Metalhead - Creative Collaborations (18 February 2015)

As Fringe World heads into its last week of predominantly comedies, cabaret and burlesque there is an explosive drama tucked away in the courtyard of the Guild Studio in East Perth that is a definite must see. This superbly acted play is confronting, at many points harrowing, and is guaranteed to leave an impression.

This is the second season of the Tiffany Barton penned Metalhead after its premiere in October 2014 at the Victoria Hall in Fremantle. It is a tale about how violence and bad deeds are perpetuated in a seemingly endless cycle through the generations; how even the most disadvantaged and damaged of us seek freedom from those binds that hold us fast.

The story centres on Jake (Clarence Ryan) and his step-sister Jackie (Chelsea Gibson) whose mother has disappeared after another violent outburst from Jake’s father. Jake follows in the footsteps of his father and is short-tempered, volatile, and always ready to use his fists to lethal effect. Like her step-brother, Jackie has taken up boxing as a way to cope with the harshness of living in an outback township where everybody is going nowhere fast. This includes the promiscuous Michaela (Caitlin Jane Hampson) and her ‘creepy’ brother Tyler (Declan Brown) both of whom live in a beat up caravan. Michaela is having sex with Jake much to Tyler’s disgust though his protective instincts may betray an entirely different agenda. Jake has an offsider Baloo (Toby Franks) who appears to amuse Jake with his antics but is largely subservient though fond of Jackie.

Into this world come two outsiders with a hint of the otherworldly or supernatural about them – Mercy (Tornina Torres) and Freeman (Ian Bolgia). They state they are there to help the inhabitants of Fury find ‘freedom’ but perhaps they are just as damaged and lost as the others. It’s a potent mix rife with the potential for violence and confrontation… and that’s exactly what we get in spades. That it is done so realistically makes this utterly compelling and at times hard to watch in the best possible way.

Here, the outdoor setting adds an enormous amount of texture as it enhances the visceral nature of the work. The performers are allowed to immerse themselves in the township of Fury – in its barren landscape and its utilitarian accommodation. An actual caravan is stage right with the raised back corner of the courtyard in effect a sandpit (the use of sand is a recurring motif) with a ladder propped up against the wall. There is a circular platform on a large truck tyre that, once overturned, will also represent a grave. Mood is further achieved by an effective lighting design in the outdoor space, evocative music and snippets of recorded song, and even the natural soundscape of the nearby train line and urban surrounds.

The acting by all seven performers is simply stellar. Under the direction of James Winter the brutality is devastatingly brought to life though I must stress there are moments of genuine humour to leaven the assault. Ryan is superb as Jake – all coiled anger and aggression both physically and verbally. It’s an exhausting role and his physicality is outstanding – the fight sequences are well choreographed but it’s the manhandling of Gibson and Hampson that was achingly authentic and had the audience wincing.

Gibson who was so good in WAYTCo’s Punk Rock last year further announces her presence as one to watch with the spunky Jackie. She handled the boxing training sequence very well and clearly had taken no small instruction to make that play credibly. Her equally impressive Punk Rock colleague Declan Brown gave Tyler his own repressed anger with a healthy dose of sarcasm. Hampson, the only member of the original cast, was a revelation as Michaela especially early with her comedy work and a misguided naivety that sees her character get into all sorts of trouble.

I very much liked Franks as the effusive Baloo imbuing the sidekick with a larger-than-life persona that becomes increasingly challenged by Jake’s disintegration into quite reprehensible acts of violence. Torres brought an almost noble quality to Mercy as the character strives to assist (particularly Jackie) while Bolgia was a strong physical presence playing the enigmatic Freeman.

Above all I liked that this was a full tilt performance in every aspect – writing, performance, and staging. This was in your face and unapologetically brutal in spots. There were moments when the audience sat in stunned collective silence as the tension built. Under the stars on a warm Perth night it was something quite special. The ending gave some characters release while others seemed to accept their fate. There were no easy answers here. But that adds to the authenticity – things were never likely to be neatly tied up in a bow as they never are in real life.

