I Love You, You're Perfect, Now Change, Griffith University Queensland Conservatorium, Chapel Off Chapel, Saturday April 22nd 2017

"I Love You, You're Perfect, Now Change", Griffith University Queensland Conservatorium, Chapel Off Chapel, Saturday April 22nd 2017

"I Love You, You're Perfect, Now Change", with book and lyrics by Joe Dipietro and music by Jimmy Roberts was presented by the Griffith University Queensland Conservatorium, Chapel Off Chapel, on Saturday April 22nd 2017

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. 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 write for my memories of what I have seen, and is more of a stream of consciousness.

Immediately arriving home I wrote the following paragraph onto my Facebook page:

"The Griffith University/Queensland Conservatorium production of "I Love You, You're Perfect, Now Change" played a short three night season at Chapel Off Chapel.  They are going to play in Sydney at the Lend Lease Darling Quarter Theatre 1-25 Harbour St Sydney from April 27-29th 2017.  They did a fine job, with what is usually played as a four-hander, with a cast of 27.  The harmony singing was terrific and there were some very talented young performers. They changed some of the songs for a larger ensemble that gives more depth to the music.   Some of the comedy timing works better than other scenes.  They played the poignant scenes with honesty. I laughed a lot tonight and thoroughly enjoyed the show."

"I Love You, You're Perfect, Now Change" was presented by Griffith University Queensland Conservatorium, at  Chapel Off Chapel for a short three day season and we saw it on Saturday April 22nd 2017

Some scenes worked better than others, though the singing was generally very good.  The diction with singing was clearer than some of the speaking.  There were rich harmonies and this is where the cast shone with the large ensemble numbers.

Yes, some segues between scenes could do with tightening up.  But, hey this is a student production of the highest quality.

Acting wise some of the cast maintained their character with more conviction than others.  The best actors were those who clearly defined their character, even when a background player.  It was terrific to see the roles shared among the whole cast.  I now prefer this version with a larger cast as it showed us more versions of regular people in these situations, and struck a nerve-of-recognition by the audience's laughter and engagement.

The small orchestra of five played the score well and were not distracting as they were upstage centre during the entire show.  Three of the orchestra were in the main cast and showed their versatility for future employers.

This musical was well cast with the student cast as they played a variety of roles and ages.  This young cast brought Joe Dipietro's book and lyrics, and  Jimmy Roberts' music to life.  No wonder this show ran for nearly twelve years Off-Broadway with such a tight book and such hummable tunes.

Lighting Design by Tom Dodds was basic and adequate.  The simplicity of the design was its success with no flashy tricks, but rather designs that kept our focus on the required action.

The programme clearly outlined the musical numbers and scenes with the corresponding cast list that aids in my memory of the show.  I hope that more production companies follow their example.

Chapel Off Chapel has renovated the bar and toilets that gives the venue a much more appealing supporting role.

During Act Two, there was a mobile phone incident that the entire theatre could see.  In the second row aisle seat, a woman just had to check her messages during a song.  She held her phone up high enough so that the back row could not miss her rudeness.  It was so distracting as the front row seats were vacant for any late comers.  Her prominent holding of her phone so high even took the cast aback by her rudeness.

The opening set the scene for what we were to expect.

I do not remember "We Had It All" in the 1999 version that I saw at the Athenaeum Theatre.  The "Not tonight I'm busy" scene was played well by Zoe Harlen and Oliver Lacey as they replayed variations of the scene over time.  They set the mood and the standards for many of the scenes to follow.

"A Stud and a Babe" showed us how both Jessica Mahony and Grady Swithenbank can transition between nerdy characters to more confident characters.  His costume was decidedly gaudy in keeping with the lyrics of the song.

The men sung "Why? Cause I'm a Guy" with gusto and verve.  They showed their commitment to the choreography with their defined characters' poses and mannerisms.  The ladies had masking concerns due to the small stage.

"Tear Jerk" showed us the change in Casey Martin's character with humour while he watched an unwanted "chick flick" as Shubshri Kandiah graciously and steadfastly held her characterisation.  The ensemble on stage left was in semi darkness with a simple and effective lighting plot by Tom Dodds, reminiscent of the cinema scene from "Equus".

"The Lasagna Incident" was well staged with Jordan Malone restraining her sexual tension, while we questioned Philip Jones' character's sexual preference or his virginal naivety.

"And Now the Parents" was one of the funniest scenes due to the defined characterisations of the parents ably played by Olivia Fisher and Josh Whitten.  The choreography by Helena Moore was crisp and clean with six framed observers seated watching the antics as if a Greek chorus.  They reminded me of the paintings on the wall from Harry Potter's Hogwart's school halls observing the action.  Austin David Cornish and Georgia Spark played the prospective couple and allowed the parents to shine during "Hey There, Single Gal/Guy".  Some women in the seated ensemble were not as clean with their head movements as others.  The crispness and sharpness added to the humour, especially with the more expressive faces.

"Satisfaction Guaranteed" was a funny scene especially with the entrance of the two men wearing lampshades on their heads.  With no wing space they entered via the tunnel on the audience left. It would have been funnier with a cleaner entrance from the wings of a theatre, and these young performers navigated the space with some hesitation, but I admired their determination.  Of all scenes, this looked like a drama school exercise.

"He Called Me" was a terrific scene especially for the journey of Shelise Vandal's character.  She showed us how we can get caught in unwanted phone-calls with honesty, and juxtaposed this with the change in her surprise in the second phone-call.  The choreography could have been executed a bit more accurately with the use of the pizza boxes.

"Scared Straight" was my favourite scene with the exactitude of intention from all four main players.  The entrance of Elliot Baker will not be quickly forgotten.  He has a rich tone to his voice and reminds me of Rowan Atkinson.   The young couple Sammy Sand and Jenna Dearness-Dark showed us how quickly they could be convinced to be united by the measured manipulation of Elliot Baker and Georgia Bolton.

The "Wedding Vows" scene was well staged for a large cast on such a small stage.   Some of the supporting cast defined and maintained their character more clearly than others.  The kiss sealed the end of Act One.

Act Two began cleanly with the end of Act One kiss.  This was where the basic lighting was at its best showing the couple in silhouette to begin the act.

Act Two shows the various characters aging with children, sexual deprivation, relationship complacency and funerals.  The characters age well and are well cast.

"Always A Bridesmaid" was a song made in heaven for the statuesque Hannah Gwatkin.  She would make a wonderful Ado Annie from "Oklahoma".  The version of this song with two other females (Maddison McDonald and Zoe Harlan) and the lone male, Casey Martin was poignant and touching to reveal, that men too, can play second fiddle to a bride or groom.  The harmonies were rich and emphasised the pathos of the scene.  Here the costumes worked well to highlight the ridiculous amounts spent on weddings.

"Whatever Happened to Baby's Parents" and "The Baby Song", could have been hammed up, but not so, as this scene, was in the capable hands of this fine trio.  They drew blood with the laughs they received from an audience who cringed in recognising common behaviours in this scene.  Joshua Moore's humiliation of baby talk was haunting.  The simple props aided the scene.

