Dark Circus, Stereoptik, Beckett Theatre at Malthouse Theatre, Melbourne Festival, Monday October 9th 2017

Dark Circus, Stereoptik for the Melbourne Festival, Beckett Theatre, Monday October 9th 2017

"Dark Circus" by Stereoptik was presented at the Beckett Theatre at the Malthouse Theatre for the Melbourne Festival, on Monday October 9th 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 it is more of a stream of consciousness.

"Dark Circus" by Stereoptik was presented at the Beckett Theatre at the Malthouse Theatre for the Melbourne Festival, and we saw their final show on Monday October 9th 2017.

Sadly no programme was available to tell us about these master artists.

The two performers Romain Bermond and Jean-Baptiste Maillett stand either side of the stage with a projector projecting images onto a large white screen. Romain Bermond appears to be the painter while Jean-Baptiste Maillett appears to be the musician.  We will be challenges as Romain Bermond begins drawing a scene of a circus tent at the back of a city to the musical accompaniment.

Gradually we are challenged that the pictures will be also made from sand and wiping away the sand to create shapes and give the picture's texture.  Later the pictures will be animated.  The equipment they use looks like an overhead projector - yet wait - there is more to what the eye tells us.

We are introduced to the ring master - who speaks to us and introduces each act.  The shadow puppets become puppets with moving eyes and mouths.  The puppet is turned over to occasionally become colour.

There are overhead lights that are turned on and off.  Shadow puppets change from black and white to colour.  There are at least two rollers that produce continuous moving scenery.  One moves horizontally and the other vertically.  One is colour and one is black and white.  A drum is used to create more drawings with an aerialist. The aerialist flips between both artists as their pictures change.

The cannon ball man is blown out of the cannon and into outer space.  Again the view switches between each of these artist's work spaces.  While one produces some action, the other is preparing the next scene or shot of a scene.  Such incredible mastery and timing as they produce a live show using some prepared materials and most of which is produced live.

A lion is revealed behind a cage, which are drawn lines for the cage.  Then it transitions and is revealed as the strings of the guitar.  This is such a magical transition.  The Lion Tamer is later revealed the arm of the guitar.  The Lion Tamer gets attacked by the lion. Yes it is dark - but it is innocent fun.

The horses are presented as shadows as they move across the screen.  Another scene is drawn and a horse is drawn into the scene.  Gradually the horse starts to move.  How?  It is animated into the scene as Romain Bermond continues to change the landscape.  The horse does a circuit and is enclosed into the drawn lines of a fence.  Gradually one side of the fence is wiped away and the horse "has bolted".  Magical!

There is a knife throwing couple.  Again the two artists prepare their pictures for the transitions between the scenes.  The knife is thrown from one artist to another - as if cut-a-way shots from a film.  We are witnessing editing live on stage with the flick of a switch or the adjustment of a lamp or the inclusion of a puppet.

There is the juggler with his balls. The ball changes to colour - a red ball.

A section looked as if Romain Bermond was painting with a clear substance that looked like glue.  I was fascinated as he refilled his brush with the clear substance.  He was meticulous and specific and accurate in his determination.  I was intrigued, as were other audience members.  Then he changed his brush to black and dropped a dollop of ink onto his clear drawing.  Wow!  The ink captured what I think was glue and created the image of a man as per 49 of the Melbourne Festival Brochure.  This drew instant applause from the audience.  This section was breathtakingly good. Sheer brilliance!

"Dark Circus"  also included a section using water.  A small tank was near the musical instruments on stage right.  Jean-Baptiste Maillett begins to manipulate the water and we see swirling water on the screen to show it is real.  Then he introduces an object and it appears to be a leg.  We see mirror images as if reflections in the water.  Jean-Baptiste Maillett was manipulating these images upside down due to the mirrored images.  The images became split between both of the artists and it reminded me of the Victorian stereoscopes used at carnivals and side shows.

  by Stereoptik was presented at the Beckett Theatre at the Malthouse Theatre for the Melbourne Festival, and we saw their final show on Monday October 9th 2017.

The finale is a traditional circus parade - but it is as if all of the performers are in heaven or hell.

We finish with the red nose of a clown.  Who has been fooled?  Not the clown - but us - the audience by these talented magicians.

At first our attention was focused on the screen.  Then, your focus is drawn to looking at each of the artists.  Until eventually I tried to split my focus between the screen and each of the artists.  Then I was trying to watch holistically.  Then I was trying to flick my eyes between the screen and the artist.  I did not want to miss any opportunity to be mesmerised.

