Mac the Comedy Computer's 53.3 Minute Varietynado - Fringe World 2016 (10 February 2016)

I’d like to think that if I could afford to drink enough outrageously priced $11 plastic cups of cider and if it was something other than cinnamon on the Mary Street Bakery donuts at the Noodle Palace *deep breath* then I would easily imagine the inside of my iPod Shuffle looking something like the Ramen Room with Mac the Comedy Computer propped up in one corner and *gasp... this is a really long sentence* set on Genius mode picking Fringe performers at random based on my own personal comedy preferences.

We won’t question why my comedy preferences might deliver a line up of local and international luminaries such as Art Fleaker, Nicole Henriksen, Dez Pondent, Awesomo Moustachio and Jeff Hewitt with special guest appearances by Andre Rieu and the disembodied spirits of Joseph Merrick and Kermit the Frog. That’s something I try not to talk about. No, seriously, it’s quite painful.

But that’s what we have - another bloody Steve Jobs invention trying to tell me what to think and when to laugh. Bastard! (May he rest in peace)

Of course, our Host Mac has about as much vocal intonation as Keanu Reeves in, well, pretty much any movie Keanu Reeves has been in. “Whoa, dude” is as animated as it gets. I’m picturing the film critic in Dez Pondent nodding quietly to himself in the shadows right about now, inaudibly whispering, “Duuuuuude”. (Whatever’s on those donuts is good!)

Mac struggles a little with sentence structure, grammar, and punctuation in general but I suppose that’s an advantage of not having to, you know, breathe. He’s an amiable host when not threatening all of mankind with annihilation under the cruel thumb of his inherent silicon superiority. Between his musings on life, death, and dead bodies by the river, he introduces the human component of the show. It’s kind of a like a talent quest where everyone has a five minute spot to impress. With no prizes, monetary incentives or guest appearances on Dancing with the Stars at stake. So while that’s good for the audience it kind of sucks for them I guess.

First up was motivational speaker Art Fleaker who suspiciously looked like that annoying kid from Darren the Explorer (you know, the one who wreaked havoc in Northbridge one night all because he wanted to impress his Daddy) who suspiciously looked like Luke Bolland who is quite capable of wreaking havoc anywhere to get people to laugh.

He was followed by Nicole Henriksen who gave a tantalising glimpse of her – settle down – show Makin It Rain. As disarming as she was forthright this was a captivating vignette about life as a high class stripper. I can see why her show has been extended and getting raves.

Dez Pondent clearly is not an animal but a human being. Well, if film (and theatre?) critics can be considered as such. He shared his love for films and heroic insects in a monotone that would have Keanu exclaiming, “Whoa, Dude!” How he links The Elephant Man to The Human Centipede will possibly have me awake at night for weeks to come sobbing quietly at the inhumanity of it all.

As might remembering what the Awesomo Moustachio finds in a metallic case whilst dancing to a song that innocently asks what his thoughts are on a certain sexual activity that will likely have you clenching your cheeks. In discomfit or expectation is up to you.

Every show needs a big finish and what better way than award nominated Jeff Hewitt telling us how he was award nominated for his award nominated show. If there was an award nomination for dropping award nominated into your spot the most times then Jeff Hewitt would be a dual award nominated Fringe performer. Perhaps his excitement at this prospect or the earlier example set by his peers led to a spontaneous element of disrobing that will haunt those who saw it all the way up to the award nominations night. 

Then it was time for a sing-a-long to possibly the most incongruous song imaginable given the cast and circumstances. Yes, that Muppets classic, The Rainbow Connection. It’s here that the evil ringleader of this demented circus stepped out from behind the metaphorical curtain to reveal himself as one Levon Polinelli. While Levon has many talents he will not be award nominated for his singing. Stop smirking, Hewitt!

This is a loose and fun show that presents a different rotation of Fringe World stars every night that strut their stuff while paying homage to our evil computer overlords. It’s like a Best Of compilation with special commentary from a cross between Molly Meldrum and Stephen Hawking. And yes, I have completely repressed the vision of Andre Rieu doing whatever the hell it is Andre Rieu does.

