Second Hands – Fringe World (22 February 2014)

This jet black comedy begins as a standard relationship drama about the lives of two couples - one about to celebrate their 10th wedding anniversary; the other a “cougar” and her photographer lover - until, almost casually, the question is asked about the married woman’s "new hands". Yes, this is a world where people can buy the hands of (usually) 16 year olds that have been cropped at the wrist. In fact, people can have multiple hands though more than 5 pairs is rare. The other woman, Patrice, actually works at an establishment that provides this service with a shipment of prize Sri Lankan hands due soon. She is appalled at the cheap hands her friend’s husband has purchased from a rival store. The 5th character in this dark tale is the photographer’s younger lover who desires ‘smaller hands’ and chooses those of an 8 year old from Patrice’s store.

Okay, yes, this is pretty twisted and clearly takes a hug swipe at Western consumerism, the exploitation of the third world, and the hollowness of vulgar status symbols. There is plenty of talk about families from places such as China and India donating their children’s hands so that they may live a better life. The quality of hands and how much they cost is also a point of discussion and conflict.

What I didn’t get though was the context of how this came to be – why it was that hands were coveted. How an industry, and a seemingly legal one at that, had grown up around this. How there seemed to be mass acceptance and that people with their original hands were somehow inferior. It just was. Yet this seemed ripe for exploration especially when there is talk about the ethics of what can only be described as a reprehensible business. Sure, I get that it’s an allegory but it didn’t seem rooted in anything believable that would have made it far more potent.

The thread that did interest me most was Patrice’s reaction to the request for the smaller hands. I had been waiting for opposition, for someone to decry the absurdity and cruelty of it all and here are the inklings of it. There is genuine disgust and later the character is speechless when admonishing the younger lover who points out they are readily available for sale in her very store. The hypocrisy bites hard.

This is taken further when Patrice (played by Georgia King) tells the story about a murder only a few streets away from where she lives with her philandering lover. The conclusion of that tale is truly shocking and her statement that “we’re all sick” really resonates. This is the end of that story strand and the penultimate scene of the play yet it felt more like a beginning.

It’s an uncomfortable tale, deliberately so, and certainly shocked the audience I was with. It makes its point in no uncertain terms but I was left with a sense that there is far more to explore in this dark, twisted world Jeffrey Jay Fowler has created.

Stars Austin Castiglione, Holly Garvey, Georgia King, Renee Newman-Storen and Nick Maclaine.

This Is Why We Can't Have Nice Things - Fringe World (22 February 2014)

This hour long, one woman cabaret show by Gillian Cosgriff was staged at the intimate Noodle Bar, a part of the old Piccadilly Cinemas in the city. A front row seat meant I was only 2-3 metres away from Cosgriff who proved to be a vivacious, witty, and very charismatic presence as she combined original songs with insights into her life and that of her generation, those of the already nostalgic mid-twenties. The theme – we are oftentimes our own worst enemy whether it be through procrastination, poor choices, nostalgia… or the mysterious power of band-aids.

The songs are terrific – smart, funny, pointed – and Cosgriff has a wonderful voice and range. I did not have a programme so apologies if I don’t get the song titles correct, however, “The Great Procrastinator” certainly brought a wry smile to my face. Spot on observation of the things we do to avoid doing the things we really should do like, you know, become an adult (“Adulthood”). The songs also incorporated wonderful storytelling – “The Vegan and the Beekeeper” – where Megan the Vegan falls for Leigh the Beekeeper, unaware of the hives he keeps on the roof. Once discovered, she is badly stung and only the bees’ honey can save her – quite the dilemma for our heroine who we soon learn is firmly rooted in Cosgriff’s real world as a work colleague (sorry, Vicky).

And that is the beauty of this show – everything is based on true events. When not singing and playing the keyboard (and eventually the ukele after an amusing tuning mishap), Cosgriff gives hilarious anecdotes about her life and the creation of the show itself. We are told of ex-boyfriend Jasper, not the sharpest tool in the tool box but certainly the shiniest, who sent a serious of text messages after our heroine dumped him. These became the lyrics to “Jasper’s Lament”, mispronunciations and all (lolz). Then there was James whose indiscretions led to a pure tirade of a song that was devastating and funny in its honesty and brutality (and apparently just as satisfying every time to the singer!). An amusing sequence involves recorded messages of a drunken Cosgriff ringing ex-lovers and then there is the epic “Band-Aid Trilogy” where the shaving of legs badly can lead to all kinds of consequences.