Fifty five minutes was the perfect time for this show.  It is better to leave an audience wanting more!

I would love to have seen a master class on how they performed such magical theatre.

The 2017 Melbourne Festival has a solid theme to challenge us with contemporary views on music, circus, vaudeville and burlesque in all of the shows that we have seen so far.

"Dark Circus" obtained a 9/10.

I rang up the Melbourne Festival and also posted the following onto my Facebook page:

"The Melbourne Festival Board and Jonathon Holloway should be "executed"! The Melbourne Festival Board should "EXECUTE" a new and extended contract for the brilliant Jonathon Holloway for creating such a wonderfully challenging and inspiring Melbourne Festival."  

Under Siege, Yang Liping Contemporary Dance, Melbourne Festival, State Theatre, Arts Centre Melbourne, Saturday October 7th 2017

"Under Siege", Yang Liping Contemporary Dance, Melbourne Festival, State Theatre, Arts Centre Melbourne, Saturday October 7th 2017

"Under Siege" by the Yang Liping Contemporary Dance, was presented as part of the Melbourne Festival at the State Theatre, Arts Centre Melbourne on Saturday October 7th 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 it is more of a stream of consciousness.

"Under Siege" by the Yang Liping Contemporary Dance, was presented as part of the Melbourne Festival at the State Theatre, Arts Centre Melbourne on Saturday October 7th 2017

The programmes are extensive with biographies of the production and performers.  I requested my copy prior to entry from a helpful usher as it is so dark inside the State Theatre to try to read.  Thankfully I obtained a programme as it contained a lot of useful information about the show.  Pages 4-7 photographs contain visual spoiler alerts.  These two large photos take away the impact of the finale and destroy the magic of theatrical occasion.

Visual Direction, Costume and Set Designs are by Academy Award Winner Tim Yip who does not disappoint with spectacular visuals.  The ending is worth the long production.  The only flaw with the design was the black makeup for the "duplicity character" Han Xiu (Black) was coming off on the white costume of Han Xin (white).  Surely a black mask could suffice and be more functional.  The many rows of hanging scissors appeared to hover and threaten menacingly as we sat and waited for the show to begin.  The beams that the scissors hung from bent to create various curves as if smiling or frowning upon the action, and to frame the story.  Their presence was foreboding and slightly predictable.

Yang Liping choreographed "Under Siege"using a variety of styles drawn from contemporary dance and martial arts.  Yang Liping has no formal dance training and has a natural facility for such an artistic and complex craft.  I am in awe of Yang Liping's skill.

The solo by Hu Shenyuan as Yu Ji, the concubine was breathtakingly superb.  His arms were floating and created continuous movement that sliced the air with strength and purpose.  Hu Shenyuan's arabesque and other poses were exquisite.  It was an absolute joy to see Hu Shenyuan's dancing.

"Under Siege" was longer than the scheduled one and a half hours.  It was closer to two hours and became a bit tedious at times.  Thankfully the surtitles helped with the story - basically, from my understanding there was a war, two suicides, the beginning of the first emperor of the Han dynasty and the history of China.

"Under Siege" reminded me of the Cloud Gate Theatre production of "Legacy"  at the 1988 Melbourne Festival in the Playhouse Theatre where the audience jumped out of their seats screaming and cheering.  That show was electrifying and was one of the most genuine standing ovations that I have ever witnessed.  "Legacy" had a similar story to "Under Siege" and employed simple theatrical devices with red and white fabric that really moved the audience to tears.

The main difference is that I was not emotionally moved by "Under Siege".  I was captivated by the technology, the dance, the music and the fabulous sets, but I wanted to be transported emotionally.

The Paper Cutter, Wang Yan was mesmerising with her accuracy and skill in cutting out such complicated Chinese characters.

Many in the audience could not help themselves from taking photographs - so rude thrusting their cameras and phones above to block the view of other patrons.

"Under Siege" obtained an 8/10.

The Inauguration, Taylor Mac, Hamer Hall, Arts Centre Melbourne for Melbourne Festival, Thursday October 5th 2017

The Inauguration, Taylor Mac, Hamer Hall, Arts Centre Melbourne for Melbourne Festival, Thursday October 5th 2017

"The Inauguration" by Taylor Mac was presented at Hamer Hall, Arts Centre Melbourne for the Melbourne Festival for one night only on Thursday October 5th 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 it is more of a stream of consciousness.

"The Inauguration" by Taylor Mac was presented at Hamer Hall, Arts Centre Melbourne for the Melbourne Festival for one night only on Thursday October 5th 2017.

