little more trust in the text would allow for the play to fully take flight. The music does well to ensure that the ensemble maintain the pace and definitively adds to the power of the play.
The Basics Project version of Metamorphosis is an absolute joy to watch, with colourful and strong direction choices, a talented ensemble, and a dynamic space ensuring that the audience leaves having enjoyed a night of true theatre at its best.
Presented by The Decrepit Cabaret
By Elizabeth Scales
A cabaret in the foyer of the Bells building, 57 Brunswick St! How exciting to fill this decadent space with warm
red lights and soulful music. Mama’s Bag of Feathers is an interesting fusion of cabaret song and rhetoric mixed with a little circus to keep the audience captivated.
The Decrepit Cabaret trio engage the signature cabaret tricks of pushing the comfort limits of the audience through their witty and provocative show. The musicians are talented and the voices possess the sultry jazz tones true to cabaret of yesteryear. However, there are some cracks in this facade as the blasé outlook of the performers (a stylistic choice reflective of the genre) sometimes falls below the performance level.
With some lovely audience participation techniques, fear not! You are never put on the spot, and the artists command of the space, Mama’s Bag of Feathers possess the elements of a cabaret show. The circus aspects of the show are impressive, though at times the audience did feel some concern for the well-being of the chandelier in the space! Though technically brilliant in relation to the artists’ skills, the show does seem a little too raw to be a finished production and some more thought needs to be placed into the dramaturgy and overall direction of the show.
At face value, Mama’s Bag of Feathers is entertaining and perfect in length wrapping up at approximately 50 minutes. For a truly lovely trio of entertainers, The Decrepit Cabaret are definitely working towards bringing the true essence of cabaret back to life.
By Birgit Willadsen
Sans Love is the story of a young woman named Mercy who is surrounded by people afflicted with heartbreak. The loss of a grandmother, husband, girl-of-your-dreams, cat or the first love of your life leaves people desolated and hurting and perhaps never wanting to feel that way again.
Enter Mercy. She has a special gift. She can ‘fix you’. She can take away the heartbreak; quite literally remove it from your body. The downside is that you will never love again.
Sans Love is an utterly delightful and engaging piece of physical theatre. The cast of 7, including a chorus of 5, play off each other in a fast-talking, leaping, action-packed 70 minute investigation of love and loss and how we feel when love does not return.
Mercy is the protagonist but it’s the chorus that makes this story. Perfectly timed to interact with each other and the audience, they fling out lines and songs while throwing themselves all over the room. I particularly enjoyed their performance of the typical broken-hearted playlist. So accurate and sad but very funny. Each of the chorus members has been ‘healed’ by Mercy, a decision some are accepting of and others are purely angry about. They now surround her and help her in her treatments for the never-ending line of the broken-hearted.
Sans Love is playing in one room in an art gallery and the artwork on the wall, including some beautiful nude photographs, accounts for the shows’ ‘nudity’ rating. The set could be part of the exhibition proper, taking up the centre of the room, with props of the detritus of dates and relationship strung from the ceiling.
This is a clever, intricately-thought out show on a topic that everyone can relate to. You could feel the enjoyment amongst the audience, all huddled as we were on cushions on the floor, as we were made to laugh at the accuracy of the stages of heartbreak and get quietly depressed with the stories of loss that made each person choose to have their love removed.
Sans Love is being performed in Love Love Studio in the heart of Teneriffe, in a great spot if you want to have dinner / drink / dessert around the show. Love Love Studio is one of those great random space that used to be a house and is now a bit run-down so it is now used as a gallery with a skate shop and probably a few other temporary residents as well. The current exhibition is suitably themed on love and loss.
Sans Love is a truly fun and clever piece of theatre. The sort of show you want friends to see and enjoy so they can understand the value of start-up theatre and initiatives such as ATF.
Review of Sans Love presented as part of the 2013 Anywhere Theatre Festival.
BOOK NOW! http://anywherefest.com/sanslove
LOVE LOVE STUDIO: http://lovelovestudio.blogspot.com.au/
Written & Directed by Lauren Sherritt
By Elizabeth Scales
Enter the Love Love Studio on Florence St in Teneriffe and you will be immediately inspired to open your own heart space. This studio lovingly nurtures all things art and is the perfect place to tell a story about love, which as the title alludes to, is exactly what Sans Love is all about.
Written and Directed by the talented young Lauren Sherritt, Sans Love takes its audience on a 70 minute journey following the world of Mercy, a young girl who mends the broken hearted by taking away their ability to love. Being those who have sought Mercy’s gift to heal their own heartbreak, a ‘Chorus of the Loveless’ accompany her journey to cure the world from love.
This incredibly poetic and prolific play comes to life through the casting of a strong and engaged ensemble of seven. Each and every member of the cast maintains the level of the mask required to do justice to the story being told.
With energy to rival that of Children’s Theatre, it is refreshing to see the actors work in complete connection to the space, the audience, and each other; trusting their instincts and the beautifully written script to do the work of translating the highly relatable themes of love and love lost.
To add to the strong ensemble and moving text, acknowledgement needs to be made of the space and set design. As is proving a trend in the Anywhere Theatre Fest, Sans Love has embraced the Installation Performance framework to transform a highly intimate space into a working work of art in itself. The actors take great joy in interacting with the set; which has been designed to inform the story as it unfolds, all to the audience’ delight.
Sans Love is a triumph in new work. Exploring just how exquisite and excruciating love is, this play is relevant to anyone who has ever stepped a day on this earth, who have experienced love in any form, and who have the courage to remain open to love regardless.
If you’ve ever taken an interest in European history or secretly enjoyed history at school or perhaps you have children you want to get interested in that huge general topic, take yourself to Small Crown Production’s 1066: The Bayeux Tapestry Brought to Life, performed in the Collector’s Cafe at the Queensland Museum.
Read the rest of the review at Style from the Suburban Intellect
Reprinted courtesy of Weekend Notes.
My friend and I drove down Macarthur Avenue in Eagle Farm towards the Northshore Shed where Metamorphosis was playing as part of the 2013 Anywhere Theatre Festival. The road seemed a little dark and naturally we thought, “Where are we going? The GPS is telling us to keep going straight, but, it looks lifeless out here.”
However, we were soon to notice a group of people sitting and chatting and the words “The Shed” painted large and bright in front of us.
I felt a little chill run through me, but a good chill, the kind of chill you get when you know you are doing something extraordinary on a usual sleepy Monday night.
Luke Butler, Director, who studied in Sydney and now lives in Brisbane, describes it as “a beautifully sad, fractured, kitchen sink drama which tells the story of a family pulled apart by its own values and overwhelming love.” Sound familiar? We all undoubtedly have our family dramas but surely, this is a play to take “drama” to a new level. He works with Daniel Kloote, Producer, as part of The Basics Project.
You arrive to see what is called a 300 degree seating arrangement – you are part of the play as much as the actors are a part of the play. However, this is no cause for alarm as you will not be pulled onto stage by one of the actors and asked to perform some obtuse physical performance – that is for the professionals.
Drawing from physical theatre, this play adapted by the work of Franz Kafka and written by Steven Berkoff, sees the main actor inexplicably turn into an insect. No costumes. No special effects, just pure theatrical skill. It is done so well that I became captivated and actually believed I was seeing a metamorphosis from human to insect before my eyes.
The play paints an exaggerated picture of the conflicts and stresses of the common family and will undoubtedly appeal to a wide audience. It is a play that will challenge you, both physically & emotionally, and is definitely something you can become enthralled by as part of the Anywhere Theatre Festival.
It is very conveniently located near Portside Wharf and its array of fine dining restaurants. A nice dinner pre- or post-show is definitely in order along with perhaps a delicious coffee and treat at Max Brenner.
