Cross Roads, Chapel Off Chapel, Thursday April 21st 2016

CROSSxROADS, Chapel Off Chapel, Thursday April 21st 2016

"CROSSxROADS", Chapel Off Chapel, Thursday April 21st 2016

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

Buying the tickets via the Chapel Off Chapel website is not as easy and fluid as other ticket agency websites.  The sequencing in the website needs to corrected.

Thursday April 21st 2016 was a very wet night and an umbrella stand had been placed near the main door.  There is no verandah to the venue and consequently it is hard to shake your umbrella of excess water before entering the foyer.

A programme stall was set up near the theatre with a lady providing customer service before the half hour.  Whew this a good change from the last show we saw at Chapel Off Chapel!

Reading the $5.00 programme frustrated me as the cast have their lovely biographies but does not state who plays which role. There are photos of the Creative Team that do not state their creative role succinctly.

It would make it quick and easy to see the name of the Peter Fitzpatrick - Book, Anthony Costanzo - was he the composer?  It actually does not say in the programme.   Though he is credited as an Orchestrator alongside David Wisken.  In fact who was the composer? Anthony is also credited on page three as collaborator.  But you have to go back to the cover to see this is the only place that Music and Lyrics are credited to the very talented Anthony Costanzo.

To find out the Creative Team's functions you must go to page 13.  For example  Michael Ralph is the choreographer and Kim Bishop the costume designer.  The list on page 13 is incomplete as it is missing the book, and, music and lyrics credits (as mentioned above).  Yes I sound picky but I want to remember these fine performances and later try to recall "was it Bronte Florian who played Amy?"  This could be alleviated by putting the names of the characters next to their photo and name.

Oh yes the date of the production was April 16-30.  Which year?  I would love to remember this show was produced in 2016.  But as we age and want to cross our legs trying to not wet ourselves. We will piss ourselves laughing when we remember it was 2016 - only because we can refer to the tickets if we kept them and inserted them inside the programme!                        

We knew something was wrong as the doors did not open to the theatre at 7.25pm for a 7.30pm start. Front of House Management could have made an announcement as it is not rocket science to provide notice to audience members that the show is delayed.  Yes the book writer Peter Fitzpatrick finally made an announcement as he weaved his way near the bar to apologise for the delay.  This could have been done 15 minutes earlier and people would have been more empathetic to the delay.  It also would have shown more respect to the audience members.    Remember some elderly people like to time their toilet breaks in accordance with approximate Act One or Act Two timings.  Yes laugh!  You too could age!   Sorry - YOU TOO WILL AGE!

An announcement made just before the start of the show to turn off phones etc.  How rude of people to be playing with their phones right up until the first entrance. Off means off.

I have been to amateur shows that show more respect to their audiences in preparing an audience for a special occasion.  John Truscott was famous for making sure audience members enjoyed the holistic experience of attending the theatre.  That means from the moment you see an advertisement to a show,  to buying the tickets, arriving at the theatre, buying a programme, using the toilets and to buying a drink and to leaving after the show.

I have not even started the review for the show!

If the seats were more comfortable and I did not feel as if I were falling forward in my seat I could have enjoyed this show more.  In fact I enjoyed this show more than the slick and over produced  "If/Then" which we saw with the original cast on Broadway.  That show is so convoluted and complex in its staging and storyline.  It dragged on and on and on - and was way too long.

"CROSSxROADS"  has a simpler story with some very pleasant tunes and terrific performances and simple staging.  It does not pretend to be clever and thus emphasises the fragility of human decision making with our numerous opportunities and choices in life.

Stand out performances by Alinta Chidzey as Amy with her strong and expressive voice.  Alinta Chidzey is one of Australia's finest musical theatre performers for her pure voice and honest performance. Her voice did not crack or break during any of the songs.   Stephen Mahy played Scotch College educated Rick consistently well until he had a few strained top notes in "Yellow Brick Road" solo.

The setting was simple and very effective with eight sheer white curtains that created screens and tabs similar to sliding doors.  The staging varied with the use of the simple curtains to change locations. Upstage was a low raised rostrum.

Projections onto the white screens were sometimes clear and other times were very blurry which had more to do with the quality of the images.  Most scenes and/or locations and/or times were projected onto the screens.  A different actor would announce each new scene like a vaudeville Ziegfeld Follies which seemed incongruent with the show.   These announcements heightened the inconsistency of the projections as I wondered why they scripted specific locations or times in some scenes and not in others.  The announcements and projections became annoying.  I wanted the projections to be succinct to contain all the information rather than the inconsistent duplication or elaboration by an actor.  In one scene no slide announced the location or time.

The choreography by Michael Ralph created the sexual tension to a scene.  I actually liked his sequences which were well danced by Ryan Gonzalez  and Bianca Baykara.  In one way the main dance duet was distracting as the contract had not been made with the audience in the early stages of the show that this device would be used.  It seemed out of keeping with the rest of the show.

The opening scene reminded me of "Merrily We Roll Along" with the graduation gowns.

The opening scene created a clear contract with the audience of what we were to expect by enacting optional versions and perspectives of the same scene.  (It would be fun to choose your A,B or C version of what happened - which would be a more complex version of the finale from "The Mystery of Edwin Drood" .)  I really liked the three or sometimes four options in different scenes.

Clarity in staging was established early with the audience to differentiate between phone calls, text messages or face to face interactions.

"That's My Shit" duet between Amy and Rick provides us with their personal introductions, and provides a very unusual song of seduction.

Act One had a terrific fun ensemble number "The Difference Between" set in an art gallery.  Rosalie played by Bianca Baykara was flamboyant and demonstrative.

The Club singer played by Bronte Florian sang "Paint The Town Red" well.  The theme of red and green, or, stop and go  - continued throughout the musical.  The colours red and green provided us with the moral compass of decision making.

I remember thinking that I would have been satisfied had  "CROSSxROADS"  ended with "The Emails song" in Act One.  I remember feeling very satisfied that this created a natural conclusion to the options in Amy and Rick's lives.  After this, I hoped substance would be added to their stories.

Barrel is played convincingly by Joe Kozky with a blokey larrakin nature that we witness from the opening scene. Barrel's buck's turn has four options of what could have transpired.  I am sure other audience members had their preferred version of what they would like to be Amy or Rick's reality.  The doorbell ringing as Rick and Barrel party on has both fun and poignant moments.

