Edmund. The Beginning. Antechamber Productions, Arts House North Melbourne, Sunday November 15th 2015

Edmund. The Beginning.  Antechamber Productions, Arts House North Melbourne, Sunday November 15th 2015

"Edmund. The Beginning" is a one man show from Antechamber Productions, at Arts House North Melbourne, Sunday November 15th 2015.  "Edmund. The Beginning"  is an imaginary journey by Brian Lipson.

The stage is the upstairs Rehearsal Room at the  Arts House North Melbourne.  We see the 7.00 pm show and there is no lighting except for the curtains drawn back and allowing the light to shine in through the windows which provides a natural setting for such an unnatural play.

Brian Lipson introduces us to "Edmund. The Beginning" with his entrance in his multi-faceted costume that speaks volumes throughout the play.  It is as if he is stripping away his exterior to reveal his inner soul of compassion and vulnerability.

So many references went over my head as I am sure it will for many people.  This is a play rich in meaning, research and respect.  Brian Lipson is paying homage to so many people both living and dead in "Edmund. The Beginning."

This play, "Edmund. The Beginning" is one that I could easily see again due to the richness and complexity of the text.  I know that I am not the only audience member to miss some of the references.  Maybe they could include some of the references into the programme.

I loved the opening quote that he scrawls in chalk on the wall.  A great joke of unfinished business that I will not spoil.  This joke resonates, as it heightens our ignorance of so much unfinished business that we do not understand or appreciate about many characters in literature.  Edmund being the example in the title.

His opening lines use neuro- linguistic programming to position and differentiate his three embarrassing statements   This opening sequence also reveals a substantial contract with the audience, as Brian Lipson places items in positions to represent significant people.  He not only honours their position and stature in time but in space and memory.  He moves as if he is the moveable marker/guide on a living Ouija Board conjuring up memories - either real or imagined.

He uses a wonderful analogy of being the sun and these people revolve around him as if planets. With the sun slowly setting through the windows, the room darkens as if we are entering a new moon with each new character revealed.

At times it is as if his character Daniel is ranting.  But we are witnessing a confidential expose.

He shares the story of going to see Harold Pinter's play "The Homecoming" in London.  He travels on the train with Martin his friend.  As he tells us the story he opens and salts a packet of chips.  His timing is sublime as he has us in the palm of his hand awaiting his crunch on the single chip.  The audience are teased on numerous occasions and are distracted as he tells us this story.

In fact Brian Lipson uses so many distracting techniques to command our attention.  By using these distraction techniques you realise that you have the choice to focus elsewhere.  At times it can be hard work to concentrate on aspects of the performance and makes you refine your focus to filter out these distractions - to ensure you do not miss any nuggets of gold.

The first distraction technique is the strong smell of food as you enter the space.  He tells us about this smell at the end.  Such a wonderful "smell-o-vision" and so timely with the recent production of "1984" and the stench upon walking into "Bronx Gothic" (also at Arts House, North Melbourne.

The most significant distraction technique is when he hooks his mobile phone to a set of speakers and plays a ranting monologue.  We are listening to this rant when he announces that we must listen to him or miss the point of the play.  We all lean forward and try to listen to his important information. The audience struggle at times to cut through the background noise.  He is making a wonderful point of how people are distracted by technology and the immediate gratification rather than focusing on important issues of life: relationships with others and being in the moment.

The Pinter-esque pause has new meaning with his right hand being driven down into the chair and held during a long story.  His right hand is framed by the outline of the back of the chair; as if his hand is on stage.  Here, Brian Lipson takes the pause to a new level with stillness and heightens our curiosity what this means.  It got me thinking while watching him: Is his right hand a slave to the rest of his body?  He is honouring Harold Pinter's play "The Dumb Waiter" which I have seen many times. 