Metalhead is wonderful piece of theatre that showcases an exceptional cast. There are only four shows left, ending on Sunday. Go sit out under the stars and experience a little bit of magic.     

Princess Obsession - Fireflies Entertainment (17 February 2015)

If one measure of a performer is how they react when things aren’t going well then Emma Marie Davis passed a true test of fire on Tuesday night. Technical problems, excessive noise from the neighbouring tent, and a momentary lapse in recall were obstacles on the night but she retained her composure to deliver an otherwise charming and enthralling show.

I’ve come across Davis’ obsession with princesses before in Once Upon A Time. Not any old princess mind you but Disney princesses. While I have passing familiarity with the movies Snow White, Cinderella, and Sleeping Beauty, I didn’t have any knowledge of the women who provided the voices for such iconic characters. And this is where the strength of Princess Obsession truly is.

Davis takes us through the backstories of Adriana Caselotti (Snow White), Ilene Woods (Cinderella), and Mary Costa (Sleeping Beauty) – how they came to be considered for the part, their experiences during recording, and a glimpse into their subsequent careers, the most notable of which is Costa’s conversion to opera star. Walt Disney plays a huge role in shaping these productions and the women involved while there are all kinds of interesting facts about the pressure the studio was under to deliver a hit at the time of Sleeping Beauty.

There is a range of songs included in the show - from the movies themselves to operatic pieces and period standards to excerpts from popular radio and television shows of the time. Davis showcases impressive vocal range and also an array of accents as she gives us an insight into the thoughts and experiences of each princess. She is accompanied by Irina Vasilieva on keyboards who provided a lovely musical soundscape during the storytelling sequences as well as great backing for the songs.

There is no doubt that this is a subject matter Davis is passionate about and well steeped in. This is clearly evident in her joy at sharing these tales with us. A well sung and entertaining hour long cabaret that had me a little wiser about how difficult it really is to become a princess!

Breathless - Shadowlight Darkly Theatre Company (16 February 2015)

Imagine the Shakespearean comedy A Midsummer Night’s Dream told exclusively from the fairies point of view. Now throw in an eclectic mix of electronic music peppered with some pop standards (Bowie’s Golden Years; Simon & Garfunkel’s Scarborough Fair) and an interpretation largely based on movement and dance with only snippets of the original text via the human lovers and you have Breathless.

This iteration is in fact the further development of a concept that originally saw life last year as Sleepless. Many of the same performers have returned, some in new roles, and the director remains the jauntily named Josh “The Pirate” Walker. 

Now, it is certainly true that audience members with more than a passing familiarity with the Shakespeare play will better appreciate the storyline and subtleties here. Those without any knowledge at all might end up a tad confused. There is, however, enough colour and movement and energy for this to be an enjoyable performance piece no matter what your comfort level with The Bard’s (truncated) tale of four lovers who stumble into fairy infested woods is. 

And my, what a bunch of mischievous fairies they are! From their King (Oberon) and Queen (Titania) who feud over a lost child; to the magical potion that entreats a person to fall in love with the first creature they see; to the tricks they play on the wandering humans, this is ripe with misunderstanding and fun. Throw in some colourful costuming and makeup and this is quite the frolic. 

The performers work well as an ensemble and the energy slowly builds to a frenetic ending. I liked how the lovers are literally the playthings of the fairies though they did have their back to the audience for a disproportionate amount of time. I wanted to see more of the lovers’ faces but it was a minor quibble. 

Matthew Randall was a commanding physical presence as Oberon and Angela Donlan (Titania with fairy wings of course!) was certainly a hit with the young girl in the audience who rushed up to her all excited afterwards. Shannon Berry had lovely poise as Helena and Michael Moshos was a devilish Luck. There were times the music was too loud for the dialogue excerpts, however, Keren Schlink, Berry, Owen Lane and Brendan Ellis handled the language well enough.