Metamorphosis will run from Tuesday 14th of May to Sunday 19th of May, 7pm at the Northshore Shed, Eagle Farm. All tickets are $22.00 Bookings available here.
the basics project
A shed at Hamilton’s Northshore is the setting for The Basics Project’s ‘METAMORPHOSIS’ – a two act minimalist drama based on Kafka’s story of the same name, about a man who wakes up one morning to discover he has turned into a gigantic insect, and the familial struggles that ensue.
Metamorphosis is highly theatrical and not a bit subtle – the performances are big, dramatic and tightly rehearsed, yet the themes of the story are much less flamboyant; it was fun to unravel the understated metaphors behind the bold performances. Luke Butler’s direction pays meticulous attention to every gesture and movement, and the mind boggles at how much effort went into rehearsing this production. Every turn, every beat has been rehearsed, and there’s some fantastic physical motifs that appear throughout the performance. Alas, sometimes I feel this directorial flair can stand in the way of the performers having a very real connection with their characters, and it did occasionally become distracting.
Brandon Dowery’s physicality as Gregor – the insect man – is strong, and watching him writhe, climb and contort as he battles with his transformation showed us a man struggling with his own existence. Crystal Arons plays the mother of our protagonist, and stands out as a well-grounded, seasoned performer. She holds some fascinating moments throughout the show, sometimes simply conveyed with a look or a reaction.
The performance is accompanied by a live violinist – an instrument which lends itself perfectly to this story – providing musical interludes and sound effects throughout. Screeches, wails and laments all emanate from this small acoustic instrument and echo around the cavernous space we sit in. (The violinist was, quite bizarrely, positioned behind the audience – so the dialogue of some scenes was overwhelmed by dramatic pizzicato in my left ear.)
The final act of the show is truly fantastic. The performers all seemed to hit their stride, Vivien Whittle’s ‘Lodger’ was utterly hilarious, and the pace and tension was so spot on I found myself clapping and howling with laughter for most of it. The team behind this project has worked hard, and I think they should be proud of what they’ve achieved; I thoroughly enjoyed it.
review by alex podger
We’re in a quiet street in East Ipswich. Candles line the driveway, leading to a well-lit backyard. We arrive slightly early and sit in a waiting area before the hessian curtain is opened. There is wine, tea, coffee and hot chocolate on offer. The audience mingle, and when the performance space opens it is a shared discovery.
This is the first Anywhere performance I’ve been to this year that truly feels like an adventure. We enter the aging wooden shed and find a seat — it’s an intimate stage, with strips of LED lighting above our heads — simple but used to enormous effect.
This is the perfect set for this haunting play. In fact, some audience members speculate later that the setting inspired the story. This space is the home of two children, Des and Dell, who have been taken in by the intimidating Momma Lull. Outside is a post-apocalyptic world of danger and fear.
This story is not for everyone. It touches on the violence and fear involved in domestic abuse, and its themes and intensity could be distressing for some. But it’s told well, with convincing acting and a simple but powerful plot.
This may warrant a spoiler alert: I was surprised by the children, who were created by local doll artist Chris Boston. While their faces are static, they are filled with pathos and come alive with the subtle movements and expressive voices provided by the actors. The language and ideas are simple, but this makes sense when the two leads are very young. The one criticism of this puppetry technique is the actors at times blocked our view of the puppets, and it made for a slightly awkward moment or two. But this did not ultimately detract from my enjoyment of the atmosphere the technique created — of a world that is big, frightening and overwhelming.
By comparison to these pint-sized performers, Momma Lull is a towering threat. Her character is complex intriguing — it layers confidence and ferocity in such a way that her underlying compassion and yearning is almost hidden. And yet, we catch glimpses of her motivation and tantalising snippets of this scene’s backstory.
Having shared an intense theatre experience, the audience gather outside to share a drink and discuss the play. It’s a rare piece that compels you to talk about it, but this one certainly does.
THAT Theatre Company has proved that you don’t need a big budget to create an intensely moving piece of theatre.
Reviewed by Nerissa Rowan
Thursday’s Child
presented as part of the 2013 Anywhere Theatre Festival
Written by Cassandra Ramsay
Directed by Timothy Wynn
Presented by THAT Production Company
30 Kendall St, East Ipswich
14–19 May
Bookings: www.anywherefest.com
Lore School: ImproMafia at the Anywhere Theatre Festival
Performance: LORE SCHOOL: Red All Over
Sunday 13 May, 2013 at 6.00pm
Players: Liam Connor, Alistair Crawford, Michael Griffin, Tristan Ham, Jess Lampe, Brittany White.
Review: Rosemary Chance
Six actors, two chairs, one table and a lot of imagination. Improvisation has a proud history and Theatresports turns it into a game which actors play with each other and with their audiences.
Red All Over, the first of three performances for Anywhere Theatre Festival under the title Lore School, played last night at the Queensland State Library in the Red Box: a spectacular venue sporting a stepped auditorium with free seating looking straight out across the river, the stage framed by three glass walls.
The show – a delightfully ridiculous and high-energy affair – was created by actors from ImproMafia, a Brisbane-based group which teaches and performs improvised theatre and Theatresports.
Three pairs of actors, their focus on humour, having fun and spontaneity, presented three very short scenes; their chosen genres – Dan Brown, Shakespeare and Paranormal Romance – point to the territory where hamming it up is par for the course. The audience laughed as they created their absurdly tangentialized stories using words, mime, gesture and movement – always building on each other’s work; always ready for the unexpected.
One team then had to be eliminated and the audience vote, masterminded by the MC with the nail polish fetish, was no to Dan, yes to Shakespeare and yes (of course) to romance – straight, gay and all shades in between.
Improvisation is always a roller-coaster ride, and the more skilled the actors, the more enjoyable it is for the audience. These are seasoned performers and this was a show full of laughter; go along next weekend and enjoy ImproMafia’s antics around Shakespeare and Jane Austen with another ensemble cast.
TICKETS: $15
DATES: Sunday 12th May @ 6:00pm (Red Box)
Saturday 18th & Sunday 19th @ 3:00pm (Queensland Terrace)
VENUE/S: The Red Box, Level 2, State Library of Queensland (12th May)
Queensland Terrace, Level 2, State Library of Queensland (18th & 19th) Google Maps
www.impromafia.com
This show would not be possible without the support of The State Library of Queensland and the Queensland State Government.
Alastair is an ambitious professional whose work comes first — except on his day off. His day off is a time for him. Not his girlfriend Ange, who he claims to love but actively ignores. Not his mother, who still loves him despite the fact he constantly tells her to go away. Not his friend in need of a helping hand.
Situated outside at The Box in West End, the set for Wake Up is minimal. A white sheet hung from the wall provides a canvas on which Alastair’s colourful and disjointed dreams are projected. He sleeps on a makeshift bed, with only a mobile phone for company. A phone that rings constantly with unwanted calls.
This one-man show is more monologue than multimedia, but talented actor Benjamin Jackson keeps it moving at a good pace. He has created a character who seems concerningly familiar and not entirely likeable, as he uses half-truths as excuses to disconnect from his fellow human beings.
If I hadn’t seen The China Incident earlier this year, which took the concept of introducing characters by telephone to new heights, I would likely have been blown away by this show. Unfortunately, I found myself drawing comparisons to the Queensland Theatre Company production.
While this production is more low-budget and low-key, it has many of the elements that made The China Incident successful. The actor is focussed and believable, the timing is spot on and the monologue provides just enough detail to allow us to imagine the other side of the conversation. There’s a balance of laugh-out-loud situations and reflective moments, with the additional aspect of slickly produced dream sequences.
Writer, director and stage manager Mikhala Hawken has created a play she can be proud of, with a clear message to Wake Up to ourselves.