Whatever the meaning of this play, it is a fun and mesmerising work.  He challenges our thoughts in time and space.  He checks one, if not all of his five or six watches and at one stage he announces it is 44 minutes into the work.  He is right, as I took note of the starting time.  He teases us and suggests he may start again.  You can hear the suppressed and underlying groans in the room. Bodies shift in their seats waiting his next move.   He again has the audience's attention.  It is timely as this similar device was a major theme of the show  "YOUARENOWEHERE" which was presented at the Arts House for the 2015 Melbourne Festival. Wow, two shows at this same venue, from two different countries that teased and tested our perception of time and reality.

The final image is where Brian Lipson places his mobile phone on the chair to provide the lighting. The light shines upwards and creates the monstrous size version of his persona.  A wonderful and simple effect.

At times I found it hard to understand some of Brian Lipson's diction.

This is a wonderful work that highlights the beauty within the dark chasms of humanity, existence and literature.  He is seeking and revealing the gems hidden within the walls of darkened mines.

Peter Evans and Susie Dee directed "Edmund. The Beginning" and have created a work for long term discussion and soaring memories.  It is a play to transport you and will certainly do very well on the international festival circuit.

My head is still spinning a week later as I try to complete my review.  Whirling and spinning in as I try to recall so many wonderful memories.

This work obtained a 7.5/10 from both myself and partner.

Right and Left, Beckett Theatre, Melbourne Festival, Friday October 16th 2015

Right and Left, Beckett Theatre, Melbourne Festival, Friday October 16th 2015

"Right and Left" is a dance work by choreographer Gu Jiani for the Melbourne Festival    This was a part of the Special Combination workshop which was an invitation only event that was facilitated by Gideon Obarzanek.

We attended the 7.30 pm performance on Friday October 16th 2015 at The Beckett Theatre at The Coopers Malthouse.

For those new to my blog I write about the holistic experience of attending the theatre.  So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.

I am writing this review from my notes nearly two weeks after the event but still have the same impression.

There were no programmes available.  The performance began at 7.06pm.

There was a large table stage left that was off balance and seemed to be hanging from the back wall.

There were two dancers Gu Jiani and Li Nan with video art by Ping.

I recall the following sections:

1. Shadows
2. Stools
3. Strangulation
4. Solo
5. Sillouettes and shadows (more of the same!)
6. Duets (which I called Suets to keep the "S" theme!)
7. Silence and more silence.  Stillness.  (The lady was on the left)
8. The table was moved.

The choreography was quite pedestrian and did not push the boundaries except for the Stool section. This Stool section was inventive using a stool as a third dancer in a pas de trois.  The stool was not only sat upon but slid between, lifted, hung from, worn, and crawled through.  Such inventive choreography that sadly was not replicated with the table section.

The audience was too close and the sight lines were only optimum for the first row.  I watched people in the second and third rows craning to view what was within reach of the front row.  The front of the stage should have been pushed back by at least a 1.5 metres for those past the third row to see what was happening downstage.  (That means those in rows C, D, E had limited views of the front of the stage!)

There were eight empty seats in Rows D and E.  Thankfully the ushers used some common sense and offered these to patrons who were in the upper section of the theatre.

The Strangulation section was engaging as the danger of manipulating another person's head can be very uncomfortable viewing.

When the table was moved away from the back wall the dancers played around with it.  They slid the table and hung from its legs and moved with it.  There were so many wonderful moments of dancing with the stool and sadly dancing with the table was not as inventive.  Maybe they ran out of time.

The most exciting part was the bows.  The dancers had the deepest bows and gratitude for the audience.  I wish more performers would take such considered bows.  Plus many performers could learn to command their space from these young performers - not only for their bows but their presence.

This is a work in progress.

Overall I gave this a 5/10.

Last Work, Batsheva Dance Company, State Theatre, Melbourne Festival, Saturday October 17th 2015

Last Work, Batsheva Dance Company, State Theatre, Melbourne Festival, Saturday October 17th 2015

"Last Work" was choreographed by the artistic director of Batsheva Dance Company, Ohad Naharin.  They performed at the State Theatre, Arts Centre Melbourne as part of the Melbourne Festival.

For those new to my blog I write about the holistic experience of attending the theatre.  So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.

Batsheva Dance Company is an iconic dance company that I have now seen about six times.  "Last Work" did not disappoint.

