About The Production – Popera: Sex, Death & Politics

Uma Dobia

We caught up with the whirlwind behind Popera: Sex, Death & Politics to dive into a world where opera meets glitter, pop sass, and a hefty dose of feminist fire. With high notes, high drama, this cabaret gameshow turns tradition on its head.

About Popera: Sex Death and Politics

What is this Production about?

Popera: Sex, Death & Politics is an interactive cabaret gameshow that blends original pop and opera parody, all while tackling agesim and sexism in the performing arts — in silver sparkly boots and a red jumpsuit! It’s basically opera with Kath and Kim energy.

What character are you playing, and what can you share with us about them?

I play the gameshow host, a trained operatic soprano who hosts a gameshow that mixes pop and opera. But on the day of the show, her boyfriend/assistant Trevor doesn’t show up to work, and since the show must go on, she’s determined not to think about him…

What sort of person is going to love this show?

Anyone who loves pop, opera, divas — or honestly, anyone who loves a laugh! Popera has many…

What will the audience be thinking about in the car as they drive home after this show?

They’ll probably be singing “sex, death & politics! Popera! Popera!”… if you know, you know 😉

Call someone out by name: who must come see this production?

Opera singers! Opera students! Opera lovers! They’ll get every reference — or if they don’t, they’ll learn something new about the operas they love.

Who has the best costume?

Definitely me — knee-high silver, diamanted, stiletto boots, a tight red jumpsuit, a black tails jacket, a magnificent red robe, and a jaunty red circus hat?! Who could resist?

Is there anything else you’d like to add?

We’re doing an Auslan-interpreted and audio-described show (please bring your own device and headphones) on Sunday, April 13th!

Where can patrons purchase tickets to this production?

To book tickets to Popera: Sex Death and Politics, please visit https://www.comedyfestival.com.au/browse-shows/popera-sex-death-politics/.

Show Sessions run Sat 12 Apr & Sun 13 Apr: 4 pm and Sat 19 Apr & Sun 20 Apr: 4 pm at The Motley Bauhaus – Theatrette, 118 Elgin Street, Carlton.

Thank you for sharing your journey into the world of Popera with us! We can’t wait to see you dazzle in those knee-high silver boots and red jumpsuit. Best of luck with the show – it’s sure to be a night of laughter, glamour, and unforgettable tunes!

Other production interviews can be viewed here in our About The Production Series.

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Dear Elena Sergeevna at The Old Fitz

Dear Elena Sergeevna

Dear Elena Sergeevna Rating

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Written in 1980 by Lyudmila Razumovskaya and later adapted into film, Dear Elena Sergeevna remains relevant as an exploration of morality, humanity, and the darker side of ambition. Elena is a schoolteacher who is about to celebrate her birthday alone while her mother is in hospital.

Her quiet, humble evening is interrupted by a group of her students who visit to celebrate, or so they say, bringing gifts and alcohol. Their true intention is masked by their polite manners and youthful joviality, trying to bring Elena onside so she willingly helps them with a secret plan. But she refuses to be their accomplice, so the students hold Elena captive as the evening descends into a tense battle between different generations and ideologies.

The current production at The Old Fitz Theatre, directed by Clara Voda, doesn’t quite manage to capture the sense of danger and tension so evident in the script. The cast try their best with string performances. Teodora Matović is well cast as Elena, convincingly embodying the bookish, conservative and idealistic teacher. Toby Carey, Harry Gilchrist, Faisal Hamza and Madeline Li brought the students to life with energy and exuberance, even if they sometimes stumbled on their lines. Each was perfectly cast for their respective character.

The only thing missing was tension. At no point did I feel concern for Elena’s safety or fear what students may be capable of. Much of the subtleness in the script was missing. There were many lost opportunities where menace and terror could brood underneath the ideological conflict, but the emotions were big, loud, and shallow.

Elena’s outburst fell flat despite Teodora’s excellent physical performance, embracing the emotions completely. It was just the wrong directorial choice. I could barely hear anything being screamed and failed to have any emotional reaction to what should have been an incredibly powerful moment. Most of the important emotional moments were the same: big and loud rather than powerful.

I liked how the characters were always engaged in some activity, even when they were not the focus of the story. There was always something else going on, and that level of detail is commendable. The actors were almost always on stage, so keeping busy and interesting when you don’t have any important plot action to deliver can be challenging, and they did this skillfully. I also really enjoyed how the dialogue was dynamic, with characters constantly talking over each other like we do in real life. Unfortunately, that wasn’t enough to immerse me in the performance, and by the end of the play, all I could think about was what could have been. It’s still a great, timeless story. Maybe next time.

Dear Elena Sergeevna is now playing at the Old Fitz Theatre in Woolloomooloo until the 11th of April.

To book tickets to Dear Elena Sergeevna, please visit https://www.oldfitztheatre.com.au/dear-elena-sergeevna.

