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Brolga: A Queer Koori Wonderland

27 October 2024 Claire Mulcahy

Brolga: A Queer Koori Wonderland Rating

★★★★★

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Saturday, 26 October, saw Bay 17 at Carriageworks Redfern transformed into a psychedelic spectacle, the latest incarnation of multidisciplinary artist and Wiradjuri man Joel Bray’s Brolga: A Queer Koori Wonderland. The interactive dance party, running as part of the 2024 Liveworks Festival, promised to fill every nook and cranny of the space with ‘light, colour, projected image and ecstatic dancing bodies, inspired by First Nations stories of the dancing Brolga’.

The brolga, known as the ‘dancing bird’ holds a lot of cultural significance for Indigenous Australians. Bray stated before the event that many Indigenous stories about the brolga describe its ability to shape, shift, and transform. He sees this as particularly symbolic for queer, gender fluid Indigenous people. Traditionally, corroborees were events where community members had the opportunity to share songs and dance in a ritualised setting. Brolga: A Queer Koori Wonderland can be seen as a contemporary incarnation of those corroborees performed for millennia.

Kicking off at 9pm, our self described ‘Aunty for the evening’ (and clad in an amazing silver outfit) gave the Welcome to Country, reminding us that we were on Gadigal land – land that had never been ceded. We were also reminded of Redfern’s importance in the history of Blak culture and resistance and so it was very symbolic that this night was able to take place there.

Set up around the cavernous space was a floor-to-ceiling screen displaying rainbow images reminiscent of an acid trip. Next to this, a crafting table filled with glitter, masks, glue, and tape encouraged partygoers to adorn themselves for the night ahead—a nice touch for those who might have overlooked wearing a costume out. It also provided an opportunity for early arrivals to chat and perhaps make new friends.

For the next six hours, Bay 17 truly became a wonderland. Drag performer and Miss First Nation 2017 winner Josie Baker sizzled as she danced and sang for the first performance of the night. Highlights of the party included amazing performances from queer artists, including drag performer Felicia Foxx and the gender-ambiguous DANDROGYNY. Compelling music from DJ Jonny, BVT, SOVBLKPSSY, Basjia and Crescendoll kept everyone on the dancefloor well past midnight.

In a deliberately interactive experience, partygoers were encouraged to roam freely, watch video installations, and take time out from the dance floor in the chill-out room, replete with bean bags and lounges.

Brolga: A Queer Koori Wonderland proves that Indigenous culture in Australia continues to thrive and transcend boundaries. Hopefully, we will see the dance party back in Redfern next year for another night of vibrant queer celebration.

This show is part of the Liveworks Festival 2024, which will be hosted at The Carriageworks Performance Space from 23rd to 27th October.

Follow the link to book in for this or any other shows during the festival @ https://carriageworks.com.au/events/liveworks-festival-2024/

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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Hangmen

26 October 2024 Genevieve Hudson

Hangmen Rating

★★★★★

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The turned-wood bar set is visible to the audience before the show begins. Ashtrays, partially drunk pints of beer, and a vase of silk flowers accompany a selection of era-appropriate music to initiate the immersive experience of the 1960s.

Opening with the heart-wrenching hanging of Hennessy (Trevor Anderson), it establishes the underlying discourse that questions the effectiveness of capital punishment when the line between innocent and guilty is unclear. Fast-forwarding to the abolition of this practice two years later, we meet the now-retired hangman Harry Wade who was responsible for said hanging.

Played superbly by Brant Eustace, Harry is a driving force of the play and a formidable presence to his regular customers, friends, and family. In an ambitious production that required the use of Northern English accents, Eustace commands the space with confidence and consistency, with the audience hanging on every boisterous word.

Helping to run the pub is his flinty wife Alice (Rachel Dalton) and naïve teenage daughter Shirley (Finty McBain), who add dimension and colour to the ensemble of regulars who frequent it. Among them are Bill, former Hangman Doctor and very convincing sot portrayed by Steve Marvanek, and comfortably indolent Inspector Fry by Russell Slater. Greg Janzow and Leighton Vogt provide some well-timed comic relief with the hearing-impaired Arthur and earnest Charlie, respectively, who often relays jokes for the former, only for Arthur to cut through to some uncomfortable truths.