A woman wearing a long blue dress runs on the spot upstage right on a treadmill for the duration of the dance work.  This treadmill is on the narrow raised step upstage which also hides costumes and props for the dancers.

A man is wrapping tape around a microphone as if the sounds are reaching different frequencies or listeners.  Another carries a white flag of surrender.

A third is a man seated with a red wrap around skirt and has his back to the audience.  His right arm is vigorously going up and down as if he could be masturbating.  There is an explosion of a celebratory pop streamers as if he has ejaculated.  This continues and finally he turns around for the reveal: he is polishing a gun.  The audience love how they have been tricked by this visually simple ruse.  He is a wanker in more ways than one: not only sexually but by his gun toting intimidating manner.

Our runner is given the white flag of surrender and continues to run.

The final sequence in "Last Work" has all but one dancer scattered across the stage.  A male dancer has been winding brown tape around a microphone on the narrow stage.  Now he pursues each dancer and winds the tape around each body in different patterns.  He then goes to the next dancer across the stage and continues to wind the tape around the new dancer's body.  He continues this crossing and criss-crossing and dodging tape to ensure that all 16 remaining dancers are wound up by his tape.  He then makes his mark on the runner in the blue dress.  The audience roar with laughter.

This image shows how connected everyone is: the six degrees of separation.  It is also the "Ripple Effect" and used in management courses.

Sadly I left it too long to add to my review and is a very scratchy.  There is a lot I have left out.  I was upset by the mobile phone behaviour of my young neighbours.

Overall I gave this a 7.5/10.

Limbo, Spiegeltent, Melbourne Festival, Wednesday October 21st 2015

Limbo, Spiegeltent, Melbourne Festival, Wednesday October 21st 2015

"Limbo" was presented at the Spiegeltent for the Melbourne Festival by Strut and Fret Production House, Underbelly Productions and Southbank Centre (London).

For those new to my blog I write about the holistic experience of attending the theatre.  So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.

You are welcomed into another world as you enter the Spiegeltent.   "Limbo" is directed by Scott Maidment with varying degrees of success.

The opening announcement for "Limbo" was terrific as it created a sense of expectation.  I also loved their insistence of turning off mobile phones and no photography.  This is the first show at the 2015 Melbourne Festival where there has NOT been an incident with phones or cameras.  LOUD CHEERING OF APPRECIATION! (Well by me - anyway!)

The band entered along the walkway to the central ring and then assumed their positions upstage.  Mick Stuart played multiple instruments.  I was intrigued at him playing his own invention of The Polymba.  It was like a huge acoustic sound engineering table with lots of weird shapes to pluck and push and process.  I could not get a close up enough to zoom in and see the mechanics and must congratulate him on the amazing sounds generated.

I adored the clear glass bowl used by Elyas Khan to create some beautiful tunes.  Especially the coin rolling around the inside of the bowl was simple and effective.  Sadly the first show we saw at the Melbourne Festival "NYX" could have learnt from this simple action.

Tigris is a German force to be reckoned with.  He is a contortionist of the first degree.  He is proud but not arrogant in his demeanour.  Tigris has flexibility, strength and control that makes his routine compelling.  Tigris is a handsome man with his back fully tattooed. 

The Balancing Act by the Russian Danik Abishev was terrific.  The segue and entrance into this routine reminded me of a famous circus painting (the name escapes me!)  He was carried with his hands and feet in irons as he was hanging between two of the five poles.  I particularly enjoyed his opening moves that also ensured that the 5 poles were housed correctly. His swivelling and twisting his body into various shapes showed his superb athletic skills in top condition.

The tap routine with Hilton Denis and Heather Holliday was adequate and well executed with reasonably clear beats.  Choreographically it was not as exciting as it could have been.  The alternate wings are a classic applause inducing step.  His wing beats were very good.  They included a rhythmic "question and answer" with clapping and tapping.  This built up slightly and could have pushed the boundaries more.