The "Waiting"  sequence and the "Waiting Trio" song was better than the four characters version. The 32 seconds of the football game drew lots of laughs of recognition from the audience, as Georgia Bolton was not to be disturbed by Shrubshri Kandiah.  The queuing for the ladies toilets was visually more realistic and desperate with five ladies. Manda Flannery had us convinced that she needed to pee.  Josh Whitten was brilliant in his shopping porter sequence and the audience roared laughter with recognition at his character's plight.  He is a real talent to watch and would be terrific as Nicely Nicely Johnson from "Guys and Dolls".  This sequence reminded me of the split-action during Sydney Theatre Company's version of "Falsettos".

"The Family That Drives Together" and the song "On the Highway of Love" was my favourite scene for the clarity of defined characters by all five performers. The timing of the comedy worked beautifully with the sly nuanced idiosyncrasies of each character.  Oliver Lacey as the dad who finally had control behind the wheel of his car revealed his macho ego, as the mother was played with requisite nervous tension by Courtney Monsma.  The baby with dummy was played by Olivia Fisher, which was a great piece of casting, as she surprised us by her sudden change in age as the mother from "And Now the Parents".  The two older sisters were played with conviction by Jessica Mahony and Jordan Malone.

"Shouldn't I Be Less in Love With You" highlighted the stillness of Meg Hamilton's aura as she quietly read the supplement from the newspaper, while her husband, Elliot Baker lamented his complacent love for her.  The scene was more poignant for her measured underplaying and comfort in her own surroundings.  Both played a middle aged couple with honesty.

"The Very First Dating Video of Rose Ritz" had Lauren Ware doing a sterling job in this self revelation that grows into a confessional scene of assurance and self satisfaction to be comfortable in her own skin.  This is a scene of resolve and the final lines are telling as she does not want to change a thing, which is in stark contrast to the title of this musical.

"Funerals Are for Dating" and "I Can Live With That" was poignantly played by Georgia Spark and Caleb Robinson-Cook who played the older couple with conviction and sincerity.  It is a very quiet and reflective sequence and brings the musical into clear focus of our humanity.

The finale, the "Epilogue" and "I Love You, You're Perfect Now Change" was stirring musically with the resounding and sensational harmonies of the ensemble.  The staging was brilliant to pair or group the performers as we were reminded of each character's journey.  I was glad for a reprise, but I wanted this whole sequence repeated.  I think by the audience's applause they wanted "Epilogue" and "I Love You, You're Perfect Now Change" completely repeated.

Sue Rider, the director should be very proud of this fine group of young performers.  Musical Director, Heidi Loveland should also be proud of the fine ensemble.

Overall, this production obtained an 8/10 from me, while my partner gave it an 8.5/10.

Lord of the Flies, Matthew Bourne's New Adventures & Re:Bourne, State Theatre, Arts Centre Melbourne, Saturday April 8th 2017

Lord of the Flies, Matthew Bourne's New Adventures & Re:Bourne, State Theatre, Arts Centre Melbourne, Saturday April 8th 2017

"Lord of the Flies" from the novel by William Golding has been adapted by Matthew Bourne's New Adventures & Re:Bourne, and was presented at the State Theatre, Arts Centre Melbourne, Saturday April 8th 2017

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. 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 write for my memories of what I have seen, and is more of a stream of consciousness.

"Lord of the Flies" is co-directed by Matthew Bourne and Scott Ambler, while  "Lord of the Flies" is choreographed by Scott Ambler, who uses a variety of styles of movement to encompass so many emotions and atmospheres. Scott Ambler has created iconic moments from the book and translated them to the stage with clarity and finesse.  His movement vocabulary expands from the archetypal to more specific.

The set and costumes are designed by Lez Brotherston who has succeeded on many fronts with the versatility of the available props and staging levels.  The set is a stage of a deserted theatre.  The boys begin in crisp school uniforms and gradually these change due to the circumstances.  The costumes on the racks should have been covered to be kept so clean, or, they should have been dusty to heighten the realism of a deserted theatre.  This took away an edge of the drama.

The transposition from an island to a disused theatre works and the set reminded me of the 2011 revival of "Follies".  This work would be so much more haunting in a venue similar to the old HSV Tele-theatre where "The Rocky Horror Show" played in Melbourne in 1975.

Scott Ambler's  choreography has succeeded on many fronts, beginning with the precision of the boys marching during their opening entrance.  The boys are in years and size order as they create a distinct school grading hierarchy.  They vary the formations to highlight their discipline and ability to follow instructions.    This is ominous as we readers know what is to come.  The subsequent formations and patterns highlight the passing down of traditions via a system within well drilled disciplined school.  What were the young boys to become in their formative years was shown by the older boys.  There is so much depth in the simplicity of the patterns: as we are watching their fate within this opening: to become like the older boys. All of the the young dancers were accurate and precise in their movements and would make the production team very proud indeed.

My heart leaped a beat of joy, as many of these young boys and men are having opportunities that will influence them for the rest of their lives.

Gradually the boys relax and become playful as they discover the insides of the derelict theatre.  This is where the choreography and staging becomes more complex.  Each boy has a distinct personality and they are responsible to tell their character's individual story.  The action is more staging rather than dance choreography and each boy has their moment to shine.  The staging is complex and integrates lots of small groups and duets and cameo solos to allow us to get to know the different characters.  Each boy has a unique way of moving for their character, some more defined than others.

There are some clever and theatrical uses of the 44 gallon drums to create cars and tanks that paid homage to the pedal car from "The Flintstones".  

A duet of gymnastic boys hung and swung on the poles supporting the main structure, with great precision and lovely lines.

A drumstick is discovered and replaces the conch from the novel.  The staging and choreography of the drumstick sequence is so clear emphasising the rules of listening to who holds the drumstick and the democratic process used by the school boys.

As the day becomes darker, mobile phones are taken out and used as torches to discover the theatre.  A search party is sent out to find food and water. This group goes into the audience.  They return with boxes of potato chips, sweets and water.  Wearing hoodies is reference to modern culture that challenges our traditional image of hooded youth from hoodlums to survivors or food saviours.

Simon (Patrick Weir) helps supervise setting up shelters and also is aware of protecting the younger and more vulnerable boys.  There is so much depth in these scenes that I cannot keep up with each of the characters.  I try to go with the flow.  I want to absorb so much of this production.

Gradually the boys turn to discovering, playing, and play-fighting until disorder eventually ensues. 

There is the famous pig hunting scene when the pig is beheaded and put onto a stake as a badge of honour.  There is short sequence that reminded me of Ravel's music and Maurice Bejart's ballet "Bolero".  This creates such a powerful image that is more disturbing due to their youth.  

The fire smoke signal scene is used to also keep the boys warm.

There is the power struggle between Ralph (Dominic North) and Jack (Daniel Wright) with a duet power struggle/fight sequence. Both men dance with conviction and unrelenting intensity.  Jack (Daniel Wright) develops from a confident strong man to a savage.