The song "Floating on Cloud Nine" is a lovely duet between Stephen Mahy and Joe Kosky.  Both blokey and poignant at the same time.  It is their bromance!

The opening of Act Two "Be My Wings" has a good twist of locations and emotional context.  This scene created a depth to the relationships and friendships. Fem Belling is an engaging performer and showed us a depth to her character Hannah.  Her emotional journey matures and is underpinned by Hannah's fun and zany nature.

Amy and Hannah sing "M.E.N" which is traditional female duet to fill in gaps to the story.

Act Two felt more laboured than Act One.

The "What If" song created a sense of possibilities.  Ryan Gonzalez as Paul provided the uncomfortable atmosphere requisite in a new partner meeting Rick.  Does he destroy the hopes of Rick?

The song "Eyeful of the Eiffel" provided different versions of what could have happened meeting under the Eiffel Tower in Paris.  The staging of this song lacked subtlety.  Though the stalking was overdone, with each subsequent variation of the scene, the stalking heightened the menacing atmosphere.

Some of the ensemble did not differentiate enough between each of their characters.

Overall as an audience member you can decide what transpires.  The ending supplies both the neat ending to keep some people happy.  More so, I like the ending as it cleverly gives us the possible endings without being conclusive.  These optional endings were more satisfying than "If/Then".

The final look between Edward Grey and Bronte Florian tells us that this can happen again to another person.  It does not spoil it as we all know that we are all dealt with options and choices every day.   This final look only personifies what we already know.

In some ways it is unfair to compare this to "If/Then" but I will because I saw a performance where some of the singing was off pitch and grating.  Whereas, in "CROSSxROADS"  the singing was terrific except for one strained section. The other bonus was "CROSSxROADS" did not drag on and on as I felt in "If/Then"  (Read my review from 2014).

"CROSSxROADS" is a much simpler version that highlights our journey of navigating our personal, routes, chances and opportunities.

"CROSSxROADS"  needs tightening and some holes filled in.  Some of the music can be a bit repetitious at times but with pruning this can be alleviated.

I thought one musical phrase paid homage to a tune from "For Good" from "Wicked"  with the lyric and tune of "If I knew you" reminding me of "Because I knew you" "Wicked"..  In any love or friendship story you are bound to get a snatch of similar sounds or lyrics.

The costumes by Kim Bishop were well suited to each of the characters plus the passage of time.

Tyran Parke has directed a fine ensemble of performers and should be proud of their inaugural season. without the benefit of 29 previews!  I have seen other new shows that have not stood up as well as "CROSSxROADS".

David Wisken as Musical Director and Arrangements led the small band who played well.

The Set and Lighting Design by  Rob Sowinksi and Bryn Cullen provided an effective set of eight sliding curtains.  The lighting plot was basic and could have made more of the options as if we the viewers were experiencing deju vu.  A simple flickering of lights could have heightened the fun of each of the different alternative scenes.  I appreciate the limitations of the Chapel Off Chapel theatre, but I could visualise side lighting to heighten the sensation of the sliding doors.

Sound Design by Marcello Lo Ricco  provided a better quality of sound than other recent shows.  The sound levels seemed to be much more comfortable than I have encountered in recent years.

This show would have been more suited to the more comfortable Alex Theatre in St Kilda but sadly was not available. This show should tour to other states to gain a larger following in an intimate venue.

My perspective would have changed slightly had the show started on time, been about ten minutes shorter, and if the seats were more comfortable.

Overall I preferred "CROSSxROADS"  to "If/Then".

I gave "CROSSxROADS"  a 7/10 and my partner gave it a 6/10.

(Note:  do not worry that I gave "If/Then" a 7.5/10 as it had millions pumped into it with 29 previews.  So 7/10 is a very good score comparing it to the flashiness and over produced staging.)

Vitesse, Australian Ballet, State Theatre. Wednesday March 16th 2016

Vitesse, Australian Ballet, State Theatre. Wednesday March 16th 2016

"Vitesse" was presented by The Australian Ballet at the State Theatre on Wednesday March 16th 2016.  This is one of the best contemporary triple bills in The Australian Ballet's history comprising "Forgotten Land" by Juri Kylian,  "In the Middle Somewhat Elevated" by William Forsythe and "DGV©  : Danse A Grande Vitesse" by Christopher Wheeldon.

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

"Forgotten Land" by Juri Kylian is a beautiful work that I have seen on about four or five occasions. I thought this cast were terrific dancing Juri Kylian's haunting choreography.  The sets and costumes are also by Juri Kylian.  The skirts look heavy-weighted fabrics but the female dancers make them move as if part of the choreography and also paying homage to costumes worn in Martha Graham's ballets.

The last girl in the cream coloured dress had a higher centre of gravity and from the beginning of her pas de deux affected her ability to be grounded like the other female dancers.  This gave the feeling that she was slightly off the beat.  She danced beautifully though created a visual heaviness with her partner.

"In the Middle Somewhat Elevated" by William Forsythe is another of my favourite contemporary ballets.  I have also seen this work on about four or five occasions and adore it.  The cast danced this beautifully with zest and verve.  It is an in-your-face work and is confrontational for the narrative story ballet-goers with its recorded score.

Apologies as I am finishing this review a few weeks after the event and did make notes though I am vague in names.  The shortest man had brilliant balance and was so light and buoyant.  I think his name is Callum Linnane and he is a dynamo to watch as he is so charismatic and was like a bouncing ball.  He was replacing Jarryd Madden at the last minute.  These type of cast changes are so exciting as the dancers are even more alert with a heightened sense of responsibility to deliver the goods.  Congratulations as the entire cast were brilliant and had me on the edge of my seat with your hyper extensions, off balances and thrilling bravura.

The finale pas de deux contained some hand holds that were so difficult - as the female lunged forward and was off balance.  They made it look effortless - when I can appreciate the timing, strength and skill involved. Cheers for a sensational and breath taking connection in your partnership. This was a sublime pas de deux.

"DGV©  : Danse A Grande Vitesse" by Christopher Wheeldon was my least favourite work of the night - though I still thoroughly enjoyed it for surprising reasons.

The set and costumes by Jean-Marc Puissant were fun.  The set was similar to seven rolls of celluloid film rolled up and jaggered at the raised ends which created various images of rolling hills or secret hiding places.