The Chinese Pole is a single vertical pole that Mikael Bres scaled and wrapped his body around.  He would then slide down in various positions.  Mikael Bres created a sense of fun and mischief with his body and his seductive eyes.  Though I thought some of the sliding down finishes were not as tight as his earlier examples.  I admire his skill and wonder how he does not get sweaty and make the pole even more slippery.  His engagement with the audience was alluring and teasing.

The segue with the couple sitting at the end of the long entrance was fun.  The others would enter and balance on their heads.  This couple were being interrupted in their personal relationship.  It had a story and worked beautifully.  I craved for more of these moments.

Three cast set their long poles into the floor close to the audience and then scaled them.  At the top they strapped in their legs with their feet planted on the foot rests.  They leant forward and backwards and sideways to create patterns.  The poles leant so far in each direction to create an uncomfortable feeling for the audience.  The three fine performers came within crashing into each other with their close calls.  It was theatrical and tension building.  They even spun around in their seats and leant forward into the crowd.  One man performed high 5's with his audience members and later grabbed a beer, and then returned the beer upon his next forward lurch into the crowd.  This was entertaining and theatrical.  It had the audience loving every minute of their playful antics.  I long for more of this theatricality.

The Sword Swallower routine .by Heather Holliday was uncomfortable for some patrons as they squirmed in their seats.  You craved for more of this type of act.  When we see television shows like "Carnivale" or "American Horror Story" we want to be pushed with being scarred or dared.  She used two swords and then later used a fluorescent light bulb down her throat.  The lights dimmed appropriately for us to savour her "deep throat" ability.

The Fire Eating routine was by Heather Holliday.  Her entrance with men juggling fire sticks was edgy in this enclosed Spiegeltent.   It heightened our sense of  danger and safety.

A man cleaned the floor to ensure there was no residue after the fire eating act.  We needed more to distract us than the band playing music.  There was an opportunity for a clown type distraction or a more varied pulsating lighting change to add interest here.  The music alone was not enough. 

The finale of the Aerial Hoop routine by Evelyne Allard was not as exciting as I have seen.  The execution was precise and performed with skill. I wanted to see more showmanship, bravado and proud flourishes at the conclusion of some tricks.  The final sequence of stepping into the box with the steps underneath was not up to scratch for such a close location.   The mechanics of the magic were lost by the obvious design of the staircase.  This routine would have worked in a larger theatre. The way this routine was choreographed gave away the whole trick as soon as she stepped into the box being so careful to stay to the left.  Hello - the audience are not dumb.  More effective lighting to divert attention could have altered my perception or more use of distractions.  I did expect her to pop up from underneath the main stage and the head of the bunny coming to life.  Not to be.  Her entrance to stage left was a bit too passe due to the lack of lighting and musical fanfare.  Had she come up through the stage would have been more exciting.  Sadly not a show-stopper final act.

Segues and transitions varied in complexity and theatrical value.  At times there were huge holes in the production due to the lack of engagement with the audience between acts.  Where as there were some clever transitions that were more thoughtful in their choreographic and theatrical intentions.  The lighting was not fully realised in these segues.

One segue I enjoyed was when Heather Holliday walked en pointe in red pointe shoes. This was such a brief moment of walking en pointe!   The red pointe shoes needed a clean and had seen many shows.  Or maybe buy some new ones.

The Set and Lighting Design by Philip Gladwell varied in approach and execution.  The staging was the raised pathway leading to a central raised ring about two to three metres in diameters. The band stand was at the back with a central entrance and was in classical circus layout.  There was also one stairway leading to the ring area.  (Maybe there was another staircase on the left side also but we could not see it).

The lighting when at its best was when it was theatrical and had old fashioned circus pizzazz.  The effect of the tunnels of lighting creating an enclosed cage for the balancing act was brilliant.  

Choreographically the hat and cane routine was very sloppy.  I have seen Fosse style choreography many times and the dropping of hats and canes is inexcusable on more than one occasion.  Once is an accident, twice or thrice is sloppy.  The footwork and bodies need to be slicker and sharper in their execution of the steps and be able to contrast to any fluid moves. Compare this to a "Pippin" routine with their crisp and clean execution.