Wake Up was presented as a double bill with Skin.
Reviewed by Nerissa Rowan
Wake Up
presented as part of the 2013 Anywhere Theatre Festival
Synesthesia Productions
The Box, 29 Vulture Street, West End
15–17 May
Bookings: www.anywherefest.com
There’s a lot to be said for knowing your limitations as a viewer. As much as I love watching performers push the boundaries of theatre and the performing arts, I’m not a big fan of the abstract. I like only a fraction of abstract art, as I prefer something with a clear narrative.
And a unifying story is the one thing Skin doesn’t deliver for me. The Anywhere website says Skin explores real and fictional stories of body modification and tattoo culture through physical theatre. It’s an accurate description but the show was still not what I expected. The stories are in the form of brief snippets of song, monologue or movement that leave me feeling unfulfilled.
I’m certainly open to the idea that I missed the story, and that I’m a lazy viewer. But I find there are too many gaps to fill in: the progression from opening song (which is hauntingly beautiful) to the close seems a little unnatural. It just didn’t come together as a cohesive whole.
However, the show did have clear themes running through it. Themes of body image, conformity, the beauty myth, sensuality and control.
It was also great to see an Anywhere show bringing out extra chairs for a very healthy crowd. Taking place outdoors at The Box in West End, a sheet hung across the back corner to create a backstage space. The sounds of the Brisbane Boxing training space drifted through a nearby window, creating a fitting soundscape for a piece about physical self-expression.
The four performers, armed only with balloons, marking pens and mobile phones, create a tableau that I’m sure many people could relate to, although for the most part I didn’t feel emotionally engaged.
If you want to get the most out of a festival like Anywhere, know your limitations as a viewer and choose your performances accordingly. You will enjoy this piece if you are fascinated by dance, movement and the cult of body image.
Skin was presented as a double bill with Wake Up.
Reviewed by Nerissa Rowan
Spare Change Collective at Anywhere Theatre Festival
LOST & FOUND
Performance: Tuesday 14 May, 7.30pm
Hardgrave Park, Petrie Terrace
Director: Alana Hawkins
Musicians: Edward Buckridge, James Visentin
Review: Rosemary Chance
The rush of the traffic, the screech of trains braking, the hum of the generator and moths fluttering in the light surrounded us in Hardgrave Park last night for some fine performances as Spare Change Collective opened their four day run of Lost & Found – four plays by four emerging playwrights with four actors in a place which perfectly complemented the symmetry of this: a paved area in the centre of the park with four fixed benches enclosing an immoveable object: a huge rock which formed the centre of the stage. The rock of immutable self?? Perhaps, as the protagonist in each play comes to a place in themselves which they cannot move beyond: a point where a lack of self knowledge prevents their further progress.
In 36 Steps by Tim Thomas, we meet a father whose cry to his son echoes the unanswered cry of his son as a child; Darrin Davies pulls back his powerful stage presence as his character becomes bewildered; he wants change but does not understand how; it is too late for him and the choice lies in the hands of his son.
In The Tree by Dale Rozanski, we meet the lover who’s betrayed by the people closest to him. Robert Shearer shows us his despair in finding that their affirming presence was an integral part of his definition of self; Jack is baffled and feels he cannot go on.
In the third play, Between by Emma Joenpolvi, Terri Kerr convincingly portrays a mother whose obsessive devotion to her son prevents her from truly seeing him; she finds that she cannot face the truth of her own blindness. She settles into a closer connection with her daughter – a deferential and insecure character captured by Lucie Wightman – in a partial repair of the past, although not a healthy one. They band together to push away outside judgement and past memories; their intense discussions almost difficult to hear.
The evening finishes with a look at the train community and gives us the wonderful absurdity of a noisy fight over ‘the quiet carriage’. Who owns the quiet carriage? Is it they who believe their status is unquestionable: the upwardly mobile on their mobiles? Or those whose social position is more marginal: the middle class Centrelink beneficiaries? Or indeed those who are actually quiet? The Quiet Carriage, by Cassandra Ramsay rounds off a thought-provoking night under the stars at a truly imaginative Anywhere venue.
Tickets: $15/$10/$8 (Groups 5+)
Dates: Tue 14 to Sat 18 May @ 7:30pm
Place: Hardgrave Park, Cnr Petrie Tce & Secombe St, Petrie Terrace, 4000
Duration: 60 mins
This show would not be possible without the support of Brisbane City Council.
MAMA’s BAG OF FEATHERS
Decrepit Cabaret
This late-night cabaret contains several WTF’s per minute; executed with fishnets, feather boas and clam shell bras – and that’s just on the boys.
I must confess upfront that cabaret is unfamiliar territory to me, so my review is that of a total outsider. We were met by Mama – a bald man with running mascara – who crooned to us songs of love, despair and desperation to us while bizarre goings-on unravelled around him – sometimes perpetrated by us! The performers all plod along with complete nonchalance about what they are doing, which makes the whole show slightly surreal. I’m reluctant to give away too many spoilers, but I will say that this show brought my ‘Anywhere Boob Tally’ up to 3 (I’ve only seen 3 shows!).
Not for the faint of heart, the prudish or the unadventurous, Mama’s Bag of Feathers requires you to go along for the ride – leave your inhibitions at the door and leap into Mama’s great big fluffy bag of feathers. If you need a bit of pep-pep one evening, and you don’t want to go and sit through an over-hyped Hollywood remake or an intense dramatic performance, may I prescribe to you a dose of bizarre cabaret before the end of the Anywhere Theatre Festival?
Review by Alex Podger
Mama’s Bag of Feathers runs from 14th – 19th May.
Tickets available at anywherefest.com
Review – Mama’s Bag of Feathers
The Decrepit Cabaret
By Elizabeth Scales
A cabaret in the foyer of the Bells building, 57 Brunswick St! How exciting to fill this decadent space with warm red lights and soulful music. Mama’s Bag of Feathers is an interesting fusion of cabaret song and rhetoric mixed with a little circus to keep the audience captivated.
The Decrepit Cabaret trio engage the signature cabaret tricks of pushing the comfort limits of the audience through their witty and provocative show. The musicians are talented and the voices possess the sultry jazz tones true to cabaret of yesteryear. However, there are some cracks in this facade as the blasé outlook of the performers (a stylistic choice reflective of the genre) sometimes falls below the performance level.
With some lovely audience participation techniques, fear not! You are never put on the spot, and the artists command of the space, Mama’s Bag of Feathers possess the elements of a cabaret show. The circus aspects of the show are impressive, though at times the audience did feel some concern for the well-being of the chandelier in the space! Though technically brilliant in relation to the artists’ skills, the show does seem a little too raw to be a finished production and some more thought needs to be placed into the dramaturgy and overall direction of the show.
At face value, Mama’s Bag of Feathers is entertaining and perfect in length wrapping up at approximately 50 minutes. For a truly lovely trio of entertainers, The Decrepit Cabaret are definitely working towards bringing the true essence of cabaret back to life.
Review – Speed Networking
Anywhere Theatre Festival Event
By Elizabeth Scales
Just like a group of eager singles, dressed up and jittery with giggles at the prospect of finding ‘the one’, so too were the artists and professionals at the Speed Networking event at the Ecosciences Precinct (Next door to Boggo Rd Gaol) dizzy at the prospect of finding their ‘partners’ in the arts.
Actually, truth be told, the Speed Networking event, MC’ed by the hilarious Lucy Fox and Ell Sachs, was a really chilled environment that offered artists, scientists, producers, and funding representatives to meet and discuss possibilities for creating a stronger industry through the sharing of skills, passion, and project proposals.
The premise of following the Speed Dating framework was a perfect tool to opening the space for relaxed conversation, allowing for simple introductions to be made with the possibility for a ‘second date’ should things go well.