"The Inauguration" by Taylor Mac was an event that the audience will remember for the rest of their lives.  Where were you on October 5th 2017?

The foyers were abuzz with atmosphere that has been missing from many Melbourne Festivals.  This event had people anticipating something special - and were not disappointed.

Thank you Jonathon Holloway and the Melbourne Festival team for inviting Taylor Mac to our festival.  What an event!

The show started about ten minutes late which was to be expected with such crowds and lots of people catching up before the show.

We met Rupert and his lovely wife Jackie in the foyer.  They are fantastic ambassadors for the festival.  We met Donna from New Jersey who wore a colourful and sequined USA beret.  She was so happy to be in Melbourne and wore this special beret from a friend of the producers.

The theatre was electric before the show.  I have not been to a Melbourne Festival event in 31 years with such excitement before a show.

The band had taken their positions and Taylor Mac made his entrance to thunderous applause.  He welcomed us to the show and performed the pre-show announcements and allowed phone usage on the proviso: "I don't mind, as long as you are not texting all of the time!

Jonathon Holloway came out in an elaborate headdress that he announced was to be auctioned at the end of the show for a good cause.

Taylor Mac  warned us that he is a performance artist and we may be uncomfortable and challenged.  His audience participation was so clever.  The first time he came into the audience and took a lady up on stage who became his backing singing for a song.  We had to join in later.

We did the shaming of others and outing ourselves to the song "Gloria".  Then Taylor Mac took another lady on stage for the "Gloria" section and highlighted how uncomfortable it is to be the centre of attention while he sang from the front row. 

This extended into a long play section where people over fifty were asked to stand up.  Those over fifty had to dance, but not yet.  Then everyone else had to stand up and they had to select a person over fifty to copy their dance moves.  Wow such fun!  Sometimes people knew who was copying them and other times it was like a voyeur was copying someone.  What a fun dance party.

Another time he requested that all blond men stand up.  He selected three and rejected one from the stalls as he only needed three for the next uncomfortable segment.  One man was made to be the horse and the other two sat next to him on a bench wearing Nazi swastikas.  He wanted to make this section as ridiculous as he sang "The Surrey With the Fringe On Top" from "Oklahoma".  This was very clever; especially the interaction with the two blond men sitting next to him.  He even had someone cheep like a bird from the audience to quieten the bird with the lyrics: 'Hush little bird".  One of the men on stage right really got into it with his actions and even took off his glasses (probably to protect them).  The long hair blond (was announced as a "wanna-be" blond!) and was made to put his head on his shoulder according to the lyrics.

Taylor Mac  set up various sections of the audience with different vocal instructions.  One section of the audience became the babies, while the other sections became: children, father's cooking, wives's complaining, and the cousins.  This was a set up for us to feel the empathy for refugees and new arrivals to a new country.  At times there was a cacophony of sound.  I think this was done to Irving Berlin song "All Alone".

Nina Simone song "Mississippi Goddam" and spoke about how she could not sing but how she would express herself through her music.  He is the same as he brings out something special in the lyrics.  Every song is chosen for a reason.  It is our choice whether we like him or not.

Taylor Mac  introduced part of the finale as if a "prom night".  He asked if we have a "prom night" and received various mumbled responses from the audience.  He responded with gibberish and mumbles as well.   The final was like a "prom night" finale with lots of close and slow dancing.  This was a memorable and magical event.

Taylor Mac  announced his final three songs and an encore.  He even said that there is a black out and an exit and did not bother with them.  He just went straight into a beautiful encore of  Ted Nugent song as he got us to hug someone of the same sex.  I got to hug my partner.  Taylor Mac  suggested a third person could join in as there may be different groupings of people.  He was so aware of not leaving anyone out!  Taylor Mac demonstrated with a man from the front row the next phase was to be a closer hug - but no groping as his demo-man did to him.  My partner invited Jerry who sat in front of us to hug together.  It was very special because of the significance of the theme.  You could not leave anyone out - as everyone was to take this journey collectively.  I looked around and everyone in the audience was captivated by Taylor Mac.  If only the world was this happy!

Every song had meaning and purpose and was carefully selected for "The Inauguration".   Each song had a cultural significance with social change. This show was a teaser for his 24 hour marathon.  Oh this year's festival is a tease as there is so much material to try to see.  We are being spoiled for choice.  

Taylor Mac   is the personification of HOPE!

Taylor Mac  is a genius and "The Inauguration"  obtained a 9/10 from both my partner and I.  Sheer brilliance!

