A Not-To-Be-Missed Storytelling And Music Extravaganza!

Amplified: The Exquisite Rock and Rage of Chrissy Amphlett

Amplified: The Exquisite Rock and Rage of Chrissy Amphlett Rating

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Amplified at Belvoir St is Sheridan Harbridge’s exhilarating homage to legendary Australian rock icon and Divinyls frontwoman, Chrissy Amphlett. Written and performed by Harbridge (Prima Facie), directed by the award-winning Sarah Goodes (The Weekend) with musical direction by Glenn Moorhouse (Hedwig and the Angry Inch), Amplified enters the annals of Australian music historiography.

Part biography, part autobiography, part cabaret, part live concert, part tribute, Amplified is electrifying from the moment the band takes their places and Harbridge enters from the audience wearing knee length boots, a black leather mini skirt and a black trench adorned with silver glitter. She immediately owns the stage.

The show opens with Harbridge asking the audience to tap into their own experiences of seeing school-tunic wearing Chrissy on stage. The band then comes in with ‘I’ll Make you Happy’ and the audience responds. Cheers and applause fill the theatre and the energy is palpable. It’s a terrific and uplifting rendition.

Harbridge doesn’t try to imitate the unique and sublimely defiant Chrissy Amphlett, rather she uses music and stories told by Amphlett herself, and those who knew her, to keep the memories alive and, in doing so, evokes a sense of immortality surrounding the singer.

 

 

Amplified tells of Amphlett’s childhood in Geelong and of the circumstances that moulded her into the fierce, feminist, rebellious frontwoman she became.

To those who saw Divinyls on stage in their ‘80s and ‘90s heyday, the experience was unforgettable. Amphlett was unapologetically brash, raucous, overtly sexual and subversive, upending the then Australian music industry dominance of male lead singers. Harbridge showcases Amphlett’s bold stage persona, explores her vulnerabilities, and delves into her long and complicated relationship with Mark McEntee, the band’s co-founder.

This reviewer went to many Divinyls gigs and remembers one in particular at Caringbah Inn in the early 1980s where Amphlett spat on her, which felt like a badge of honour at the time. One never knew what Chrissy might do next!

Like Chrissy, Harbridge teases the audience, but, unlike Chrissy, does so in an unthreatening manner. She takes an unwitting patron’s handbag and empties it on stage; she interacts with the audience, bringing to life the icon’s bad girl persona in all its hilarious brilliance. This is definitely not a production for children.

The stage is backlit by blue lighting with several spotlights centred on Harbridge. The floor seems to be etched in silver swirls and circles emanating around the mic stand like a galaxy of stars, which evokes, in this viewer, the chaos and frenetic energy of Amphlett standing at the centre of her universe.

The four-piece band comprises accomplished musicians Glenn Moorhouse, Ben Cripps, Dave Hatch, and Clarabell Limonta. Their polished execution of songs and divine back-up vocals elevate Harbridge’s storytelling. Harbridge’s vocal range is impressive: from the guttural to falsetto, she doesn’t miss a beat. She uses a recurring motif to tease the audience, which I won’t reveal, have them wanting more and it works to great effect. The background music to Harbridge’s narration is low-key but performative to the story. The tempo walks with each particular narrative then explodes into song.

Sheridan Harbridge is an actor and writer of extraordinary talent. Her comedic timing and ad-libbed moments are things to behold. With Goodes and Moorhouse as collaborators, she has created a wonderful production that surely tugs the nostalgic heartstrings of theatre-goers across Australia.

To book tickets to Amplified: The Exquisite Rock and Rage of Chrissy Amphlett , please visit https://belvoir.com.au/productions/amplified/.

Photographer: Brett Boardman

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‘To Save Your Soul, Shake Your Soul.’

Daytime Deewane

Daytime Deewane Rating

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Daytime Deewane is an uplifting and high-energy play by award-winning UK writer Azan Ahmed, written from, in his words, ‘a place of radical joy. ‘

The play dives into the 1990s’ era of London’s daytime raves, when brown men were often excluded from nightclubs, forbidden to share public space with non-Asians. To circumvent this, young brown men from the Asian diaspora converged on nightclubs between 3pm and 6pm to lose themselves in the cultural euphoria of Bhangra music and dance.

Racism and identity and the ways in which they perniciously intertwine are the overarching themes of Daytime Deewane. For example, if you’re told enough times that your brown or black skin makes you inferior, odds are you might come to inhabit
this self-belief.

Directed by Iranian-Australian Sepy Baghaei (Wish You Were Here, Gate Theatre), Daytime Deewane introduces Muslim cousins, Farhan (Ariyan Sharma) and Sadiq (Ashan Kumar). Both young men are heavily burdened by generational family expectations of them to be ‘good Muslim boys’ and ‘proper British men’ 1. It is 1997 and they are at the last ever London daytime rave. Bhangra music plays, a dhol drum beats hauntingly. Here is a safe space in which they can fully immerse themselves into the euphoric music and dance, a place to celebrate culture and free expression.