The integration of artists and scientists was a very welcome notion, as these industries definitely possess similarities with regards to financial sustainability and have a lot to offer one another with regards to support and evolution.
Highlighted by the inspiration and collective support that was brewing in this space, this Speed Networking event really needs to be a regular happening. These types of events unify an industry that sorely needs unifying.
The possibilities are endless and it is high time that we continue to acknowledge and nurture our industry. We require artists, scientists, producers, funding bodies and businesses to get inspired and involved within this highly significant industry; to advocate the viability, sustainability, and significance of arts and sciences to any society.
What is clear from this event is that there are many worthy ideas, projects, initiatives, artists and scientists within our great industry, who are really capable of invoking change and growth to offer a better future for Queensland.
Reposted here courtesy of Arts Hub
This retelling of Oscar Wilde’s short tale of love, knowledge and sacrifice has been created with a great deal of love and care.
Combining live music, film and delicate shadow puppets, this quiet performance is set in the atmospheric ruins surrounding the Brisbane Powerhouse.
It’s been a year since Jennifer Bismire and a team of puppeteers brought Julian Running to Anywhere Theatre Festival, and it’s clear that year has been spent productively. Most of the rough edges seen in last year’s offering have been smoothed out to bring us a beautiful performance in The Nightingale and The Rose.
Like any good puppet show, there are comfy cushions at the front of the audience, though most of the audience choose to sit on the chairs to the back. And it may be a wise move.
This is an open air performance, with lots of space for the five puppetry screens, projector providing narration and the film screening. It looks beautiful and provides a landscape in which to be lost inside the story. But from the front of the audience, it can be difficult to take it all in at once as there are often multiple screens competing for our attention.
When watching the film or revelling in the beauty of the puppetry — shadow figures writing with quill pens or turning on appliances that actually seem to work — it’s easy to miss sections of the narration. Without knowing the story in advance, you may find yourself getting a little lost as the story progresses. Fortunately it’s a simple tale, and can be easily picked up again as the action progresses.
The haunting live music, performed by Richard Grantham, complements the eloquent words of Oscar Wilde seen on the screen. It is a lovely touch, as are many of the lighting techniques employed with the puppetry which add depth to this two-dimensional medium.
The film component was well produced with an exquisite set. It overlapped nicely with puppetry scenes to supplement the story, though was perhaps a little overused. I found some of the acting a little stilted, which perhaps would have been remedied by having actors live on set who could better integrate into the scene as a whole.
It was worth the wait for this very enjoyable adaptation from a talented group of performers.
Rating: 3.5 out of 5 stars
Reviewed by Nerissa Rowan
The Nightingale and the Rose
presented as part of the 2013 Anywhere Theatre Festival
Director: Jennifer Bismire
Film Director: Belinda McCulloch
Musical Director: Richard Grantham
Technical Director: Imogen Titmarsh
Film cast: Michael Croome, John Grey and Tim Gollan
Puppeteers: Sami Van Barneveld, Emily Bruce, Eloise Maree, Helen Stephens, Lauren Neilson, Perie Essex and Caitlin Adie
Labyrinth, Brisbane Powerhouse
9–11 and 16–18 May
Bookings: www.anywherefest.com
On Sunday night I stumbled up an alleyway, jetlagged and a little delirious, to see my first Anywhere show for the 2013 season. Tucked away behind an Irish pub in the city is Bird Gallery – a cute little cafe and gallery, which was the setting for the final performance of Gold Satino’s ‘The Jar Collector’.
I wasn’t sure what to expect – the synopsis and imagery was suggestive, but non-specific, but I realised quickly that the production was in fact quite experimental. The artists used poetic vignettes expressed through spoken word to convey a series of moments centred around themes of birth, pregnancy and trauma. They also used a a significant amount of pre-recorded dialogue and video projection to create a multi-dimensional world of symbolic imagery, powerful moments, and layered ideas.
I took me a while to tune into the style – prerecorded poetic dialogue overlaid with live action dialogue is not what I’m used to, so I feel like I may have missed a few key points in the early moments of the show. The choice to project on a wall parallel to the audience seemed strange, as anyone seated on the left of centre could not really see it, but scattered images appeared across the bodies of the performers, which was a nice effect.
There were some moments of startling clarity in the text – strong images that stood out sharply from the rest and grabbed your imagination. Much of this was graphic descriptive dialogue which was performed against simple actions to create powerful (and sometimes shocking) moments – ripping open a bag became a stomach being torn asunder, talc powder sprinkled from above was suddenly piles of dead skin cells, and a cup of water being poured into a bath became a woman urinating on herself.
The overall flow of the production was detached – a series of openings into the minds of these characters, which served the experimental style well, but at times made it a little difficult to follow.
I really enjoyed the recurrent use of plastic in the design of the show – plastic stomachs, plastic pools, cling wrap. It made what the performers were doing seem alienating and artificial; that they were almost ghosts, telling their stories with whatever came to hand; I think it worked well with this style. The featured image, of a pregnant perspex stomach, is very powerful.
I really admire artists jumping out of the ordinary, and experimenting with different styles, so this was a pleasant way to spend a Sunday evening!
Reprinted courtesy of 4ZZZ
Our city is briefly awash in performance art! I arrived at the Bell Brothers Building with time to spare and cider to drink. I mean, the show isn’t actually BYO, but it never hurts to try at these things…
Overexposed and the Anywhere Theatre Festival are a perfect match – like love and marriage, horse and carriage, or “quirky one-woman cabaret” and gently experimental community festivals. If you’re on the fence, just buy a ticket.
This is beautiful, imperfect, endearing theatre in a (literal) Brisbane Niche.
It’s also confusing.
Co-producer/director Daria Wain transports her audience to some deeply familiar terrain with this piece: romantic comedy, New York flavour. Thursday Next (performed solidly by Laura Gant) is a successful young lady-about-town. She is wise in the ways of dating, though regrettably single despite a list of former trysts from here to the nearest Starbucks. I imagine she works in public relations. She probably has a cat. But Overexposed isn’t really about Thursday Next; it’s a show about nothing.
No – sorry – I meant the other New York comedy. It’s a show about sex and the city. Small details shine through the convoluted and somewhat unnecessary plot devices, helping us all believe (just for a moment) that we too inhabit the world of sophisticated dating (sophistidating). It’s a winning formula when it works, and on the whole it does. You just need to lean back and enjoy the ride.
Film, live music and some tender audience participation break up Laura’s central performance. These small interludes keep the night galloping along nicely, but also raise more questions than they answer: Who is that man with the guitar? Is Thursday an actual agony aunt, or what? Are we supposed to call out? Nobody knows. The confessional aspects can be similarly unclear, treading a deliberately awkward line between fact and fiction, comedy and tragedy.
Still, combined with free lollipops (the best kind), jokey audience surveys, and an experimental seating arrangement, the entire experience is brimming with ideas. It may be less than the sum of its parts, but that really doesn’t matter when those parts are so interesting. Despite (or perhaps because of) some awkward execution, Overexposed successfully transforms the already beautiful Bell Brothers foyer. It is a curious experiment.
Tickets available through anywherefest.com/overexposed until Sunday 19th May.
Rekorderlig Apple and Blackcurrant: N/A
Photo Credits: Evan Tantum & Stuart Hirth.
By Birgit Willadsen
In the thoroughly modern Ecosciences Precinct by the Boggo Road Gaol Opera Oceania honoured the 200th birthday of Maestro Giuseppe Verdi with their production Viva Verdi.
The repertoire was a selection of some of Verdi’s best-known arias from opera such as Rigoletto and La Traviata with a few surprises from Otello and Il Trovatore. Fortunately, each aria was preceded by a short explanation for those amongst the audience who were not clear on their overly-complicated opera plots.