Piggy (Luke Murphy) assures Ralph (Dominic North) and supports him of his leadership role.  They join allegiance in fear of what Jack might become.  They use the clothes racks as shelter and protection and cover from Jack's gang.

Jack (Daniel Wright) breaks Piggy's glasses.  Piggy (Luke Murphy) goes searching for his glasses in a moving solo of pain and vulnerability.

A ghost or a stranger appears from the orchestra pit and I think this represented the corpse of the fighter pilot .    The young boy Percy (William Gilchrist) with his teddy bear sees the dead body and is frightened and seeks cover.

The dance becomes a ritual, that is tribal and primitive, and reminds me of the savages dances in old movies including "King Kong".

There is a menacing and maniacal chase scene of savagery, up and over and under the tiered set of scaffolding.  This chase is both dangerous due to the multi tiered set and the speed of the choreography.  The whole cast danced this sequence with requisite desperation and intent.

A young man on stage right unravels a tethered rope, and appears to lower a moon.  The various pigs dance a haunting pas de quatre in front of the moon to create striking silhouettes.   Simon (Patrick Weir) dances with four pig characters in a haunting nightmare.  Sadly, when pulling the rope back to raise the moon, the co-ordination alerted me that someone else must have been lowering and raising this large set piece in the wings. The entry of the moon entranced me by the magic of theatre, while the raising of the moon lost me by mistimed execution.

Some of the facial expressions and body language are priceless, while other expressions are forced and lacked a real connection to the emotional thread of the story.  The tender touch of Freddie (Joseph Wise-Nash) checking on another boy was magical and honest.  The shattering of the innocence of boyhood was played admirably Percy (William Gilchrist) with a clear arc of his character's story line.  His hiding under the step comforted by his teddy bear was priceless.

The roller door, upstage, opens and an armed soldier enters.  The boys are curious at his arrival, and gradually gain his confidence and leave - rescued from their ordeal.  Ralph (Dominic North)  sits at the front of the stage looking into the audience reflecting upon their collective experience and the future of mankind. This image is powerful as he could become the new theatre ghost.

Lighting design by Chris Davey enhances the various atmospheres to emphasise order, precision and discipline to the resulting fear, terror and savagery.  Chris Davey does so in many ways including dimming, focusing, spotlights, back-lighting and side lighting.  Lighting up the auditorium has a duel effect of the boy's exploring beyond the stage and more importantly exposes the audience members as potential victims or allies.  This effect makes many in the audience sit upright and take stock that they are also exposed.  This is a mirror to our world; as it could happen to anyone if you were in the boy's situation.

Music by Terry Davies builds from the military precision to foretelling doom to savage crescendos. Terry Davies' beat underscores many sections of the music to create a pulsating heart beat racing and trying to catch its breath.

There was not a weak performance in "Lord of the Flies",  and Matthew Bourne, Scott Ambler and  New Adventures & Re:Bourne should be proud of not only their theatrical work, but more importantly their work in developing these fine young men.

The calibre of the dancing was terrific and Matthew Bourne's New Adventures & Re:Bourne should be very happy.  The younger performers were watching their role models and were being mentored as to how men dance with masculinity and  strength.  These fine performers were so well rehearsed and showed that dance can display so many levels of emotional sensibilities and human responses.

I adore the story telling by Matthew Bourne, Scott Ambler and company as they make story accessible and understandable while many other dance works lack his clarity and precision.

I am saddened as I would like to see this production of "Lord of the Flies" again due to the depth of complex staging and specific direction for each character.  At times, there was so much happening that I did not want to miss out on the growth (or demise) of each character.  Mind you, the audience focus was central in the direction when required to ensure we did not miss out on the key elements of the story.

The programme for "Lord of the Flies" was good value as there was only one half page of advertisements on the inner back cover that showed the sponsors and partners.  I wanted the programme to include a short synopsis of some of the key events or a summary of the adaptation of the book.

New Adventures & Re:Bourne is one of the most accessible dance companies in the world due to their rich collective of talent in this company.   Matthew Bourne is a genius to develop so much talent internationally and I long to see this company again soon.

I am very keen to see more works by New Adventures & Re:Bourne, in particular The Car Man, The Red Shoes, The Sleeping Beauty, Cinderella, Dorian Gray, Nutcracker, Play Without Words, Highland Fling and Early Adventures as I have seen Swan Lake and Edward Scissorhands.

Overall "Lord of the Flies" obtains an 8/10.  My partner gave it a 5/10 as it went on far too long for his liking.

Note:  (When researching the links for dancers and artistic staff, I found the 32 page Teacher Resource pack on the New Adventures & Re:Bourne website.  I did not change my review and will read the Teacher Resource Pack to enhance my experience.  This is what great theatre does - it lingers on.)

The five page synopsis in the New Adventures & Re:Bourne website is brilliant and I wish this had been included into the programme.

Faster, Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday March 22nd 2017

Faster, Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday March 22nd 2017

"Faster", a triple bill of contemporary ballets was presented by The Australian Ballet at the State Theatre, Arts Centre Melbourne on Wednesday March 22nd 2017.

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. 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 write for my memories of what I have seen, and is more of a stream of consciousness.

"Faster" comprises of three ballets "Faster", "Squander and Glory" and "Infra".

"Faster", choreographed by David Bintley, originally for the London 2012 Olympics.  The opening tableau shows the dancers in various athletic poses.  They rotate as if on a lazy susan and posture into their poses again.


The costumes by Bec Andrews were fun, and paid homage to some sports more so than others, due to the obvious clarity of design.

The backdrop included the black curtains scrolling into various formations - showing a lit area at the top, middle or bottom.  It was as if we were scrolling through the selection of television stations to choose our sport for the night.  There were lines marked on the stage and up the two sides of the wing tabs, giving the impression of the corridor for each athlete's lane.

"Faster" is a good introduction to sports fans to ballet, but It could be potentially a greater work with more clarity.  Sadly the choreography gets confusing, namely, the duet that appeared to have an injury and seemed to be about fighting.  Wait, my friend read the pages in the program and it explains something about it. Great ballets stand by the choreography, and you should not have to read to explain what it is about for it to work.  We should not have to decipher to interpret the body language. It should be clear.  Great ballets express the kinaesthetic emotional connection to the back of the upper circle in a theatre.

The choreography, at times, had moments of brilliance.  Sometimes sections came across as the local ballet school end of year of performance.  The choreography was passable for "So You Think You Can Dance" group numbers.

Compare David Bintley's confusing choreography to Nijinsky's "Jeux" , or to Graeme Murphy's football ballet "Beyond Twelve" or even to Robert Ray's "Poems"; you can see the clarity and definition of the sports.

David Bintley succeeds the most with the simplicity and clarity of the Walker role, danced with tongue -in-cheek conviction by Ben Davis.  It is also paying homage to the three times joke from "A Funny Thing That Happened On The Way to the Forum".