Mac the Comedy Computer’s 53.3 Minute Varietynado is on at the Noodle Palace until 20 February. It's quite possible it stars whoever happens to be roaming the corridors at the time. Thankfully they’re all pretty damn talented. 

Attention Deficit... Ooh! A Pony! - Fringe World 2016 (10 February 2016)

I have always admired people who get up on a stage, in the spotlight, in front of a crowd of strangers. There’s a reason I’m a writer and not a performer. The thought is terrifying, my brief appearance on the Heather Ledger stage last month notwithstanding. It’s a pretty gutsy thing to do. Even more so the solo performer who only has a microphone and their wits about them under the harsh lights and even harsher gaze of a paying audience.

Imagine then how much more difficult it would be to do a stand-up routine when you have attention deficit disord—is that a hole in Rose Callaghan’s dress? Why hasn’t she fixed it? Has she noticed it? Surely she’s noticed? Should I say someth—that tonight’s performer was only diagnosed with at the age of 32. Fairly late to confirm a couple of decades of awkward behaviour I would have thought.

But this forms the basis of Callaghan’s routine with tales from her childhood, teenage years and early adulthood on dealing with ADD. Generously, she also provides an extensive and explicit resume of her romantic exploits including advice regarding the online dating scene.

The humour is a little hit and miss and the pint-sized performer who describes herself as Zooey Deschanel’s voluptuous little sister started slowly. She eventually worked her way into a disjointed rhythm of riffs on sex and drugs and the men in her life.

The funniest moments for me were her discovery of a GP’s apparent marketing plan where people dating people with ADD end up discovering they have it too like some form of sexually transmitted disease! Then there’s the time she took her 95 year old Nan to see Delta Goodrem in Cats. Let’s just say Lloyd Webber’s work and Delta’s rendering of it weren’t seen as cultural high-points.

Things end abruptly and as the person I saw the show with remarked, it felt more like a rambling conversation you would have with a friend at a pub. It’s a delivery style that is good-natured if extremely crass at times. The ADD is mostly played for laughs though it might have added another layer if there was a little more serious insight into this condition.

Attention Deficit… Ooh! A Pony! is on at the Noodle Palace until 13 February. 

These Things Take Wine - Fringe World 2016 (9 February 2016)

The humble bottle of wine. Always waiting for you at the bottle shop. Always there no matter what your mood. Always your friend. And sometimes your worst enemy. It gives you courage, it gives you pause. It gives you a wicked hangover. It even gives you the basis for an hour long cabaret show exploring all of the above!

What Natasha York gives you is a boisterous performance with a voice as big as her bedraggled hair. That voice is put through its paces with a diverse range of songs all of which focus on her love affair with wine. Jamie Burgess is an excellent accompanist on piano who also supplies smooth vocal stylings and the occasional admonishment when York’s enthusiasm needs reining in.

And that’s an aspect I really enjoyed. York isn’t afraid to throw caution to the wind and give a full-throated performance here. Her onstage persona is larger than life and this works well given the material. For example, I never knew the things one could conceal in a little black dress including a small bottle of wine!

Indeed wine is scattered around the sumptuous performance space Downstairs at the Maj including a prop bottle… whatever the hell that may be. The opening of that bottle was done in flamboyant style as was the comic touch in its consumption.

Lyrics to well known songs are altered to incorporate a viticultural bent; bad puns are thrown around like disused wine casks; and amusing tales are shared with gusto. One particular thread throughout the evening involved York’s musical theatre background which rang utterly true given this town has a little place called WAAPA. From the pitfalls of craving sex with ‘Music Theatre Boys’ to being an entertainer at kids’ parties to the obligatory karaoke sessions, this was hilariously accurate. There was even some audience participation as York revelled in mock inebriated antics. 

The most telling moments though are when she changes gear and allows moments of genuine self-reflection and regret. These are amplified by almost mournful versions of a Carole King classic and Cyndi Lauper’s Time After Time.

Strip away all the attitude and bluster and you’re left with York’s voice which is a powerful instrument that effortlessly filled the space. When she cuts loose on a song like Feeling Good it’s a joy to hear. Yes, she’s humorously playful with her vocal ability particularly when dropping down to the lower registers but it’s done with great style and confidence.