In such a no-nonsense venue, accompanied only by a piano keyboard (played expertly by John Woods) the audience can truly appreciate the magnificence of the human voice. With no orchestra to hide faults or override the pianissimo passages there is only the voice and the words for the opera-loving audience to appreciate.
As a venue, the Ecosciences Precinct certainly had the soaring ceilings reminiscent of concert halls but the all-glass surrounds and overhanging walkways did no favours to the Soprano and Mezzo-Soprano in particular. Joshua Rowe, Baritone, put on the performance of the day with Per me giunto è il di supremo from Don Carlos. His magnificent tone did not disappear into the glass walls and he imbued the aria with tragic emotion as the dying Rodrigo.
Viva Verdi was produced by Opera Oceania. You can find out more about them through their Facebook page.
Review of Viva Verdi presented as part of the 2013 Anywhere Theatre Festival.
By Birgit Willadsen
Overexposed is a show about dating but it may not be the best place to take a prospective date.
For a start, you don’t get to sit next to the person you come with. On arrival, you are shown in and separated to encourage you to meet a new date for the evening (though they, like you, are probably taken). Also, the content may be a little too much for potential couples. You don’t want to take a date to a show about sex if you’re still unsure whether or not you want to sleep with said date.
Overexposed is a mix of stand-up, music and film with just a tad of audience interaction thrown in. My poor date was made to participate and he survived admirably and as a bonus, learnt the phrase ‘as you wish’ (from The Princess Bride). The show is open, honest and genuinely funny at times.
If you think you’ll be shocked, don’t worry. Though this may be a cabaret about relationship and sexual mis-adventure, there is not much to horrify or embarrass, despite the Adults Only rating. Unless you have very fine sensibilities, in which case go see 1066: The Bayeux Tapestry Brought to Life. No sex or foul language in that one.
This is a show with some great ideas and a lot of work has gone in to it, but it just didn’t quite hang together. It needed more time to fully develop all the devices that the creative minds behind it imagined rather than stuffing the show full of half-completed ideas. Separating attendees – sure, but why? After some uncomfortable chit chat that was it. Film of people discussing relationships in cafes – yes it went with the theme but didn’t have a place in the show. This is still an enjoyable show but I think I’d like to see the full hour and a half version more.
Overexposed is presented in the foyer of the Bell Brothers Building in Fortitude Valley. A slightly run down location intermittently filled with arts companies and start-ups, the foyer has a quiet grandeur to it and was an ideal location for a one-person cabaret. Intimate, with stage space a sweeping staircase for the performer to descend, it was a delightful impromptu theatre venue.
If you enjoy plays, relationship dramas and / or are a little dramatic when it comes to your own forays in the mess that can be romance, you should enjoy Overexposed. It’s a fun show that deserves the time (and money) to develop it further.
Reprinted from: http://suburbanintellect.blogspot.com.au/2013/05/anywhere-theatre-festival-review-1066.html
BOOK NOW: http://anywherefest.com/overexposed
By Shirley Way, 13 May 2013
Venue: ‘Railway Park’, cnr Neridah Lane and Milton Road, Milton
Duration: 90 minutes, no interval
“All aboard!” Robin and Aidan Abbott are on a train journey across Europe.
It’s the first time Robin has travelled beyond the UK, and five or six years since he’s seen his estranged brother.
Meet Aidan, a Type ‘A’ personality who organises every minute of the day, and, who hates to fly.
Making conversation is less an art form than an awkward attempt to get to know each other. From arguments to acceptance, it’s a revealing 20-hour train ride from London to Gumpoldskirchen, Austria, to collect their father’s ashes.
Congratulations to Bianca Butler for a natural-sounding script, and the cast for an engaging delivery.
The playground in Railway Park, Milton, is a superb choice: there’s a train, a playhouse labelled ‘coffee shop’ – and it’s next to the railway track.
A tarp covered in blankets and cushions for the audience makes for a comfy ride – except our make-believe carriage was open to the elements. We arrived in Berlin – the half-way point of our journey – to be rained out and look forward to seeing the final half of the play. (Thanks for taking our details.)
Gumpoldskirchen is a tale of two brothers, family secrets and sibling rivalry. Bianca Butler describes it well: “The play remains funny, but only in the way that life itself is funny. Most of us are sitting on memories and fears much darker than we have the will to admit. That doesn’t make us bad: it just means we’ve lived.”
Notes from Underground Productions:
(a) Gumpoldskirchen is in Austria
(b) This has nothing to do with Rumpelstiltskin
Performance seen: 12 May
Review: Shirley Way
Writer: Bianca Butler
Cast: Dan Cox, Dylon King, Alice de Groot, Emma Bidstrup
Director: Megan Gansberg; Assistant Director: Zac Von Hoff
By Shirley Way, 12 May 2013
Photo: Shirley Way
A Comedy Walking Tour ’2013 – When we were idiots’ is presented as part of Anywhere Theatre Festival
Departs from Brew Bar, Burnett Lane, Brisbane City
Duration: 90 minutes
It’s 2113 – a century since Brisbane society collapsed. We lost the ability to read anything longer than a tweet and our personalities were buried under take-away coffee cups. After the antarctic ice melted, asylum-seeking penguins were detained in Nauru – until they were recognised as natural comedic talents and tour guides.
Welcome to 2013 – When we were idiots, a retrospective walking tour of Brisbane. Like The Hitchhikers’ Guide to the Galaxy, it delivers an inside-out (or outside-in) perspective of society with a comedic twist.
As time-travelling tourists from an eco-sustainable 2113, we’re taken on a tour of 21st century pop culture, consumerism, politics, and individualism where no topic is sacred.
Don your satire, wield your irony and take to the streets! Look at this city and its populace with fresh eyes.
Compare a modern shopping centre ablaze with advertising and entrances, but few exits, to the elegant Brisbane Arcade.
Wonder that few people seem to notice a penguin talking a group of people in high visibility vests.
Applaud the buskers who take our music to the world, but, beware, the street performers who spin out one joke or talent too long.
Describing this zany tour too well would be a spoiler-alert.
Come with a sense of humour, and, if some jokes are not to your liking, your guide will adapt his style.
Walking Tour: 12 May
Host: Xavier Toby
Reviewed by Kristian Fletcher
Reprinted courtesy of Kristian Fletcher
Anywhere Theatre Festival embodies what theatre should be about – transporting audiences to a location and creating an atmosphere that isn’t necessarily experienced within the confines of a proscenium arch.
Enter Burlesque Bordello, an offspring of Lady Marlene’s School of Arts, and a fly-on-the-wall look at the debaucherous goings-on of The Joneses in a 50s-esque household, played out in an actual residential home.
Whilst Mrs Jones lets her hair down upstairs and reveals her sensual desires with an entourage of risque maids, the patriarch Mr Jones (film, TV and stage personality Luke Stevenson, and Lena Marlene) skulls his Jack Daniels in the man-cave downstairs and eventually allows his inner self be revealed.
But rather than imply this on a stage with scenery and dialogue, we, as an audience, are taken (literally) to rooms of the house to witness these goings on first hand.
Walt Disney once said “we keep moving forward, opening new doors, and doing new things, because we’re curious and curiosity keeps leading us down new paths”. He may well have had The Joneses in mind…
Eva Vivacia (as Mrs Jones) is a powerful presence as the dominant matriarch, and her collection of help ‘kinqued’ it up. As the naughty maids, Calliope Kinque, Clara Net and Harley Honey have the moves and energy to match as we got up close and personal and they dished out constantly cheeky grins, a tongue-in-cheek nod to the audience that this is all part of the fun. Kimmi Doll is a voluptuous, classic beauty and it’s great to see her utilise fans in her dance routine.
