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Comedy On The Rocks – Theatre, Drinks, and Laughs!

8 December 20248 December 2024 Megan Davis

Comedy On The Rocks Rating

★★★★★

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Comedy On The Rocks is the perfect way to spend a few hours for an afternoon of laughs, creativity, and cheeky fun. Held at the delightfully chaotic and cosy Motley Bauhaus, this theatrical drinking game combines quick-witted performances, unpredictable plays, and communal cheers to deliver a boozy comedy experience unlike anything else on the Melbourne independent theatre scene.

The Format: Cheers to Surprise
The premise is simple but ingenious: six short comedy plays, each crafted by talented performers. Every play features three designated “Cheers!” moments that keep the audience on their toes: an action (like an actor jumping), a prop appearance (say, a trusty fry pan), and a line of dialogue (like “Speak of the devil!”). The result? Every time these cues appear, the audience raises their drinks, whoops and sips. It’s participatory theatre at its most playful.

What makes Comedy On The Rocks particularly special is its spontaneity. With a rotating cast and new material for each show, all performances are different. You genuinely don’t know what’s coming next – which, let’s be honest, is half the fun.

The Show: Inventive, Funny, and Just a Bit Tipsy
The short plays showcased a variety of comedic styles, from quick banter to absurd gags, proving the creativity of Melbourne’s emerging theatre scene. While the sketches varied in tone and execution, the overall vibe was fresh, inventive, and energetic. Of particular note were the performances by the show’s organisers and hosts, Cat and Caz, whose impeccable comic timing and natural chemistry made their sketch one of the day’s highlights.

The tight runtime – about two hours, including a 20-minute interval – is perfect for keeping the energy high and the drinks flowing without overdoing it. Whether you’re a casual theatre-goer or a comedy lover, the unpredictability ensures something for everyone.

The Venue: Motley Bauhaus – Tight but Delightful
The Motley Bauhaus adds its own charm to the experience. Sure, the theatre seating can feel a little snug, but the atmosphere more than makes up for it. The bar buzzes with pre-show excitement, and the live jazz band playing outside post-performance adds a delightful bonus, creating an authentic festival vibe.

For those who enjoy supporting local and independent talent, Comedy On The Rocks feels like a celebration of the best Melbourne has to offer: creativity, camaraderie, and a generous side of fun.

Final Thoughts: Don’t Miss It
The final show on 15th December promises another lineup of fresh, unpredictable sketches. If Cat and Caz have anything to do with it, you’re guaranteed a good time. Grab your mates, grab a drink, and get ready to cheer your way through a fast, funny, and delightfully silly afternoon of theatre.

In short, Comedy On The Rocks is fun. It’s creative, surprising, and refreshingly unpretentious. Whether you’re a sketch comedy or theatre fan or simply looking for a boozy afternoon out, this show delivers in spades. Cheers to that!

Details:
What: Comedy On The Rocks – A Theatre Drinking Game
Where: Motley Bauhaus
When: Final show on 15th December
Drinks: From 3PM
Performances: 3:30PM–5:30PM (20-min interval)
Tickets: Includes a mystery prize raffle!

Take your chance to sip, shout, and laugh one last time.

Photographer:- Ian Thrussel

To book tickets to Comedy On The Rocks, please visit The Motley Bauhaus.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Megan Davis

The True Cost of Living at the Melbourne Theatre Company

19 October 2024 Megan Davis

The Cost of Living Rating

★★★★★

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The phrase “cost of living” has been in the headlines for months, typically evoking the daily grind of bills and inflation. However, Cost of Living, staged by the Melbourne Theatre Company, takes this notion far beyond the material to explore what it truly costs to stay alive in emotional, psychological, and social terms. This profound play, directed by Anthea Williams, dives deeply into the human condition, unveiling our universal need for connection, love, and vulnerability.

The cast features Rachel Edmonds as Ani, Aaron Pedersen as Eddie, Mabel Li as Jess, and Oli Pizzey Stratford as John. Each character brings a unique perspective on life’s challenges, offering a rich tapestry of experiences woven together by a common thread: the need for connection. Despite their differences in race, class, and physical ability, each character is driven by an almost primal need not to be alone, and the play skillfully portrays how connection can develop from unexpected circumstances.

Powerful Performances: Characters Brought to Life
The play revolves around two distinct relationships shaped by circumstances and necessity. The first is between Ani, who is quadriplegic after a traumatic accident, and her estranged ex-husband Eddie, a truck driver struggling with guilt and a broken heart. Rachel Edmonds delivers a raw, deeply moving performance as Ani, capturing her desperation to cling to independence despite her circumstances. Aaron Pedersen, as Eddie, is poetic and tender; his vulnerability and deep love for Ani are revealed as the play progresses. Initially, under the guise of a financial and historical connection, their interactions evolve into something much deeper and more human. The complexity of their relationship is palpable, and their reconnection, though tinged with sadness, is beautiful.