This dark comedy is intensified by the fanatical tendencies of Joshua Coldwell’s performance as Peter Mooney. Contrasting unapologetically with a loud lower-class London accent, Mooney wafts comfortably into the pub and Shirley’s life, with chilling comments and claims that are Trump-like with their grandiosity. Leaving the audience unsure whether he is telling the truth, Coldwell creates a thrilling sense of unease and unpredictability as he interacts with the timid Syd Armfield, portrayed by Jack Robbins, playing with the themes of morality and justice. This is complemented with lighter humour in the form of Tom Tassone’s persistent reporter, Derek Clegg, and Gary George’s stage-stealing performance as Albert Pierrepoint, who makes Eustace’s Harry Wade look small.

Lighting was used to great effect to highlight specific areas of the stage to reduce set changes and to distinguish the times of day, with the inclusion of evocative 60’s songs to fill the blackout scene transitions. However, the overhanging section of the bar tended to create shadows over the faces of those leaning through from behind or blocking audience viewpoints with the pillars. Attention to detail in other elements, such as set pieces, costumes, and props, was a joy as they alluded to a specific time that appeared to be much loved.

Accents were understandably a challenge in this production, particularly as this reviewer has family in Yorkshire against which to compare. While Eustace and McBain reliably kept to their chosen region of Northern England, Dalton and Slater contained occasional tinges of Geordie, Irish, Yorkshire, and elements of Lancashire, but this didn’t detract from their character’s physicality.

The blend of comedy and tragedy in Martin McDonagh’s play ‘Hangmen’ is forefront in Fagan’s direction. This fast-paced evening of not knowing what to expect next bookends the controversial dialogue on capital punishment. This South Australian premiere, in an intimate theatre space, is not to be missed.

Book your tickets for Hangmen @ https://holdenstreettheatres.online.red61.com.au/event/890:17/

Season:- 26 October 2024-2 November 2024

Running Time:- 120 minutes

Venue:- Holden Street Theatres, The Studio

Photographer:- Richard Parkhill

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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Sweet Charity – Closing Days

26 October 2024 Debra Campbell

Sweet Charity Rating

★★★★★

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Firstly, ‘Sweet Charity’ is a musical with music by Cy Coleman, lyrics by Dorothy Fields and book by Neil Simon. It was directed and choreographed for Broadway by the legendary Bob Fosse and based on the screenplay for the 1957 Italian film Nights of Cabiria. A show so rich in big name history is no easy feat to pull off and the team at the Mountain District Musical Society currently playing the show at Karralyka Theatre in Ringwood have done an outstanding job.

‘Charity Hope Valentine’ is a taxi dancer, a dance partner-for-hire at a seedy dance hall in New York City. Though the job may be decidedly undesirable, Charity’s hopeful romanticism and unfailing optimism lift her out of her circumstances and help her reach for a life beyond. In the past, she’s been strung along and hung out to dry by a series of bad relationships and lousier men. When she meets Oscar, a neurotic, shy actuary seemingly from another world, will she finally find true love at last?

With a laugh-a-minute script by the incomparable, the audience is destined to fall in love with Charity’s limitless spirit, as she lives life “hopefully ever after.” This exuberant, groovy, hilarious musical comedy includes hits such as Big Spender, If My Friends Could See Me Now, I’m a Brass Band and Baby, Dream Your Dream.

So, having read and seen many a Sweet Charity production before, my expectations are quite high. The “just want to be loved” leading lady Charity is bright and bubbly as played by Madeleine Magetti with an excellent authentic accent from New York. According to the program, this is her dream role, and what a role; this show is all Charity! Madeleine brought to the main character a sense of longing for the audience to feel for her situation, and laughter of course, but we also knew that Charity was seeking even more than love; for acceptance of who she is and the future she dreams of.

‘Oscar’ played by Leigh Roncon was just sooooo much fun, what a talent in comedy! The elevator scene cannot be beaten with claustrophobic Oscar and the upbeat positive Charity trying to hold him together and not panic; it’s professional quality from both of them in this extensive scripting.

There’s LOTS of dancing in the show and LOTS of great musical numbers, the orchestra is a simply amazing; one of the best I’ve heard in an amateur production for sure.

‘Big Spender’ always packs a punch and that theme (that is impossible not to like) is played throughout the show – I loved watching all the girls act it up in their own personality, all of them different but giving the same story to their men visitors “open for business” LOL.

My favourite group rendition was definitely ‘Rhythm of Life’ with Daddy Brubeck played by Jason Sainsbury-King taking over the stage with his band of new age church hippies under the bridge. If you grew up in the 60s you’re going to tap your feet, sing along and enjoy everything about this and the spot-on costuming, full of flower power; I didn’t want it to end!