David Bintley also succeeds with the aerial section that begins with the high jumper, exquisitely danced by the ever-reliable Amber Scott.  She was supported by the magnificent super-heroes Nathan Brook and Richard House.   The two fine men are from the Corps de Ballet!  Wow - what do we have to look forward to in the future from these fine men?  These three stole the "Faster" for me.

The synchronised swimming section was, at times, anything but synchronised.  Choreographically, there was a huge opportunity of the flashy and over-the-top entrance by competitors, the robotic and Instagram-moment of their pose before they dive into the pool.  Sadly, these moments were lost as they were not choreographed into the ballet.  The dancers showcased just how good the real synchronised swimmers actually are.  Remember, synchronised swimmers dance under water and are more synchronised than these dancers were.  

The basketball section could have played with the use of the group dynamics more, rather than the four dancers performing the unison ball-bouncing, throwing or leaping sequences.  Yes they executed this reasonable well, though one dancer was clearly not hitting their poses as cleanly as the other three dancers - it looked as if they were marking or walking their moves.

The Marathon section reminded me of a poor cousin to Twyla Tharp's "In the Upper Room".  I actually did enjoy the criss-cross of different groups and the pulsating of the various formations. The costumes were appropriate and realistic for the runners.  I most admired the dancers for their aerobic ability and their commitment to this work.

This ballet obtained a 6/10 both for choreography and for execution.

"Squander and Glory"  choreographed by Tim Harbour was a real surprise package.  Tim Harbour  has developed into a fine choreographer, though the opening group sequence reminds me of something I have seen before.  I am not sure if it was the Taiwan ballet and the history of Taiwan or another ballet.  Tim Harbour used this opening sequence and then surprised me with the break away formations.  The alternate groups dance different combinations that harmonised his work in a way  that I have not seen before.  I was so excited and was keen to watch this ballet progress.  

The male costumes by Peggy Jackson were not flattering at all.  The costumes did not work for me with the leggings with the bunched up fabric and crease which is not conducive to dance.  From the B Row in the Dress Circle, the men looked as if they had varicose veins  from the knees down with the lighting, the leggings, or both.  

The setting had a large mirror, reminiscent of "A Chorus Line" as the backdrop.  A large sculpture hung from above.  We could see the conductor, Nicolette Fraillon, in the mirror at times.  

The positioning or staging of the dancers with the lighting was frustrating at times until I realised the use of the mirror was integral to the action.  The mirror was part of the choreography, and cleverly drew our focus to ensure we moved with the dancers to get the best possible view of them.  Sometimes we had to watch the dancers, other times their reflections or both simultaneously. 

The dancers were so committed to this work with their steadfast resolve to look their best.  The entire cast danced so beautifully and should make Tim Harbour proud.

I adored the final image: the twelve dancers lying on the ground in a semi circle with the two main dancers centre stage, while we could see the conductor, Nicolette Fraillon framed so clearly in the mirror. It was as if she was a part of the ballet orchestrating and overseeing their every move as if God.

This ballet obtained a 7.5/10 both for choreography and execution.

"Infra"  choreographed by Wayne McGregor  reminded me of a play "Aladeen" I had seen in about 2004 at the Melbourne Festival.  The play was about call-centres in Mumbai and then how some of the characters moved to London.  The reason why I draw the comparison is that both pieces had a heavy reliance on the use of technology as a part of the action.  The difference here was that the technology was not overpowering, the figures projected on the backdrop were a part of the action.

This ballet also reminded me, and paid homage to the pedestrian walking scenes from the brilliant Jerome Robbins' ""The Concert".   Although there were no umbrellas in "Infra", the technology was its substitute.

The dancers connected with the music and to each other to bring magic to life.  They created electricity on stage with their various combinations and formations in such a way that the entire cast looked like principal dancers.

The dancing was brilliant.  To think there were numerous principals dancing, all of the dancers stepped up to Wayne McGregor's complex and demanding choreography, and they all danced to such a high standard.  

I have to make special mention of the young male dancer in the white t-shirt.  I think it was Jake Mangakahia who took my breath away.  He owned the stage without upstaging anyone.  Whenever he danced I could not take my eyes of his performance with his pure lines, and his dynamic athleticism.

The costumes by Moritz Junge were flattering for the dancers and complemented the work.

The figures scrolling across the backdrop highlight the short concentration span of modern life.  As the people they walk across the screen, it is as if  they are swiped from a phone or tablet after a viewer gets their endorphin hit.  It highlighted to me the disposable nature of people, friends or family.  Wayne McGrego shows us about connection for people and the juxtaposition of disregard for others.

Wayne McGregor gets us to focus on the real dancers and challenges us with our short memory spans to appreciate the fragility of life.  Sadly some audience members still do not get these images or messages as they have their eyes down on their mobile devices.  My neighbour tapped the gentleman in front on the shoulder to stop him playing on his phone.  Sadly his behaviour was not conducive to the major sponsor he was representing!.

I would love to see Wayne McGregor create a ballet with technology to demonstrate how Benesh Notation works to demonstrate the complex art of notation, and to highlight the amount of memory and skill involved in precision and execution compared to what is the ideal or desired execution of a choreographer's vision.  

I look forward to one day The Australian Ballet performing a triple bill of Wayne McGregor's works. That would be magical and may "Infra" be a part of that program.

This ballet obtained an 8/10 both for choreography and execution.

The printed cast sheet had a font so small, it is was illegible by most trying to read the fine print. Many audience members were laughing at the size of the small print.  The quality of the printing of the nightly cast sheet has deteriorated.

Overall this production obtains a 7/10.

The Homosexuals or Faggots, Griffin Theatre Company, Merlyn Theatre Malthouse, Wednesday March 1st 2017

The Homosexuals or Faggots, Griffin Theatre Company, Merlyn Theatre Malthouse, Wednesday March 1st 2017

"The Homosexuals or Faggots" a production by Griffin Theatre Company was presented at the Merlyn Theatre Malthouse on Wednesday March 1st 2017

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. 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 write for my memories of what I have seen, and is more of a stream of consciousness.

"The Homosexuals or Faggots"  is a farce which is a theatrical genre rarely written for the modern stage.  Melbourne is lucky to have two new modern day farces on our stages playing concurrently with "The Play That Goes Wrong".

"The Homosexuals or Faggots"  was directed by Lee Lewis from a script by Declan Greene.  The script is quite funny building on various perspectives of political correctness, free speech and offense.

The dialogue sounded real for the various characters with the different sentence lengths and word choices.  The build up of the situation created tension to ensure the audience was prepared for a farce.
Declan Greene is a playwright to watch develop with his keen ear and sharp wit.

Design by Marg Horwell highlights the minimalist modern apartment in Darlinghurst.  At times it reminded me of "The Book Club" set with the open stage or thrust stage format.  The hidden seat reminds me of many farces and old movies as in "Arsenic and Old Lace".  The red wallpaper on stage right, through the main door, was very amateurish as each character walked past the wallpaper shook.  This reminded me of some sets from "The House of Elliott".