With a showcase of burlesque, boylesque, and everything in between, Burlesque Bordello proves, once and for all, the seedy goings-on which can exist behind the closed doors of a suburban household.
Arrive early and hang out in the downstairs Tiki Room for some punch and the calypso sounds of Alvin (when was the last time you heard ‘I Will Survive’ played on the steelpan drum?), browse the vintage wares of UrsaLady Designs and sample the delicious cupcakes from Natty May.
Book now… The Joneses are waiting… www.anywherefest.com/burlesque
Presented by Booby Trap
By Elizabeth Scales
Saunter down Hale Street and you will happen across 161. The number of Mr and Mrs Jones’ quaint abode. It is here that you will take a cheeky step into a 1950’s household with a flair for burlesque!!
Burlesque Bordello is a fresh production conceived by the voluptuous new ensemble, Booby Trap. Like the delicious fruit punch served in the ‘Tiki Bar’ on arrival, Burlesque Bordello mixes a delicious recipe of theatre and burlesque to create an entertaining and provocative site specific performance.
As the audience enters through the driveway, they are welcomed into the sultry private world of Mr and Mrs Jones and their ever so helpful staff of maids. Within the true styling of burlesque, the ladies ensure that everyone is comfortable before commencing the ‘tour’ of the Jones home. The Jones’ are very hospitable and make great efforts to ensure that their guests are enjoying themselves.
The venue is set to embrace the warm household party feel and the vibe is definitely set engage the naughtier side of the 1950’s. With a live quartet to enhance the mood and accompany these sassy burlesque artists, Booby Trap has created a seamless production that is sure to leave a grin on even the most uptight of faces.
Burlesque Bordello is the first production for this particular ensemble, and it is evident that this is just the beginning for this lively troupe. With their cheeky approach and their ability to create a relevant dramaturgy to complement their skills, Booby Trap is destined to pop up with more burlesque theatre to tantalise your mischievous side.
For those new to the world of burlesque, be sure to bring some friends, a bottle to share (the venue is BYO), and a cheeky sense of humour. Leave Booby Trap to do the rest!
We’re perched on top of The Edge on a remarkably crisp, clear night. Behind the make-shift stage is the best backdrop in Brisbane: the city skyline. It’s amazing that a sole performer can draw attention away from the view, but Darkwing Dubs knows how to get an audience’s attention: be loud, be funny, be charismatic.
Cutting between spoken word, song and poetry, interspersed with a tinge of stand-up, Maximal mixes the personal, the political and the ludicrous. It’s rehearsed chaos, with the show flowing easily from one topic and style to another to create a balanced whole. It moves between raucous, poignant and hilarious.
Darkwing Dubs speaks about the things that are important to him. It’s a long list, but includes ninjas, science fiction and fantasy, pop culture… the geek references come thick and fast at some points of the show. And yet at quiet moments we find out about his views on education, depression, religion and other controversial topics.
I’ve seen this performer in action many times before, but never with more than a 15 minute set. It takes remarkable talent to keep an audience’s attention for an hour with only the power of your words. Yet we could have sat there for two.
There were many moments that left the audience in stitches, including a wonderful song about how he was going to spend the money from the show. It’s rare to see audience members doubled over with laughter, but Maximal delivered some of the best laughs I’ve had in a long time.
Darkwing Dubs (aka Scott Sneddon) is a man of many talents, proven by this first foray into a solo show. Sadly, Maximal’s short run at Anywhere has finished but it’s a must see if it’s repeated in Brisbane. In the meantime, you can see him performing with Angela Willock in Mixtape for the second week of Anywhere Theatre Festival.
Reviewed by Nerissa Rowan
maXiMAL
Maximal by Darkwing Dubs presented as part of the 2013 Anywhere Theatre Festival
Lawn, The Edge, State Library of Queensland 10–11 May
Bookings: http://anywherefest.com/darkwing
By Shirley Way, 11 May 2013
“Moon” is presented as part of Anywhere Theatre Festival
The Australian Voices
Venue: State Library of Queensland
Duration: 90 minutes
Moon is an ethereal collaboration between Venero Armanno (text) and Gordon Hamilton (music) with David Collins (photography) and Helen Howard (choreography).
Venero Armanno’s epic premise impressed The Australian Voices’ artistic director, Gordon Hamilton: “The mundane setting of Sam’s bedroom is invaded by something quite impossible: the arrival of Diana, the lonely moon, who has chosen a sick young man as her lover after eons of solitude.”
Hamilton’s 50-minute choral love-song is an adventurous a capella sound-bath: it glitters, shimmers and transports. The rich vocal harmonies shift through the full emotional arc from sparse to ecstasy to rage.
Yes, Diana becomes a blood moon of pain, rage and grief, when Sam dies in her arms after they make love. Sam’s skill at hearing planets and stars, ‘the music of the spheres’, even from the land of the dead, reunites them.
Physical movement adds to the choral theatre experience where all the male singers embody the character of Sam (at key moments led by Gordon Hamilton) and the women, led by a soloist-narrator, embody Diana.
Moon is performed after a short first half which explores choral music “made from emphatically non-choral sources”.
This afternoon’s audience heard Anton Bruckner’s Os Justi, Gordon Hamilton’s Initialise – a list of abbreviations from CEO to 007 which delighted the audience, and his arrangement of Waltzing Matilda.
Highlights were William Barton’s Kalkadunga Yurdu which showcases vocal layering from syllables that Barton plays into his didgeridoo, and, Six Miniatures – ten-second vocal responses to six landscape photos.
The Australian Voices perform the glittering Moon once more for Anywhere Theatre Festival (May 12) before their national tour.
Performance seen: 11 May 2013
Review: Shirley Way
Cast: The Australian Voices
Artistic Director: Gordon Hamilton
Presented by Merlynn Tong & Soonufat Supramanium
By Elizabeth Scales
Someone once said, ‘To tell a story is an act of kindness’… Merlynn Tong’s one woman show, Ma Ma Ma Mad, certainly embodies this statement.
This incredibly personal piece explores the life of her mother, Millie, and the events and relationships in her life leading up to the untimely taking of her own life. Heavy themes, yes, yet Merlynn has masterfully crafted a moving, witty, and entertaining piece that is so delicately truthful and heartfelt, leaving the audience sincerely changed by what they have experienced.
Ma Ma Ma Mad is set in the karaoke bar where her mother used to work, a place that was very influential to Merlynn’s upbringing. As life imitates art or art imitates life, this truly captivating one woman cabaret performance has embraced the venue of Cyber City in the Valley, a lively pool hall and karaoke bar.
The noises of the singers next door, the smell of smoke mixed with booze and sizzling garlic and noodles, the tiny room and the cushions. In this space, Ma Ma Ma Mad becomes a piece of Installation Performance as the audience soaks up the surroundings and is transported, via all senses, into Merlynn’s world.
Merlynn entrusts her body and voice to tell this epic story, craftily transitioning from character to character in flash of a moment. The tragedy of the themes is so artfully and honestly told, as she opens her soul to the audience.
Ma Ma Ma Mad is anything but self indulgent. Merlynn has managed to share her story with such selflessness; where most would be tempted to fall into the indulgence of playing the victim, Merlynn shines through as she plays the reality of her story, sans drama, continually finding the wit and lightness in the gravity of the situation, which actually amplifies the impact of the story being told.
Ma Ma Ma Mad will make you laugh and cry, it will move you and make you think, it will make you grateful, but most importantly, it will show you just how important it is to move onwards from such adversity and heartbreak, with acceptance, forgiveness, love, laughter, and optimism.
MA MA MA Mad
Tickets: All tickets $20 * Limited seats (20/night) so get your tickets now!
