The Stars Come Out To Play

Celebrity Theatresports

Celebrity Theatresports Rating

★★★★★

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We were warmed up and welcomed by “Jeremy” the twin of Celebrity Theatresports host Jeromaia Detto, at least that’s what Jeremy would have us believe. The theme of the day would be the circus. Jeremy had us practise our crowd hype including our circus animal noises. It was a very effective way to liven the excitement and energy in the room. The fun and passion was contagious and we were ready to be entertained, especially when Benny Davis from Axis of Awesome began to give the atmosphere a soundtrack, and we were introduced to our esteemed judges, hosts and the teams themselves.

I have a passion for Theatresports and I have done quite a few classes with our hosts, Impro Australia. It has been many years but I was excited to see, among the standout celebrities, were people that have celebrity status in my own heart and memories.

The six teams competing for the coveted Theatresports Celebrity Cup were:
The Greatest Show-Ponies (Adam Spencer, Rob Mills, James Galea and Jacqui Bramwell);
The Fairy Flossers (Steve Lynch, Kate Coates, Susan Prior and John Knowles);
Socceroo Sideshow (David Callan, Andrew Redmayne, Amy Tustian and Yarno Rohling);
The Big Top Guns (Ryan Atkins, Charlie Papps, Genevieve Hegney and Jack Scott);
Bunch of Clowns (Sophie Douglas, Daniel Cordeaux, Gary Eck, Felix Williamson and Sophea Op);
and Panda-monium (Linette Voller, Joji Malani, Murray Fahey and Scott Hall-Watson).

Round 1:
The first team was The Big Top Guns, who won my vote for best costumes (fully dressed to the theme). They also had the uber talented Genevieve Hegney, so they were at an advantage. The first game was Expert Double Figures where one player talks and the other lends their arms. The title they were given was “Teaching Tigers To Knit” and it was as hilarious as it sounds, especially Charlie Papps’ quick-thinking as their arms became the centre story.

Next up were The Greatest Show-Ponies taking on Genre Rollercoaster with audience suggestion of “Cleaning Out The Garage”: the genre having to be changed throughout. This team did a great job of keeping the story on track throughout the genre shifts. This was a standout in terms of technique.

Then the Fairy Flossers in all their dazzling pinkness had to take on the Animal Kingdom, which they all embodied well with the scene stealer being an exceptional meerkat played by John Knowles. Notable mention was the brilliant closing line at the end of all the mayhem from Kate Coates that the elephant (played comically by Steve Lynch) “Will never forget that!”

Number 4 was Panda-monium in all their Panda glory, including one Red Panda. They took on a fave of my own, Emotional Replay with the prompt of “Choosing a coffin”. This was a fun ride, culminating in “ecstasy” which was especially well embodied by Joji Malani’s impressive Vogue skills.

Number 5 was A Bunch of Clowns having to create a song entitled “Pickle Ball Is My Passion”, which hit the right notes with a catchy chorus. What some lacked in melody they made up for with hard-hitting lyrics, and Felix Williamson brought it all home with a brilliant finish.

Last, but not least was Socceroo Sideshow (with actual Socceroo Andrew Redmayne) who had the Sit, Stand, Kneel, Lie challenge at the airport. The characterisation with this physical challenge was impressive and it was chaotic fun watching them keep up with each other’s changing positions.

 

Round 2 was audio challenges from celebrities who were unable to be there.

Panda-monium had a request from Andrew Denton to see a scene with a lion and lion tamer who were afraid of each other. The team responded to this challenge by putting forward that they would do it with the team’s combined knowledge of High School French. It was tres impressive.

The Big Top Guns had a request from James O’Loghlin that they do a scene where someone can’t say the thing they desperately want to say. The team responded by having one character only able to speak in phrases from an audience member’s text message thread. Thus began a very clever family saga with a twist.

The Greatest Show-Ponies received their request from Rove McManus to see a scene in which somebody or something is being saved. The setting given was a Villain’s Lair. The team responded with Number Words, having host Jane Simmons shout out the number of words allowed in each line. With anything from 1 to 27, this was as hilariously challenging as you’d imagine.

Bunch of Clowns received their challenge from Kitty Flanagan, which was a scene where a farmer wants his son to take over, but his son wants to join the circus. The team responded with an American high school soap opera. This one showcased some wonderful teamwork as ideas were quickly thrown about and responded to.