This is a young cast with a vibrant variation on a classic tale. At a slick 50 minutes it’s a great way to commence an evening at Fringe, beginning at 5.15pm in The Stables, with only three more shows until Thursday 19th February.

Directed by Joshua Walker and Featuring: 

Angela Donlan as Titania
Matthew Randall as Oberon
Keren Schlink as Hermia
Shannon Berry as Helena
Owen Lane as Lysander
Brendan Ellis as Demetrious
Kimberley Harris, Michael Moshos and Anka Cikic as Muck, Luck and Duck
Daniel O'Brien as Bottom
Tahlia McQuade, Ruhama Geiger and Alanna McKennzie as Parsley, Sage and Rosemary
and Jessie Williams as The Lost Child

Skin Deep - Pickering Productions (14 February 2015)

With over 500 shows Fringe is always going to prove to be a little hit and miss. You’ll see some fabulous performances and every now and then there’ll be a dud or two. I’ve seen quite a few wonderful ones this festival which means I’m pretty much batting ahead of the curve. I don’t state it lightly then that for sheer entertainment value Skin Deep is my favourite show to date. What a fantastically crazy and hilarious mash-up of mashed up pop songs and insight into the quest for beauty through the ages!

When the answer to “what price beauty?” comes in the form of botox, arsenic, insect larvae, nightshade and other remedies you know you’re in for a helluva ride. Throw in some creative interpretations of a variety of pop songs (I’ll never hear The Eagles' Take It Easy the same way ever again) with a few, um, judicious tweaks here and there to the lyrics and it’s a rollicking night’s entertainment. I’m known for having a big laugh but the lady next to me was literally having kittens. Yes, literally! In fact the whole audience loved this with a standing ovation at the Hellenic Club after a suitable finale with a Carole King classic.

The set-up is that three generations of beauty therapists (all the most important jobs end in ‘ist’) reveal the secrets of the trade with several ‘exhibits’, Law and Order style. They range from invasive beauty procedures to client confessions to mother-daughter wrangling over the school ball with a little murder thrown in for good measure. The performers in question are Lindsay McNab, Cynthia Fenton (also co-writer), and Grace Edwards with the seemingly ever present Timothy How on keyboards.

They work tremendously well together with each getting a moment to shine. A sense of what we were in for arrives early when the three women excel during ‘Exhibit A’ that involves plenty of sight gags as ‘Lins’ undergoes a certain delicate beauty treatment. Other highlights included:

Fenton gives a whole new meaning to the song Defying Gravity which was as inspired as anything you’ll see at Fringe this year and had me laughing from How’s opening bars.

Edwards, hard on the heels of The Dummies Guide to Opera, gives another vivacious performance with standouts including her turn as a put upon 17 year old railing against her domineering mother (Fenton); and who could go past that classic piece of shtick I’ve Never Been To Me for comic potential?

McNab had a beautiful ballad as the mood surprisingly turned a little sombre towards the end. It was an interesting counterpoint and I liked that they took their time here. Additionally, her opening refrain from Bohemian Rhapsody was a prime example of taking the lyrics from a famous song and twisting the context for maximum comedic effect. Which is exactly what How’s Mack the Knife does as cosmetic surgery comes under the satirical knife of writers Fenton and Tyler Jacob Jones.

Jones, who also directs, is the writer of that other impressive Fringe piece currently on, F**k Decaf, one of the stars of which was happily chortling along with the rest of us. Skin Deep has all of his trademark wit and is staged with style and energy. 

What elevates this though is that beneath the hilarity there is very perceptive commentary on the beauty industry from all kinds of different angles. This gives it great resonance as it highlights how crazy the pursuit of beauty can sometimes be. There is a positive message at the end, however, that dovetails nicely with the singing of classic pop songs from artists such as The Go-Gos, Cyndi Lauper, ABBA, Katy Perry, and Mike and the Mechanics.

Skin Deep is well performed with deft comic timing and inventive use of songs. The singing is strong with Edwards the standout but they are all terrific in the numerous set-pieces. Timothy How is excellent on keyboards and gets to appropriately ham it up as required. 