Dates: Fri 10 to Sun 12 & Thu 16 to Sat 18 May @ 7:30pm (+ Matinee Show: Sat only @ 1:30pm)
Place: 2002 Cyber City, 206 Wickham St, Fortitude Valley, 4006
BOOK NOW: http://anywherefest.com/madmamama
All aboard for Monabrow Williams’ wild ride.
You’ve never had a tour of Roma Street Parkland like this before. Monabrow Williams is our charismatic tour guide. You can tell straight away how much she loves her job.
Mona takes over the Parkland Explorer train and just when you think you might learn something, she starts to unravel, haunted by ghosts from her past.
This intimate trip holds a great deal of laugh-out-loud moments, interspersed with a little awkwardness. Is Mona the personification of our mixed-up psyches, jam-packed with self-adulation, insecurity and regrets?
The characterisation is fantastic, which is not surprising since Mona Brow Williams made her Brisbane acting debut in 2006. Writer and performer Claire Pearson has become the washed-up actress and cabaret star — but be careful not to use the term washed-up around Mona, as she can be very sensitive. She teeters on the brink of caricature while remaining a character who you can feel for — even if it is with a grin on your face.
As with many of the Anywhere shows, you are not just a static viewer. Everyone receives a travel pack to help them participate in Mona’s reminiscence. Some members are treated to … special experiences. No one is safe.
The train is a lovely way to move from scene to scene as Mona tells the story of her life, but it does have some minor drawbacks. It can be difficult to hear when you’re at the back, despite Mona’s loudhailer. The middle carriage is the place to aim for, though those sitting in the front are treated to a little more of Mona’s story as she mutters to herself or makes sly jokes.
Congratulations should go to the driver and conductor, who did an admirable job of remaining good humoured as the dowdy diva bossed them around. They are the usual operators of the Parkland Explorer, and seemed rather amused by some of Mona’s unexpected antics.
It’s a beautiful venue for this quirky play, and was an enjoyable way to round off a Friday afternoon.
Reviewed by Nerissa Rowan
Mona Brow Williams (Retired actress and cabaret star)
presented as part of the 2013 Anywhere Theatre Festival
Written and performed by Claire Pearson
Directed and designed by Elizabeth Millington
Produced with thanks to Roma Street Parkland, QUT and Visible Ink
Roma Street Parkland, Brisbane
10–12 and 17–19 May
Bookings: http://anywherefest.com/monabrow
By Shirley Way, 11 May 2013
The Nightingale and the Rose is presented as part of Anywhere Theatre Festival
The Labyrinth, Brisbane Powerhouse
Duration: 60 minutes
“What is the heart of a bird compared to that of a man?” asks Oscar Wilde’s parable, The Nightingale and the Rose.
“There is no red rose in all my garden,” laments the student. “If I have a red rose, my love will dance with me all night till dawn at the prince’s ball.”
The heart of a man is explored through filmed scenes between the lovelorn university student and his philosophy tutors. Love and sacrifice are discussed in a room overlooking the garden.
The Nightingale hears him and ponders the mystery of love: more precious than emeralds, it cannot be bought for gold. “Every night, I sing of love: what is joy to me, to him is pain.”
It is winter. The only red rose in the garden must be built of music by moonlight and stained with the nightingale’s blood….READ MORE…
By Elizabeth Scales
In a darkened space in the State Library of Queensland, an audience awaits the celestial arrival of Moon. Led by Artistic Director and Conductor, Gordon Hamilton, the Australian Voices Ensemble commences their serenade.
An acapella affair, from the first moment, the ensemble sweep up their audience with their beautifully matched voices to perform a series of original and well known pieces for the ‘First Half’. This floorless ensemble touch every corner of the space with their technically perfect tones, melding together to create a meditation of chilling and moving sounds.
The selection of pieces for the ‘First Half’ draw in the audience and build in technicality and complexity as the set progresses, culminating in a very witty original composition by Gordon Hamilton, Toy Story 3 = Awesome!, leaving the audience satiated at interval by the clever wit hidden in the simple lyrics.
The return of the audience and enter Moon. The ensembles’ technical mastery of vocals continues, and the storytelling theme is set. As the ensemble move through the story, reminiscent of a Greek chorus, the ambience of an epic love story is set and the romantic hearts of the room are drawn in…
However, there is little to build or change and the slow, constant harmonies and movement begin to plateau. The sustained level of drama and ‘wonderment’, coupled with the constant tone and the simplistic language of the lyrics, turns almost comical with the audience craving a change of pace to break the monotony.
Needless to say, the vocals are beautiful and the choreography for ensemble movement is dynamic. The issue lies within the composition and lyrics; it’s far too simple in language and does not climax. For a 50 minute piece, I was ready for a change or a drink at part 4 of 10.
The Australian Voices with Gordon Hamilton have created and presented a technically masterful production. For lovers of music and choral work, Moon will tantalise the senses.
Shadow Puppets Should be More Popular
By Brice Fallon
I should probably start this review by stating that I like shadow puppets. I’m not sure what brings on this fascination. I have no history with shadow puppets, and as far as I know I don’t know anyone who does (though I did find out recently that my grandfather was a famous ventriloquist)….READ MORE…
By Shirley Way, 10 May 2013
Reprinted courtesy of Citizen J
Romeo and Juliet is presented as part of Anywhere Theatre Festival
Aboriginal Centre for the Performing Arts (ACPA)
Duration: 120 minutes, no interval
In fair Verona, where we lay our scene, an ancient grudge makes civil hands unclean.
Poised at wrought-iron balconies, heckling from street corners and leaning out of red-brick windows, the clans of Capulet and Montague mark their territory, call forth the tension – and take it to the streets.
Were an ancient grudge a sleeping piece of dynamite, the tinder to its fuse is a masque ball.
The Capulets agree the nobleman Paris shall woo their daughter, Juliet, on her fourteenth birthday as “younger than she are happy mothers made”.
Romeo Montague attends, by invitation, to cure his crush on the fair Rosaline.
Once lit, the twin fuses of lovers’ passion and clan hatreds burn bright.
The settings for this production of Romeo and Juliet are old red-brick buildings with wrought-iron balconies. The exteriors are used to effect in the opening scene where we, as Verona’s citizens, are witness to clan tensions on the streets, and, in the lovers’ balcony scenes after being invited by Mercutio to “find Romeo!”
For the rest, we are comfortably seated in the undercroft car park which affords space for street fight scenes (and the murders of Mercutio and Tybalt) directed by Niki-J Price, the masque ball and the lovers’ secret meetings with Friar Laurence.
There is a glorious energy in this production with key roles being seamlessly shared between actors. Five actors play Juliet and four play Romeo. Two other roles are shared and several actors play more than one bit role.
Costume additions make character identification easy: Juliet and Romeo each wear a white shirt, Tybalt wears a gold jacket, Benvolio rocks a blue beanie, the Lady Capulet styles elegance in a black lace jacket, Friar Laurence wears a hoodie and Paris wears a masque.
While each actor brings their own interpretation to the role, there is an inner harmony to the flow. The acting is emotive; by turns exuberant, passionate or humorous.
Leonard Donahue covered three roles including Romeo and a short cameo as a parody of a love-struck Juliet which the audience adored. Sean Dow was a mercurial Mercutio and Dimity Shillingsworth played Juliet’s nurse with humour and heart. As roles are shared, it’s not possible to identify all actors by name.
Vocal delivery was generally strong with good diction and carried well in the open air. A small number of speeches were delivered at a fixed microphone.
With minimal sets, this version of Romeo and Juliet is physical theatre for the mind and ears. At strategic moments, the language of Shakespeare is augmented by Indigenous culture. Clap sticks, vocal percussion and stylised dance moves work well to freeze frame a key moment, add to tension or highlight emotion.