The costumes were fun and inappropriately appropriate for the theme of the show.  The choice of costumes importantly added to the farcical action.

Simon Burke played Warren a photographer with a penchant for risque male models.   Warren reveals his secret desires that underpin through the mayhem.

Warren's husband, Kim is played by Simon Corfield with rapid fired academic dialogue.  Their relationship had the requisite tensions and familiarity of a long term relationship, including fantasies, suspicion and history.  Simon Corfield played the drama queen with aplomb and showed a development of his character.

Simon Burke was at his funniest when lecherous or dreaming of a Jewish circumcised man.  It was his Nirvana.  Vocally, Simon Burke has a rich voice that is easy on the ear.  Physically he was a little cautious, which is understandable as he had an ankle bandaged, possibly from a twist on stage. Genevieve Lemon plays Diana and makes an impressive entrance wearing a Bill Cosby mask.  She uses her body for maximum comic effect in her various guises.  When untying her hairy, this added to the tense build up with honesty and determination.  Her message was pointed and sharp.  Her hair let down was symbolic of her freedom to express her honesty.  This was a great scene.

Drop dead gorgeous Lincoln Younes played the male model Lucacz.  What was more memorable than his body was that he could actually act.  His ability to bring realism to his role with his natural physical attributes and more importantly develop his character was impressive.  Lincoln Younes  showed us what he wanted to achieve and added to the mayhem.

Mama Alto played the dual role of Bae Bae and Pam.  I adored the confusing mispronunciation of Bae Bae as "baby" by various characters.  The repetition of a joke is fundamental to a good farce.  Mama Alto distinguished both of these characters with very deliberate physical and vocal choices.  She accomplished these differences with skill and assurance. Mama Alto also channels  Drew Forsythe from Sydney Theatre Company's  "The Venetian Twins", which had quicker entrances for the dual characters.

The play took about five minutes to build up for me, though other audience members were laughing.

As a modern day farce "The Homosexuals or Faggots" is laboured with the slow pick of cues at times slowing down the action.  There was not enough business by each character showing us what they needed or wanted, for a farce.  There was not enough of door slamming and misadventure.

More could have been played with the sliding door to the bar covering the front door for near misses and potential accidents to keep the audience on their toes.

Staging wise, the sight lines were lost at times with the main front entrance.  We had centrally located  seats and struggled at times to see entrances due to the masking by other actors.

The final moments were thrown away, as some audience members could not see the action of Kim's reaction clearly, due to masking.

Simple physical masking issues should have been resolved much earlier.  I wonder if the director moved around the seating arrangement to obtain different views of the stage.  For once, I think the most extreme side seats would obtain a better overall view of the action.

The final section could be reworked to highlight a more dynamic ending: with the chaos of Pam waking up and how Warren and Kim deal with this.  The ending fizzled out and my partner could barely see the final exit due to masking.  The ending need to smack you in the face rather than have a 1960's sci-fiction movie question mark ending.  This farcical ending was not as strong as other farces that I have seen.

Griffin Theatre Company have presented some great works at the Merlyn Theatre Malthouse with their version of "Holding the Man".  I long to see more work by Griffin Theatre Company  and hope they return more regularly to Melbourne.

"The Homosexuals or Faggots"  is a fun night at the theatre and will be popular with the amateur and community theatre groups.

Yes I gave this a 7/10 but with some work it could be a 9/10 production.

The Encounter, Complicte, Malthouse Theatre, Wednesday February 8th 2017

"The Encounter" by Complicte, Malthouse Theatre, Wednesday February 8th 2017

"The Encounter" by Complicte was presented at the Malthouse Theatre on Wednesday February 8th 2017 as part of their annual season.

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. 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 write for my memories of what I have seen, and is more of a stream of consciousness.

"The Encounter" is fresh from Broadway and Sydney Festival seasons, and is a masterwork directed by Simon McBurney for Complicte.  I have seen Complicte with "The Three Lives of Lucie Cabrol" in 1995 and was in awe of their story-telling skills.

Richard Katz plays multiple roles and seamlessly adopts the different characters with various voices and body language.  He is a master at his craft.

I have read nearly every book by Gary Jennings including "Aztec" which gave me an insight into what may occur in "The Encounter".

Entering the theatre, a set of headphones was sitting on the backrest of each seat.  An announcement urged audience members to test their headphones prior to the show starting.

Richard Katz was upstage and talking to a lady.  He was preparing for his performance.  He waited patiently.  Was this the beginning?  MMMM,  it was one of the major themes for the show.

He stepped forward at about 7.35 PM and announced that we were waiting on some late comers.  A man in the front row stood up and left the theatre.  He never returned to this seat and it made me wonder that this in fact was THE BEGINNING of the show.

Richard Katz acted as our narrator and introduced us to the concept of the headphones and tested them again to explain what we should hear in each ear.  He also explained the difference in how distance from the microphone can effect sound quality etc.  He took us on a fun educational tour of the central microphone that provided enormous variations of qualities of sound.

We closed our eyes to be transported to imaginary and real places with real sounds and sound effects.

He took us on a journey to challenge our perceptions of time and reality and place.  I loved this introduction and how my heart soared with the possibilities.  

I know "The Encounter"is based on the Petru Popescu book "Amazon Beaming", which I have not read.  Richard Katz took us on the most fantastical journey that reminded me so much of Gary Jennings' "Aztec" stories. 

My partner thought the show was about ten to fifteen minutes too long.  I understand that thought, but I was flying through my "drug of choice" - this amazing show!

I was saddened that a woman to our left rudely checked her phone at least three times during the show.  The light from her phone illuminated and hit my peripheral vision.  I am saddened that she could not be transported and taken on a ride.  She missed out on Richard Katz's request at the start of the show to turn off her phone, but more importantly allowed herself to be held prisoner to her phone. She really missed the point of the show.

"The Encounter"  is one of the best shows I have seen in years and gets a 9/10

The Echo of the Shadow, Teatro De Los Sentidos, ACMI Found Space, Melbourne Festival, Wednesday October 19th 2016

The Echo of the Shadow, Teatro De Los Sentidos, ACMI Found Space, Melbourne Festival, Wednesday October 19th 2016

"The Echo of the Shadow", Teatro De Los Sentidos, ACMI Found Space, Melbourne Festival, Wednesday October 19th 2016

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. 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 write for my memories of what I have seen, and is more of a stream of consciousness.

"The Echo of the Shadow", Teatro De Los Sentidos, ACMI Found Space, Melbourne Festival, Wednesday October 19th 2016

"The Echo of the Shadow" reminded me of 1967 when I was in Grade Two and there was a horror maze by the Grade Six students who were raising money for the missions.  It also reminded me of when I auditioned for the Melbourne State College drama teaching course in 1977 as they also set  up a maze.

I was led to a door and told by a lady as we were looking beyond and down an escalator "The path is ahead.  I don't know where it leads.  There is a librarian at the bottom of the stairs who may be able to guide you."

So begins the journey.