The corps de ballet out shone the principals for the choreography they danced as it was much more interesting and was so arresting and mesmerising.  It was as if the four pas de deux were lifting show cases for the men to show off how many lifts they could execute in the shortest given amount of time. Though each pas de deux was well danced they were such a serious contrast to the corps de ballet and the fun choreography they danced.  The corps were like the scenery you pass on a train journey and if you were not looking out of the train window you would miss their fleeting moments.

The corps de ballet reminded me of the Busby Berkley sequences from the movies with the various formations and playfulness.  Their port de bras was reminiscent of Delcroix Eurthymic exercises with a splash of Busby Berkley.  The changing of the arms with the couples turning their partners was a trick of the eye and so much fun.  They created optical illusions that had me questioning if I was watching correctly - a twist here, a turn there and a cheeky change of hands etc.  Wow!

Even before I had a chance to read the programme, I thought the pas de deux ballet reminded me of the dance sequences from the Gene Kelly film "An American In Paris" and as if I was looking out the window of a train to entertain myself.  The corps de ballet provided the light interludes and splash of dynamics.

There is an intrinsic focus problem with this ballet and that is the corps de ballet have the most interesting choreography.  They pull focus from the principals each time as I wanted to really concentrate on their moves, patterns and delivery.  They created such wonderful images of a journey.

I became obsessed with wanting to follow the corps de ballet from their first formation: when they moved from Stage right to left I was watching the first pas de deux and realised the corps had disappeared.  It was so enticing and played with our senses: as I questioned myself whether the corps suddenly were blacked out or gradually faded to a black-out.  This cemented the imagery of a train journey for me as if entering a new tunnel.  They moved along to Stage left in their formations.

Some of the entrances and exits were through a gap between two of the jagged ends of two film strips.  The dancers had to angle themselves to squeeze through the gap.  To me it was if we were voyeurs and sneaking into this private journey of what we could see on the travels.  Climbing through this barrier was embedding memories into our brains to differentiate between the fleeting moments that passed us by -  to these determined and deliberate actions to invade a new space.  They were trespassing and invading our senses.

The coda was sharp, bold and defined.  The music ended as the four couples held their female partners aloft.  This finale image was an after shock or an orgasmic after-glow to suspend the majesty of the ballet to let it linger in our memory.  This is our after glow or end to our journey to "Bliss".

Although it was my least favourite of the evening's ballets -  I do want to see it again as it was so rich in details.  I feel cheated that I did not get another chance to travel on this journey.

The music by Michael Nyman sounded like Phillip Glass repetitions and cycles with subtle changes in between.  Michael Nyman's score was played by Orchestra Victoria with gusto.

I really loved was the dancer's wrists were not a distraction as in any of these ballets.  The men and women created fluid lines that radiated beyond their finger tips, where-as in some story ballets the women, in particular, have a jarring angularity in their wrists which creates an evilness rather than an ethereal quality.  Here tonight, the dancers created magnificently pure shapes.

Each dancer gave us every ounce of their energy and artistry, and they were all were sensational.  The dancers serve us proud as a nation - dedicated to their art.

"Forgotten Land" by Juri Kylian,  "In the Middle Somewhat Elevated" by William Forsythe and "DGV©  : Danse A Grande Vitesse" by Christopher Wheeldon is the one best triple bills by The Australian Ballet with its dollar per step value.  Give me a good quality triple bill any day rather than the fluff and filler-material in the story ballets.

Better still it was a mobile phone free night!  No distractions in ten years!  Call the Ambulance as I am having a heart attack at the shock!

A brilliant night at the ballet.  That is a brilliant night at The Australian Ballet.  Who?  Yes The Australian Ballet - our ambassadors to the arts world.

Picnic at Hanging Rock, Malthouse Theatre, Wednesday March 9th 2016

Picnic at Hanging Rock, Malthouse Theatre, Wednesday March 9th 2016

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

The new play "Picnic at Hanging Rock" has been adapted from Joan Lindsay's novel by Tom Wright. We saw this production at the Malthouse Theatre, on Wednesday March 9th 2016 and we practically ran out of the theatre screaming "Miranda...get me out of here."

"Picnic At Hanging Rock" at the Malthouse made us seething inside and we felt like Edith screaming and running down from the rock "Miranda, Miranda. Miranda." We could not wait to get out of the theatre. "Miranda, Miranda. Miranda get us out of here" It was an awful adaptation of the book and seemed to be a three hour production with its laboured transitions between scenes and it was only 85 TOO too long. Highly NOT recommended.

The best part was when three of the actors formed a triangle and raised alternate arms and then touched palms to create the most ethereal aspect of the production.  They did this sequence twice which followed after the shadow of the large looming tree at the back of the set.  The shadow looked like an alien space craft and together with their actions created some mystery to the production. Obviously this was the trigonometry imagery required to give visual weight to this lacklustre production.

Where in Joan Lindsay's book is the word "fuck"?  There is a sequence that defies logic where Irma returns and the other students want information and they attack her.  Irma of course rants "fuck" as one lady must do in Victorian times!

The opening created a shared descriptive monologue that foretold the doom of this production.  Each of the five actors shared the verbose opening.  Oh yeah I get it that the actors will rotate roles and not look like the characters at times. It would help when and if they would try and use some body posture to differentiate each of the various characters.

Oh no - let's just make it a radio play - like "Under Milk Wood" and use our voices to create the story.  If only this had occurred!  It would have been better to have read the book to us.

The production lacks focus, and is so confused.  Half an hour into the production and suddenly an actor appears in a man's outfit.  Why?  Why now suddenly use different costumes to create and differentiate characters?

Arielle Gray was the most effective when using vocals to create a male character.  She also used her body to create a male posture.  Though her writhing scene as Sarah was beyond comprehension. Vocally as Sarah she whispered her lines like a mouse and then suddenly found her voice towards the end of the play.  This was an interesting device to show her change in finding courage and her sense of identity.

Elizabeth Nabben's created a journey as Miss Appleyard.  Her diction was clear and precise though the accent lacked the precision of words like "room" and "noon" which were a bit strine.  Oh yes there is a difference for words like room and noon when using an upper class English accent compared with an Australian accent.

