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Just A Broadway Bogan
The Butterfly Club
3 July 2008

Can of VB in one hand, Steve Judkins bounds onto the stage in Just A Broadway Bogan, a relaxed and personal look at his carer over the last 20-odd years. Since leaving Australia eight years ago to work on London’s West End, followed by the stages of Las Vegas, Steve Judkins has amassed an impressive career history, all of which is fair game for his sharp wit.

Over the course of the show, Steve renders some of his favourite Broadway tunes, including classics from shows like Oklahoma and modern hits from Wicked and The Rocky Horror Show. Throughout, he shares a carton of beer and a collection of anecdotes, with personal insights into the lives of some of the stars whith whom he’s worked, including Dannii Minogue, Debbie Reynolds and Richard O’Brien.

With Musical Direction by his friend Nicholas McMahon, the show is a great showcase for Steve’s impressive vocal talent. Songs are mainly in the musical theatre genre and are presented in a variety of ways, including a couple in a refreshing Jazz-Blues style. With a smattering of non-broadway music (including a wonderfully adult country and western number, and the Aussie anthem Up There, Cazaly), the show is fun for all, broadway fans or not.

With a natural command of the stage (born of spending so much of his life on it), Steve Judkins embodies the larrikin spirit so often associated with Australia. A stunning voice, comedic delivery and down-to-earth manner combine to make Just a Broadway Bogan a fun – if not classy – night of theatre.

Model Behaviour
The Butterfly Club
3 July 2008

Billed as a ‘satirical look at the collision of pop-culture and global issues,’ Model Behaviour intends to giva a fresh, funny take on the world from the perspective of two members of that most narcissistic of professions – the global supermodel. Hosted by Samantifa and Wilomi, the show centres around these characters’ attitudes towards life, essentially summed up by one of their favourite phrases: ‘We are better than you.’

Unfortunately, the character development seems to stop at this idea. Rather than being the narcissistic characters that people ‘love to hate,’ they achieve a sort of bored, self-indulgent hatred for their audience. Without enjoyment or mutual respect, and with sufficient amounts of offense, parts of their audience is left alienated and disconnected.

That said, Samantha D’Rosario’s character, Samantifa, is nicely understated and subtle, relying far more on witty commentary than her ‘associate.’ With good delivery, a promising sense of timing and an attractive charisma, I will look forward to seing her in the future.

It is a shame that these two quite obviously passionate and rather talented individuals have produced a show that I found so unnecessary and uncomfortable. The concept is (although unclear) quite strong, and there is some very good and clever material throughout. I hope that I will be able to see what it could become with further direction and development.

Insane In London
Whimsical Tricycle
The Butterfly Club
26 June 2008

Consisting of husband and wife team Michelle Wilson and Kieren Butler, Whimsical Tricycle bring a mix of music, personal insight and comedy to the stage in Insane in London. A series of songs written by Kieren, the show blends their various talents in songwriting, singing, violin and guitar.

From the opening moment of the show, it is clear that a night of polished, detached professionalism is not going to ensue. Kieren and Michelle are both highly charismatic, emotionally engaged with their music and with their audience, and so the show becomes far less a staged concert and more a personal recital, as if in someone’s front room. Their chemistry is blindingly obvious, and the secret smiles shared on stage are a blatant sign of two people committed to working and spending their lives together.

The personal, unplugged format works well with the pair, with each song given a context in their lives, loves and misadventures, as jokes about their life together (and apart) abound. Often, conversation jets off tangentially, with stories of Heathrow detention centres and family crises entering the mix.

As one of Whimsical Tricycle’s first acoustic performances, this staging of Insane in London provides some interesting challenges, most notably the difference in balance between Kieren’s voice and Michelle’s violin. The violin often becomes another voice in the mix, not relegated to an accompaniment role, and can overpower Kieren’s lyrical and melodic talent. That said, Muddle In A Maze and Glory and Love (txt msg song) contain two of the most beautiful pieces of countermelodic writing that I have heard in a live concert, with violin and voice taking in turns to shine and show off.