Walking down the stairs I looked at the desk and the pile of books with a chair.  There was a door and the sign said "The librarian will be back in 5 minutes".

Was I going to wait?  I waited for a bit.  I looked at the books scattered on the desk.  I saw a person or a model or a dummy sitting on the other side of a window reading.  It looked like a woman and was still.

I went through the door as I was not going to hold up the next person in the queue.

As I went through the door I saw it was a lady sitting at the desk inside this library full of bookshelves and with a warm feeling of knowledge and wisdom.  I was in my element entering this realm. This was not a dummy or a model but a real lady reading a book.  She was still.  I think she was a part of the show as she was so motionless.  That was another reason why I entered the library. I thought it could be a trap.

I peered over her shoulder and then I nearly jumped out of my skin as a man walked up behind me.  he led the lady away.  I was told to wait.

I was then led by Enrique who introduced himself and told "to select a book that would be my life story."  AAaaaaaaaaaaaaaah!  Where to start? I thought.  There are so many aspects to my personality and my interests and desires and dreams.

I chose a book called "The Unknown" and held it tightly as I searched for something that could add more meaning to my choice.  I kept looking and found a curtain.  I snuck behind the curtain and I realised I was not meant to go there - YET!  I came out and kept looking for my book!

I found a book and tried to remember the title.  It was a self discovery book.

Enrique stood next to me and took away my book and replaced it with a little red book.  I wanted the book back.  I wanted to savour its name and title! AAAAAAAAAAAhhh!

I had to know the name of the book and asserted myself and picked up the book I had chosen.  I had to know its title.  I think it was called "Learning from the dead" and sadly I cannot remember the author.  This book was alive and had so much jumping out at me.  It was alive and speaking to me from all those I have lost.  I do not know if it is this link or another book.

Enrique now directed me to the curtain, the one I had sneaked through earlier.  I was sad to leave him. This library was so rich and enticing and full of life.

There was a lit grotto behind the curtain and many objects were in a case.  There was an array of objects of different shapes, sizes, textures, weights and scents.  I felt objects.  I smelt them.  I was not going to taste them, but tried to holistically enjoy the sensory range of experiences.  I know there are more than the traditional five senses and relished the inner sanctum of sensory delights or challenges.

I remember the sandalwood and the soap and the flickering candles and feeling the netting against my face.  I touched and savoured the senses.  I picked up the little tickets.  Where were they used?  Who by? When?  What sort of journey did the lead?  Are they the tickets to my journey?  Are they permission to continue?   So many senses were being spoiled ....and.... so many ands....!  I did not want to leave this room.  But I sensed I was to be taken away again.

I felt a presence - a man.  Barefoot. He stood and raised an open palm welcoming me or calling me to follow him.

I was led along a path to a room with sand on the floor.  I espied a suitcase to my left and a circle with an old fashioned type plough.  There was a central axis and a large wooden handle to push on.  On the other end of the plough was a pile of sand.  A mound of fresh sand sat like a pyramid. There were swirls in the sand.

He opened the suitcase and inside sat a pair of Dobbie Gillis style sneakers.  He looked down at my shoes and indicated for me to take off my shoes and socks.  I was disappointed as I had a small cut on my foot and I did not want it to get infected.  I declined the offer and he was reassuring and comforting and said something like "You do not have to explain."

He said "Make sure you feel with your hands".

I bent down and touched the sand.  I made shoe prints, and, hand prints - as if I was at the Grauman's Chinese Theatre in Los Angeles.  I knew these prints would not last.  I crouched on all four's as the wheel was turned.  The sand on the opposite 180 degree was being smoothed as the wooden arm was pushed.  An image of the footprints is so short.  Life is so short.  Our footprint has an impact and then we are gone.  Life is short and precious.

I did not want to leave this room either!  The experience is so rich and rewarding.

I guessed my shoes would have been put into the case and delivered at the end of the experience.   I tried to imagine the feeling if I had given up my shoes.  I tried to imagine what I would have felt had I given up my shoes.  Yes, I guessed correctly the shoes would be at the end!

Savouring the experience:

"Cutting out the shadows" room was where I got to choose the outline of a cutout piece of paper, or the framed template of the cutout.  It was choosing between the positive or negative of a cutout.  I was asked "Do you like your shadow?"  I said "I love my shadow".  I chose the framed template cutout when asked to select one of the shapes.  The actual cutout was then thrown behind a curtain.  My chosen framed template cutout was put into a case.  I cannot remember what happened to it next.

I went into a room where a man sat.  There were wheels along the far side.  He sat at a table that seemed to be a blackboard.  There were chalk pieces.  He drew a noughts and crosses board on the table and invited me to play.  He drew an X.  (Interestingly people say "O" or "zero" and rarely use the word nought.  Yet many people will call it "Noughts and Crosses" rather than "O and Crosses" nor "Zero and Crosses"!  Though in the USA they call it Tic, Tac, Toe.)

I considered my move.  I was playful and wanted to see his reaction when I drew a "?" instead of a nought.  He was genuinely surprised and loved it.  We played the game. He was so playful and he won.  He cleaned the blackboard table.  I picked up the chalk and wrote "Thank you".  It was so heart warming.  My note or the cleaning sheet was put into a flying fox and whizzed across the far wall. Now I understood what the wheels were being used for.

I am writing these notes from my short hand notes in January 2017.  That is over two months since I attended this show.  I am still savouring the show, though some of the details do blur.

Was it a sheet that was whizzed by the flying fox?

A female photographer took my photo in what seemed like a corridor, and my shadow appeared on the sheet.   I chased my shadow.  A sudden blackout darkened the space! The lighting changed and my shadow disappeared again.  I sought my shadow as I was searching deep within my soul and my psyche.  The lady took the sheet and hung it up as if on a clothesline.

Yes it was a sheet as it was hung up in a maze.  No pegs were used.

It reminded me of the dancing clothes line sequence from either the "Ziegfeld Follies" or "Ziegfeld Girls" movie.

I sneaked through this maze of sheets hanging.  I sneaked behind some of the sheets to get a different perspective.  This was my journey and no one was going to stop me.  I was like Dorothy trying to find the Wizard from Oz.  I wanted to seek out any foreign obstacles.

I wanted to be prepared.  In the distance was a small house.  I was not going to be rushed.  Was there going to be a big bad wolf behind one of these sheets?  I know it sounds childish.  But it was wonderful to relive some childhood games and memories.  It was as if  my life was flashing before you in a few minutes.  ( I know that feeling sadly courtesy of a near death experience at work in November 1998.)

I was hanging on for dear life.  I did not want this show to end.

I entered the Doll's House and young lady was seated on a stool.  I approached and was welcomed and sat down on a stool.  She asked me for my book.  I gave it to her.  A small bowl sat on the ground near her feet.  I reached down to explore.  She dipped a brush into this small bowl and painted a stroke in my little red book.  I was given the book to smell.  I luxuriated in the moment and as I continue to write my memories on January 19th 2017 the experience lingers.  It was an expensive experience but so cheap for the months and years of in-depth memories that permeate my being.

