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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I recall the following sections:

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

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

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

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

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

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

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

This is a work in progress.

Overall I gave this a 5/10.

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

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

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

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

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

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

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

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

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

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

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

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

Overall I gave this a 7.5/10.