Backbone, Gravity and Other Myths, Melbourne Festival, Playhouse Theatre, Arts Centre Melbourne, Wednesday October 4th 2017

"Backbone", Gravity and Other Myths for the Melbourne Festival at the Playhouse Theatre, Arts Centre Melbourne, Wednesday October 4th 2017

"Backbone" a physical theatre production by Gravity and Other Myths for the Melbourne Festival previewed at the Playhouse Theatre, Arts Centre Melbourne, on Wednesday October 4th 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.

"Backbone" a physical theatre production by Gravity and Other Myths for the Melbourne Festival previewed at the Playhouse Theatre, Arts Centre Melbourne, on Wednesday October 4th 2017.

In all of the festivals, since the original in 1986, no show has ever started on time.  The show began about eight minutes late.  Given the Melbourne Festival is our major event on our theatre calendar eight minutes was a respectable time to wait for such a great show.  We were aware some audience members may have been running from the opening ceremony "Tanderrum" at Federation Square.

I did not realise that this performance was a preview until my partner repeated the pre-show announcement.  I validated this in our booklet when we returned home.  I do not like previews normally and this show was very slick.

I was impressed with an Arts Centre Melbourne usher who approached a lady to suggest that she places her backpack in the cloakroom.  Well done to this proactive usher (a young lady) who saved the patron the angst of being turned around upon entry to the theatre.

The theatre is our temple to escape, so readers will know that I do not oblige mobile phone, photos or social media to disturb a performance.  We pay big money to see shows.  In fact we are seeing 18 shows this 2017 Melbourne Festival.

The programme is available online and should have been available before entry to theatre as it is too dark to read inside the Playhouse Theatre.  I went up to an usher and requested one prior to entry.  I have written about this in my reviews and evaluation of the festival and it should be addressed.  The theatre is a holistic experience.  Repeating John Truscott would turn in his grave that the holistic experience of attending the Arts Centre Melbourne is not being adhered to!  Well John I am speaking up on your behalf!

Sadly the programme does not show these fine performers.  Do take the time to seek out these superb performers' biographies via their website under "About/The Company".

A mobile phone was being used three times and I had to say something as it was disturbing my vision and the light was dangerous for the performers.  The gentleman kindly obliged and looked a little edgy in doing so.  The lady with him consoled him.  I am so glad as they needed to trust that all would be okay.  To be continued....

The black safety curtain rose to reveal twelve bodies lying in various vertical and horizontal formations.  A row of long poles lay down as if bamboo rods to be either a musical glockenspiel or for physical antics.  Rocks lay around the space with a clothes rack full of potential costumes on the upper stage left.. A raised dais with what looked like a few instruments was centrally located on stage right.  A bank of lights was in front of this raised dais.  A bank of  mirrors hung from one of the lighting beams above.

Stillness!  The cast displayed confident and assured stillness.  They continued for at least about a minute.  They were breathing as one.  They were preparing the audience for the feast that was to come.  Good things are worth waiting for!  Then, the ensemble rose and prepared themselves in various ways: stripping, re-clothing, stretches, preparing, testing equipment and showing rehearsal type antics.  This reminded me of a show that we saw at the Joyce Theater in New York in 2014 by "Pilobolus" with a mixed programme of their old and new works.

I have seen a lot of circus and physical theatre in my lifetime.  This show had some of the most creative ensemble work that I have ever seen.  The choreography was inventive, clever, funny at times and also hair raising.  I have not heard an audience applaud so much during a show for a long time.  This group had us holding our breath in anticipation and expectation.

The knight outfit was used on a few occasions and forward rolls over a rope has been given a new meaning.  The consequences of counting and "involuntarily volunteering" has a  stomach churning "ouch" effect that will never be the same.  I bet you will hold your stomach at some point.

Buckets of fine rocks or sand are spread to cover the stage, which acts on many levels to create friction, and is used to create patterns and segues between sections.  I adored the labyrinth drawn by clearing the sand with the buckets.

A young lady presented a large stone to a couple in the audience.  The lights shone on them at times - as if they were a part of the cairn of stones.  Later she retrieved the stone and performed the most amazing routine that warrants more detail.  In doing so, I would spoil the journey.

The ensemble teased us with their antics but rarely broke the fourth wall.  Their concentration levels were telepathic.  More so, they used buckets to cover their heads and perform more skillful antics. The bucket covered performers traversed the labyrinth drawn in the sand.

The theme of 'strength" is central to the show.  There are so many aspects of strength - mental, physical, team, social, resilience and the list goes on.  The opening image of the bodies on the ground showed the interconnection between individuals.  Synergy is paramount.  These superb artists are like Olympian athletes with their skill, grace and artistry.