Farhan is the quiet cousin, the conformist to Sadiq’s rebel. They argue, disagree, plead, weep, push and shove. They only have until 6pm to come up with the solutions to their questions. This is, after all, the final daytime rave.

 

 

Playwright Ahmed brilliantly weaves spoken word with Bhangra music and dance, lending a sense of urgency to the play. Each of these elements synergise exquisitely with the other, with Bhangra the conduit that unites Farhan and Sadiq in their explorations of self. The language of the play is poetic, tender in places, angry and bold in others. Short pauses in dialogue allow the audience to digest the nuances and complexities at hand during that racially divisive time in London’s history.

Ariyan Sharma (STC, Dear Evan Hansen) as Farhan is terrific casting. His portrayal is rich with humour and compassion, his belief in the unbreakable bond of cousins is touching and evocative. The audience laughed, cried, cheered him on. His interactions with the audience were engaging and highly entertaining. He brings humour and compassion to the role, his whimsical facial expressions are timed perfectly, and yes, he can dance!

Sadiq is played by Ashan Kumar (MainStage Debut). He dresses gangsta-style, soccer hoodie, baggy denim jeans with chains, thick silver jewellery, and sports a flip-top Motorola. Kumar inhabits Sadiq – he is angry, funny, tender, loud, despairing and inherently likeable. He speaks volumes with expressive hand and arm gestures that intensify every spoken word. His audience interaction was hilarious.

The set clearly reflected a 1990s’ nightclub with strip lighting on the floor, shooting strobes, and neon green strip lighting on the ceiling. During the dance components, the light show brought the stage to brilliant life.

Daytime Deewane is a thoroughly enjoyable, immersive production richly imbued with the playwright’s ‘radical joy.’ Don’t miss it!

To book tickets to Daytime Deewane, please visit https://riversideparramatta.com.au/whats-on/daytime-deewane/.

Photographer: Phil Erbacher

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The Offering

The Offering

The Offering Rating

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This brilliant play by Borneo/Australian rapper/poet Omar Musa and American classical musician Mariel Roberts Musa combines poetic storytelling with live music to create a riveting theatrical experience. Omar weaves oral histories and personal narratives, and, accompanied by Mariel’s exquisite cello playing, they create a deeply resonant and haunting seafaring story delivered with extraordinary accomplishment.

The Offering tells the story of a protagonist fleeing a country whose ecology has collapsed under the perils of climate change. Deforestation and its associated logging, clearing and burning have culminated in a ‘climate holocaust.’

The protagonist sets sail across a vast plastic ocean littered with debris. The ocean’s surface brims with discarded bottles, fabrics and other plastic horrors in what is a tragic indictment of humankind’s mass-production of all things synthetic. Despairing, he sails toward a mythical volcano where he hopes to find his own destruction amid its fire and ferocity. On his journey, he encounters items in the ocean that are familiar to him, triggering memories of life before the climate holocaust. Upon reaching the volcano, he discovers something much different, hope and the promise of a world free of borders and constraints.

Omar’s performance is powerful and evocative. He engages the audience, who respond with rapt attention. He likens the ocean to an ‘archipelago of memories’ and moved by what he sees, he tells the boyhood memory of his grandparents and their lopsided jungle shack by the river. His body dances with the words and music, seamlessly attuned. He raps, he sings, performs poetry. His hand movements shift from strong to delicately expressive in an instant, which took this reviewer’s breath away.

 

 

Mariel’s cello playing is an emotional kaleidoscope – from bold, to mournful, to raw, to lyrical, she has composed a divine accompaniment to Omar’s spoken word. She becomes so bodily immersed in the piece, it’s like she and her cello become one. At one point, Omar invites the audience to join in some collective breathing. We follow his lead. So does the cello. Its inhalations and exhalations are so authentic, this reviewer found herself in awe at Mariel’s mastery of her instrument.

The Offering successfully intertwines its musical score, oral histories and Omar’s personal narratives in a way that moves the story forward with the sense of urgency it warrants. Contemporary discussion around climate change has never been more important, and The Offering shows us the stark and devastating end reality we, as a planet, are rapidly facing if we refuse to act.

The play looks at memories as a way to effect and recognise change. Lost memories become found in a sea of ecological destruction. Thoughts of earlier and more simple times offer something tangible to hold onto in a world so artificial, so lost, roiling in its own devastation.

The set design reflects and complements the subject matter. It’s a dark stage, interspersed with the blue hues of the ocean; a changing black and white backdrop mirrors and enhances the storyline, and soft lighting transitions beautifully between Omar and Mariel.

The Offering speaks to the audience. And the audience listens.

To book tickets to The Offering, please visit https://riversideparramatta.com.au/whats-on/the-offering/.

Photographer: Phil Erbacher

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