Socceroo Sideshow got their challenge from the Umbilical Brothers which was an under the sea story called Raiders of The Last Air Bubble and they responded with Stunt Doubles, where two players enact the story and then have to swap over with their “stunt double” as dictated by the host and the stunt doubles play it out in slow motion. This was great fun with a special cameo from Millzy (Rob Mills) as the seahorse.

The Fairy Flossers got their challenge from Jonesy and Amanda in the form of two co-workers getting in trouble with a motorbike involved. They responded with a “Sing About It”. They came up with some catchy tunes, highlight being the Ballad of the Bike.

We then had some moving stories from the Canteen representatives, and we were all very emotional after learning more about how much this organisation means for cancer victims and their families.

Round 3 kicked off with The Hat Of Fate.

Fairy Flossers pulled out the prompt “In A Bank Vault” and were challenged to a Character Swap with a plot twist. Steve Lynch stole the show as a petulant teenage girl.

Big Top Guns pulled out “Taylor Swift Fan Club” and were challenged to an Off Broadway musical. It exposed the Swifties and those who drew a Blank Space when it came to her tunes.

Bunch of Clowns pulled “At A Fashion Show” and were challenged to a Shakespeare theme. They did doth handle that well.

The Greatest Show-Ponies pulled “At A Craft Brewery” and were challenged to an Opera, giving Millzy his real moment in the sun. It was a crafty little love story in song.

Panda-monium got “Top Deck on a Tour Bus” and were challenged to the audience providing the sound effects. This got the energy going and was a fun ride for all.

Socceroos got “Group Therapy” and were challenged to a ballet, which was actually rather beautiful.

The two teams revealed for the final round were Panda-monium and Socceroo Sideshow.

Panda-monium decided to use “Epic Quest” as their theme for the final round, and they were challenged to include a bum bag. They worked beautifully as a team and took us on a wonderful, wacky journey with other members of the other teams joining them along the way.

Socceroos decided to use “Film Noir with puppets” with the suggestion of a missing Pikachu. David Callan invited his students on stage to be the puppeteers and they did a fabulous job of following the prompts and uplifting the narrative.

Socceroo Sideshow were the winners overall and all the creatives were invited to the stage. John Knowles then delivered a moving tribute to Michael and Julie, the heart and soul of Impro Australia.

It was a wonderful Sunday afternoon of humour and heart. We all left with big smiles on our faces.

To find out more about Theatresports shows, classes and corporate events, visit www.improaustralia.com.au 

Photography by Stephen Reinhardt

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They Did Indeed Kicketh Much A**

She Kills Monsters

She Kills Monsters Rating

★★★★★

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She Kills Monsters is one of those productions I find quite intriguing as a youth theatre director. It’s a tough piece to work with, but it’s quite beloved, and I was excited to see how Epiphany Arts would handle its complexity.

There was a warm welcome as we entered Eternity Playhouse, with its old school cinema vibes. The atmosphere is already set from that first entry, building with 90s bangers before you look around the room and notice cloaked figures either side that seem to have appeared out of nowhere. The D&D setup is on the stage, and we move into ominous music as the ensemble slowly fill the space, engaging us from the start. Then the rock cranks and the chaos begins.

We meet Agnes, played by Holly Gallagher, and her boyfriend and best friend who are trying to connect with her in the wake of losing her sister. Agnes needs to understand who Tilly actually was, beyond the sibling rivalry that kept them apart. She follows Tilly’s diary trail, which leads her to Dungeon Master Chuck, brought to roaring life by Caspian Macarthur Mitchell, who hits every comic beat with a natural ease and is endearing enough of a douche that it’s genuinely hilarious. As the youngest cast member, it’s quite a feat.

 

From there, Agnes must take on the Quest for the Lost Soul of Athens, and along the way we meet some very colourful characters indeed. Jake Nelson as Narrator/Orcus is a real asset; professional dungeon master in real life, his command of the storyteller role grounds the whole adventure with warmth and wit. Martha Tidyman as Lilith alongside evil duo Ivy Wilkes as Evil Gabbi and Astrid Macarthur Mitchell as Evil Tina are fully committed and entertaining, with Astrid clearly relishing her role as the iconic antagonist for the third time. The ensemble, including Maisie Goldfinch, Ella Roseman, Jamie Callum, Luna Austin, Stephanie Calia and Autumn Orwell, bring high energy and great commitment to character throughout.