Above all this is thoroughly entertaining and a hilarious exploration of an industry that has been around in one form or another for centuries. A must see but hurry, there is only one more performance left this Sunday at 7pm.

Gillian Cosgriff is Whelmed - Fringe World (11 February 2015)

Beware the gift giver! The ones who impart the ‘gift’ of inspiration and false advice; the ‘gift’ of all the spurious knowledge you could ever wish for nowadays in the palm of your hand; and those people who simply give bad gifts. 

Yes, in her new show, Cosgriff is squarely taking aim at all the fortune cookie nonsense that passes for wisdom these days and the means of its dissemination. Plus, you know, all 198 capital cities of the world, some crazy ass lizards from Madagascar, and a handbag made out of an old pair of jeans.

Early on, Cosgriff mentioned how some people compare her to Tim Minchin because, well, they both play keyboards and sing witty songs with a healthy dose of stand up comedy thrown in for good measure. I’ve never seen Tim Minchin perform live but I've seen Gillian Cosgriff twice now and she is forging her own identity as a gifted entertainer. There is the engaging stage presence, excellent voice and keyboard skills, and songs that crackle with wit and intelligence - probably due to all the research done online in the name of procrastination and over-achievement.

Earlier on though, the show starts before the show starts with a song about the usual sort of front of house announcements to do with mobile phones being switched off and where the exits are and hoping people don’t burn to death in a fire and the like. It’s all sensible advice that would look great on the poster... of a lush rain forest. Yes, wanky motivational tools, #thinspiration, #fitspiration and #hashtags in general #bugthehelloutofgillian.

Then we launch into an explanation of the title ‘Whelmed’ which is indeed a real word and has something to do with boats not capsizing. Don’t worry, it’s fine; tricky stuff, sure, but you’re in safe hands as Cosgriff is nothing less than a compelling storyteller and has a knack for making the obscure come to life in the funniest of ways.

Like her award show from last year, This Is Why We Can’t Have Nice Things, plenty of personal revelations pepper her feeling of whelmedness (this may actually not be a word) and this time her mother plays a pivotal role in the tale of ‘The ugliest bag in the world, parts one and two’ with a charming reprise.

Some guy named Guy is called up from the front row to be an accessory to Cosgriff’s ability to overachieve at learning new things that totally don’t help her write a new show... until she decides to take all that stuff and put it in her new show. A tantalising ten dollar note was on offer if the guy Guy could stump her with the aid of an online quiz about capital cities. That bounty ain’t going nowhere but back into (probably) the ugliest bag in the world, my friends. I have not the slightest doubt that all 198 cities are committed to memory... because 56 just wasn’t good enough for our procrastinating, overachieving heroine the first time around!

The internet comes in for some stick as do those folks who try to cheer up depressed people by telling them others have it worse... saying things like, ‘Syria’. Then again, what’s the point of being happy when there are others even happier? I mean, Richard Branson bought an island when he was 28. The jabs at hypocrisy, nonsensical platitudes, and the obsession with being happy - in both lyric and patter - are razor sharp. Then there are those lizards. That’s a tale to be amazed by (Cosgriff clearly is) as an exuberant explanation details some seriously weird evolutionary shenanigans.

What I like about the performance style here is that Cosgriff isn’t afraid to follow tangents, to reveal personal information, and to engage with the audience by being effusive and self-deprecating. It’s all very impressive and when it’s done you’ll be singing the final song as you leave (trust me, you will, #noseriously) with a smile on your face. This show is what I’ve come to expect from Cosgriff - sharp, witty, and very clever. Get along and see it!

Gillian Cosgriff is Whelmed is on at the PICA Performance Space as part of Fringe World until 21 February. 

F**k Decaf - The Cutting Room Floor (10 February 2015)

With Fringe expanding to over 500 shows this year various locations have been pressed into service to hold the staggering amount of activity that is going on. One of these is the Frisk Small Bar in Francis Street which was perfect for this witty observation of relationships, how we change and, dare I say it, grow with the passage of time.

