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Bob and Bridgette
The Butterfly Club
24 July 2008

Taking a break from the classic cabaret for which it is famous, The Butterfly Club finds a jazz feel this week with Bob and Bridgette, a classy collaboration between jazz legend Bob Sedergreen and vocalist Bridgette Allan.

The show takes the audience on a musical journey from their beginnings in the days of Dave Brubeck and Carmen McRae through to Bob’s more recent work as a composer and performer up to the present day.

The chemistry between the pair is palpable, with Bob’s electric, organic style a fantastic balance for Bridgette’s honeyed voice. Their relationship makes them an interesting pair to watch, with casual and relaxed interactions suiting the smooth experimental jazz.

Bob’s love for his music and his instrument is obvious from the grin on his face, making him a joy to watch and experience. It is a shame that this same passion was not as evident in Bridgette’s performance, although this may have more to do with her being stuck behind a music stand than anything else. That said, her voice is fantastic, showcased in famous jazz ballads such as Monk’s ‘Round Midnight.

Towards the end of the evening, the material moves into Bob’s own composition work, with Don’t Talk, a Rock and Gospel influenced satire of what he describes as ‘the regimentation of society.’ These few songs of Bob’s showcase a distinctly Australian style of social commentary, presented with a refreshing honesty and personality that makes them practically irresistible.

Truth be told, these few songs were the meat of the evening for me, performed to perfection and with an unique and fresh sound. Tunes that you can hum and funky chord progressions characterise Bob’s work, and it is this (in part) that has made him a legend in the Australian Jazz scene. It was disappointing that more time was not spent on his story and musical (and lyrical) genius, with his anecdotal interjections adding a frank ‘insider’s account’ of the state of the industry to Bridgette’s more unfocused commentary.

Bob and Bridgette is a showcase of two fantastic talents, with Bridgette Allen’s stunning voice making a good counterpoint to Bob Sedergreen’s musical genius. With some of the best in jazz from the last 50 years, the show promises to be a pleasure for fans of the genre.

I Love You, Bro
Three To A Room
Carlton Courthouse
21 July 2008

Award-winning one-man play I Love You, Bro tells the story of 14-year-old Johnny, creator of hundreds of different characters on the Internet, and star in a story that ultimately culminated in the organisation of his own murder. Written by Melbourne playwright Adam J. A. Cass based on a true story, the play explores what it really means to be ‘a real person’ in a world where the only evidence of a person’s existence may be words on a screen.

Told mainly through Johnny’s chat room talks with ‘MarkyMark,’ a football star who Johnny becomes infatuated and ultimately obsessed with, the story is rapid-fire, told in a steady stream of monologue. Covering more than five months of time, the story is beautifully well-crafted as it hurtles towards its inevitable close.

Ash Flanders is electric as Johnny, switching between his characters without any pause or break in the flow. Over the course of the hour’s performance, he is called upon to play every role in the story, from his mother to each of his characters, and the switch between them is absolute enough to be practically tangible.

Ash’s natural energy suited the character well, with tics and nervous habits personalising Johnny – a difficult task for a character so far removed from common experience. By humanising his character, Ash introduces an element of humour and sadness that engage the audience absolutely.

Performed as it was in a thick cockney accent, the character’s voice was unfamiliar and difficult to decipher at first for my Australian ears, but familiarity with Johnny’s speech patterns made all the difference as the show went on. The words fit the accent well, and it is difficult to imagine the character in any other voice, particularly considering the English location of the story.

Simple staging and extensive use of computer projection served well to locate the action in front of a computer screen. The opening scene, when Johnny sits down and is lit purely by the projected blue glow, is fantastically evil, sending shivers down my spine.

With a powerhouse script and fantastic performance, I Love You, Bro is an unsettling, unnerving, incredible piece of theatre, made only more strange by the truth of the tale that it is based on.

I Love You, Bro leaves Australian shores on Wednesday for a season in the Edinburgh Fringe Festival.