When an audience member (take a bow Dennis) briefly left the Noodle Palace only to return later he became a part of the show in both banter and adjusted song lyrics. This is where Cosgriff’s real strength lies – she has a real flair for showmanship and is very sharp. The lyrics to one of the final numbers, “Prematurely Nostalgic”, were funny and perceptive … as is the whole show. Beautifully written and performed.

I was very happy I was able to see this – an extra and final show put on, no doubt, due to the tremendous response to this very talented performer.

Point & Shoot: A New Musical - Holland St Productions (16 February 2014)

I finally saw my first show at Fringeworld for 2014 and what a show to see - the original musical 'Point & Shoot' by Perth's own Robert Woods and Tyler Jacob Jones, starring those two plus Erin Hutchinson and Tamara Woolrych.

This is a hilarious and pointed satire of Hollywood and the filmmaking business with a clever plot ("twist") and biting lyrics. The four actors play multiple roles and instruments and all are in fine voice. The transitions are seamless and this rockets along at a frenetic pace.

In, I think it was, 2042 the Hollywood blockbuster is but a memory having collapsed as a viable business in 2015. Now the Independents rule the roost - smart movies for smart people. But a screenwriter dreams of writing his own blockbuster like the good old days and is given the opportunity by a newly arrived actress who has the rights to a black and white television series from the 60s that may be the only property never optioned. What follows is a deliciously wicked romp with great songs and plenty of surprises.

At 75 minutes this moves so briskly and the audience I was with lapped it up. The talent on display is impressive - all four actors play everything from piano to saxophone to flute to cello while changing into several characters as the screenwriter and his muse battle the independents, greed, ambition and surprise antagonists at every turn. A screen is also used to show, firstly, the "original" television series; the teaser trailer of the blockbuster adaptation; and the climactic ending of the film itself.

Very happy that an extra show was put on (I can see why) and that I had a chance to see this. The couple I was sitting next to had been before and were laughing as hard as I was throughout.

Excellent production and perfect for Fringe. Extra points for the best rhyme ever with the word "verbatim"!

Closer - Fresh Bred Productions (15 February 2014)

Take a razor sharp script, four talented and committed actors, a fresh approach from a first time director then add an original score played live and you end up with this excellent production of Patrick Marber's Closer.

Marber's script is first class, delighting in pointed and brutal verbal exchanges, wry observations of modern relationships and deliberately shocking language such as the infamous chat room scene. It plays with time as these four people become entwined in each others lives for good and bad over several years. Love, sex, truth, sexual politics, intimacy and betrayal are all fair game here. This isn't a delicate examination, however. This is warts and all with real anger and hurt amongst the declarations of love and moments of tenderness. All is underlined by an almost cruel and biting wit.

The acting across the board is very good - Brodie Masini as Dan, the failed novelist who writes obituaries whilst also masquerading as something altogether different online; Natasha Stiven as the mysterious and vulnerable stripper Alice; Jason Dohle as Larry, the doctor who becomes embroiled in proceedings after Dan's online practical joke; and Diana Oliver as the photographer, Anna, who falls for Dan's advances at a photo shoot and later Larry at their "chance" meeting.

In fact they are very good indeed. Masini's Dan is the more idealistic and earnest of the two men compared to Dohle's passionate and temperamental portrayal of Larry. Oliver's Anna is down to earth and grounded while Stiven's Alice is playful yet fragile. The characters are so well drawn that each actor can really throw themselves at the material and what a volatile mix it is.

Relationships wax and wane as revelations of deceit and betrayal cause major shifts in the power dynamic between each of them. There was never a moment I didn't believe the truth of what was being portrayed in what is a complex emotional journey for all of these characters. There are also scenes that require total commitment, notably the strip club scene at the start of the second act. Kudos then to all four actors for their fine performances.

The set is minimal with draped sheets forming the entire backdrop with cutaways for entrances/exits. This was used ingeniously to project images onto to give a sense of place like moving fish at the Aquarium or stills at the Art Museum... and of course the explicit online chat between Larry and Dan (posing as Anna). It also allowed "opening credits" (like a movie) to be shown and my only regret is when I discovered later there was no programme and therefore should have been playing more attention to these!

Scene changes are made swiftly and economically and there are occasions when pairings of actors are playing scenes side by side. This works seamlessly especially the sequence when both women leave their respective lover.

A key decision was not only to utilise an original score - written by Kohan van Sambeeck - but to have himself (piano) and Stephanie-Jane Lewendon-Lowe (violin) perform on stage behind the sheeted backdrop. This added enormously to the tone and immediacy of the action without ever being intrusive. Great to see then both musicians come on stage to take a bow as they are an integral part of what is an, at times, in your face and nothing less than compelling production.