This was an enjoyable evening of great songs warped for comic effect and a ballsy performance that was funny and in your face but with a touch of emotional truth that will resonate. 

These Things Take Wine is on at the gloriously air-conditioned space Downstairs at the Maj until 13 February.

Inside We Hide - Fringe World 2016 (9 February 2016)

An elephant. One of the strongest animals on Earth. Tied to a peg in the ground. Yet it won’t move. Conditioned from a young age by handlers who tied it to logs. It strained and strained but could not move. Fully grown now it doesn’t try anymore, not even against the smallest of pegs. Even though it could easily free itself.

Aren’t some of us like that in many ways? Locked in a destructive perception of ourselves through guilt or fear or shame or simply through conditioning. Being told over and over. Not good enough. Not attractive enough. Not smart enough. Not enough. If only we tugged against the negative self talk, the doubts, the lack of self esteem we could free ourselves. But like the elephant sometimes we don’t. We listen to the silly voices in our head. The opinion of others.

And so Mary (Verity Softly) finds herself in a room littered with potatoes and used water canisters. With a rope tied around one ankle. The other end of the rope disappears through a hole in the wall. She’s greeted by the wisecracking Louise (Alicia Osyka) who’s been here a while but doesn’t seem too forthcoming about divulging the ‘rules’. Mary discovers another newcomer, Andy (Brenn Hislop), who is disoriented and in pain.

Slowly we learn there is someone watching. Who issues instructions. In a childish girl’s voice. Who shows each of them things. No, not things. People. People somewhere else who are suffering because of them. Each one’s reaction is different. They are trapped. They must face whatever it is that has led to them being tethered. In a room. With no escape. They must suffer the consequences of their actions, culpable in the fate of others.

It’s an intriguing premise by writer Ann-Marie Biagioni. Billed as a thriller I kept waiting for a twist and perhaps James Wan and Leigh Whannell are to blame for that. But no twist came; the owner of the childish voices wasn’t revealed; and the stakes weren’t ratcheted up as one might expect. This felt more a character study about the ways we trap ourselves rather than those who would seek to ensnare us for amusement or sinister intent. The play also ends on a thematic note instead of a plot driven climax so the thriller moniker feels a little misleading.      

The psychological character study is aided by strong performances from Osyka and Softly who really are the two in direct conflict. Hislop’s Andy felt more a device so he had less to work with and I never quite understood his motivation for attempting an extreme act in response to seeing his ‘victim’. Despite a long monologue attempting to explain this. The labyrinth details didn’t convince.

Osyka is excellent at the casual delivery of a sharp one liner or throwaway snide remark. We wonder if her Louise is delusional or maybe even complicit in some way. Perhaps she is the most damaged of the lot. It’s a fine line to tread and it’s an intriguing performance.

Softly plays Mary with straight forward earnestness that butts up against the superficial glibness of Osyka’s Louise. They are at different ends of the spectrum – compassionate versus disinterested; desperate versus resigned. It’s the cut and thrust of their conversations that form the foundation of the play.

The set design, lighting and sound design provide an effective mood of disquiet. The tangle of ropes is particularly effective. Though more could have been made of their shortening length as ‘she’ becomes displeased with the actions or responses of her playthings.

Ultimately it felt like the characters were let off the hook but then maybe that’s the point. It’s the individual who decides to stop listening to those childish voices of self-doubt and fear and pull away from whatever restraint holds them in place... or not. 

Written by Ann-Marie Biagioni, Directed by Scott Corbett and featuring Brenn Hislop, Alicia Osyka, and Verity Softly, this The Cutting Room Floor production is on at The Blue Room until 13 February.

Dr. Felicity Rickshaw's Celebrity Sex Party - Fringe World 2016 (8 February 2016)

Who among us hasn’t fantasised about doing unspeakable things to their celebrity of choice? Sexual things. With Brad or Angelina or Colin or Madonna. Sure, most people don’t go on to write an award winning blog about their imaginary carnal exploits. More’s the pity if Dr. Felicity Rickshaw’s tales are to be taken as the high water mark of celebrity erotica. These blisteringly funny and raunchy episodes will make you blush while educating you on some of the more, shall we say, creative ways to achieve a mindgasm.