Holly is an engaging Agnes, with lovely light and shade and a beautiful voice. Ruby Elane’s Tilly is the emotional core of the piece; a lost soul who didn’t get to realise her dreams but created a vivid and fulfilling dream world. It’s a deep, layered performance. The choreography by Anna Jaques, who co-directs alongside director Annie Macarthur, does a great job of creating that connected ensemble energy, keeping the 90s dance numbers tight and the fight sequences genuinely thrilling. Stage combat advisor Vincent Chung’s influence is felt too.

The use of screen helps with some of the more complicated elements of the piece, and the props and costume department absolutely slayed (see what I did there?). There were a couple of technical hiccups, which I have noticed before in this space, and I hope that’s an opening night snafu they iron out, because this show really is very well done.
The highlight was a powerful, transcendent performance of Uninvited with incredible harmonies that got me right in my 90s inner teen.

It’s campy, chaotic, and everything you want from this show. Epiphany Arts have nailed it again. To quote She Kills Monsters “They did indeed kicketh much ass!”

To book tickets to She Kills Monsters, please visit https://sydneyfringe.com/events/she-kills-monsters/.

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If These Walls Could Speak

Dixon And Daughters

Dixon And Daughters Rating

★★★★★

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I will never cease to be amazed at what can be done with the right amount of creative genius, even in a small space, and I was particularly blown away as we entered the theatre at Old Fitz. Mia MacCormick’s Dixon & Daughter’s set was immediately impressive with a two-storey set up with two upstairs bedrooms, one open to us with the double bed clearly belonging to someone who has lived there for many years and the familiar bedspread that told the same story. There’s a kitchen in the background, an old style living room (again, with the iconic upholstery of the era on the sofa). We see all the childhood remnants such as rocking horse in storage underneath. It’s a typical house that has seen generations. A house we might all remember but the shell of it is peeled away in parts, symbolic of the here and now and fuzzy, messy, reminiscing that we are about to be pulled into.

Topaz Marlay-Cole’s lighting and Nicky Pardesi’s sound design engage throughout. Darkness pools around the moments that need it most, and characters are isolated by a single source when they are at their most exposed and vulnerable. The transitional soundscapes hold us in the uncomfortable space between scenes, refusing to let us settle, while the pauses punctuated by light shifts carry their own quiet weight. Clever and intentional.

Mary, played by Vanessa Downing, has just returned home. Her granddaughter Ella and daughter Julie are ready to surprise her, while youngest daughter, Bernie quietly prepares them for the reality that Mary is “in a mood.” In these early scenes, Deborah Bruce’s script establishes the architecture of the family with deceptive lightness: Julie as the scapegoat fleeing a bad relationship and fighting an alcohol dependency; Ella as the playful peacemaker trying to offset the formidable dark cloud her grandmother carries into the room. Mary is no-nonsense, wanting nothing more than to get home and back to life. We soon discover she has served six months in prison for something connected to her deceased husband, and from that moment, the unravelling begins.

 

Downing’s Mary is formidable. There is no softening of the character’s abrasiveness, no easy bid for sympathy, just a woman carrying decades of damage and struggling to articulate the remorse beneath the bluntness.

Linda Nicholls-Gidley as Bernie embodies the daughter who must hold it together at all costs, and we see that fight written into every moment. Sarah Jane Starr arrives as the estranged stepdaughter Tina/Briana, larger than life and glamorous, having stepped into her power and intent on helping Julie do the same. Starr plays the light and shade with real skill, making Briana’s complicated journey entirely her own. Romney Hamilton’s Julie is the loveable screw-up, all flightiness and docility in the early scenes, and then, when the drama reaches its peak, Hamilton delivers a performance that takes your breath away. You genuinely do not see it coming.

Danette Potgieter’s Ella makes her own quiet pivot, moving from the warmth and playfulness of the opening to something altogether more grounded and affecting when the moment demands it. Leigh is a character that Mary introduces into the mix, at first I wondered about this writing choice, I wasn’t sure we needed this character from the school of hard knocks who was providing a lot of comic relief (played joyfully by Rylea Ellis), but I realised that Mary had to bring this outsider in to disrupt the roles and stories running and Rylea plays this very well.

Director Kim Hardwick’s work is full of specificity. Every exchange feels immediate, every relationship fully inhabited. But what struck me most was the blocking. Each character had their physical place within the history of this intergenerational story, allocated to a particular space unless the action required something different. They were connected but always isolated, until they weren’t. It was a brilliant choreography of power and position, making visible what the dialogue could only gesture at.

An all-femme cast is its own kind of power, and this one is clearly working together and holding one another with real care. The dark themes are handled with tenderness and unflinching honesty in equal measure.