Directed by Jack McKenzie and Produced by Craig Griffen with an original score written by Kohan van Sambeeck, Closer is a treat. I would tell you to go and see it but, alas, the run is already over. It does, however, show that the Koorliny Arts Centre is off to a cracking 2014 with this and Young Frankensteinalready having been staged. I look forward to my next trip down the freeway to Kwinana!

Young Frankenstein the Musical - Koorliny Arts Centre (25 January 2014)

Lured by the sound of a lone French horn I embarked on a hay ride to Castle Frankenstein located in deepest, darkest Kwinana for a little transference, a lot of mania and some deep love. Yes, Young Frankenstein the Musical was on the loose at the Koorliny Arts Centre and what a rampage it is.

I was greeted by the flickering of lightning, the crack of thunder and a suitably ominous stage. It’s 1933 Transylvania and the villagers are celebrating the death of the infamous Doctor Frankenstein (The Happiest Town). But their happiness is disturbed when it’s announced that a Frankenstein yet lives in New York City of all places. Here we find the good doctor’s grandson Frederick Frankenstein or as he insists, “Fronkensteen”. A scientist, he is fascinated by the brain (The Brain) but ashamed of the family name.

On hearing the news of his grandfather’s death he reluctantly leaves New York and the hands-off charms of his fiancée, Elizabeth (Please Don’t Touch Me) and heads to the family castle where he meets the hunchback Igor (pronounced eye-gore), his lab assistant Inga and the wonderfully strange Frau Blucher (obligatory neigh). Entreated to continue the family business by the ghost of his grandfather (Join the Family Business) young Frederick begins his descent into mad scientist territory and a Monster is duly created with unexpected and hilarious results.

Based on the Mel Brooks’ movie of the same name, it exhibits the typical Brooks sense of humour as it parodies the horror genre. The gags can be a little hit and miss but I generally found this very funny. It is also performed and directed with great verve and there are many wonderful set pieces.

But first, the performances.

Jesse Angus is superb as Frederick Frankenstein, a character that is cocky, arrogant, even smarmy when we first meet him in New York but becomes the brilliant mad scientist as he recreates and then exceeds his grandfather’s greatest triumph. Angus attacks the role with impressive energy and the appropriate level of mania as “Fronkensteen” indeed embraces the family business. He has excellent chemistry with Igor played with relish by Laurence Williams; and Brooks’ archetypal Scandinavian blonde, Inga, played by a sparkling Sarah Elizabeth Hubber. Williams’ comic sidekick, hump and all, adds plenty of sly humour while Hubber gets to be both ditzy and sexy to great effect.

Natalie Burbage’s Frau Blucher (neigh) is suitably over-exaggerated as the mysterious housekeeper; Jon Lambert an imposing Monster whose howls of frustration and despair become something far more articulate in the latter stages; and Allen Blachford’s Dr. Frankenstein looms over proceedings with a couple of pivotal scenes.

The unexpected visit to Transylvania by Georgia McGivern’s Elizabeth (Surprise) in the second act is the catalyst for all sorts of shenanigans, one of which leads to her revelatory number Deep Love. Daniel Burton’s Inspector Kemp rallies the villagers to storm the castle but it’s his blind Hermit that provides one of the highlights as he unknowingly entertains the Monster (Please Send Me Someone).

Other highlights:

The beautifully staged Roll in the Hay as Frederick and Inga make their way to the castle in the back of a hay wagon… with yodelling;

Victor Frankenstein (and ancestors) exhorting his grandson to continue his work in Join the Family Business;

Natalie Burbage’s crazy, frantic, bodice ripping He Vas My Boyfriend;

The Monster becoming animated in Life, Life;

And the show-stopping numbers Transylvania Mania that closes out the first act, and, of course, the delightful Puttin’ on the Ritz where Frederick shows off his Monster in all his tap stomping, coat and tails glory.

The ensemble gives great support as variously villagers, students, ancestors and the band were very good. The transition between scenes was handled effectively with a screen also used to indicate the setting (laboratory etc) and project images such as the late Doctor Frankenstein.

This is crazy and high camp at times but it works due to a talented cast committed to the absurdity of it all. I certainly found myself laughing along merrily and tapping my feet to several of the numbers.

Directed by Brad Tudor, Musical Directors Kate McIntosh & Taui Pinker, with Choreography by Hillary Readings, Young Frankenstein has three more shows at the Koorliny Arts Centre on Friday 31st January at 8pm and 1st February at 2pm and 8pm.

In a word, this show is Alive!

My Top Ten Theatre Productions in 2013

At the start of the year I posted my top ten theatre productions for 2012. It was the first time I had done such a thing despite my love of lists, mainly because my attendance at live theatre had grown beyond supporting an acting acquaintance here and there.