Of course, there are reasons why someone might choose to explore such explicit fantasies and share them with the world and this is where Holland St Productions add depth to the hilarity. Dr. Rickshaw is the alter ego of one Amy (played by Amy Russotti) who has family and work entanglements to deal with while living alone with her cat Mister Snuggles. The most amusing of these real world scenarios is with geeky office colleague Ben (Tyler Jacob Jones) while her older sister Karen (Claire Taylor) chides Amy for several reasons, most notably about their mother (Erin Hutchinson).

It’s the fantasy sequences, however, when the naïve and dowdy Amy transforms into the rapacious Doctor Rickshaw, that dazzle. Her internal moanologue includes a threesome of performers (Jones, Taylor, and Hutchinson) who sing, dance and cavort while the bearded Russian Victor (Robert Woods) provides musical backing on keyboards.

One signature aspect of any Holland St Productions show is how film literate the driving creative forces, Tyler Jacob Jones and Robert Woods are. It’s tantalising then that a musical comedy is packed with allusions to well-known recent and not-so-recent movies with ‘cameo appearances’ by many a celebrity, most notably Keanu Reeves (Jones), Madonna (Taylor) and a pitch perfect Meryl Streep (Hutchinson). Don't worry, pop stars aren't left out. You have to see what happens to the band members of One Direction to believe it – my lips are sealed on that front… or back as the case may be.  

It’s not subtle and things can get more than a little blue but there’s the trademark wit and mischief throughout in spades. The songs add another element of mayhem as the good doctor’s fantasies are quite literally fleshed out. At times silly and over-the-top there is one gem in the vein of Absolute Perfection (from Point & Shoot) being Colin Fucking Firth.

The performances are all excellent from the stoic Woods with thick Russian accent to the antics of Jones, Taylor and Hutchinson but it’s Russotti who is the star here dropping in and out of the titular character with relish. Her lower lip trembles as Rickshaw mentally salivates over the steamy concoctions she conjures. It’s a tour de force comedy performance that never lets up even in the face of Monster Cocks. Yes, it’s that kind of show.  

This is sure to be another hit for Holland St Productions and they do have form with two of their previous shows including Point & Shoot being award winners at Fringe. Opening night was sold out so I wouldn’t delay in securing a ticket. This is raunchy, laugh out loud funny, and performed with verve and chutzpah. There’s also a touch of pathos to ground the shenanigans but ultimately you’ll know in your heart that love truly is the driving force in the universe.  

Book and Lyrics by Tyler Jacob Jones who also directs, with original Music by Robert Woods, Dr. Felicity Rickshaw’s Celebrity Sex Party is on at The Stables until 14 February. It stars Jones, Woods, Claire Taylor, Erin Hutchinson and Amy Russotti. I don't know if I'd take my mum but I'd definitely take the celebrity of my dreams. 

Dinner is Served - Fringe World 2016 (4 February 2016)

The humble dinner party. An event full of potential land mines that could ruin friendships, end relationships, hospitalise guests, and be the cause of any number of social transgressions that will see you ostracised to the couch in your pyjamas eating pizza alone for all eternity.

Thank goodness we have Megan Kozak and Harry Prouse to guide us through the harrowing and, quite frankly, terrifying prospect of inviting people over for dinner. I mean, there’s so much to consider – what to wear, where to hold your soiree (if the Ellington Jazz Club is inconveniently unavailable), what entertainment to provide, what to talk about… oh, and I suppose what to serve.  

Speaking of which, Harry forgot to go to the butchers before the show so the promise of succulent lamb roast was but a fleeting expectation for my tastebuds (so cruelly dashed!). Good news though, the Ellington does a nice range of pizzas and other finger foods.

Clearly, however, such culinary pearls of wisdom can only be delivered with a healthy accompaniment of songs. Coincidentally, an accomplished piano player happened to be in attendance, one David Wickham of WAAPA renown. Fancy that!