My inescapable conclusion at the end of the performance was that a smart, well written script in the hands of (two) talented actors is a recipe for an excellent evening of theatre.

I missed seeing this the first time around last year so was delighted it had another life at Fringe in 2015. The writer in question is Tyler Jacob Jones who had a stellar festival last year with Point & Shoot: a new musical which he co-wrote and starred in winning major awards and successfully touring on the east coast. This was his next script and talking to Jones he felt some pressure to follow-up Point & Shoot’s achievements.

In this he has succeeded admirably even restraining himself by including only one song (we won’t quibble about a burst of Leaving on a Jet Plane) - the Des’ree, um, classic, Life (okay, I confess, my pop sweet spot is more the 80s and I missed the whole ‘piece of toast’ thing!).

That song (which is revisited several times) serves as a shared memory for friends Kate (Ann-Marie Biagioni) and Ruby (Amanda Watson) though what deeper philosophical meanings did Des’ree really mean with those lyrics? I’ll leave that for Kate, Ruby and eminent scholars to decide.

The two friends periodically meet in the same cafe over a span of several years to share the highs and lows of their relationships, travels, and expectations. Kate is the sexually adventurous one while Ruby, who initially appears quite grounded, suffers through a series of relationships some more doomed than others. They talk, spar, bicker and reminisce as only good friends can. Their insights and experiences are funny but have more than a healthy dose of deft observation.

Biagioni and Watson are both excellent, the former’s character all brash and in your face; the latter’s becoming increasingly a bundle of nerves and doubts. In this, coffee plays a major part. As for decaf, well, the title gives you a pretty good idea what Kate thinks about Ruby’s conversion at one point to Pilates, vegetarianism, and a caffeine free lifestyle!

The device that sets this all up is the dinging of a bell by the waiter (Monty Sallur) that announces the end of one scene and the jump forward in time to the next. The intimate setting means the audience is almost on top of the actors with a sense we’re eavesdropping on their conversations. Each vignette reveals more about the two of them and gives both actors the opportunity to add impressive layers to their portrayals.

Most importantly, this is flat out hilarious. The moment Biagioni storms outside the bar and harangues Watson by mobile while stomping up and down Francis Street is priceless. Likewise, the fight they have that ends up leaving the small performance space a mess of coffee beans, salt, plastic cups and every manner of detritus is realistically frantic. If you sit in the first two rows you might even cop some friendly fire.

I loved this sense of play. Biagioni and Watson are totally in sync with each other and the surroundings - even the accidental breaking of a ceramic coffee mug was used to great effect. I give kudos to Frisk for allowing such an exuberant and messy show on their premises and to the actors for embracing that freedom.

There was a moment of magic towards the end that launched this into another level of intensity and possibilities - Ruby becomes aware of the device of the ringing bell. We then witness a bravura explosion of rapid fire scenes as that bell starts dinging overtime! The ensuing sense of timing and flexibility was impressive and had the audience in stitches.

This is the sort of show that is ideal for Fringe – it’s smart, witty, wonderfully performed and written, with a sense of confidence and playfulness that audiences find irresistible, certainly the one I was with on opening night. I can’t recommend it highly enough.

Directed by Scott Corbett, Written by Tyler Jacob Jones, and starring Ann-Marie Biagioni, Amanda Watson and Monty Sallur, F**k Decaf has seven more shows from tonight until Sunday 22^nd February. 

WAAPA Music Theatre Showstoppers (9 February 2015)

Take the cast of Les Miserables, half of whom are WAAPA graduates; their musical director Geoffrey Castles along with four other members of the orchestra; throw in a little star power with event patron Ben Elton; add the enthusiasm and organisational skills of Eponine herself (Kerrie Anne Greenland) and you end up with what can only be described as a spectacular fundraising concert at the Geoff Gibbs Theatre. The sheer magnitude of talent on display was breathtaking.