The other actors Harriet Gordon-Anderson, Amber McMahon and Nikki Sheils had their fleeting moments of glory, but due to the script and direction they were drowning with the material.  Sadly we were cringing as any semblance of rapport was lost between the characters as we quickly had to advance to the next scene change.  Sadly you could see the anticipation on their faces and in the breathing for their next line or action.  To stave off boredom I would watch their feet to see how they would prepare for the next line.  Oh yes one lady needed to rest her heel and calf at this moment or otherwise she may cramp!  Or I watched their breathing to see the anticipation in preparing for the next deep breath to support the next tirade.

Set and costume design by Zoe Atkinson had a modest set comprising of a large v shaped wall with a wardrobe upstage right. The carpet was the most interesting feature to keep me entertained as I watched where the foot prints were embedded into the carpet after each black-out.  This was so interesting as to ascertain where the actors and crew entered and exited for each "not too quick" scene change with thumping noisy sound effects to drown out any sounds.

While costumes were of school uniforms we then had to endure the confusing introduction of character costumes occasionally.  MMMMM we wondered "why some characters were being dressed in a different costume and not others?"  Another example to make us cringe.

Programmes were not available for sale until I asked for a copy at 7.10pm.  Finally the programmes were put on display.  This did not give a good impression of the Front of House staff.  Reading the programme notes gave away a hint of what was to come "The cast rehearsed with their eyes closed, and our backstage crew wear night vision googles during the performance."  Yes night vision googles not goggles!  Even Mr Google corrected "googles" to goggles in the previous sentence.  I think they mean "night vision goggles" and could not resist creating a link for them here!

The production was an academic discussion of the myth.  It was a drama school project gone wrong.

The lighting by Paul Jackson did not add to any mystery but further alienated me with the long black outs between scenes.  The best saving grace was the illumination of the tree hanging in the background as if looming.  The long black-outs reminded me of the days when the tabs would close in the theatre for a scene change with music playing to distract us.  The music created atmosphere but with the extended black-outs added to the fury we felt about the production.

The sound scape and composition by J.David Franze and Ash Gibson Greig reminded me of "Earthquake" with sensurround in the 1970s.

Oh yes I did read the director's blog (Matthew Dutton) after seeing the play.  Yes I have read the book and understand the significance of the gym scene.  But really do we need "fuck" in the script? Oh yes I understand now - "fuck" was used to help us run screaming out of the theatre like Edith.

This was not a memorable production and must be on the school curriculum as there were many teenagers in uniform at this performance.  The teachers will have a field day debating the book, movie and now this play.

I cannot wait for the musical or the "Forbidden  Broadway Picnic at Hanging Rock" send-up.  Tongue firmly in my cheek as I again scream for "Miranda".

For a more entertaining and informative piece - read the "The Solution to Joan Lindsays' Novel 'Picnic at Hanging Rock'?" by Brett McKenzie.  Your article made more sense than this ordinary production.

My partner gave it a 5/10 and then changed his mind to a 4/10.  I generously gave this production a 5/10. 

Ladies In Black, QTC at MTC, Sumner Theatre, Wednesday February 17th 2016

Ladies In Black, QTC at MTC, Sumner Theatre, Wednesday February 17th 2016

"Ladies In Black" is a production by QTC at MTC.  This is one of the best Australian musicals I have seen in years, and, one of the best musicals I have seen full-stop in years.  Much laughter, sighs of recognition and moments of poignancy created one of the best experiences at the Sumner Theatre on Wednesday February 17th 2016.

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

I want to see this musical again as it is so rich in the Australian history of manners, and highlights how the way of life is so different from today.  The main story revolves around Lesley/Lisa working at Goode's department store and her dreams of going to university to study literature.  There are themes of sexism, wage discrimination and feminism. Other themes include the clash of European culture and fitting in to the Australian way of life.  One of the most poignant themes is that of inclusion into the workforce and being invited into co-worker's private lives.

The script by Carolyn Burns is tight and develops each of the characters's stories as if we are a fly on the wall.  The musical has hilariously funny moments contrasted with stories of  hope, despair and being Australian.  This is one of the tightest scripts for not only a new production, but any production, without any extraneous action or dialogue.

I loved the structure of the script and how the four main stories neatly and confidently concluded. The musical allowed us to empathise with the hopes and expectations for a better future for each of the characters.

The music by Tim Finn is memorable and hum-able.  The lyrics at times are corny but are so much fun.  They are typically Australian and pay homage to the 1950s larrikinism as well as the sophistication of Stephen Sondheim.

The orchestrations and musical supervision by Guy Simpson brought Tim Finn's music to a theatrical life.  Musical Director, David Young led the small orchestra with gusto.  The singing by the cast was terrific with the occasional off note - that did not bother me, as the various accents used in the production added authenticity to the character's voices.

The designs by Gabriela Tylesova are sublime paying homage to her earlier work "Love Never Dies" with the columns and also "Aspects of Love" designs by Roger Kirk with the use of the revolve and the sweeping curtains. Gabriela Tylesova's costume designs are sublime ranging from the glamorous to the 1950's practical.

The direction by Simon Phillips is rich in details without superfluous histrionics.  Simon Phillips has a way to allow his actors to transform themselves into real characters.  His transitions between scenes are seamless and some of the best that I have ever seen by creating clear  focus for the audience.  

The choreography by Andrew Hallsworth was not distracting but intertwined and assisted to carry the story.

The opening song "Got it at Goodes" sets the tone for the musical while the second song "Soon I Will Be Me" also sets the tone for the insights into the various female characters.  This song comprises three solos by three of the characters that intertwined towards the end of the song.  Beautiful and it reminded me of "At The Ballet" structure from "A Chorus Line."

Lisa Morrison as Lesley (re-imagines herself as Lisa) is superb in this Cinderella role.  Lisa Morrison lives the struggles with her hopes of attending university competing intellect and family and societal expectations.  Lisa Morrison sings and acts with sincerity and has us following her journey whilst working over the Christmas holiday at Goode's department store.

I had tears in my eyes on a few occasions with the humanity shown by various characters. Deidre Rubenstein's two main characters (Miss Jacobs and Mrs Crown) were poles apart in identities. Diedre Rubenstein immersed herself into each of these characters that differed with such depth and reality that made my heart beat and tears well up.   Her characters differed in voice, posture, mannerisms, centre of energy, gait, and soul were so rich in their detail.  Miss Jacob's final interaction with Lisa was so believable in their connection and relationship - it had my heart pumping and tears welling in my eyes.  Thank you Deidre Rubenstein for bringing these characters to life. 