It was an eclectic mix of songs. I would be tempted to say ‘pot luck’ except I’m fearful Megan would attack me with a cocktail fork. There were appropriately themed musical theatre numbers from some of the greats (Cole Porter, Kander & Ebb, ahem, Beauty and the Beast); a scoop of Sinatra, a dash of Nat King Cole, and, if I’m not mistaken, a pinch of Frankie Valli amongst others.

Sure, Megan and Harry may clash over how to host the perfect gastronomic evening but one thing they do share is the ability to belt out a song with the best of them. The singing is excellent as is the piano playing by Mister Wickham.

What was perhaps even more impressive is the rapport the two WAAPA graduates shared on stage. It was comfortable and relaxed like a 50s screwball comedy as they exchanged barbs and banter with some lovely physical comedy and sight gags thrown in for good measure.

Kozak had a touch of a blonde Lucille Ball as she ranted about the fatal error of asking guests to bring dishes at random or ‘pot luck’ as she called it. Or threatening to walk out... at least as far as her microphone cord would allow. Prouse was more the straight man but injected his own sly sense of humour as the two bounced off each other over the course of 45 punchy minutes. There’s even a little audience participation. All I’ll say about that is be prepared to show off your table presentation skills. 

Dinner is Served is on for two more nights at the Ellington Jazz Club, 10-11 February at 7pm. To use a dinner metaphor, this is a perfect entree for an evening in the city while Fringe is on. 

Order a drink, have a pizza and a laugh but as all dinner hosts know, once the show is over it’s time to fire up the vacuum and tell your guests to get the hell out. At least you’ll do so with a smile on your face.

Gloria's Glorious Gloryhole - Fringe World 2016 (1 February 2016)

Ah, the Eighties. That glorious decade of high fashion, big business, pop music the likes of which the world may never hear again, and the return to prominence of the dance movie. When Walkmans were all the rage and the bigger the shoulder pads the more important you were.

Based on this criterion our hostess Gloria (Chloe King) is very important indeed with shoulder pads that would make a third world dictator blush. Then again, that’s not the only part of Gloria’s routine that would make a person’s cheeks burn. The sexual innuendo flies thick and fast as the cabaret singer welcomes the audience into her ‘warm and wet glory hole’. It’s all in the name of saucy good fun as pulses race, smiles widen, cheers grow louder, and various audience members both male and female get a little extra attention in a way only Gloria can provide.

While recounting the highs and lows of the decade intermingled with her own hilarious personal experiences, Gloria belts out a roster of instantly recognisable pop classics. In this she is aided by Blondie (Mia Brine) on keyboards and guitar. Blondie never misses an opportunity to upstage Gloria much to the star’s instant annoyance.

Now, I’m a musical child of the eighties so any show that starts with a slightly rearranged working of the introduction to Prince’s Let’s Go Crazy - “Dearly beloved, we are gathered here today to get through this thing called Fringe” – is going to meet with my approval. To double up with pop royalty by next launching into a Queen song is positively going to have me in its clutches. Now, to be fair, Don’t Stop Me Now is NOT an eighties song. Gloria obviously sensed my discomfit at this fact by pointing out to the ‘pedants’ (I prefer the term ‘80s pop purist’!) in the audience that it was the launching pad for the decade to come.

A decade of Laura Branigan, The Human League, Yazoo, Madonna, The Divinyls (no prizes for guessing which song Gloria picked here!), Spandau Ballet, Whitney, Wham, and Bonnie Tyler. Then there were the dance movies – Fame, Dirty Dancing, Footloose and their ilk – that had their own musical highlights. All delivered with style, gusto and more than a dash of cheek. The audience loved it, even the ones squirming under Gloria’s rapacious gaze.

This is a fun show that engendered a raucous response as the packed Frisk Small Bar picked up on the slightly naughty, sexy vibe. From laminated photos of your favourite 80’s icons – Tony Hadley, Simon Le Bon, George Michael, and Princess Diana – to the playful flirting with the audience; to the full throated (yes, pun intended) delivery of songs you couldn’t help but sing along to this is an entertaining hour reliving a decade that was slightly cheesy, always over the top, but nothing less than fun.

Gloria’s Glorious Gloryhole is on at the Frisk Small Bar on Francis Street until 4 February.