With good music, good company and good chemistry, Insane In London is almost a recipe for a good night.

Ella, Marilyn, Marlene and Me
The Butterfly Club
26 June 2008

Ella, Marilyn, Marlene and Me tells the story of Abigail Stern, a young Brisbane girl who dreams of being a diva. Plagued by a healthy case of the ‘what ifs,’ she enlists the aid of a genie in a hairbrush to achieve her goals.

Although lighter on music and heavier on plotline than many cabaret shows of recent times, Ella, Marilyn, Marlene and Me is one of the most polished shows I have seen. Incorporating artful prerecorded backings and a series of costume changes that will make your head spin, the show blends music and storyline well. Songs chosen are well-suited to the show, and are built into the dialogue seamlessly.

Mellissa Western is brilliant as the retiring Abigail, attacking the often difficult musical material with verve, musicality and an unexpected vocal talent. Slipping effortlessly from character to character (portraying , at times, Ella Fitzgerald, Malrlene Dietrich and Marilyn Monroe), she keeps the audience interested and involved with the storyline.

The energy continues right up until the final few minutes of the show, when a slight dip in energy and polish was seen, leaving some audience members a little unsatisfied. This may have been due to the sudden shift out of character during the final song, Sinatra’s classic That’s Life, which was nonetheless impeccably performed.

A sparkling charisma and an exceptional theatrical and vocal talent make Mellissa Western a pleasure to watch. Coupled with a highly polished performance, Ella, Marlene, Marilyn and Me is an exciting and highly enjoyable evening. I wish Mellissa luck at her next stop – the Edinburgh Fringe Festival.

Slip stitch patterns create a lot of visual intrigue, because stitch lengths are not all the same. They also have the added bonus (or curse, depending on what you’re looking for) of pulling the fabric together, resulting in a heavier, thicker fabric.

My favourite slip stitch pattern goes something like this:
CO 2n+1 st
*p1*
*k1 s1* k1
*k1 ybf s1 yfb* k1
*k1*

This pattern is half stockingette stitch, with slipped stitches spanning three rows and a great square pattern on the back.

A Song to Sing, O!
Gilbert and Sullivan Opera Victoria
Melba Hall
June 21 2008

Set in a dressing room of the iconic Savoy Theatre, Melvyn Morrow’s A Song To Sing, O! charts the career of George Grossmith, probably Gilbert and Sullivan’s most famous performer. Along the way, audiences are treated to Gilbert and Sullivan classics (often those of the characters that Grossmith created) and Grossmith originals spanning his 12 year career at the Savoy.

Although much of the show is a celebration of Gilbert and Sullivan’s music (as well as an insight into the lives of the men and women who made their shows what they are today) the true joy of the show comes in Morrow’s writing between songs. Grossmith’s character is clever and witty, full of anecdotes and G&S quotes, tripping from his tongue like the words of his signature patter songs.

Ron Pidcock takes the role of Grossmith in his stride, attacking the words with verve and a comfortable familiarity. The role is highly challenging, with more than a dozen songs over a variety of characters, and no respite from the stage aside from the interval. Pidcock’s energy never flags, remaining bouncy and energetic ’til the last.

It is obvious that the show has been adapted by the writer from a one-man show, as the vast majority of the dialogue (or, rather, monologue) is taken by Grossmith, with only occasional interjections from supporting characters, to further the story, provide a face for characters, or act out the musical interludes. The supporting cast play their characters well, (often changing from one to another in a short space of time) and provide colour and amusement throughout the show.

As I have come to expect from the Gilbert and Sullivan Society, set dressing and costuming was superb, with the stage of Melba Hall being transformed into both a dressing room and the stage of the Savoy theatre, costume pieces cunningly concealed around the set.