Mr and Mrs Miles played by Carita Farrer Spencer and Greg Stone with authentic 1950s sexism and status.

Kate Cole played Miss Cartwright with grace and elegance and then counter-pointed this with her very ocker characterisation of Joy.  A terrific difference of body, voice and characterisation.

Lucy Maunder as Patty played opposite Andrew Broadbent as her husband Frank.  Their relationship has a conflict in their desire to have children.  Their story arc is thread throughout the musical.  At times it felt like watching an episode of "The Sullivans" with their turmoil and desires.  This is a compliment as they played with sincerity and created a tense atmosphere.

Kathryn McIntyre ably played Dawn with the requisite ocker-isms and mannerisms.  Her characterisation was endearing and warm.

Bobby Fox played Rudi with theatrical pizzazz and flair.

Madga played by Christen O'Leary had fiery European theatrics and gesticulation.  Stefan played by Greg Stone was in total contrast to his role as Mr Miles.

Naomi Price created a terrific journey for her character Fay.  The opening scene of Act Two was fun and transported us between her fantasy of "Anna Karenina" to her reality at Goode's department store.  Her hopes of finding a husband were poignant as she possibly was going to be left on the shelf waiting for her man.  She did not play this role with desperation but with hope and expectations.

The bar scene between Frank (Andrew Broadbent) and the barmaid (Kathryn McIntyre) created an atmosphere that shifts to uncomfortable.  The transition to the men's urinal is revealing on two fronts: showing the inner sanctum of the men's toilet and the inner thoughts of Frank.  

Act Two opening was a scene from "Anna Karenina" that quickly transformed into Goode's department store. This quick scene explained the fire of passion and absorption that a book can have on its reader.  The transformation from fantasy to reality received wonderful acknowledgement with the audience laughing.

It was also magical how the snow transformed into the sands of the beach for Christmas Day.  The audience loved Christen O'Leary's accent for Magda and how she would drop in the occasional ocker-ism pronunciation.   This paid homage to every migrant who has struggled with the Australian accent.

The post Christmas Sale scene was memorable with the sales staff all lined up across the stage; some even holding hands to brace themselves.  The lighting changed to red as the customers ran into the store.  This was hilarious as was the horror on the faces of the sales staff.  Such a simple and effective scene.

The programme had informative articles and biographies of the cast and crew.  Best of all it had the song list like an old fashioned musical programme.

I cannot wait to buy the cd of Tim Finn's "Ladies In Black" to recall the beautiful music and telling lyrics.

I would love this show to travel to Broadway with this cast to show what an Australian story is, rather than having an Australian musical modified to make it more accessible for American audiences.  A programme would need a glossary of Australian sayings and include a map of Australia with Manly, Mossman and Wagga Wagga highlighted.

I cannot wait to see "Ladies In Black" again.

My partner gave this show a 9/10 and the following morning changed it to 9.5/10.  I gave the show a 9/10.

Thrill Me, Chapel Off Chapel, Thursday January 28th 2016

Thrill Me, Chapel Off Chapel, Thursday January 28th 2016

We saw "Thrill Me" by Stephen Dolginoff at Chapel Off Chapel, Thursday January 28th 2016.  It is one of the best small cast musicals I have seen in a long time!

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

"Thrill Me" originated at the York Theater in New York in May 2005.  If you have seen the Alfred Hitchcock film "Rope"  you will know the story.  The musical has a terrific story arc with no humour until toward the end.  The humour made me squirm in my seat and is so evil and cringe worthy.

Starring two of the finest young and talented actor/singers it is great value at $35 per ticket.  The musical has a twist that you will not see coming.

Vincent Hooper as Nathan Leopold and Stephen Madsen as Richard Loeb are sublime in their roles in this warped and twisted tale of manipulation and sexual favours.  Vincent Hooper clearly changes from a 15 year old to the 49 year old caged prisoner requesting parole.  His body, voice and characterisation are so believable.  While Stephen Madsen's character is so manipulative as a younger man and matures into the equally manipulative self. Though his ageing transitions are not as crystal clear it is because the character is so evil throughout his whole life.  This did not bother me.

Designed by Daniel Harvey, the set is made up of pallets that create the raised stage with a sinister "walking on egg shells" feel of manipulation in their relationship to the actors.  The stage floor pallets also created the image of "walking on a tightrope" as the actors nearly trip and twist their ankles,  Yes the floor is dangerous but so are the characters' actions.  The backdrop is a further nine pallets that create the image of the bars of a prisoner cell or the broken wall boards of an old barn.  An evocative set with also a raised platform of more pallets on stage left, and a higher set of pallets on stage right that create many scenes - the parole board desk, prison cell, bonnet of a car etc.  This set is so perfect for the era.

The props helped create authenticity to the era. Costumes were also well selected for their function and creating characters through their 34 year time leaps.

Lighting design by Jason Bovaird works well at times.  Some of the problem seemed to be the execution of the lighting plot with two lights flickering and appeared faulty.   My partner said it was very amateurish lighting design and execution.

There are banks of lights which are hung to the back drop of nine pallets.  At times the lighting is effective.  Sadly the lighting let down the show.  At times the lighting was very specific to location but was not focused enough for other scenes.  Nor was the differentiation between some settings. The parole room interview room, the holding cell, the bedroom, bonnet of the car, outside etc was made clear by the actors rather than the support of the lighting.  For example a green light created an outside area and only half worked as the other side of the stage was so bright.  The green light took ages to enlighten the area.

Musical direction and accompaniment by Daniele Buatti created the varying shades of emotions and tensions from both the actors. Daniele Buatti did not distract the audience and was ideally attired in suitably historical clothes.

Programmes should be more centrally located rather than at the door as you enter the theatre.  I would have enjoyed reading the programme while waiting.  Not enough marketing thought is put into providing initiative and customer service in selling the programmes.  A gold coin donation is great value.

I provided feedback to the front-of-house staff that the year 2016, was not publicised on the "Thrill Me" posters, brochures or programme.  I suggested that they make the dating of all printed matter needs to be the standard for the future.  Sadly so many posters on the Chapel Off Chapel's walls do not have year dates.  Oh so much history is so vague:  "Oh when was that show on at Chapel Off Chapel?"