The second pairing is between Jess, a student and caregiver, and John, a wealthy man with cerebral palsy. Mabel Li plays Jess with a nuanced mix of warmth and steely resolve as she navigates the world alone and fights to be seen in a society that often overlooks her. Oli Pizzey Stratford, as John, also makes his debut on the MTC stage, offering a compelling portrayal of privilege and vulnerability. Their relationship begins as a simple financial transaction. Still, as layers of emotional need are peeled back, it becomes much more complex. Both actors deliver raw, honest performances that leave the audience contemplating the nature of human interaction.

These performances are compelling because they are given by actors with disabilities, portraying lived experiences that we seldom see authentically on stage. This casting choice adds to the stakes of the play.

Set Design as Another Character
Matilda Woodroofe’s set design plays a significant role in telling the story. The contrasting environments reflect the socio-economic disparities between the characters, with the set serving as almost another character in the play. The movement and shifts of the stage echo the tempo of the action, fluid and purposeful. At times, it feels as though the set is breathing with the actors, reinforcing the pace and emotion of the scenes.

One standout aspect of the production is the decision to present the show without an intermission. At two hours long, a show can feel tedious without a break, but not Cost of Living. The tension and pacing build seamlessly, keeping the audience engaged from start to finish. The absence of an intermission feels like a deliberate choice to maintain the intensity of the emotional journey. It allows the audience to fully immerse themselves in the characters’ raw emotions without breaking the spell.

The Heart of Humanity
What sets Cost of Living apart is its focus on the human condition—the need to love and be loved, to connect, and to survive, regardless of physical or emotional barriers. As Eddie poignantly states midway through the play, “Th” That’s how people work.” T” in line encapsulates the entire production. Regardless of ability or circumstance, no one is immune to the human need for connection.

A common refrain in the disability community is that everyone has access needs, and the Cost of Living lays this idea bare. Each character’s physical, emotional, or financial care is examined honestly. Eddie and Jess, who live without physical disabilities, are revealed to have just as much need for care and connection as those they look after. We are reminded that humanity evolved as a collective, and our attempts to imagine otherwise are little more than fantasy.

A Final Word
Ultimately, the Cost of Living is a powerful and authentic portrayal of vulnerability and loss. It strips back the layers of what it means to be alive, exposing the actual cost of living: love, empathy, and human connection. The performances are stellar, the script beautifully crafted, and the direction tight and focused. This play will leave you thinking long after the final bow, and it’s something you’ll replicate any time soon.

Anthea Williams, her creative team, and the exceptional cast have delivered a production that reminds us of the importance of community and compassion. As Williams says, “The only thing that keeps us whole in the end is our connection to and love for one another.”

Photography by Jo Duck Production photos by Pia Johnson

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Colin Ebsworth – Me, My Cult & I: Bold Storytelling

9 October 2024 Megan Davis

Colin Ebsworth – Me, My Cult & I Rating

★★★★★

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Colin Ebsworth’s show at the Melbourne Fringe Festival was held at the Trades Hall, the festival’s bustling hub. The show, titled Colin Ebsworth – Me, My Cult & I, takes the audience on an intense, multi-layered journey through Ebsworth’s life, family, and the cult that brought them together.

Ebsworth was raised in a South Korean-led religious movement, the Unification Church, commonly called the Moonies. In the 1980s, Reverand Moonie, a man who claimed to be the reincarnation of Jesus Christ, married Ebsworth’s parents at a mass wedding in Madison Square Garden. From this extraordinary beginning, Colin unfolds a complex and deeply personal story.

With a mix of rapid-fire storytelling, music, and a PowerPoint presentation, Ebsworth passionately recounts growing up in a cult and grappling with undiagnosed ADHD. There’s a lot to unpack here, and while the show was sometimes overwhelming with its myriad storylines, it was also packed with poignant moments and humour.

Ebsworth’s narrative darts between his parents’ arranged marriage, their move from the US to Australia, and the emotional isolation they experienced due to the cult’s restrictive nature. The disconnection from his father’s family in Perth because they weren’t part of the church added layers of complexity to the story.

The show isn’t just about the cult, though. It’s about belief systems, family dynamics, and the ongoing search for identity and hope.

Ebsworth’s delivery is fast-paced and almost breathless, and as an audience member, you need to be fully attentive or risk missing important details. It’s a challenging ride that feels meaningful, as different sections of the story will resonate with different people. The overarching theme does emerge: while we can’t undo the past, we can still move forward.

There’s no doubt that Colin is a gifted storyteller. Still, his choice to cover so many intricate layers made it hard to resolve everything cleanly. That said, his passion and energy kept the audience engaged throughout. It’s the kind of show that leaves you with much to think about and will spark conversation afterwards. I’d like to see how this performance evolves in the future as Colin continues to live and tell his story.

Overall, it’s an insightful and enjoyable show full of witty observations and heartfelt reflections. It’s definitely worth checking out if you enjoy performances that make you think and challenge your perceptions.