Choreographically and staging wise the director had 270 degrees available to the audience.  The other 90 degrees was used for the band and two aisles for entrances.  Sadly much of the choreography and staging was directed outward as if in a proscenium theatre.  It was only during the swinging poles routine and the caged Balancing Act where the action was directed out to more areas. There was also a short section of the tap routine that was directed to the 270 degrees.

I yearned for more Burlesque and Vaudeville style provocative stances and choreography from both sexes.  See any version of "Gypsy" with the three strippers and their bawdy ribald routines and compare with this choreography (from "You Gotta Have a Gimmick") and you will know what I mean.  I wanted choreography that made these women goddesses or sirens rather than glazed over eye contact with their potentially adoring fans. Overall the men provided more of the teasing and seductive qualities at times.

Costume Design by Zoe Rouse was adequate and not as exciting as I have seen for this type of show. The red outfit worn by Heather Holliday was the closest to theatrical.  As was the tulle overdress worn by Evelyne Allard.  The men's outfits were serviceable for each performer's purpose.  They needed grander capes and jackets that they could discard.  The white suit worn by  Elyas Khan also had the sense of cabaret for this show.  Though do clean the white boots please.  Scuffed white boots detract from this magnificent costume.

I was impressed with the overall quality of the singing by all performers.  The sounds made by Elyas Khan were varied and skilfully executed.  The volume levels were not excessive; which was such a relief as sometimes I have been to similar shows and have been deafened.  Thank you for the appropriate sound levels.  Mikael Bres provides some beat-box music to the show as well.

I thought 75 minutes was a good time and it could have been ten minutes shorter for the audience to beg for more.  Or with improving their segues and transitions "Limbo" could be a tighter 75 minutes. 

I do not care about the supposed awards a show can be coveted.  I have seen many shows in every genre over 49 years and will give credit where due. 

Individually each of the acts varied from between a 7 and 9/10.  It was the gaping holes and lack of quality filler, segues and transitions that reduced my overall score for the entire show.  This was an excellent Fringe Festival rather than a great  Melbourne Festival show.

Overall my partner and myself each gave this show a 6.5/10.  It could be an 8/10  or 9/10 with revisions.

Masquerade, Sumner Theatre, Melbourne Festival, Sunday October 25th 2015

Masquerade, Sumner Theatre, Melbourne Festival, Sunday October 25th 2015

"Masquerade" by Kate Mulvany and based on the book by Kit Williams was presented by the Griffin Theatre Company and the State Theatre Company of South Australia at the Sumner Theatre, for the Melbourne Festival, Sunday October 25th 2015.

For those new to my blog I write about the holistic experience of attending the theatre.  So if you want a re-telling of the story please refer to the links for further information or for further insights.  Note, that I may provide different links for repeated main words or phrases.

I love to reminisce about the shows I have seen over my lifetime.  I mainly write this blog for my own memory and it is wonderful to share it with people.  As I have been writing this particular post, my enjoyment for "Masquerade" heightens.  My memories are consolidated.  My heart soars and my soul is nourished. (I wrote this paragraph and could not decide to put it at the end or the beginning.  I chose to place it at the start to give context of why I adore my theatre, and also why I whine about mobile phone usage during a show!)

Kate Mulvany transports us into a world of both realism and fantasy.  It is a world of hopes and dreams, disappointments and mortality.  She has adapted the book by Kit Williams and interspersed her story within this play with music.

The opening outline of the proscenium arch of the theatre is superbly designed with lots of letters.  I knew there was a hidden message in there somewhere, even though I had not read the book.  It instantly created an atmosphere of wonderment, intrigue and mystery.  This is what more shows need to incorporate to build this immediate contract with their audience.

The Melbourne Theatre Company has a welcoming foyer with both upstairs and downstairs bars opened.  This is what the Arts Centre Melbourne need to do to ensure patronage particularly at The Playhouse upstairs which is rarely staffed.  John Truscott would be proud of the holistic experience created at this Melbourne Theatre Company venue.