Occasionally sand or rocks are poured over an individual.  I bet I would be physically squirming or vocally reacting to such action.  This is a modern version of the "ice bucket challenge".  There is another sequence where a man is harassed by all of the remaining cast who try to divert his attention.  His concentration level and determination is uplifting and awe inspiring.  I cannot rave enough about this fine cast.

There may have been three small slips but this heightened our appreciation and kept their human skills' real for us.  I was so pleased that they did not do the "three tries for any trick" to get it right the third attempt.  They seamlessly picked up and supported each other if any lapse occured.  In doing so, they held my attention more.  The care and looking out for each is what the world needs.

There are so many skills employed that I am trying to recall each to give them credence.  The balancing poles sequence went on for eternity and heightened our appreciation.  There is balancing handstands, hand-to-hand displays, tumbling, acrobatics and an aerial-human-trapeze using bodies as the supports for the trapeze artist.  A lady is suspended by several poles, she is teased with the changing of the poles' positions until she is suspended by one pole.   One pole! OUCH! Sheer magic.

There were fantastic and interesting segues between various acts of acrobatics, tumbling, balancing on heads, scaling heights, and break dancing moves that make Michael Jackson look like an amateur.  The list goes on.  Each section challenged us with variations on the theme of strength.  Even to the bitter (oh so sweet) ending did they challenge each other with their determined stance.  What a curtain call - the audience kept clapping and cheering.  We rose out of our seats to give this performance a thunderous ovation.

The costumes were functional and thankfully not like the over-produced costumes of some circus troupes.  I do not like "Sluice fashion". (It is a definition that my circus friends in Las Vegas understand what the acronym means!)   Put it this way,  I cannot stand the cut off jean look with threads hanging down, plus any loose thread could cause havoc.  I want these performers to be safe.

The music rose and fell to accentuate and support the performers.  The two musicians provided various rhythms that created various atmospheres and emotions to draw our focus to the performers, and, to keep us on the edge our seats when required.

No one performer is a star.  They are all genuine stars.  They are a universe of stars creating a galaxy of joy.  I do hope that they make a DVD of this show to support their work - similar to how Pilobolus made a DVD of "Shadowland".

The company, Gravity and Other Myths is the closest I have seen to the work of "Pilobolus" - let alone an Australian company.  It is not gimmicky but has a genuine heart and soul and it shows in the trust of the performers who worked as one.

Remember the gentleman who I asked to turn off his mobile phone?  He turned to me after the house lights came on and apologised to me.  I appreciated this as the light was so distracting.  He was extremely gracious and was excited to know what I thought of the show.   His apology was another example of the "strength" theme.  He showed the ability of internal strength and taking personal responsibility for his actions, and to allow this group to perform on their own merits.  He trusted them and it showed - as they delivered.

This is one of the strongest opening shows that I have ever seen at the Melbourne Festival  in 31 years.  I confirmed in the festival brochure that this performance was a preview.  I did not care - it was so good.  No - BRILLIANT.  Thank you and congratulations.

"Backbone" obtained a 9/10 while my partner who detests circus shows gave it a very high 7.5/10.

"Alice's Adventures in Wonderland", The Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday September 13th 2017

""Alice's Adventures in Wonderland", The Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday September 13th 2017

"Alice's Adventures in Wonderland", The Australian Ballet, State Theatre, Arts Centre Melbourne, Wednesday September 13th 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.

I cannot rave enough about "Alice's Adventures in Wonderland" choreographed by Christopher Wheeldon and presented by The Australian Ballet at the State Theatre, Arts Centre Melbourne.  This ballet is so much fun and pays homage to Lewis Carroll in so many ways.

I was fortunate to witness the sublime talent of Lauren Cuthbertson from The Royal Ballet dance the role of Alice.  She was sublime.  Her arms floated and wafted and created so many varied textures.  Her footwork was brilliant - clean, crisp and sharp.

The dual roles of Jack and The Knave of Hearts were danced by Christopher Rodgers-Wilson with strength and precision.

Adam Bull danced the Lewis Carroll and White Rabbit role distinguishing each role with clarity.  His final twitch as a young man on the park bench was priceless.

Nicola Curry as the Mother and Queen of Hearts was sensational.  The costume for the Queen of Hearts pays homage to the "Disney on Parade" 1971 "Alice In Wonderland Unit".  She distinguished between each role with her cruel demeanour as the Queen of Hearts.