This year saw another leap forward in that regard, attending 25 productions, 3 play readings and 6 PAC Script Lab readings (okay, I had to go to one of them as it was my script being read!). This may not seem a lot, certainly compared to others who appear to see everything, but for me it was. What also surprised me was the number of musical theatre productions which has grown exponentially and feature heavily in this year’s top ten list.

So down to business – these were the ten productions I enjoyed the most throughout the year plus a new addition, my favourite male and female performance of the year.

1. Animal - Upstart Theatre Company

I truly was blown away by this. The writing was outstanding and provocative; the acting excellent, led by a superb performance from Kingsley Judd.

"This is a brilliantly written play - layered, brutal, provocative, sly, heartbreaking - with every setup paid off to telling effect. Nothing is wasted or misplaced here. It is beautifully acted by Kingsley, Sally (Bruce) and Patrick (Downes) who clearly relish working with such quality material."

2. Madame Piaf - KNUTS Theatre

Talking to Stephen Lee after the show, he reinforced what was apparent for all to see – sometimes an actor is simply perfect for a role. Rhoda Lopez gives a bravura performance as Edith Piaf.

"During the course of the year you get to see some really good shows in Perth, produced and performed by very talented people. Sometimes you get to see something truly exceptional."

3. The Guys - Classic Works

A two hander that packed an emotional wallop with an authentic sense of time and place as it deftly explores the aftermath of 911 in New York City.

"Memorable, funny, and moving. Above all, utterly authentic."

4. Curtains – Playlovers

I had such a good time with this. Raucous and bombastic it was simply great entertainment.

"Sometimes you go to the theatre for thought provoking drama, maybe to see something experimental or the work of a new playwright. Sometimes you get a rollicking, entertaining ride that is flat out enjoyable from start to finish."

5. Playhouse Creatures - Her Infinite Variety Ensemble

A strong ensemble piece that mixed absurdist elements with the all too real circumstances of women having to navigate the “bear pit” of 17th century theatre.

6. The 25th Annual Putnam County Spelling Bee - Koorliny Arts Centre

This musical was genuinely laugh out loud funny and had the added bonus of me seeing a large chunk of it from the stage before bombing out on misspelling “zomathary”.

"This celebrates the absurdity and competitiveness of that most unique of American "sporting events", the spelling contest. Each of the contestants battle not only each other but the expectations of parents; their own high hopes; raging hormones; and the pressure of being a winner."

7. The Producers – Playlovers

A cumbersome beast. The first forty minutes were stretching my patience but then something magical happened after the story finally kicked into gear and the production flies especially in the second act.

8. Cats - Regal Theatre

I’ve never seen the ‘traditional’ interpretation so was not troubled by the choice of 40-50s style costuming. I have no idea what was going on as the story is surreal to say the least but the highlight came when the cast got their raunch on to McAvity the Mystery Cat.

9. Le Gateau Chocolat – Fringe

Fabulously talented, gloriously outrageous and deeply personal, this was a highlight of the festival.

10. Holly & Ivy - Marloo Theatre

This one act play was the middle offering in a “Trilogy” of productions. It snuck up on me with its understated acting and beautifully drawn characters and navigates what could have been a very problematic twist.

Male Performer of the Year – Kingsley Judd for Animal

Female Performer of the Year – Rhoda Lopez for Madame Piaf

Special Mention – Adam T. Perkins for The Guys

Thank you to ALL the actors, directors, playwrights, musicians and crew of ALL the productions I saw in 2013. It truly is a pleasure to see your work come to life. Perth has a vibrant theatre scene with amazing talent to be found. Long may it continue.

Enter Stage Left, Singing - A Personal Musical Theatre Journey (17 November 2013)

Yesterday I travelled down to Mandurah for a production of The Phantom of the Opera. This is the fourth time I have seen Andrew Lloyd Webber’s best known work, the previous three being in Sydney where my slow journey to musical theatre appreciation began. Indeed, it is the first musical I ever recall going to, circa 1995-6.

"I had moved to…

Dissolve to flashback, probably in black and white with period costume and a lamentably scratchy soundtrack to denote a simpler, more analogue time.

… Sydney in 1994 for work and my parents had proudly announced they were taking me to Phantom of the Opera when they were next coming to visit."

Parents (proudly): We’re taking you to see Phantom of the Opera!

Me: Am I being punished for something?

Parents (enthusiastically) (yes, they always talked in wrylies back then): You’ll love it. It’s GREAT!

Me (thinking to myself): I wonder if I can fake my own disappearance before they arrive…?