With the announcements they could have asked patrons to turn off their phones and no recording "as it may interfere with the hospital equipment."  This would have garnered a laugh as well as get the "twanking" devices turned off.  Sadly phones were still being turned off during Helen Dallimore's entrance where she picks up the book.   They should have announced which child was playing the part of Joe for each performance too.

It was so hard to hear Helen Dallimore during the opening scenes.  The volume was noticeably lower than Act Two where you could both hear and understand her dialogue.  Either she projected more or the volume was turned up as I could hear every word in Act Two.  I mentioned this to the guy in the sound box at the back of the theatre at then end of the show and he thanked me for my feedback.  He was very obliging and also told me the name of the child actor as sadly two other staff could not tell me.

Helen Dallimore played Tessa the mother of Joe (played by Jack Andrew) with earnest determination and full of love.  She was totally believable as Joe's mother.  The final scene was so beautiful and touching.  Jack Andrew won the audience's sympathy fighting his crippling cancer/illness.  His solo singing was reminiscent of Lionel Bart's "Where Is Love" song from "Oliver".

I was so pleased that the sound levels had improved for Act Two and would love to see this show again to be able to properly hear Act One.  Sadly this was the last performance for its short festival run.

Kit Williams has lots of riddles in the book obviously and we have not read his book.  Sadly the riddles in Act One made no sense due to the volume of the music over-shadowing the singer, or the singer's diction was not clear enough.  I think the riddles need to be repeated for those who have not read it to make some sense.  In Act Two a riddle is repeated and was clearer than in Act One.

Sets and Costumes Designs by Anna Cordingley were terrific.    The central set was a cube frame with extendible steps at the back.  The curtains were hospital green in Act One and red in Act Two. I wonder if she realises the significance that green diffuses the colour of blood in the operating theatres and it is also a calming colour.  The curtains can be pushed across as in a hospital.  In Act Two the colour scheme for the curtains and the bed changes to red and is much more sinister and foreboding. Here the curtains are pulled down as if the world of Tessa has had the carpet swept from underneath her.

The green curtains in Act One also serve as screens to show shadow video images. This is a beautiful piece of stage design that creates atmosphere and movement, and also progresses the story.

Above the central cube area is a large circle that has two banks of lights, one representing the moon and the other the sun.  At one stage these two light banks pass each other to create an eclipse.  A lovely piece of theatre lighting and stage design.

The large cube frame is central and stands on a raised platform that houses a revolve.  This is used effectively for changes of scenes and location.  The five piece band is located on stage left.

Costumes also by Anna Cordingley were clever from a theatrical perspective and practical for the numerous quick changes.  Penny Pockets played by Zindzi Okenyo wore the most elaborate costume being a full skirted dress with lots of pockets full of characteristic items.  The curly long wig and the large glasses created a larger than life character.  The special touch was incorporating the trick of the eye ball falling out of her head.  On her next entrance the left frame of her glasses had a black patch resembling a pirate.  A magnificent piece of complete costume design.

The Pig costume was effective as a simple step into costume with braces.  Gloves to create pig's trotters would polish this costume.  The Hare costume for Nathan O'Keefe was also a great piece of costume design, though some gloves for paws would finish this costume.

Costumes for Tessa, Joe and the nurses were all practical that defined each character.

Zindzi Okenyo is a versatile actress playing four different characters.  Her nurse was clinical and not obtrusive.  Playing the role Dawn had a positive quality, while Penny Pockets character could have been more defined physically as a baddie.

Kate Cheel as the Moon created a journey as we watched how the Hare did not pass on her message to The Sun played by Mikelangelo.  The Moon costume reminded me of the "Man in the Moon" dress worn by Gaylea Byrne in "Mame" at Her Majesty's Theatre in 1968.  Kate Cheel worked her Moon dress effectively to be uplifting and hopeful, and then in Act Two she worked her body and the dress despondently and sad.  Her shift in physical moods demonstrated a clear connection to the Moon's journey for children.  I wanted more of this physical clarity with some of the other characters.