The order of the experience blurs, while the experience leaves an indelible impression on my being.

I entered a tent and lady had a stool for me to sit on at her table with a bowl of strawberries.  She pointed for me to select a strawberry.  I picked one and she cut it in half and dipped it in chocolate.  She offered to feed me with this strawberry.  I wanted to remember this moment and rather than eat the strawberry I wanted to put it in my red book.  I wanted to taste the strawberry but not be fed.  I was not allowing her to feed me like she was subservient to me.  I was not going to be Cleopatra demanding my grapes be peeled.  I did not think this was luxuriating but humiliating for her.  I smeared the chocolate covered strawberry in my red book and she scolded me and pointed for me to leave.  I knew we had choices in this experience, and I was curious if everyone had been told to leave no matter what choice they made.   I was pleased I made my choice as she did not understand why I made my decision.  I did not want to be spoon fed the same experience.  (Later my partner told me that he too was scolded, but for different reasons.)

A sequence with the origami boats occurred with a young man and I playing with a cut out sailing ship as if the ship was sailing through the waves.  The sea and waves became rougher.  I thought I could hear water lapping.   A man fell overboard - over a makeshift wall. The young man pulled on some ropes and he was saved and back in the origami boat.  I felt relieved and a warmth shot through my body.  I could hear water lapping again and suddenly the black curtain opened.

A welcoming arm came through the drawn curtain.  I was invited to step up and forward into a small boat.  I smiled and fare-welled  my host.

Stepping into the boat and instructed to lay down, I recognised an actor Garry Abrahams.  I did not say anything and trusted this experience even more as I respect his work and integrity.  A sheer veil or gauze was placed over my face as if I was in a Indian cremation ceremony along the Ganges.  It felt like my near death experience and I savoured the gratitude of my life laying in this gentle rocking boat.  I laid in awe of the simplicity of this moment and tears welled in my eyes as I succumbed to the experience.  Floating and sailing to a new adventure.

I was led, by a man, to a ramp with roped sides, and directed to walk up the ramp.  I began and then turned back and I wanted to walk backwards for a few steps to savour the experience and recall where I had come from.  I was berated, and he grabbed my forearm and told sternly "Stop".  I thought I am not a child.  This is my experience and I have had a lot of experience with safety issues.  I am not a drop-kick and going to endanger my life or yours, I thought.  It felt so contrived and manipulated as if this was the second time we had to be challenged on our journey.  I felt stead fast that I am not going to be controlled,  Coerced or encouraged, yes - but not discouraged.  It made me feel my determination in my life and my resilience to bounce back and move forward.

I entered another area where I was invited to sit and rest.  She said "you can sit as long as you want." The two people who had gone before me were seated in this space.  One, my partner had gone two people ahead of me and I sat away from him.  I did not want to affect his experience.  Small log-like stools and benches were scattered in the space of refuge, and a place for contemplation and reflection.  Inside a small cave cut-out area a woman tended to a small campfire where water was boiling.  She was also washing small cups and other items.   She was content in her work and offered me a drink to refresh myself.  I sat and re-lived so many aspects of my journey.  I contemplated the connection to my life and similarities in how I travelled in this experience.  I tried to recall so many feelings, thoughts, memories, pictures, senses as I sat.  I took my cup over the young lady who was washing some cups.  I thanked her.

I left this space richer for the experience.

I remember the kinaesthetic experience of touch and movement.  The various textures on the floors, walls were felt by my hands and face.  During the pitch black sequence of walking along a corridor I felt confident and not scared of the dark.  I could imagine some people may be thrown with this pitch black atmosphere.  My balance was compromised as I walked along feeling my way.

I had not felt this amount of exhilaration for years.  The last time was during and after "Since I Suppose" at the 2014 Melbourne Festival.

There were more than the traditional five senses in this experience.  I would add those of anticipation, time related, geographical, spatial, fear,

The experience reminded me of "Westworld", where patrons pay to enter the Wild West theme park.

I left with my scented and now chocolate-and-strawberry-smeared-red book!  I had a unique souvenir that hopefully will end up with the rest of my theatrical collection in the Performing Arts Collection at the Arts Centre Melbourne.

Thankfully, no mobile phone issues occurred during this show.

This show is on my bucket list of life experiences - WOW!  In my notes I wrote words and phrases to remind me of the depth.

I relived so many wonderful events and memories of growing up: The Busby Berkeley movies; the clothesline sequence; Doris Day jumping cracks to avoid bad luck and taking risks; facing fears and enjoying the fear; playing, learning; meeting new people; travelling; adventure playground; facing the knowledge of a positive outcome; mirror to my own world.

What did other people experience: did they crawl, walk, hop skip or jump their way through this maze?  Did others walk backwards? Did anyone spin around and look up?  Did anyone hide behind sheets?  What did others relate to?  What did other people compare this experience to?  How did others describe or recall this experience?  This was my experience and mine alone to savour.

This experience reminded me of George Orwell's "feely" movies as described in "1984".

Can Google or Apple virtual reality glasses simulate this experience?  Can "Westworld"?  No, NO!  Google and Apple may have a "virtual reality" experience through 3D glasses, while this was so close to "reality virtually" - it was hauntingly beautiful.

I thought, this is going to be hard to beat this year's Melbourne Festival.

Thank you for this wonderful experience.

This show obtained a 9/10.

Circus 1903, Regent Theatre, Thursday January 12th 2017

Circus 1903, Regent Theatre, Thursday January 12th 2017

"Circus 1903" was presented at the historic Regent Theatre on Thursday January 12th 2017.

For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. 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 write for my memories of what I have seen, and is more of a stream of consciousness.

"Circus 1903" was presented by Simon Painter and Tim Lawson for The Works Entertainment prior to a twenty week tour of the USA.  This show world premiered in Canberra and then played Sydney prior to the short season in Melbourne.

Programmes were a great buy at $10.  Maybe the price was reduced as the show was about to close in Melbourne.  Either way theatre managements could learn from the Getty Museum concept of the entry fee encourages patrons to purchase other items such as food, gifts and souvenirs.  This is the first show I have been to in a long time to see so many patrons buying a programme.  It is a great quality programme with the history of the circus and the biographies of the performers and creative staff.  What is lacking is the dates of the Australian tour in the programme from a historical perspective and the accurate name of the circus skills/acts.  For example acrobatics is too general when describing some acts. The Flying Finns are accurately described for their Teeterboard skills/act.

"Circus 1903" has acts that would have appeared in 1903 as well as the side show scene which was reminiscent of the TV show "Carnivale".

The Welcome by the Ringmaster Willy Whipsnade played by David Williamson was terrific to ready the audience for the show.  The popcorn antics were fun and allowed audience members to turn off their mobile phones in readiness for the show.  David Williamson is one of the main reasons for the success of this show as he links the history of the circus and the training required without being didactic.

The cast are The Roustabouts who prepare the setting and the tent.  We see behind the scenes antics. Maybe a clown should be included as the warm up.