Loved the show.  The lyrics are stirring.  There was one song that sounded familiar and I think the song was "Afraid" which reminded me of "A Little Priest" from Stephen Sondheim's "Sweeny Todd." There was another part of a song that also sounded like another tune.  But you know what - I do not care as I loved the show.  I am not suggesting plagiarism but so many songs can remind us of another song.

I loved the sexual tension and the superb cast who held the audience as voyeurs or hostages to their story:  We could not change anything.  It was sickening that we could not change the outcome and also reminded me of "Sequence of Events" by George Macewan Green and "In Cold Blood" by Truman Capote.

The play was well directed by Terence O'Connell and created the three act clarity of a drama within the succinct short playing time of about 75 minutes.

Sadly this short season was not available for my friends to see as we saw it late in its season.

I want the Cast CD cast recording YESTERDAY!

Congratulations to all involved.  It was superb and both my partner and myself gave this a well deserved 9/10.  That is rare for us even with the lighting hiccoughs.

Georgy Girl - the Seekers Musical, Her Majesty's Theatre, Saturday January 2nd 2016

Georgy Girl - the Seekers Musical, Her Majesty's Theatre, Saturday January 2nd 2016

We saw "Georgy Girl - the Seekers Musical" at Her Majesty's Theatre on Saturday January 2nd 2016 and it is such a good show.  I have never seen so many people emotionally affected by a musical for years. This cast had the audience in the "palm of their hands" especially with the Sidney Myer Music Bowl sequence. People were swaying and humming along with the songs. It is a terrific juke box musical.  The four leads took me back to the mid 1960s as they look and sound terrific.   Congratulations as this took the audience on the known story of  The Seekers with a roller coaster of emotions.

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

Congratulations to the generation of civilised audience members who had the decency to turn off their mobile phones and not destroy the show.  The quality of the pre show announcements is much better than the Arts Centre Melbourne.

Oh yes and the show started promptly at 8.00 pm which is unheard of at some other theatres.  The staff at Her Majesty's are excellent, though an additional bar attendant in the Dress Circle bar was required at 7.30 pm as the queue for drinks grew.

After entering the theatre the set with the piano sitting centre stage reminded me of the opening set from "Beautiful"  (the Carol King musical).

The emotional connection to the story was very strong with audience members weeping or sobbing or gasping.  And these reactions were to a well known and published sequence of events!   "Georgy Girl - the Seekers Musical" captured the 1960s era with stylised aplomb as I was transported back to the mid sixties which I fondly and vividly remember.

The singing by the entire cast is terrific.  More so, the sound by the four leads was scary as they sounded so much like The Seekers.

The book by Patrick Edgeworth is pretty tight.  Patrick Edgeworth has not only told the story of The Seekers but more importantly captured the soul and emotion of their relationship to the world. Here Patrick Edgeworth uses less words to create some very funny lines, especially the jokes about Paul Simon.

The direction by Gary Young captures the essence of the 1960s and The Seekers' internal struggles with sincerity and heart.  The greatest compliment is the emotional connection relayed from the book via the direction of the fine actors.

The staging and direction is slick.  There are two minor holes in Act One with transitions between scenes that could be tightened up with lighting, music or staging. Act Two has four minor holes that were laboured and need tightening.  They require the same treatment to make the transitions slicker and more polished.  I am not complaining as this show is less than two weeks old and is in far better shape than many which have been running for years.

Set Design by Shaun Gurton reminded me of "Memphis" and "Beautiful" and "Motown" and co-incidentally they all had recording sessions scenes.   The use of the television cameras has been used in so many of the above mentioned musicals. "Hairspray" and "Dusty - The Original Pop Diva" also had television scenes where the actors would play to the cameras.  In "Georgy Girl - the Seekers Musical" the cameras captured the spirit of the wholesomeness of "The Seekers" with their minimalist movements. Shaun Gurton has created a functional set with sliding screen doors and regular doors.  The split level set and the multiple entrances provide opportunities to direct the audience's focus.

The choreography by Michael Ralph had good staging and groupings, though the actual choreography was not authentic 1960s enough for me.  I preferred Ross Coleman's choreography in  "Dusty - The Original Pop Diva" which used so many historically accurate moves.  "Georgy Girl - the Seekers Musical" needed more than flashes of the 1960s moves as many audience members were of that generation.

A fun highlight was The Seeker's arrival in London with the parade of business men sporting bowler hats and the policeman (bobby) contrasted the emerging groovy moves.  With more research and some minor alterations Michael Ralph could improve his choreography and take it to a new level.   I look forward to seeing Michael Ralph's career progression.

The Oscars sequence for a song nomination "Georgy Girl" was well done though not a reproduction of the original choreography.  Mitzi Gaynor and the backing dancers had the requisite over-the-top smiles and cheesy grins.

The Act Two opening paid homage to Tom Jones and the use of "Momma's Got the Blues" moved the story along without me spoiling how this was done.

The scene between the two sisters, Beverly and Judith was one of my highlights due to their sisterly love and connection.  Beverly was played by Sophie Carter and sang magnificently.  Yes it was me who hooted you on your curtain calls as you, yes you Sophie Carter were sensational capturing sisterly support and maternal instincts with a hint of spoon playing hill-billy.  Sophie Carter played this with sincerity and honesty.

Act Two felt a bit clunky at times.  Though the narrator Ron Edgeworth played by Adam Murphy did explain that they could not tell everything about The Seekers' story.

The reunion scene between Judith Durham and the men was touching and well written.  More so it was directed and played with sincerity and the pause was palpable.  The audience were on the edge of their seats awaiting one response.  I hope they keep this moment fresh and honest as it was magical.
You could hear people's breathing stop and the heart beats in the audience.  As I type this, my eyes well with tears recalling this moment.  Great theatre to move us so honestly.

The wedding scene is simple.  Listen carefully to hear the underscoring of a Seeker's song mixed in with the orchestration.  Well done to the Musical Supervision, Arrangements and Orchestrations by Stephen Amos as the music is beautifully played without the deafening volumes of some musicals.  Stephen Amos has created the sound of The Seekers with the terrific band.

Lighting Design by Trudy Dalgleish created transitions between time and space.  Using her expertise there are opportunities to tighten and polish four transitions in Act Two.  I especially liked Trudy Dalgleish's use of the expanding lit area to create a sense of perspective and location.  The venetian-blind lighting effect reminded me of "Ghost -the musical" (and that the lighting was the best part of that show!)