The Fish costume worn and played by Zindzi Okenyo was fabulous as worked the costume to create a a character.  The lighting for the fish's entry reminded of the Beatles song  "Octopus's Garden" and "Under the Sea" from "The Little Mermaid".  I thought this lighting effect could have also been ramped up more to create beneath the sea illusion.  Maybe dropping the lights to increase the focus on the projections onto the cube could have achieved this.

The music composed by Mikelangelo was fun and memorable.  I loved the different tunes for the various songs and interludes.  My main beef was that sometimes the volume of the band drowned out the singer/s.  The lyrics were hard to hear.  I would love to buy the "Masquerade" music CD with the lyrics included to add to my Music Theatre collection.

The Barbershop Quartet minus Ali Aba was a good joke.  Though they sang quite flat which took away from their quality playing of various instruments.  In the tradition of "The Music Man" a Barbershop Quartet is slick - visually and vocally.

The violinist role of The Man Who Makes The World Go Round played by Pip Branson gave an honest performance.  When the music suddenly stopped when a mortal died, came as a shock and I was taken aback and emotionally charged.  It was a wonderful and sudden reality check. This was staged with sincerity and compassion without patronising the audience.   It was good theatre to bring us back from the fantasy.  Also having seen so much theatre it is lovely to be transported by such a simple theatrical device.

Pip Branson also played the Newton role reminding me of Professor Ratbaggy from the early 1960's television.  It is such a compliment as Pip Branson transported me back to fondly remember Ernie Carroll playing Professor Ratbaggy using old fashioned pantomime skills.

The wind effect could be ramped up a bit for more effect with both sound, staging and lighting design.  It is very much in keeping with, and pays homage to "The Wizard of Oz."

Mikelangelo played The Sun and The Practical Man.  Mikelangelo is also the composer of this terrific score for adults and children.  Singing wise he was a bit flat but I forgave him as he wrote such wonderful music.  Playing the Practical Man visually could have used more gesturing or posturing be an obvious baddie.  I enjoyed The Practical Man's downfall in Act Two.  The classic three times joke was fun: when he was trying to sell a piece of string as a necklace, then trying to sell pegs as earrings and then a cockroach that was gobbled up by the Hare.  (Mikelangelo reminded me of Bryan Batt from "Mad Men").

The second act had more heart, soul and humanity than the first act which was more clinical in its approach.  I mean clinical in that there were so many elements to get across with the riddles and the characters and the loss of the amulet.  With the two stories happening concurrently it also reminded me of "Matilda" and how they added the extra story into the musical.  Here, "Masquerade would work better in Act One with more clarity of the riddles.

The characterisation of the baddies were not defined enough for identification as baddies.  The closest was the Practical Man who obviously stole the amulet.  The role of Penny Pockets, if intended to be a baddie needs to be physically and vocally nastier.  This is old fashioned pantomime and we should want to boo and hiss the villain and cheer the hero.

The Bag of Dreams prop was absolutely so simple and created so much emotion as each balloon was released.  This section was poignant and very moving for adults;  and also tender and full of hope.  It was one of my favourite moments in the show.

It was lovely to hear children talking to the characters in Act Two, as in the tradition of an old fashioned pantomime.  I wanted more of this with heightened clarity.

The ending is very moving and realistic without being morbid.  The music plays on.  Congratulations to the directors Sam Strong and Lee Lewis.

This show, "Masquerade" will do very well internationally as the book is so well known.

This was our final show for the 2015 Melbourne Festival.

Another year passes and not one show started on time at the 2015 Melbourne Festival.  This show began at about 6.39 pm.

An older lady in about C Row was asked by an usher to stop taking photos at the end.  Maybe a proud Grandmother, even so it is not amateur theatre!

There has been a theme with about five shows testing the boundaries with fantasy and reality, and the contrast between rational and irrational thoughts.

Love conquers all is a lovely theme for this show, along with "never quit"  or "never give in" as in the famous Winston Churchhill speech.

Overall my partner gave this production a 6/10 and I gave it a 7/10.