The Flying Finns perform a lively seesaw act including tumbling and use buckets and sledge hammers to ensure the mood of 1903.  A few slips here and there that could have been made theatrical for us to ooh and ahh and capture our engagement.

The Bold Balancing by The Sensational Sozonov was mesmerising but a little ho-hum for some of the audience.  The ta-dah lady needed to rev the audience up more.  His final 360 turn balancing on about 6 levels was terrific.

The Cycling Cyclone (Florian Blummel) was a ballet on wheels performed with such skill and daring. Again a bit more enticing and teasing the audience is required to engage more with the audience.

The segue to the contortionist was a side-show with lots of examples of the scams that you would see at the Royal Melbourne Show down side-show alley back in the 1960s.  It was fun seeing the quick examples of the bearded lady and the man-eating-chicken.  Fun and a little bit risque without being crude and dirty.  This sequence was fun and was a great summary of the side-shows from "Carnivale".

The Elastic Dislocationist is a very agile performer.  I hope she has not read Gary Jennings' book "Spangle"!  She was exquisite in her performance in a beautiful and magical costume.  Her routine was terrific, but needed to be more enticing and engaging and alluring with the audience.  I know she has to warm up for an hour before each show as I have read articles to be informed.  Her tricks are gut wrenching and stomach churning for the audience.

The Perilous Perigo with his knife throwing antics was full of danger and the entrance was terrific with his whip snapping.  The build up to his final fire throwing trick was good but again lacked the engagement with the audience.

The Duo Flash displayed their balancing, strength and acrobatic skill.  Again they needed to tease and engage with the audience more.

The segue to the Aerial Ballet showed Lucky Moon in her caravan preparing for her act.  Ringmaster Willy Whipsnade told us about the commitment and the practise required without being preachy.  The lighting and her entrance was beautiful.  A great segue as her caravan was closed up as she entered the circus arena.

The Aerial Ballet by Lucky Moon was magical, beautiful and lyrical. Her act built up in difficulty and tension, though she could engage more with the audience as she returns to earth.  Her act was more polished and stood up by itself.

The elephants were a highlight and there was a build up to their entrance.  Queenie and the young elephant calf, Karanga are puppets by the same team who created "Warhorse".  The elephants were magical with the superb technology and skill of the puppeteers that made them appear simpler than they actually were.  The elephant puppets are brilliantly design and manipulated by the puppeteers.

The Act One Finale was in the style of an old fashioned circus and a good segue to Act Two.

The second half of the show works better than the first due to the acts and builds up to a crescendo by the artists.

The Grand Glorious Parade was lack lustre and could have at least paraded to the central aisle, made a cross over and returned to the stage.

Where Angels Fear to Tread, a ball balancing act by The Incredibles segued into the juggling act. Eight or nine large exercise balls were positioned in a semi circle to create a circus ring which was a subtle touch.  A few drops of the spinning balls occurred, but done with such aplomb and skill the duo carried on.  This duo finely balanced a difficult act with grace.  As they were so far downstage and the act was mainly on floor level, it was difficult for some audience members to see the act.  This act needed to be on a rostrum for all the audience to be able to see their full act.  Here more engagement with the audience would not go astray, but I think it was mainly due to being so low on the stage.

The Juggling Juggernaut is The Great Gaston (Francois Borie) is the French juggler who really showed us what engagement with the audience was about.  He was the first act to really lure, tease and engage with us.  At last!  He obtained requisite applause due to his skill, sequence of increasing difficulty but most importantly his ability to engage with the audience.

The Icarian Acrobats by the Fratelli Rossi took engagement to the next level with the sex appeal and their teasing of the audience.  Yes a slip up occurred and this is what we needed more of.  We needed the old one, two, three and yes they did it.  Yes it is cliched but I thought it would have been more included into more acts.  These guys really captured the essence of involvement and made us sit up in our seats and hold our breath.  At last we were transported back in time.

The Training of Wild Animals is one of the most poignant aspects of the show.  Ringmaster Willy Whipsnade is brilliantly played by David Williamson.  He asks for four young volunteers from the audience and is so terrific with the children.  One child cannot be understood (maybe due to his young Australian accent) and David calls him Bowtie Bobby.

He introduces each child and gives them their moment in the spotlight.  One child says she is six and a half years old.  He wants someone who is seven and he asks her again.  It is a terrific old fashioned routine that still works.  We are laughing so hard and these children's parents and families must be bursting at the seams with how much they make the show work.  David Williamson is such a fine professional and has us eating out of his hand with his sincerity.  David Williamson does a USA dollar coin trick with each of the children and it is classical old fashioned fun.

David introduces a raccoon in a cage.  It is puppet and he deftly handles it.  He has one young lady engage with a card trick.  It is so much fun watching the old fashioned manipulation.

One child gets a little flustered and David Williamson has a back up plan.  The child receives an elephant balloon and the applause of the audience.  It is done with such grace and dignity.

A replacement child appears and assumes the requisite position.  The audience roar with laughter.

The routine goes awry.  Maybe it is meant to.  Who knows and who cares as it works.  They would have worked out many versions of what to do under various circumstances.  It is brilliant theatre.

Each child is given a thank you token of appreciation and the recognition with our applause and cheers.

One final young lady stands alone on stage expecting her token of appreciation.  What is scripted here is absolutely magical and I had tears rolling down my face.  I will not reveal it as it was my favourite part of the show.  What he says and does is absolutely magnificent. It will not be forgotten as it is so special and beautiful.  This moment was so honest, caring and heart warming in this over-produced technological age. Pure magic!

The High Wire routine by Los Lopez is a trio with two men walking the high wire and also on a jumping a skipping rope on the wire.  The first bicycle fell and was collected by one of the Roustabouts.  More needed to be done to engage with the audience when a fall or mistake occurred. This act has its build up finale but needed more engagement with the audience.

The Ringmaster Willy Whipsnade told us the show had ended.  It was too abrupt an ending. The finale lacked pizzazz and the parade feel.  Capes or some more dazzle was required rather than a line up of calling each act for their curtain call.

The transitions and segues between acts varied in complexity and use of distraction techniques.  The lighting was well used to guide our eye.  What was more interesting at times was watching the behind the scenes set up for the next scene.  The stage hands should have been dressed in period costume to blend into the show more.

Costumes by Angela Aaron created an historic accurate version of the costumes with modern durable fabrics to last for rigorous wear and tear.

The choreography in the opening Building the Canvas City segment was the most choreographed section of the show.  "King Kong" the musical had better choreography for this type of build up scene.

The acts were good but could have made themselves look even better with a bit more spit and polish and flair.

The best acts engaged with the audience in teasing us with their daredevil antics.  Many people can see tricks on the internet and it is the engagement which really captured the spirit of 1903.

David Williamson is absolutely brilliant as the Ringmaster.

Overall I gave this performance of "Circus 1903" a 7.5/10.

Note:  I am not going to compare the acts to other circus acts but I have worked with circus performers and saw their acts and the way they engaged with audiences.