With the semi-transparent set we could see the hospital bed being wheeled into place well before the entrance of bed ridden Judith.  A lighting change or a timing change could reduce this distraction and provide the requisite surprise element.

Projections provided a backdrop in the upper half of the stage.  There are wallpapers for living rooms, posters for a theatrical manager's office, Union Jack for UK, Big Ben for London, Vietnam jungle, psychedelic patterns etc.  Each projection provided a sense of time, space and occasion.  The most significant projection was the Sidney Myer Music Bowl and this created a new level of silence from the audience.  I was curious if any of the  audience members may have been at that famous concert.  Nearly fifty years on and I too could have been a child at that concert.  It was like yesterday and I had heart thumping memories.

My favourite moments included the "Myra" song as it flooded back so many memories of the 1960s. The truth versus fantasy sequences of "Morningtown Ride" captured the essence of this beautiful song and used as a lullaby.  The audience were swaying and singing quietly along.  Normally this would be annoying but it is a real sing-a-long type show.  Then, the audience were jolted to reality with the twists of the scene, and relished being taken on this subliminal train ride.

One of the most gut wrenching moments will mean naught to others.  I share it as it was so poignant and I hope that they do not cut this scene.  An Australian soldier is in Vietnam and writes a fan letter to Judith Durham.  As the Vietnam War was the first war to be screened live into living rooms each night on the news (rather than the newsreels of WW11) as a child these memories are strong.  I was in Grade Four and had written to a soldier in Vietnam who subsequently was killed.  How is this relevant?  I sat there thinking "I wonder if Judith Durham  ever received that specific letter?"  I am sure she received many letters from Vietnam and this scene was representative of an era.  But if this scene touched me so deeply, I am sure it will touch others for their personal reasons.

The finale with the magnificent anthem "I Am Australian" shows how stirring this song is to lift the spirits and be proud to be Australian.  Juxtaposed was the tragedy that Judith Durham's private suffering.  It was like being knifed in the back twice with contrasting emotions - gut wrenching and uplifting.  It was like the release of Ron Edgeworth to the heavens.  We, as an audience could also let go emotionally.

The whole cast are terrific and play as a true ensemble cast.  There is not a weak link in this cast.
I enjoyed Ian Stenlake as John Ashby with his smooth manners and his rich voice.  Stephen Wheat plays the manager with his reliable credibility.  Cameron MacDonald as Graham Kennedy has next to no time to create a short cameo role and does so with his reliable characterisation.

The four leads playing The Seekers  are superb.  As I closed my eyes occasionally these four performers transported me back 50 years and to simpler times.  Pippa Grandison  paid homage honoured our memory of Judith Durham.  She did not mimic Judith Durham  but allowed her character to live within and channel her.  Glaston Toft as Athol Guy, Mike McLeish as Bruce Woodley and Phillip Lowe as Keith Potger also honoured the real male characters and allowed their spirit to overcome their characterisations.  I cannot praise these four enough for their honest and sincere performance and hope that they continue to trust their instincts.

I cannot extol my praises enough as they sounded so much like The Seekers  and,  more so, they channelled their characters.

The merchandise stalls display their wares with flare and the prices are reasonable except for the t- shirts which I felt were a tad expensive at $40.00.

I listened to the CD twice on Sunday January 3rd 2016 to relive the memories.  It is not the Original Cast Album with lyrics and notes but a recording of songs by some of the cast before the premiere of the show.  It is a fine recording and I hope they do a full Original Cast Album in the future.

I could see this show again and not feel as if my memories would be tainted.  Where as other shows I do not want to see them again as I have been disappointed.

Overall my partner scored this a 7/10 and I gave it a 7.5/10.

The Bacchae, St Martins Theatre, Theatre Works, Melbourne Festival, Saturday October 24th 2015

The Bacchae, St Martins Theatre, Theatre Works,  Melbourne Festival,  Saturday October 24th 2015

"The Bacchae" is a co-production by St Martins Youth Arts Centre, Theatre Works and Fraught Outfit for the Melbourne Festival .  We attended the 7.30 pm performance on Saturday October 24th 2015 at Theatre Works in Acland St, St Kilda.

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

 "The Bacchae" was conceived by Adena Jacobs and Aaron Orzech.  The production was directed by  Adena Jacobs with varying degrees of success.

Queuing up for General Admission in New York is better than Theatre Works' push and shove as the doors open.  In New York at the Broadway theatres the patrons queue outside to allow pedestrians to use the side-walk (footpath), while the same occurs at the Fringe and Off Broadway theatres.  They even queue for shows that have allocated seating due to the lack of foyer space.  We are so spoiled in Australia with our larger foyers.    Queuing in New York is a lovely respectful tradition for those who arrived early to have prime position, particularly for General Admission shows.

A person behind the bar made a pre-show announcement regarding turning off phones etc.  Many people were still outside and could not hear this announcement. I cannot understand why they do not use a microphone or learn to project their voice for the announcements.

Entering the theatre the usher wanted to take our whole ticket.  I like to keep my ticket minus stub with all of my programmes.  She said I could get it after the show.  I promptly tore off my stub and continued walking into the theatre.  Who is teaching these people Front of House protocols?  Have they ever had to do a box office reconciliation or budget the show.  Oh no that is what commercial theatres have to do!

A person tripped on the steps entering the theatre and someone came to their assistance.  Some of the steps are difficult to see as each row of seats are extremely close together.

The show began at about 7.39 pm and continues the 30 year tradition of every show that we have attended at the Melbourne Festival since 1986 has not started on time.

Waiting for the show to begin a light was flashing up above centre stage.  It reminded me of the lighting flash that killed Dionysus' mother Semele.  I thought this was a good effect to create an atmosphere.

The font in the programme was so small and quite difficult to read under the foyer's lighting. Thankfully I had read about "The Bacchae" and watched a few short documentaries to remind myself about the story.  Sadly this production did not provide clarity with the story, but rather visions from the story.

There were some strong images throughout the show and also some very long and laboured pauses.  In their press release they called it a meditation.  Some of the still moments were way too long as the audience were becoming restless.  The woman next to me looked at her watch as the opening meditation of a young girl standing and looking at the audience went for about five minutes.

There was the portable loo that a young lady exited from.  It was as if she was leaving her throne!