Tristan Message as the Father and The King of Hearts made so much out of his downtrodden husband of the queen.  The simple change of body language spoke volumes for the clarity of characterisations.

Jarryd Madden as the Magician and Mad Hatter created distinct characters.  His dancing was fine, while his tap dancing in Act One seemed out of time.  His tap dancing in Act Two was much more secure with clarity of beats and timing.  Some of the tap choreography is quite tricky with changes of weight distribution.  It is a great touch to have tap dancing (a much under-rated dance style) incorporated in such a fun way.  

The Cook danced exquisetly by Dimity Azoury was sheer perfection.  It a dream dance role for Dimity Azoury with her expressive facial expressions and her definite goal driven actions.  She is such a gorgeous young lady who transforms into an ugly cook on a mission, and nothing would appease her.  Her interactions with other characters paid homage to Mrs Lovett from "Sweeney Todd" the musical.  Wow, what a sensational and menacing performance.  

My main disappointment was that I could not return to see this superb production again as tickets had sold out.  I could easily have seen this ballet at least twice more.  I cannot wait for the return season.  Please return in 2019.

"Alice's Adventures in Wonderland" obtained a 9.5/10.

The Bodyguard - The Musical, Regent Theatre, Wednesday September 6th 2017

"The Bodyguard", Regent Theatre, Wednesday September 6th 2017"

"The Bodyguard" The Musical" played at the Regent Theatre on Wednesday September 6th 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 Bodyguard" The Musical" adapted from the Warner Brothers movie played at the Regent Theatre  and we saw a performance on Wednesday September 6th 2017"  

Paulini Curunavuli as Rachel  Marron sings well and pays homage to Whitney Houston.  Some of her notes were a bit wonky at times but she created the essence of the diva superstar role.  Her acting was wooden but under the circumstances created the diva distance.    Paulini Curunavuli sounded tired.  Her acting was wooden but she sang quite well.

Kip Gamblin as the Frank Farmer/bodyguard role is dry and understated.  His is an underestimated role as he has to always make sure he is making Rachel Marron look good.  His best moment is his relationship and interaction with Rachel's son Fletcher played by one of the children.

The other standout performance was Prinnie Stevens as Rachel's sister Nicki Marron as her singing was more in tune but sadly lacked the diction of Paulini Curunavuli.

The ensemble singing was ordinary with harmonies of a fair quality.  There was nothing to get excited about and say you must see this show.

The staging was high school drama quality with some very basic blocking.

The drama by exposing "The Stalker" in the programme notes, and by revealing his face on stage reduced any potential drama.  Had we not seen his face would have had the audience more on edge and attentive.

The ending was satisfyingly succinct with the Frank Farmer slightly upstage right of Rachel Marron.  I thought this worked better than the film to create a polished ending.

The Lighting Design by Mark Hendersen has the obligatory simple facade of flashiness to be able to transport quickly between cities.  What it lacks is the ability to rev up an audience with anticipation and a sense of an event.

The opening scene reminded me of Andrew Lloyd Webber's "Sunset Boulevard" with the famous chase scene and the shadows.  It was a good strong opening with the jump-out-of-your-seat gunshot as it blasting through the theatre. This gunshot certainly gained our attention.  "The Bodyguard - the musical" has one of the strongest openings of a musical.  Sadly this standard was not to continue.

The Set and Costume Design by Tim Hatley is adequate and functional.   The best part is the venetian blind effect of transitions.  The framing technique to create various locations worked most of the time, but needed more support from the direction and the lighting design to complete the process.  The best set design was the log cabin scene as it framed the scene well and created visual and dramatic tension to the story line.  The curtain with horizontal lines framed the set by continuing the lines of horizontal log exterior and created a ceiling line for the cabin to both heighten the tension and create a sense of realism. Easily the best set design.

The first act was very stilted.  The stalker should not have been revealed on the screen or by revealing his face from underneath his hoodie.  This reveal reduced any potential tension in the story-line.

The choreography by Karen Bruce was was ordinary to say the least but adequate.  Sadly, only the girls were up to Karen Bruce's choreographic realisation.  The dancing by the girls was slicker than the guys.  The men were beefed up and some porgy and puffed up to the point that they could not dance.  Yes, the men could move and had reasonable bodies with their six packs but should learn how to support a partner with a plie and preparation.  The men's pirouettes were off and any extensions were either nonexistent or choreography absent.  One man "marked" or "walked" the entire show without any sign of effort or excitement.  The back roll needs work or you will damage both your bodies!  These men may have reasonably good bodies and move well but few of them could really dance well.