Photographer: Noah David Perry

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Chaotic Nonsense Of The Best Kind

Farndale

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Thrive Theatre’s latest production is an absolute hoot. Directed by Susan O’Toole Cridland, The Farndale Avenue Housing Estate Townswomen’s Guild Dramatic Society Murder Mystery is a delightful play within a play that invites audiences into the chaotic opening night of Murder at Checkmate Manor, where anything that can go wrong, hilariously does.

Led by the determined Mrs Reece (Sandy Adsett), The Farndale Dramatic Society valiantly attempts to stage their murder mystery, despite countless mishaps. Her long-suffering cast includes the incorrigible Thelma (Izabela Wasilewska), the flustered Felicity (Lindi Milbourne], earnest Audrey (Claire Marchesi), the charismatic Gordon (Isaiah Harrison), together with their perpetually bewildered lighting and sound technician, the show quickly becomes a comedy of errors, plagued by collapsing sets, missing props, and forgotten lines. Yet, it’s precisely this relentless madness that results in the very best kind of chaotic nonsense.

From beginning to end, this production is laugh-out-loud funny. The cast and crew convincingly portrayed a carefully orchestrated disaster. The actors handle the dual realities with impressive comedic timing and genuine flair. Special mention must go to Isaiah Harrison, whose Inspector O’Reilly feels like the love child of Patrick Swayze and John Cleese. He would steal the show, except he couldn’t wrestle it away from the other actors.

It took balls for O’Toole Cridland to step out of her comfort zone and direct a farce, and there are certainly plenty of balls in this production. Thrive Theatre has boldly embraced farce, absurdism, musical theatre, and tennis in this production, with exceptional results.

The KSP theatre venue is delightfully nostalgic, with a relaxed atmosphere and convenient parking. One cannot fail to mention the generous cheese platters, which can be ordered upon booking.

With everything going on in the world, this joyful, light-hearted production feels exactly right—comforting, uplifting, and genuinely entertaining. It’s like chicken soup (and a cheese platter) for the soul.

To book tickets to Farndale, please visit Farndale Tickets.

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Unforgettable Passion: A Review of No Regrets: The Edith Piaf Story

No Regrets: The Edith Piaf StoryNo Regrets: The Edith Piaf Story

No Regrets: The Edith Piaf StoryNo Regrets: The Edith Piaf Story Rating

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The Home of the Arts is a remarkable venue, most famously regarded for its shows, exhibitions, and live events. With a variety of performance spaces, HOTA hosts a diverse collection of performances year-round, catering to all audiences, interests, and passions.

Located in the intimate setting of the basement, with an exclusive show on April the 4th only… talented Australian artist Nikki Nouveau presents ‘No Regrets: The Edith Piaf Story’. Nikki has many years of experience as an entertainer, which is evident in her most recent cabaret performance.

In No Regrets: The Edith Piaf Story, Nikki Nouveau offers a captivating and heartfelt journey of the legendary French singer, Edith Piaf. The audience is immersed in the essence of Piaf’s life and music within the first five minutes of the performance, through emotional delivery. Nikki transports the audience to the heart of Paris, with her deep connection to Piaf’s legacy.

The emotional resonance of Piaf’s story is enhanced by Nikki’s ability to speak both French and English seamlessly. Angelic vocals evoke the profound emotional connection between Nikki, Piaf, and the audience. The show begins slow, as Piaf’s life begins quite sad but ends with joy and passion – taking the audience on an emotional rollercoaster.

Nikki incorporated costume changes and accessories into her show, as a visual element of character development. The show began with Nikki wearing a black dress, to represent her femininity. In the second act Nikki wears a suit to portray the dominance and strength that Edith Piaf has adopted by this point in her life. A top hat was worn for a small sequence of songs as a character change – singing about Edith Piaf’s close friend Marlene Dietrich.

Each of these costumes were black, so they were timeless, sophisticated, and dark to represent the somewhat depressing story she was telling. The room was in relative darkness, and the stage was framed by red curtains and a stark white spotlight. Throughout the performance, Nikki performed flowy, elegant arm movements to match the music.

A standout was one of Piaf’s most notorious songs, La Vie en Rose, which coveys the bittersweet emotions that come with love. Nikki’s exceptional delivery aroused strong feelings of nostalgia and romance. Along with Nikki’s impressive vocals, there are moments where the music takes centre stage, with creative yet dramatic instrumental scores.

The changing dynamics in the music enhanced the atmosphere and highlighted the raw emotions tied to Piaf’s iconic and timeless songs. The music is an integral part of the storytelling, and Nikki moves to the side so the instruments are featured. John Reeves is an exceptional pianist and accordion player who deserves much recognition for his talent and musical ability.

Although the show started off deliberately slow to match Edith’s early years, it gathers pace, leading to the whole audience clapping along towards the end. Overall, this was a wonderful performance from Nikki and her musicians, full of passion, soul and music.

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