As much as A Song To Sing, O! is a celebration of Gilbert and Sullivan’s musical genius, it is the recognition of Grossmith’s personality and talent in perfecting the roles that makes it a hit. With a range of G&S standars and original music, it is enjoyable, fun – and just a little bit silly.

Macbeth
Eagle’s Nest Theatre
The Open Stage
2 August 2008

Shakespeare’s classic tale of power and deception, Macbeth, returns to the stage in a new production by Eagle’s Nest Theatre. Directed by Rachel Baring, the production is true to the original, leaving the setting in old Scotland, allowing for modern costumes, casting and small prop touches.

As with much of Shakespeare, the genius of Shakespeare’s words shines through when their humanity is allowed to emerge. The temptation to ‘recite’ the text, rather than playing it, was evident in the production (as in most), but was admirably overcome by much of the cast. Particularly of note was Shireen Morris’ portrayal of Ross, which was amusing, human and eminently likeable, with her first entrance evoking giggles from the sheer force of her personality.

Sonya Kerr’s was particularly impressive as Lady Macbeth, bringing an elegance to the role that made a lovely contrast to the final moments of her character. Even in madness, she evoked a fiery strength and beauty that stole the stage.

The plethora of minor characters were well-played, with Claire McArdle and Melanie Trembath creating a warm and comfortable familial atmosphere as Lady MacDuff and her son. The three Weird Sisters were similarly enjoyable to watch, being both stunningly beautiful and deliciously malevolent.

With small modern touches, a stunning cast, and some real engagement with the text of Shakespeare’s classic, Eagle’s Nest Theatre’s Macbeth is a strong and enjoyable night of classic theatre. As the body count rises (as is it wont to do in any of Shakespeare’s tragedies), the energy similarly rises to its final, powerful, inevitable conclusion.

1984 Uplate
Eagle’s Nest Theatre
The Open Stage
2 August 2008

Egle’s Nest Theatre break new ground this week, with a reimagining of George Orwell’s classic tale, 1984, sewn into the infamous reality TV show that it inspired, Big Brother. With an entirely new original score, and James Adler’s script based on the novel, the show deals with issues of truth, politics, freedom and love.

The primarily young cast attack the difficult material well, but are let down by a lack of sound production. Without the benefit of sound amplification, their words are often lost in a melee of background noise, music and ‘ad libs.’ With much of the dialogue incomprehensible or inaudible, the complicated and character-driven story is difficult for an audience, and loses much of its potency.

The concept of melding 1984 with Big Brother is a good one, giving the show an amusing and impressive opening. The concept gives rise to some of the best performances in the show, with Ali Bonelle’s Grettle (a takeoff of long-term Big Brother host Gretel Killeen) bouncing onto the stage, engaging and a lot of fun. Her off-stage off-sider, Big Brother, is perfectly played by Paul Bongiorno, capturing the dry, unaffected tone of the original. It is a shame that the idea was not carried quite to the end, with the show finishing in the world of 1984 rather than being brought back to the television world.

Unfortunately, the major thrust of this opening is lost rather by the strangely flat and unsubtle character of George Orwell himself. The lack of nuance then continues into the major plot, with cast often going for ‘shock value’ rather than allowing their audience to be horrified by the warped and disturbing story.

Farhad Zaiwala and Becca Posterino had clear chemistry as Winston and Julia, and their romance was well-portrayed on the stage. The interaction between them and John Latham’s O’Brien was probably my favourite moment of the show, and Latham’s character continued to be a great source of enjoyment for the remainder of the show.

Nela Trifkovic’s music is used to good effect, with music often underscoring major moments of conflict or turmoil to good effect. Again, it is a shame that inadequate sound production made much of the vocal music overshadowed by the instrumental.

With a great concept and fantastic music, Eagle’s Nest Theatre’s 1984 Uplate is full of moments of beauty that make its rather sad story all the more poignant. The story of 1984 has all the more meaning in today’s world of media and near-constant war, and is one that shall continue to have relevance for a very long time.