Billed to run at 120 minutes, our 90 minute performance ended with a narration of the deaths of Romeo and Juliet as a consequence of the missed messages between them and Friar Laurence.
The Aboriginal Centre for the Performing Arts’ “Romeo and Juliet” is an innovative piece of ensemble acting played with vigour and heart.
Note to patrons: As the performance takes place in ACPA’s carpark, there is no parking on-site or on Shafston Avenue. ACPA is near the junction of Shaftston Ave and Main Street, Kangaroo Point. Check street parking in and around the nearest cross-street, O’Connell Street, and in Connor, Pearson and Rawlins Streets.
Performance seen: 9 May 2013
Review and photo: Shirley Way
Directors: Stella Majewsky, Paul Booth, Adrian Williams-Brett, Niki-J Price
Cast: Jeremy Ambrum, Mariesha Barney, Benjamin Creek, Jadene Croft, Jessica Cross, Jakaya Dixon, Leonard Donohue, Sean Dow, Kaleenah Edwards, Angus Jones, Haylee Rivers, Dimity Shillingsworth, Jayden Stubbs, Joshua Thaiday, Emily Wells, Tibian Wyles.
You may think hipsters are a little crazy, rather intimidating or totes groovy. Whatever your perspective, this sub-cultural satire is unlikely to change it, but it will make you laugh.
Melding film, dance, music and impressive bad facial hair, My Struggle: The Life and Times of an Individ (In a World Full of Hipsters) takes three bored soldiers into a parallel universe where their best friend has become an art school hipster. In the hope of being able to get home, they help him on his quest to snag the girl of his dreams.
So it’s a love story, right? Not so much. It’s mainly a satire, looking at the price of cool, the dangers of expectations and the pitfalls of conforming to non-conformity. Or maybe that’s not what it was about and I wasn’t cool enough to work it out. Whatevs.
There are a few intense moments which may take you by surprise to add depth to what would otherwise be a light and enjoyable comedy. It’s not difficult to see the parallels being drawn here, yet I let my guard down while giggling at the stereotypes, and the menace caught me almost unawares.
The talented cast make full use of the space. Most of the action takes place on the bare stage, with the curved white wall of this photography studio creating the perfect canvas for projecting the filmed action and backdrops. But the actors move through the audience, up the stairs and into the bar on the upper level. By the end of the piece all of us, from those perched on the bar stools to those on our low slung chairs closer to the main action, become part of proceedings.
It’s worth noting — as many people were caught out by it — that the 75 minute running time listed on the website does not include an interval. Starting just after 8, the show ended at 9:50pm. This is particularly important if you’re catching public transport.
So squeeze into your tight jeans, slip on your ironic shirt and lace up your vintage sneakers for a fun and thought provoking night. Although you might want to see this one before it becomes cool, you’re too late.
I give it a big green tick.
Reviewed by Nerissa Rowan
My Struggle: The Life and Times of an Individual (In a World Full of Hipsters)
By The Violent Romantics
Presented as part of the 2013 Anywhere Theatre Festival
SYC Studios, 37 Manilla St, East Brisbane 8–11 May
Bookings: www.anywherefest.com/romantics
Review by Anywhere Reviewer Birgit Willadsen for “The Travelling Sisters Let Loose” presented by Lucy Fox & Ell Sachs and 2013 Anywhere Theatre Festival
Performance seen: Wednesday 8th of May 2013
Nestled in a quiet corner of Kelvin Grove is a stately Queensland, complete with sculpted lawn and wide
The Travelling Sisters Let Loose by Lucy Fox and Ell Sachs
verandas. In the high-ceilinged living room, two sisters who stumbled on the house late one night have made their disorderly home and have now invited an audience to come and hear their tales of love, loss and youthful confusion.
The Travelling Sisters Let Loose is an eclectic 2-person show of original songs, personal stories, fantastical tales and laugh-out-loud moments. The two actors and creators of the show, Lucy Fox and Ell Sachs, threw heart, soul and a whole lot of energy into entertaining their audience. They leapt from couch to table, flirted, chatted and sang for our entertainment as we collectively inhabited their personal space.
The most enjoyable moments for me came courtesy of Lucy and her alliterative original compositions. Her Tim Minchin like lyrics told a tale cowboys, shamans, seas voyages and pirates accompanied by delightful animation and Ell’s sound effects and well-captured characters. At one point I thought the whole audience would be called upon to help Ell construct a blanket fort, but it was only my wishful thinking.
If you like theatre with extras, this is a wonderful show for you. Tea and coffee on arrival and delicious brownies for sale, bags of popcorn when the film began and home-made biscuits at the half-way point. There was even a friendly house cat for you to stroke, to heighten the feeling of snuggling down in a dilapidated but welcoming home.
The Travelling Sisters Let Loose is an intimate performance, with only some 20 people allowed in to the living room to get comfy on couches, armchairs and cushions. The show is sold out for Friday 10 May but there are four more shows. Travelling Sisters is a welcoming, personal, enjoyable show with a little something for every audience member. Particularly enjoyable on a chilly night.
http://anywherefest.com/sisters
Presented by Small Crown Productions and 2013 Anywhere Theatre Festival
Review by Shirley Way, 09 May 2013
1066: The Bayeux brought to life is presented as part of the Anywhere Theatre Festival
Venue: Queensland Museum Collectors’ Cafe
Duration: 60 minutes
Three kings, one kingdom.
READ THE FULL REVIEW AT CITIZENJ
My Struggle: The Life and Times of an Individ (In a World Full of Hipsters)
The Violent Romantics
2013 Anywhere Theatre Festival Review By Elizabeth Scales
Performance: Wednesday 8th of May
“My Struggle…”. Photograph by Anywhere Photographer Jessica Horner
If it were just a tad bit colder outside, you’d be forgiven for thinking you were hanging out in an East London warehouse-come-hipster arts space. The SYC Studios in East Brisbane most certainly sets the scene for the ‘totes’ relative and dynamic design-based theatre production, (*Deep Breath*) My Struggle: The Life and Times of an Individ (In a World Full of Hipsters).
Created by emerging theatre ensemble, The Violent Romantics, this highly entertaining and witty production comedically comments on today’s current society. The Hipster world is such a pertinent topic and the ensemble do well to highlight this mentality and its mashed up return to 70’s flower power thinking, the’revolt’ from the establishment, and the decadence and blase outlook of the Andy Warhol movement. The dramaturgy is rich with pop culture references, which is highly enjoyable to the social media apt audience.
Being a Design-Theatre production, the ensemble have created a beautifully flowing dramaturgy that interacts seamlessly between the actors in the space, film, music, and effects. The Studio space is also capitalised upon as the ensemble make use of all areas with its Hipster grunge ambience.
The theatre world remains a man’s world, therefore, it is absolutely refreshing and (imperative) to see this ‘all male’ cast played by this dynamic young female ensemble.
With engaged bodies, stylised movement, and heightened character states, the ensemble translate the world they are in with the audience in toe from start to finish. The ensemble have strong chemistry complementing each other with consistent commitment to their roles and the story as it develops. However, on occasion, more time could be given to allow the audience to enjoy the wit and ridiculousness of the rhetoric.
Playing with the ideas of time travel / alternate universes, the ensemble, at times, could be more technically sensitive to discovery and interaction of unknown objects and language. Aside from this, the characters are well developed in voice and body.
My Struggle.. is a well crafted piece that builds in hilarity until the inevitable point of conformity and irony of the Hipster mentality rears its vintage-cut head. With an unexpected ending (not the way I thought it would go… But it worked!) The Violent Romantics have ‘defs’ succeeded in creating a fresh, fun, and pertinent piece of theatre.