The main stage was at floor level with a raised stage at the rear.  There was a couch on stage left with a small orchestra.  A covered item was downstage left while the portable loo was upstage right.  In front of the the raised stage was a lot of black plastic covering something to be revealed later in the show.  This reveal was a great highlight both design wise and theatrically.

The young girl finally tells us about waking up to many alarms and getting ready for school and ironing her shirt and forgetting to turn on the iron.  She tells us that "I am Dionysus and if you do not believe me I will punish you" or words to that effect.  She then sits on a couch.   Another meditation = long pause!  She looks at the audience.  It was voyeuristic.  Apparently the character Pentheus is renowned as the first voyeur.

A Greek character lies on the raised stage and we hear amplified breathing.  I think it is Semele who has been struck by the lighting from the flashing lights we saw as we sat waiting.  Long pause and another meditation.  A young mid wife type character walks forward with her mouth covered in an industrial strength rubber mask, and her hands sporting long rubber gloves.  She helps give birth and a large golden item is retrieved.  I recognise the Greek shape but cannot recall its name.  Maybe it is the mask of Dionysus.

The young cast enter and stand against the wall stage right.  A boy soprano sings.  Others join in. The singing was beautiful.  What they sang I could not say but the sounds were beautiful to create a haunting atmosphere.

Gradually each person steps forward and sits on the ground in various poses with or without a prop. They all looked into the audience.  Again voyeuristic.  Are we or are they the voyeurs?  Another long meditation or pause.

The cast gradually come to life one by one.  The frenzy for each character is a teenage version with each in their own world.  One listens to her music via earphones from her phone, others are texting, another eats her packet of chips and shares them to one another performer. It is made obvious that all of these performers are individuals, as there is little interaction between each of the characters.

A small blow up children's wading pool was brought onto the lower stage.  Two performers finished blowing up the pool.  Another stream of performers came and emptied about three buckets of water into the wading pool.

One or two cast get into the wading pool with their shoes on.  By the way all of the female cast wear the same black shoes with a white edge around the sole.  Later they will be barefooted.

Some great images included the warriors lining up in black bikinis with stockings over their heads wearing black baseball caps and their bodies smeared with oil.  They performed a routine counting and repeating the moves.  I found this choreographically created a strong image of young warrior type goddesses.  Gradually they stopped as the leader continued alone and then gold liquid ran from her groin and down her legs.

Some of the images would be confronting for people realising that these are young girls.  In some ways I was worried that the wrong type of person could be viewing this show as the girls are very young.  If I were a parent I would have been very worried.

The young boy soprano in his long socks, basketball boots and baseball cap went up to the raised stage and sat on the black draped sofa and opened a Coca-Cola.  (Great product placement and advertising too!) It was a youthful version of a blokey male kicking back with a drink of choice. A great image.

A large gift bag is placed stage right.  Later the bag will be emptied and the performers' black shoes will be retrieved.  There will lots of checking for names inside the shoes and swapping and matching to ensure the correct performer receives their own shoes.  This was one of the few times that the characters shared or offered help.  It is like a gorge of consumerism and was a great image of seeking the same personalised item and reminiscent of the quest for the latest gadget or consumable.

Underneath the black plastic raises a large blow up.  It is as if it is rising out of the ashes and is a great piece of stage design and engineering.  The blow up transforms and creates a large head with a mouth wide open and a tongue hanging out.  The mouth opening was like a frame of the raised stage behind.  More so it was theatrically intriguing for us as the audience to see what it would become.  I think it was a blown up version of the mask of Dionysus with its tongue sticking out.

Later all of the cast wear long phallic symbols from their waists.  This could be the section where they all turn into snakes.  Each goes into a frenzy of heightened sexual pleasure.  One even urinates proudly, while others swing their members around, others masturbate in various poses, one plays with her member as if a machine gun behind the couch. (I wonder if this idea was copied from Batsheva Dance Company's "Last Work"?)

On the raised stage a large Minnie Mouse head is played with.  I wonder if Disney approved of this being used?  It was foretelling the beheading.

A large piece of meat covered in plastic cling-wrap was beaten by a girl with a baseball bat.  She created a pulsating rhythm with each swing of the bat.

Another monologue from the Messenger outlines aspects of the story of "The Bacchae".

The sexual frenzy erupts and then quietens as a performer enters wearing 1970's platform open toe shoes and a shirt dress with a revealing back-line.  She steps upstage to the others and takes off her dress to reveal she is topless.  It is similar to Pentheus being found out.  This young lady who I think represented Pentheus kneels with her back to the audience and she holds her head forward so that we cannot see her head any-more.  Another steps forward with a baseball bat and swings it to behead the kneeling girl. Blackout!  A strong ending but I wanted the grieving scene of the mother realising that she had killed her own son.

The music was well played by the small ensemble of musicians.  Vocally the singers provided pure sounds.

"The Bacchae" is a complex story and this version was from a different perspective as we could see the women throughout.  I felt sickened by the exploitation of the youth in this production as we were made voyeurs without us knowing in advance.  I would not have attended had I known as it was more pornographic with their vulnerability.

 "The Bacchae" reminded me of "Lord of the Flies" with the brutality and orgiastic rituals.

This production reminded me of the 1970's productions from the archives of the avant-garde from Megan Terry, Jean-Claude van Itallie or theatres such as The Living Theatre in New York.

I wrote the following feedback on a survey from Theatre Works:

I was disgusted that it was more pornographic than any porn I have ever seen.  We were trapped in the audience and forced to become voyeurs of these under age performers masturbating etc.  I am curious if they received parental permission to perform this work.  I have seen many avant-garde performances and had these performers been over 18 years it would have changed my perception. There was no warning at how graphic this show was to be.  It was not the graphic nature but the age of the young girls oiling themselves etc.  They were basically child bait and playing the seductive mirror of voyeurism.  Not impressed with this aspect.  But thought some of the imagery was good.

We have seen many shows at Theatre Works. We will be very careful about what we will see there in the future.  We have been to 30 Melbourne Festivals and this was the most confronting show we have seen - due to the under age performers.  They subjected us to more antics than Hair, Let My People Come, Oh Calcutta etc.  It made some hard core ADULT porn look tame.

I have attended fringe festivals in many other cities around the world.  This was a good quality fringe festival show and an average Melbourne Festival show.

Overall I gave this a 6.5/10,    My partner gave it a 4/10.