Holiday
Ranters Theatre
The CUB Malthouse
20 July 2008

Since its award-winning premiere last year, Holiday has fast become known as a new and exciting piece of Australian Theatre. Exploring the relationships between its two characters and their hopes and dreams, the play takes the form of a rapidly shifting, inconstant conversation.

Powerful performers from the two performers (Paul Lum as the younger man, and Patrick Moffat as the older) carry the often difficult to follow show along. With a lack of conflict or much light and shade, it is the transient emotional responses of the actors that makes the play enjoyable to experience.

Much of the play consists of a rambling dialogue between the two characters, flipping between thought-provoking and amusing. As the conversation veers from the perils of aging to the Australian media to history to the nature of celebrity, we get a sense of the personalities of the two characters, and how they ‘tick.’

With an oddly pervasive soundscape, Holiday is almost as much about sound as it is about the disjointed dialogue. Odd pieces of sung music, often old folk tunes, add a surreal air to the piece, and the snatches of car sound, insect buzzing and water noise serve to locate the piece in some sort of space.

Well-known for its iconic image of two men in a paddling pool, Holiday is a strange, unsettling journey through the lives and minds of its characters. Often confusing in its lack of structure, it is an intriguing and oddly engaging piece of new theatre.

Bite Me Harder
Yana Alana And The Paranas
Full Tilt
George Fairfax Studio
The Arts Centre
18 July 2008

Sarah Ward’s alter ego, Yana Alana, strides back onto the stage in Bite Me Harder, the followup to her recent production Bite Me. Combining circus skills with cabaret-style music and Ward’s incredible voice and comedic talent, the show is a riotous hour-and-a-bit of irreverent romp.

Although the opening (a short piece from assisting dancers The Town Bikes) felt slightly stilted, the pace picked up as Yana strode onto the stage, bringing a vivacious energy to the performance. Ward’s consummate control of the stage and wonderfully honed character were evident from the first moment.

Bite Me Harder has a distinctly cabaret feel, with much of the comedy taking a thoroughly irreverent look at the works. Nobody is safe from Yana’s acid tongue, with feminism, the Young Liberals, Scientology and Australian Celebrity all ‘getting a roast.’ Often delivered in song or poetry, the satire is clever, funny, and practically classy (were it not for the frequent dropping of the ‘C-bomb.’)

Experimental performance is the name of the game here, with percussionist Bec Matthews bringing an impressive aerial percussion display to the early part of the show. Serving as a much needed diversion from the fiery progression of Yana’s performance, the short piece was impressive in its physicality and musicality, serving as an ideal vehicle for Bec’s talent.

An innovative stage design brought the dressing room to the audience, adding an extra dimension to the relationships between the characters. This was well-used to further the story, particularly by the two Town Bikes, whose snide comments floated through from “backstage” with hilarious comic timing.

Moments of genius abounded throughout the show, with particular highlights being Ward’s iconic song (My Name Is) Yana, during which she proclaims that she is ‘like a hotted up Torana,’ and The Town Bikes answering that eternal question – “What’s the best way to enter a theatre?” (on skis, apparently). My favourite moment of the show, however, was the ending, a perfectly classy rendition of Strawberry Fields without affectation or connection to the story. It was a wonderful way to bring the cast together, and I was left with a wonderful sense of peace after the aggressive earlier performance.

With a great character, a fantastic voice, and a comedic with that defies any and all boundaries, Sarah Ward has created one of the most fun pieces of theatre of the year. This funky all-female cast are certain to rock your socks off!

Marilyn Monroe and Milonga Del Angel
The Butterfly Club
16 and 17 July 2008

South Melbourne’s home of cabaret, The Butterfly Club, heats up this week with two brand new shows, Isobel Hertaeg is Marilyn Monroe and Lola the Vamp’s new touring show, Milonga Del Angel. With such different performers, performing in such different styles, the week is good for The Butterfly Club.

Isobel Hertaeg bounces onto the stage as Marilyn Monroe, star of stage and screen. Charting the star’s search for a ‘Melbourne Millionaire’ (‘That’s Melbourne, Florida, right?’) the show features some of Marilyn’s most iconic tunes, including I Wanna Be Loved By You, A Fine Romance and of course Happy Birthday To You.