The number 30 was a significant one for the evening. WAAPA’s world renowned musical theatre course turns thirty this year and what a way to kick off yearlong celebrations by showcasing so many of their graduates. 2015 also marks the 30^th anniversary of the original West End production of Les Miserables. Obviously the only sensible thing to do was to celebrate 30 years of musical theatre with a roster of thir--, um, 16 songs. (I suppose 30 songs was asking too much!)  

The fundraising aspect involves WAAPA hosting the Musical Theatre Educator’s Alliance Conference in the middle of this year, the first time it has been held in the southern hemisphere. What with the launching of the Jackman-Furness Foundation last year and now this conference it’s an exciting time for the Academy.

To the show and we are greeted by our hosts Kerrie Anne Greenland, Lara Mulcahy, Rodney Dobson and Ben Hall with a rousing rendition of Live in Living Colour from Catch Me If You Can. The tone is set early with plenty of light-hearted banter, Mulcahy in particular proving adept at the witty one-liner and adroit comic timing. A post musical theatre career as a stand-up comedienne beckons!

There then followed a series of songs which was quite the eclectic mix with musicals as diverse as Phantom of the Opera to City of Angels, and Parade to Dr. Zhivago represented. What I loved though is that members of the ensemble were given equal opportunity to shine and you quickly come to realise the firepower a production like Les Miserables has. Every member of the cast is a fabulously gifted performer in their own right. The show as a whole was brilliant across the board but some of my highlights were:

Lisa Sontag and Matthew Heyward worked wonderfully well together in a funny performance of That Face from The Producers. This is given a reprise of sorts when Lara and Ben decide to interview them about what it’s like to be an understudy on Les Mis. Oh the jealousy you have to endure, Lara, the jealousy!

Mischana Dellora Cornish and Ben Hall crushed Rita’s Confession from The Lucky Stiff with Cornish especially impressive in a virtuoso performance.

While the ensemble cast members were relishing the spotlight Simon Gleeson and Hayden Tee reminded everyone why they are the headline stars of Les Mis (as Jean Valjean and Javert respectively) with a superb rendition of Lily’s Eyes from The Secret Garden. The power and control from both is simply first class.

Joshua Robson followed with a powerful Bui Doi from Miss Saigon backed by some eleven of his male colleagues. The massed voices made for a riveting aural experience.

Likewise, Chloe Zuel was supported by her female colleagues as she brought plenty of sass to a boisterous performance of Raise Your Voice from Sister Act.

Patrice Tipoki gave the penultimate performance with a stirring Defying Gravity from Wicked before Ben Elton was called onstage to share his thoughts about the importance of WAAPA in developing future generations of musical theatre stars.

It was therefore a treat to see the second and third year students onstage for the finale of One Day More. What was even better was when they moved to the front of the stage as if being anointed by their celebrated predecessors. The combined might of the Les Miserables cast plus some forty students singing the crowd pleasing song ensured a standing ovation as the show closed.

Some other thoughts:

The five piece orchestra was excellent. Well done to Geoffrey Castles (Piano), Laura Tipoki (Keyboard), Katherine Gillon (Keyboard), Anna Pokorny (Cello) and Bronton Ainsworth (Drums). 

  

The humour and genuine camaraderie throughout the show elevated this to something quite special.

I am contractually obligated to mention (because I told her I would!) that Kerrie Anne Greenland gave a “Cher-like performance” with at least 6 costume changes on the night.

It was a delight to briefly talk to some of the performers afterwards including Kerrie Anne, the elegant Elisa Colla, and Simon Gleeson who simply can’t shake Javert forced to sing opposite him even in concert! 

Likewise, it’s always a pleasure chatting to some of the WAAPA students whose year commenced today. What an inspiring and perhaps daunting experience tonight was for them. This is the bar they have their sights set on as they continue the extensive, world class training at the Academy.

This was a magical night and a timely reminder of the power of musical theatre at its very best to move and enthral us.