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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.

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.