It’s true, they didn’t literally drag me to the Royal Theatre; they actually physically deposited me in the third row because I thought going to a musical was tantamount to sticking my head in a vat of boiling fat.

Then something strange happened.

Cue something-strange-happening music and the introduction of fake smoke for effect.

I kind of liked it!

Dad still tells the story - yes, even last night when I followed the coast back up to the family home for dinner - that in the early going when the chandelier plummets to the stage I jumped three feet in the air.

I had no idea what to expect so the spectacle and showmanship of it all had this tyro enthralled. I enjoyed the songs even though I’m not a fan of Act 2 with its reworked melodies and lyrics from the first half.

I ended up taking my sister along when she visited from Canberra; then later my partner at the time which started a tradition. For her birthday we would go out to dinner, see a show, then have supper on my balcony, my apartment being in the heart of the city. I think, maybe, possibly, one of the other shows was Crazy For You and I can’t recall the third. I also saw Les Miserables on a return visit by my parents.

I returned to Perth in 1998 and musical theatre largely became an afterthought.

There were sporadic outings:

We Will Rock You when I was in Melbourne for work in 2003.

Bare - A Pop Opera by Playlovers around 2008.

Spamalot, again in Melbourne for work maybe 2008/9.

Porgy and Bess at His Majesty’s Theatre in Perth.

Cabaret on a return visit to Sydney.

Avenue Q at the Regal Theatre, Subiaco.

Jeff Wayne’s War of the Worlds at Burswood Dome.

Christmas with the Andrews Sisters in 2011.

Checkout the Musical as part of 2012’s Fringe Festival.

We Will Rock You was horribly written by Ben Elton but had all those classic Queen numbers so nobody seemed to mind the abysmal storyline as we sung along raucously.

Bare featured a ‘wow moment’ when one of my favourite local performers, Rhoda Lopez, launched into “911! Emergency!” and blew the walls off the joint. It also featured Gemma Sharpe who would later read for me at Script Lab, and, unbeknownst to me until recently, Cassandra Kotchie, who made my coffee at a local writing haunt for ages before confessing she was a WAAPA musical theatre grad (Cass!).

I adored Spamalot and have never laughed so hard especially at the audacity of "You Won’t Succeed on Broadway".

Avenue Q gained greater significance when someone texted me the first two lines of "There’s A Fine, Fine Line" and I rediscovered how good the songs really are, especially that gem of a number.

These were still largely one off events. You’re in a different city for work so you blow off time by going to a show. Or you get free tickets as was the case with War of the Worlds and Avenue Q.

Things began to change while I was doing the PAC Screen Workshops from 2005-2007 and my circle of friends and acquaintances expanded to include far more actors. I’ve written before about my joy of supporting talented friends in their acting endeavours in stage (and film). However, I was attending significantly more plays than musical theatre but that ratio has slowly shifted in the last couple of years.

2012, however, was the major turning point when I saw three shows that featured a then friend and really enjoyed each one. She is a talented performer and it opened my eyes to a vibrant independent musical theatre scene. For as little as $20 you could see a fabulous show with real talent and commitment. While we’re no longer friends that revelation she was the catalyst for has propelled me into 2013 where yesterday’s show was the ninth musical I’ve seen this year. The other eight are:

The Wizard of Oz, The 25th Annual Putnam County Spelling Bee, Curtains, The Producers, Nevermore, Madame Piaf, Cats, and A Pirate’s Life For Me.

I guess I should pause to talk a little about the local incarnation of Phantom. Paul Spencer was fantastic as the eponymous villain and was well supported by Kristie Gray, Cassie Skinner and Jake Garner as Carlotta, Christine Daae and Raoul respectively. The sets were good and apart from a few technical hiccups with microphones (thankfully, minor characters in minor moments) it was well presented. The problem, however, to my ears, was the orchestra which was all over the place. So while the singing was good with Spencer the standout, they were constantly battling the music which was muddled and didn’t do the piece justice.

Having said that the theatre was full and there was an enthusiastic standing ovation so it has no doubt done well. Though again, only a 4 show run, the same as Hairspray by the same company last year which I enjoyed far more.

I had rather impulsively booked a ticket and it has brought me full circle from being horrified to see a musical back in the mid-90s to now savouring these local productions with such talented people on stage and all the crew and technicians who make them a reality.

To my musical theatre friends I say this - I finally have joined the party as an enthusiastic and consistent audience member! Just promise me you’ll never, ever ask me to sing!

What other shows should I see? What are your recommendations? Chicago is one of my all-time favourite movies and I’d love to see Velma Kelly and Roxie Hart onstage but hit me up with some other productions I should look out for!