For tickets, book @ https://melbournefringe.com.au/event/colin-ebsworth-me-my-cult-i/

Dates 09 – 13 Oct – Time 7:00pm, 6:00pm (60 minutes)

For further information about Colin Ebsworth, please follow: https://linktr.ee/colinebsworth

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Film Review: Trust (2024)

7 September 2024 Megan Davis

Trust Rating

★★★★★

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Trust emerges as a standout film for this year’s St ALi’s Italian Film Festival, running nationwide at Palace Cinemas from September 18 to October 23. It invites viewers into an intricate psychological drama where love and fear dance together in a narrative that is as gripping as it is thought-provoking. Directed by the award-winning Daniele Luchetti and based on Domenico Starnone’s novel Confidenza, the film delivers an exploration of human emotion that lingers long after the credits roll.

The central figure in Trust is Pietro (Elio Germano), a well-respected teacher beloved by his students and admired by his peers. His reputation, built on his progressive pedagogical philosophy that affection trumps fear to inspire students, casts him as a pillar of his community. This idea of the “pedagogy of affection” becomes a thematic thread throughout the film, highlighting Pietro’s compassionate and encouraging nature. He’s the antithesis of the authoritarian teacher, choosing love over the fear of failure to guide his students toward their best selves. This progressive approach resonates with audiences, especially considering its relevance in the 1980s and ’90s when the film was set.

But a darker truth lies beneath Pietro’s moral righteousness and public adoration. His life takes an unexpected turn when he rekindles a relationship with a former student, Teresa (Federica Rosellini), one of the brightest minds he ever taught. After they meet again, Teresa confronts Pietro with a profound and unsettling declaration—she has always known about his affection for her, an affection he can no longer deny. Though the two begin a relationship, their dynamic becomes fraught with complexity and tension.

What starts as a seemingly genuine romance soon unravels into an obsessive and destructive bond. Teresa becomes aware of Pietro’s most closely guarded secret, a revelation that binds them together in a way that is almost stronger than love—through fear. The power of this secret is so immense that it threatens to undo the very foundation of their relationship, raising a central question that permeates the entire film: Is love more powerful than fear, or do these two emotions inevitably co-exist in a relationship built on vulnerability?

Luchetti masterfully plays with these concepts of love, fear, and honesty throughout the film. His direction ensures that the audience is never too comfortable, always wondering whether the bond between Pietro and Teresa is driven by genuine affection or by the terror of having their deepest fears exposed. The result is an exploration of how once-shared secrets can become weapons, altering the course of a relationship forever.

While Trust succeeds in exploring these weighty themes, there are moments when the film falters. Certain scenes feel unnecessarily drawn out, adding little to the overall narrative and making the film feel longer than its runtime suggests. As a thriller, Trust sometimes lacks the tension necessary to keep audiences on the edge of their seats, leaving a few key moments feeling flat. These pacing issues could have been addressed with tighter editing, which might have sharpened the film’s focus.

Despite these minor flaws, the performances are nothing short of extraordinary. Elio Germano delivers a nuanced portrayal of Pietro, a man whose inner turmoil is constantly simmering beneath his calm exterior. His ability to convey vulnerability and authority makes his character a fascinating study in contradiction. Federica Rosellini is equally impressive as Teresa, her performance embodying a mixture of longing, manipulation, and pain. Together, they create a volatile and captivating dynamic that anchors the film.

The supporting cast, including Vittoria Puccini as Nadia and Pilar Fogliati as Emma, adds further layers of complexity to the story. Isabella Ferrari’s portrayal of Tilde provides a sense of groundedness amidst the chaos of Pietro and Teresa’s relationship. Each performance enriches the film, allowing the audience to explore different facets of Trust, fear, and human interaction.

Ivan Casalgrandi’s cinematography elevates the emotional tone of the film. His use of shadows, light, and shots peering through windows door creates an atmosphere of quiet tension, echoing the characters’ internal battles. The set and costume designs also reflect the 1980s and ’90s setting, giving the film an authentic feel without distracting from the central narrative.

One of the standout aspects of Trust is Thom Yorke’s haunting score. Known for his ability to craft music that evokes deep emotion, Yorke’s contribution here is no different. His atmospheric soundscapes underscore the tension and emotional weight of the film, drawing the audience deeper into the story without overwhelming the performances.
The themes of Trust are universal and timeless, making the film deeply relatable for audiences of all backgrounds. At its core, the film asks whether honesty, when laid bare, can strengthen or destroy a relationship. Can love survive when fear takes hold, or does fear inevitably erode Trust? These are the questions Luchetti leaves audiences grappling with, and their unresolvable nature is what makes Trust such an impactful film.

As the premiere film of the St ALi’s Italian Film Festival, Trust sets the tone for a fantastic lineup of Italian cinema. It challenges viewers to think deeply about the nature of human relationships, leaving them with more questions than answers, which is often the hallmark of a truly great film. Despite a few pacing issues, Trust succeeds as an emotionally resonant and visually arresting exploration of love, fear, and the secrets we hide from each other—and ourselves.

For more information about the festival and film session details, be sure to visit https://italianfilmfestival.com.au/

Film Review: Trust (2024)
Directed by Daniele Luchetti
Starring: Elio Germano, Federica Rosellini, Vittoria Puccini, Pilar Fogliati, and Isabella Ferrari
Based on the novel Confidenza by Domenico Starnone
Original music by Thom Yorke

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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