With such a music-heavy show, it is important for it to be integrated well into the flow of the story. Generally, this was done well, but long pauses during musical introductions slowed the pace significantly, and interrupted Isobel’s vivacious energy, possibly contributing to the slightly uncomfortable ‘stand and deliver’ style.

Isobel has an impressive voice, that suits the style of music well once she relaxes and allows her talent as a performer to shine through. It was a shame that the breathy quality required for a portrayal of the character disallows the full use of the upper range, as hints of musical genius could be seen through the persona.

As as icon of the 20th Century, Marilyn Monroe is a difficult character for any performer, and Isobel presents her well. However, it would have been nice to see more of a human face to the stereotype, as there was little focus on the darker and sadder aspects of Monroe’s life, ultimately leading up to her death. A break in the light, comedic flow came with River of No Return, showing an unexpected and enjoyable depth of character.

Second on the bill is Lola the Vamp’s partnership with Buella Blue in a fusion of musical cabaret and traditional burlesque performance.

Plenty of music from Buella Blue throughout the show set the tone, with her rather unique voice pleasing, emotive and somehow disconcerting. Utilising her entire vocal range, Buella is totally unafraid to bend her vocal cords into new and oddly appealing configurations. Her self-penned music was fun and interesting to listen to, particularly my personal favourite, Stone House on a Hill.

Accompanied by music from the soundtrack of the movie Amelie, Lola’s performance is reasonably classic burlesque. Beginning with a stunning opening sequence of disembodied limbs appearing from behind a closed sedan chair, the show continues with relatively predictable striptease.

The lack of storyline or personal interaction by the performer made her rather emotionally unengaging, which was disappointing – she is obviously attractive, and her physicality is striking. In fact, this is possibly what made the show unsatisfying for me – she seems so preoccupied with the physical nature of her performance and with how she looks, that there is no room left for sexuality. I would have preferred to see a less physically demanding performance with more insight into what ‘makes her tick,’ either personally or sexually.

That said, her performance was beautiful to watch, particularly the piece incorporating a venetian mask and cape. With sensual glimpses of skin, flowing movement and an unearthly air, this section was beautiful and intoxicatingly sexy.

These new shows are each beautiful in their own way, exploring what it means to be feminine and sexy. Featuring three strong women with strong talents, the shows are fun and just a little exciting.

Enough
Platform Youth Theatre
fortyfive downstairs
11 July 2008

When set the challenge of writing a musical in three months, who are you going to call? Well, Wally Gunn and Wes Snelling, of course, according to Platform Youth Theatre. Their latest show, Enough, is an entirely new musical set around the idea of the third horeman of the apocalypse – Famine.

Set in and before an apocalyptic Melbourne, Enough charts the story of Atalanta, a young girl struggling for her life, and the young man who is given a chance by the horsemen to avert the catastrophe. With strong themes of social responsibility and fate, the show doesn’t pull its punches, with raw storytelling and damning discussion of the state of the world.

An innovative semi-thrust staging makes the show very engaging for the audience, with performers retreating to the seating banks to sit with the audience rather than hiding in wings or offstage. The staging allowed the audience to feel immersed in the performance, a nice touch for a show that is, at its heart, a call to action.

With an entirely youth cast, the show is both challenging and well-executed. Special mention must go to Camille Lopez, whose depiction of displaced child Atalanta was heart-wrenchingly powerful from her first unorthodox entrance, and to Jessica Edwards, who (as Haya, The Green Death Rider) was beautifully cold and detached.

Music for the show was well-used and presented, although lyrically rather blatant, with characters speaking their thoughts to the audience rather than expounding on them. The musical highlight of the show for me, however, was Jessica Edwards’ self-penned Darkness to the Light, which suited her and the mood of the show very well.

With a ten-year history of working with young people to produce theatre, Platform Youth Theatre has an impressive history of innovative and experimental theatre. Enough, as the first in a series of musical theatre pieces around the idea of the apocalypse, is a strong and exciting continuation of that trend.

