Lemons Lemons Lemons Lemons Lemons: When Silence Becomes the Story

Feature-Lemons Lemons Lemons Lemons Lemons by Sam Steiner

What happens when the simple act of speaking freely is stripped away? Rational Animals is bringing this thought-provoking work to Newcastle audiences. The production’s director shares how movement, silence and minimal staging become powerful storytelling tools in their hands.

About The Production – Lemons Lemons Lemons Lemons Lemons by Sam Steiner

What is this production about?

For me, this production is about language, freedom and control. It explores what happens when something as simple as being able to speak freely is taken away, and how that begins to affect our relationships, choices and sense of self.

What is challenging about bringing this script to life?

The biggest challenge has been making the many scene changes and shifts in time feel seamless. With each change, the characters’ intentions, tone, mood and body language shift too. There is a lot happening beneath what can appear to be very simple conversations, so finding a way to communicate those changes clearly, while keeping the pace and rhythm of the production, has been a real challenge.

What sort of person is going to love this show?

I think anyone who enjoys theatre that makes you think, question things and notice the little details will love this show. You don’t need to know anything about politics or censorship to connect with it. At its heart, it’s still a very human story about two people trying to understand each other, communicate and stay connected.

What will the audience be thinking about on the drive home after this show?

Hopefully, they’ll be thinking about how much freedom they actually have in the words they use every day. What would happen if we couldn’t say what we wanted to say? And how would that change the way we communicate, connect and understand one another?

What is going to surprise people about this production?

The movement, repetition, lighting, silence and minimal set all become part of the storytelling. What initially looks like a simple conversation between two people gradually becomes something much bigger. I think audiences will be surprised by how much can be communicated through what is not said.

A heartfelt thank you for sharing the intricate work behind bringing Steiner’s script to life, particularly the challenge of making those many shifts in time feel seamless. For those who love theatre that rewards attention to detail and lingers in the mind long after the curtain falls, tickets are available through TryBooking.

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Em Barrett: The Weird Kid Who Found Home in Structured Chaos

Feature-Ode To A Grape

From birthing maggots onstage to kidnapping celebrities for marketing campaigns, Em Barrett has built a career on the beautifully bizarre. Now the performer brings their favourite creation yet to Melbourne Fringe; a hapless German poet named Johann, whose desperate fight against capitalism and obsession with Elton John makes for what Barrett calls oddly relatable chaos.

Meet The Performer – Em Barrett

What is this production or show about?

Johann is launching a poetry book. Johann is a very bad poet.

Born in Limburg; Germany, Johann packed his quill and moved to the small town of Tīrau, (NZ) to free himself of his parental constraints and find himself as an artist. Now he is ready to share his angst with the world.

With a diary full of inspiration (and sheep poo), Johann has arrived in Naarm to launch (or attempt to launch) his first poetry book.

Unfortunately, as he presents his painfully curated manifesto, he will be sidetracked by his hatred of society, his love for Elton John, and his ongoing frustration with capitalism. Will we ever hear the full book? Do we want to?

Why did you want to be part of this production?

This is a funny question to me, as I have never been sure why. I think as a weird kid turned weird adult, performance feels like the only way I can communicate in the world. (God that sounds really theatre kid-esque, I promise you I am not a theatre kid. Quite the opposite really.) I could never imagine myself in a ‘regular job;’ whatever that means. Performing and making art are really the only ways I feel truly myself.

Em Barrett

What has been your favourite performance or role so far in your career?

I have played a fly birthing maggots live on stage; I have played a magical gateway entity for a real life open world game; I have even played a flavour scientist for the strangest marketing campaign (and borderline celebrity kidnapping scheme) I’ve ever been a part of. But by far, Johann is my favourite role. He is just so awkward, and desperate to prove himself. His fight to keep things together whilst simmering with rage and despair at the capitalist world is oddly relatable.

Have you ever had to improvise or adapt during a live performance? What happened?

Ohhh all the time! I love to incorporate some structured chaos into my shows. For example, Johann is obsessed with asking audiences to suggest poems for him to create. He will then make up a live poem on the spot based on the suggestions. Sometimes they are poems, sometimes they are songs. Sometimes they are just a long tortured vocalisation as Johann stares into the abyss. It’s always fun.

What strategies do you use to manage nerves before you go on?

Eat some good kai (food); breathe; stretch and do a vocal warm up. Maybe do a speed run of the performance. Self care and pre-show warm ups are vital for me to be in the right headspace.

What sort of person is going to love this show?

A show for poetry lovers and haters alike.

Is there anything else you would like to share?

I’m proud to announce that the full season of Ode to a Grape will have Open Captions and a Low Sensory Show on the 30th September. You can find the access guide here: https://www.melbournefringe.com.au/whats-on/events/ode-to-a-grape

A huge thank you to Em Barrett for sharing the gloriously weird journey that led to Johann and his rage-filled poetry. If you are ready for live improvised poems, existential vocalisations, and a performer who thrives in structured chaos, grab your tickets to Ode To A Grape at Melbourne Fringe.