Dixon and Daughters is not an easy watch, but it is an important one. It will speak to anyone who has lived as a woman, and to anyone who has loved, nurtured or been shaped by one. This is a story that needs to be told, and the Tiny Dog Productions team has told it with exactly the courage and care it deserves.

To book tickets to Dixon And Daughters, please visit https://purchase.oldfitztheatre.com.au/EventAvailability?EventId=1201.

Photographer: Campbell Parsons

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Still Sitting In The Afterglow

Afterglow

Afterglow Rating

★★★★★

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Belvoir was buzzing with an eclectic mix of people heading towards two different shows. It was difficult to discern who was headed where, but it was a delightful mix from varied walks of life, all excited for a night of theatre.

Afterglow was in the downstairs theatre, one I hadn’t yet visited, and I was immediately put at ease by the intimacy of the space. I love intimate theatre.

I had seen two songs from this show at Homo Grown, and I am also a massive fan of Cassie Hamilton. I had been wilfully declining theatre trips due to my own rehearsals making this an incredibly busy time for me, but I was already getting FOMO seeing it advertised when the review request came in, and my arm was officially twisted. Let’s just say, thank God for that.

The space is black box style and the set is a lounge bar we come to know as Afterglow. This theatre is warm and welcoming, but it has some limitations. As a singer, I was initially concerned for the performers singing without microphones, but they were so exceptional at their craft that you quickly forgot it. I imagine they are being given some great coaching to help with this challenge. However, there is a unique privilege in seeing a show like this in such an intimate setting while knowing, without doubt, that future runs will be on a much bigger scale.

Afterglow is a world premiere by Purple Tape Productions, presented as part of Griffin Theatre Company’s Lookout program. Written by playwrights Sheanna Parker Russon and Dr Lillian M. Hearne, and co-directed by Cassie Hamilton and Lily Hayman, it is a barbershop rom-com following Michael through a coming-of-age, and the unlikely community of people that play a part in it.

We begin with the barbershop quartet singing about manliness and the importance of keeping barbershop purely for the boys. We note Michael, played by Cassie, is uncomfortable, making small mistakes then berating himself through a song about the desire to be normal. It’s 2012, he’s 21, and this is his only aspiration.

 

 

Nat Jobe leads the quartet as the old-skool male who is a feminist purely by virtue of having married a woman, yet believes fiercely in upholding traditional male spaces. The character becomes the vehicle for exploring what it means to be a man and the awkwardness of trying to connect when social norms keep restricting you. Jobe plays it with tremendous warmth and comic precision.

There is beautiful a-cappella accompaniment scattered throughout in the barbershop style, with Dr Hearne playing Trevor and taking to the keys at poignant moments. The harmonies are infectious.

Nic Prior’s character T gets a stunning solo that takes us into the depths of an interior world that is tender and enormous. The voice is breathtaking; there is a fragility to the emotional delivery that sits in complete contrast to its power. When Michael and T reconnect two years later, the connection deepens, and Cassie delights with a goofy, gorgeous spiral as Michael tries to navigate T’s vulnerability while still performing what it means to be “one of the boys.”

The lighting design by Tyler Fitzpatrick feels deceptively simple, but the choices are anything but. Moving from the full wash which made us all visible to one another (leaning into the metaphor of trying to blend in), to a single spotlight when characters turned inward was quietly brilliant. Clare Hennessey’s sound design holds the space with equal care.

I’ve said it before and I’ll say it again: Cassie Hamilton is a powerhouse, and her character’s big solo moment is elevated by the voice belting behind it, leaving me teary. The first of many times.

By 2016 things have gotten messy, and the boys are doing their best to show up for their friend while not quite knowing how to communicate outside of messy metaphors. The important thing is that they are trying, and learning that vulnerability might actually make them better.

Lincoln Elliott as Matt is great fun, and I genuinely do not know how Elliott manages to be in so many wonderful things at once. The whole ensemble moves together with a generosity that speaks to the room Cassie Hamilton and Lily Hayman have created.
Afterglow is a bittersweet, joyful, poignant romp; full of heartache and, most importantly, trans joy. Sheanna and Lillian’s joint journey and shared heart make this a uniquely beautiful story.

I was in tears at the end. Tears of sadness, hope, joy, and just the deep appreciation of a wonderful shared experience.
Go share in it. You will sit in the afterglow for days.

To book tickets to Afterglow, please visit https://griffintheatre.com.au/whats-on/afterglow/.

Photographer: Lucy Parakhina

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