Closer
taDaa Productions
BRIGHTSPACE, St Kilda
12 July 2008

Patrick Marber’s powerful statement on the nature of love in the modern age, Closer has been played continually since its 1997 debut at the Royal National Theatre in London. Since then, it has been seen in more than 100 cities around the world, including a season on London’s West end, and has spawned a movie of the same name. With so much history surrounding the work, it is difficult not to come at a new production of it without some expectation of a powerful and engaging portrayal of Marber’s words.

taDaa Production’s most recent production of the work, while strong, seems to falter somewhat in its portrayal. With an apparently younger cast, the aging relationships and long-term chemistry of the characters are somewhat lost.

With an unorthodox staging, in St Kilda art gallery BRIGHTSPACE, the production struggles occasionally with blocked sightlines and an extremely broad stage area. Mostly, this was dealt with well, with only a few moments when crucial action was blocked or difficult to see. The space was well used, with permanent fixtures in the gallery often becoming part of the set design.

All this said, the female cast members of the show were impressively engaging, with great chemistry and often subtle performances that fit well with the emotionally charged nature of the piece. Amanda Kingston’s portrayal of photographer Anna was wonderfully reserved, and she plays the ‘older woman’ with a beauty and grace that work well. Lily Hall is perfectly cast as stripper Anna, oozing sex appeal while still maintaining a youthful innocence.

While lacking slightly in production value, and struggling slightly with casting, taDaa Productions’ Closer is nonetheless a well-formed presentation of a classic piece of modern theatre. A fresh look and a talented cast make it enjoyable, if not exceptional, to watch.

On A Mission
The Butterfly Club
16th October 2008

Swingin’ Miss explore the wonders of small choral music this week in their new show, On A Mission, running for four nights only at South Melbourne’s The Butterfly Club. With a range of choral arrangements of well-known songs, the show follows their journey through the fictitious ‘Who Wants To Be Australia’s Next Top Choir’ competition — purely for the money, of course!

Healthy doses of comedic chemistry between the girls mixes with a fun and relatively polished musical performance to create a fun and enjoyable hour. Although songs were not particularly integrated into the story of the show, the idea is sound, allowing for some satire of the ‘reality music’ genre of television as well.

Although the music was generally enjoyable, with such classics as Straighten Up And Fly Right, Yesterday and Amazing Grace, the most dynamic and actively fun part of the show was the dynamic between the girls when they were not concentrating on their singing. Of particular note is the hilarious rendition of The Lion Sleeps Tonight, in which the supporting parts amuse themselves while singing their repetitive and ultimately reasonably uninteresting lines.

A cappella music is particularly challenging for a group of any size, and was well-tackled by the group. Although there appeared to be some balance and pitch issues, these did not particularly detract from the music, which was generally orchestrated well for the four distinctive voices.

Good music, a fresh take, and a style of singing that is relatively rare in popular performance come together to make On A Mission a fun and slightly silly take on the music industry.

And, while you’re at The Butterfly Club, check out Morally Bankrupt, also on this week.

Following a media frenzy rivalled only by that of its subject material, Beaconsfield: The Musical opened (in no particular key) on Wednesday night at Melbourne’s home of cabaret and small-venue theatre, The Butterfly Club. A riotous hour of musical comedy, the show had audiences rolling with laughter for its clever and insightful take-off of Australian media – particularly ironic considering its controversial beginnings.

The musical follows the story of the Beaconsfield miners, two men trapped almost a kilometre below ground for 13 days in 2006. This is not a story about men trapped underground, or even the heroic men and women who worked tirelessly to get them out, however – the story’s main focus is on the Australian commercial media (particularly television) that exploited the event to try and win ratings.

With imitations of Mel and Kochie and Naomi Robson from Channel 7, Channel 9′s Eddie McGuire and the entire cohort of hosts of Channel 10′s Big Brother, the show is rather consistent in giving every commercial station a roast. Even the ABC and SBS aren’t safe, given a gentle ridiculing (not least by narrator Robbie McGregor, known by many as the ‘voice’ of SBS) while not condemned for their far more minor involvement.