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Tony & Gaga: An Opulent Big Band Experience Arrives in Melbourne

Feature-Tony & Gaga: An Opulent Big Band Experience

Big Band brilliance meets Hollywood glamour! BBD Entertainment presents a lavish evening of classic standards, live orchestral sweep and the kind of vocal interplay that made Tony Bennett and Lady Gaga’s collaboration so beloved. Two Melbourne dates this spring offer audiences the chance to hear the Great American Songbook delivered with warmth, wit and a 20 piece band.

Tony & Gaga: An Opulent Big Band Experience pairs powerhouse vocalist Sarah C with style icon Dom Bagnato for a show built around the songs that defined an era of sophisticated pop. Sarah C, known to Australian audiences from Dancing With The Stars and X Factor, brings vocal depth and presence to every standard, while Bagnato adds charm and stage charisma to match. Together, they recreate the chemistry that made Bennett and Gaga’s duet albums so appealing.

Behind them stands the Mojo Orchestra, a 20 piece ensemble delivering the lush arrangements these songs demand. Strings, brass and rhythm section fill the room with the kind of live orchestral sound that streaming cannot replicate. The setlist draws from the Great American Songbook, the body of classic standards that both Bennett and Gaga championed throughout their celebrated partnership.

The production plays two Melbourne venues this spring. Frankston Arts Centre hosts the first show on Saturday 5 September at 7.30pm, offering a seated theatre setting for audiences in the southern suburbs. A month later, on Friday 9 October at 7.30pm, the show moves to Birds Basement, the intimate jazz room beneath the city where the orchestra and vocalists will be close enough to touch.

Each venue offers a different way into the material. Frankston’s theatre brings scale and sweep; Birds Basement brings proximity and atmosphere. Both promise an evening of polished vocals, a full live band and songs that have never really gone out of style.

Tickets for both performances are on sale now. For an evening of classic standards, vocal chemistry and a 20 piece orchestra in full flight, book your seats at Sarah C Shows.

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Sonya Suares: Staging Shakespeare’s Wild Genre-Bending Epic

Feature-Cleopatra & Antony

Few directors describe their vision as muscular, but that is exactly how Sonya Suares approaches Melbourne Shakespeare Company’s Cleopatra & Antony. She is tackling one of the Bard’s most ambitious works; a play that refuses to sit neatly within any single genre, blending tragedy, history, romance and action-adventure into something genuinely wild.

Meet The Director – Sonya Suares

What is this production about?

What is it not about? Empire, politics, love, war, legacy, factions, strategy, betrayal … and getting across the chess board of life on your own terms/ with what you hold dear intact.

What drew you to this particular work, and why now?

This play is one of the Bard’s most genre-bending works. It’s simultaneously a tragedy and a history and a romance and an action-adventure epic. It’s absolutely wild staging this work at this particular geopolitical moment, given its conceit: a contest of empire and ambition that famously reaches its climax with a naval-impasse-turned-all-out-showdown in a narrow body of water – one not so far away from the Strait of Hormuz.

How would you describe your directorial vision for this production?

Muscular. For all our fascination with the titular characters, this is an ensemble work. And we have a rockstar ensemble – this cast are already deep into the world-building that has to happen for audiences to invest in the fates of Cleopatra and Antony.

What is your process for working with actors to find the truth in a scene?

With heightened text, I tend to sketch on the floor first so we can all feel free to work in draft, and feel into the rhythm and dynamic of the world we’re building together. That way, actors are able to make offers that resonate both within framework of the play and that tap into their own experience as humans. Actors are very good at mining for truth if you get the parameters right.

Sonya Suares

Is there a moment in the show that has surprised you in how it has come together?

We’re just getting started but already the physical score of this work is gripping. It electrifies and energises the actors in the room – I think it’s going to be the same for audiences.

How do you balance your vision with the creative contributions of your cast and team?

Theatre is a collaborative endeavour and I love an offer. I mean, not every single offer is gold but if you get the right folk in the room, I believe you benefit from the many eyes, ears and minds attuned to making your vision for the production as taught and multi-faceted as possible.

What do you hope audiences are thinking about on the drive home?

That these seemingly distant moments in history are closer to us than we think. That we repeat and relive them over and again. Of what it means when a whole way of life is at stake, or a civilisation is destroyed. Of whose voices are heard and whose are lost.

On a nerdy note, I hope audiences are stirred to know more about Cleopatra and Antony. Their fate unfolds within the context of the world’s first all-out propaganda war and a real sliding doors moment in history. I mean, the very name we use for the month our show opens – August – is an honorific tied directly to the events in this play. It’s uncanny – and endlessly fascinating.

Our thanks to Sonya Suares for sharing her perspective on this fascinating production. For anyone curious about the propaganda wars, sliding doors moments and historical echoes she describes, tickets for Cleopatra & Antony at fortyfivedownstairs are available now.

 

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