Half of the dancers when hitting their marks or spots for positions in the choreography were sloppy.  The dance captain needs to discipline them while the Bodyguard is present!

I can understand why this show has never reached Broadway.  It reminds me of "Ghost - the musical' which died a death on Broadway but has been touring the world for years to recoup costs with a reduced touring set and lighting design.

The scene when Frank Farmer enters the rehearsal is contrived and looks like an amateur High School musical director has blocked the scene.  It lacked any truth to what happened with the business and excitement in the movie .  This scene lost the opportunity to make a first impression on Rachel Marron with blocking and lighting.

I lent my young neighbour my programme before the show started.  As the show began she tried to hide her phone under her coat for her texting addiction.  I had to use my programme as a shield to hide the light.  At interval, I asked her not to turn on her phone and text as it was distracting.  Her mother said "I told you so and you would not listen..."  I thought she was young and excited to see the show, so I took some leeway and thought my offering her a loan of my programme may appease her.  No, sadly a feral!

"The Bodyguard" The Musical" obtained a generous 6/10.  My partner wanted to leave at interval and gave it 4/10 only because the second half was better than the first act. 

Self, Hucklebuck Productions, Chapel Off Chapel, Thursday September 28th 2017

"Self", Hucklebuck Productions, Chapel Off Chapel, Thursday September 28th 2017

"Self" presented by Hucklebuck Productions at Chapel Off Chapel on Thursday September 28th 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.

Beg, borrow or steal a ticket to see "Self" presented by Hucklebuck Productions at Chapel Off Chapel.  This show deserves a larger audience and should have played at The Alex in St Kilda to showcase this exceptionally talented cast and crew.  The Chapel Off Chapel setting does not allow for good sight lines as you are looking down through the audience to try to view the production.

Audiences deserve a much better viewing experience to see this exceptional dance production.  I have seen so much theatre and dance in my lifetime and this show is one of the best all dancing shows I have ever seen.

The programmes are good value at $5.00 with only one spelling error.  Best of all, they have the year (2017) dated on the programme that is so important for theatre historians and our memories, and missing from so many theatre programmes and posters.  The programme seller introduced himself and I was impressed.  He is one of the Hucklebuck Productions producers, Mark Taylor and he knows how to welcome an audience and engage to develop rapport, support and loyalty from his audience.  I wish him and his co-producer all the success in the world as they demonstrate the BUSINESS side of show-business.  I would feel confident in backing any production they would develop.  I look forward to their future endeavours.

The choreography by Michael Ralph is the best work I have seen him produce.  His thematic structure with a simple phrase builds to introduce each new sequence.  More importantly he builds and textures this phrase that tells a moving story with clarity.  He shows us so many aspects of the ego or self.

Rohan Browne stars as The Artist in this ensemble piece and displays so many varied mental states.  This is so relevant given the statistics for mental health of actors, dancers, musicians and other Australian entertainment industry workers.  I applaud this fine performer for showcasing such an important aspect of the entertainment industry.

Rohan Browne does more than dance this show - he encapsulates so much depth of emotion and draws a clear story through the choreography and direction.  Technically, he is a confident dancer.  He developed throughout the fifty minutes so many varied qualities of movement.  Rohan Browne is charismatic and full of empathy for this character's journey - the ups and downs of an artist's life.  Maybe "Self"  is auto biographical.  If so, I am even more grateful for this expose. 

The opening sequence has The Artist enter as a large circle of light envelopes the stage.  He evaluates the space and enters this circle.  Gradually, he exposes different elements to his character.  He introduces a major theme with a series of gestures and moves.  He performs a show-off style solo and the other six dancers form around the circumference of the circle, as if trapping The Artist to confess.

The circle is another choreographic theme that is repeated and developed upon.  This circle image has a brilliant choreographic depth as we enter The Artist's conscious, his inner self, a cage, a prison, a blur, and the neurons of his brain activating thoughts and memories.  This is some of the finest psychological choreography I have seen realised with such clarity, depth and storytelling.

Some of the sequences showcase the indulgent "Selfie" possessed/ "Fear of missing out" personalities.  This is evident particularly when two females begin the "Narcissistic Self" section.  Michael Ralph uses gestures in a meaningful and without cliches.

The Artist, Rohan Browne  is backed up by an exceptional ensemble: Loren Hunter, Sheridan Anderson, Romina Vilafranca, Alex Given, Max Patterson, Jordan Turner and Jackson Rudge.  Each dancer has their own unique style and more importantly keep in unison when required.  Here is a true ensemble with a shared vision.  Congratulations to all for your professionalism and showcasing Michael Ralph's wonderful rich choreography.