The cast are highly talented and very comfortable with the show, with strong performances from writer Dan Ilic (as, among others, a hilariously narcissistic Channel 9 CEO Eddie McGuire), Toby Truslove, Kate McLellan and Amanda Buckley, all accompanied by accomplished pianist and the composer of the show, Nigel Ubrihien. Nigel’s music is brilliantly written and executed, with a distinctly Australian flavour that suits the tale well.

After a sold-out opening night to a vertitable Who’s Who of Melbourne media, the show continues as part of the Melbourne Fringe Festival until the 12th of October. Clever, funny and with a frighteningly accurate satirical insight into commercial television media, Beaconsfield: The Musical is the indictment of Australian media that you can’t help but love.

Eclectica and Master of Disguise
The Butterfly Club in association with the Melbourne Fringe Festival
2 October 2008

Australia’s home of cabaret, South Melbourne’s The Butterfly Club, features up and coming Australian singer-songwriters this week, with two new shows from Melbourne-based Hamish McLeod and Brisbane boy Jacob Diefenbach. With each of the boys alone performing their own work, the night allows the audience a rare glimpse into the psyches of these two talented young Australians.

Hamish McLeod’s Eclectica is an intriguing opening to the evening. Telling stories from history and from his head, Hamish’s show is a rambling journey through classic literature, AUstralian and Southern US history and a few scenes that have never or could never happen.

His signature storytelling style and relaxed, almost detached demeanour are oddly attractive to his audience, complementing his smooth guitar and spoken word creations well. The often obscure topics are well treated by his strange and occasionally uncomfortably affecting style. He has perfected the style, carrying it off comfortably and effectively. Unfortunately, there is very little deviation from this genre, with the last piece, Follow the Fate of the Flow refreshingly different, merely for being sung instead of spoken.

Hamish’s musicality is not to be faulted, ‘though, with impressive mastery of his instrument evident through his often intricate and complex guitar riffs. Musical settings suit his text well in most cases, and he easily evokes various settings and times, including America’s south, the Jazz era and English aristocracy.

It would have been nice to see him venture out from behind his guitar and give more theatricality and interaction to his audience, as these were sorely lacking. That said, characters from the stories were well-presented, although understandably hampered by his instrument. In a style that could easily become aurally (if not musically) unstimulating, it was the strange and amusing character pieces (such as his animated conversation with an ant) that carried the show through and kept his audience interested.

Following this up was Jacob Diefenbach’s Master of Disguise. Following the theme of personal masks and pretences, the show is an emotionally exhausting hour of good music as enthralling as it is occasionally uncomfortable. Jacob’s music is based around a brutal honesty, sharing his intimate hopes, fears and dreams with his audience.

Jacob’s sexually charged imagery and aggressive piano style are tough to listen to, evoking images of a male Australian version of his former stagemate, Amanda Palmer of The Dresden Dolls fame. Indeed, with crashing piano chords, frequent and effective use of vocal modulation and interestingly dense lyrical construction, Jacob’s music probably fits well into the punk cabaret genre made famous by them. Unfortunately, the audience interaction really required of cabaret performance was not quite as effective as it should have been, appearing somewhat tentative and forced – a concert with explanation rather than a journey of audience discovery.

In the end, however, Jacob’s sheer musical talent and candid lyricism make the show engaging and enjoyable. He is an impressive performer as a pianist, with an excellent voice that showcases his work perfectly. His vocal flexibility is put to the test in songs like Drive to Kill, a strange and violent song about the strange obsession some men have with their cars.

Jacob’s sexuality is a continual theme through his music, with references to love, coming out, fitting in and identity more generally making prominent appearances. Particularly of note was the oddly beautiful Golden Boy Caged, a personal and close-to-home denouncement of certain subsets of the gay male community. Savagely direct, the piece is disarming, uncomfortable and, ultimately, perfectly truthful.

Although their styles, chosen instruments and subject matter may be vastly different, these two young Australians have one important thing in common – their particular brand of new performance is on show this week only at The Butterfly Club. Along with the return of Joanne O’Callaghan’s classy French-styled show, Ca Va?, The Butterfly Club serves up yet another week of classy cabaret performance.