The "Sensual Self" sequence was tender and caring, while the "Indulgent Self" sequence reminded me in part of a section from the latest version of "Pippin" that we saw on Broadway in 2013 and again in 2014.  Here, Michael Ralph does not choreograph sleaze but an indulgent self gratification with groping and changing of group formations.

Diagonal patterns are a major theme with many of the choreographed entrances and exits, as well as with the defined diagonal lighting tunnels.  It appears at times to suggest being tunneled in, or focused, or even obsessed.  It at times suggests how The Artist (or any artist) walks fine line with risk.  This walking-a-fine-line image is accentuated in one entrance by Sheridan Anderson.  It is not a laboured theme, but introduced appropriately to suggest what had occurred previously.

The "Fearful Self" sequence opens again with the repeating theme, but with restraint, caution and hesitation.  His gestures are not as pure and have been tainted as The Artist, Rohan Browne  reaches for a bottle and reveals a tortured soul.  Here, the texture of the movements has an added maturity and meaning: desperate, scared and restrained, wanting to reach out.  The ensemble display variations of gestures of addiction and indulgence -with snorting, drinking and hints of intravenous drug use.  Rohan Browne's breathing is emotionally charged and revealing, as we feel The Artist's despair.

The "Inner Self" sequence opens up possibilities and allows us to see inside the capacity for hope and inner turmoils of how this character developed his successful self that begins the show.  We get to see inside what made him determined and successful.

The final sequence is the "True Self" which adds richness to the tapestry of The Artist's life.  His pas de deux with the young Jackson Rudge was exquisitely moving.  The final sequence to find the "True Self" creates a satisfying and uplifting finale to an inner journey.  Their final exit was satisfying and complete.

Some pas de deux lifts needed more plies in their preparation, and more support and timing synchronisation.  While the pas de deux with Alex Given and Romina Vilafranca had a more assured quality with their requisite preparation, support and timing.  Both of these fine dancers have secure technique and more importantly great presentation. Their pas de deux was juxtaposed by the partnership between Rohan Browne and Loren Hunter, who developed an insecure, doubtful and questionable quality to their dance partnership.  This was choreographically intentional and allowed us to question the vulnerability of the star system.  I loved this for subtlety introducing this power struggle.  Superb choreography is displayed with so much complexity of meaning.

Romina Vilafranca has great battu that is so crisp in her cabrioles en avant. Her attitudes derriere were clean, solid and electric as they cut through space.

Lighting Design by Tom Willis was the ninth dancer in this production.  He created lighting patterns that helped tell the story with the central circle, the diagonal light tunnels, the cascading vertical columns, the fade in/out effects, and the shutters or curtain-down effects over the band.  A vast range of lighting design supported the production.

Costume Design by Gemma Kelly channeled a little of the functionality and urbane qualities of Theoni V. Aldredge's costumes from   "A Chorus Line".  The men's trousers particularly take advantage of the latest technology of stretch fabrics (which were revolutionary during the 1970's).  Sadly some of the dark costumes got lost at times against the black of the band.  The costumes were essential for some of the choreographed sequences: in particular, with putting on the jackets.  Michael Ralph is developing a signature style of choreography with his use of costumes.

Sound Design by Marcello Lo Ricco was balanced and comfortably loud enough to hear each one of the instruments.

Music was composed and arranged by Jack Earle.    Remember Jack Earle.  Repeat remember JACK EARLE as his terrific compositions seemed to be written as Tchaikovsky was commissioned to write his ballets.  There was a clear relationship to Michael Ralph's choreography and the music.  What a team!  I look forward to more of their collaborations.  Las Vegas look out!

Overall, Michael Ralph has developed as a choreographer and he is someone to watch with his capacity to grow.  I am in awe at his gestural vocabulary that is so clear and concise - unlike some of the classical ballets.  Michael Ralph's choreographed gestures remind me of the clarity of Christopher Wheeldon, Matthew Bourne and Graeme Murphy - clean, sharp and with purpose.  Michael Ralph  even textures gestures with fuzzy and indistinct qualities to relay varied messages and emotional complexity.

"Self" reminded me the controversial winner of 2000 Tony Best Musical "Contact" choreographed and directed by Susan Stroman with a hint of Twyla Tharp's "Come Fly Away".   "Self" deserves a larger audience and is sensational value for an hour show.  I prefer an hour of quality than two hours plus of mediocrity.

"Self" obtained an 8.5/10.