A standout solo for me was sung by Vittorio played by Julian Campobasso with ‘Too Many Tomorrows’ and the Beehive & Blonde duet ‘Baby Dream Your Dream’ by Nickie and Helene, played by Nicole Kapiniaris-Anson and Hayley Wooten, was only one part of a show filled with their incredible talents as Charity’s two best friends in the dance hall.

The dance hall scenes are great by all the cast and the ensemble too in this show got plenty of shine time, especially in ‘I love to cry at Weddings’ where I think they were able to ad lib and did such a good job.

Bonus points on clever use of the set, the fountain lake, the big window in the apartment and the props and clothes with the line “hide in the wardrobe” – I couldn’t even tell Charity was there in plain sight as she disappeared into the rack.

The supporting cast bounced well off each other. Both my friend and I felt the enthusiasm and love between them all on stage, and the way in which everyone makes up the finale bows was a fabulous finish with tons of applause for all:

Herman: Michael Gibson
Ursula: Ella Miatke
Carmen: Ellen Lane
Rosie: Jessica Clark
Suzanne: Amber Orchard
Betsy: Gaynor Borlase
Frenchy: Stephanie Vienet
Elaine: Jade Bishop
Alice: Olivia Poggi

Ensemble: Katherine Gloss, Samara Trimble, Ainsley Thomson, Steve Atkinson, Talwyn Gibson, Mark Curran, Nick Toovey, Kyah Pritchard.

Congratulations to Director/Choreographer Di Morgan, Musical Director Vicki Quinn and your production team. We loved it – a happy night out with a bestie who also loves musical theatre.

The Karralyka Theatre in Mines Rd Ringwood is one of the best suburban venues – easy to get to, easy parking, comfortable seats and very reasonable ticket prices. Ticket link: https://www.karralyka.com.au/Theatre/Touring-and-Community/MDMS-Presents-Sweet-Charity

The program is great, too. Give whoever put that together for this show a clap. Make sure you get one. I often think amateur theatre programs are better than professional ones. It has lots of information and pictures of everyone in the cast and creative team.

SWEET CHARITY is playing the rest of this weekend until their Sunday, 27 October matinee – ‘you should see it now’ and note in your diary Mary Poppins in June 2025: https://www.mdms.org.au/

Photo credit: Gavin Andrew

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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The Butterfly Who Flew Into The Rave

24 October 2024 Isobel Knight

The Butterfly Who Flew Into The Rave Rating

★★★★★

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‘The Butterfly Who Flew Into The Rave’ is a dance and movement work that pulses with all the varied energy of an hours-long dance floor. Created in Auckland by queer, indigenous director Oli Mathieson, three dancer-choreographers in the cavernous Bay 21 at Carriageworks create such a concentrated swirl of storytelling movement that the audience cheers and hollers at the most striking moments.

Lucy Lynch, Sharvon Mortimer and Oli Mathieson move in mesmerising unison for the majority of the piece, making their moments of breaking out of it exhilarating. Stylistically, dance forms from the rave and techno worlds need personality, not just precision, and they bring it in spades. Their sneaker-clad feet hit the floor in such tight rhythm that the beat feels like it could be coming from their steps, not the booming sound system.

The lights hang low and blue as the trio begins in the far corner, moving even as we enter. People have their phones out filming and taking photos as we find places to watch from; the program encourages this. The Butterfly Who Flew Into The Rave doesn’t let up the pace once.

The soundtrack is the entirety of ‘Nocturbulous Sounds’ by Suburban Knight, an album with no breaks that flows through gritty beats from across the techno spectrum, harsh and pulsing in turn. The movements, as they take us through the experience of a 3-day rave over the course of an hour and a half, follow this same arc: elbows and limbs are thrown with both abandon and precision, sweat towels are lowered from the ceiling, and there’s crawling, rolling, grabbing each other’s hands like a life-raft. Their dancing makes you want to dance.

The sweat rolls off each performer, and the red cups they grab twice throughout the show to hydrate are thrown offstage to keep dancing. The minimal props feel mainly like tributes to different rave subcultures rather than specific features and are less important than the bodies manipulating them.

Of the Liveworks program in 2024, ‘The Butterfly Who Flew Into The Rave’ is one of the sexier, more high-octane offerings. There are strobe sequences, a brief and striking use of black light and transcendent performances from the three dancers. There is a wild commitment to every movement, and Lynch, Mortimer and Mathieson seem to have both the soundtrack and their choreography in their bones rather than brains. The delivery of the show is slick, despite relishing in the essence of the dirty dance floors it was inspired by, and absolutely transporting.

This show is part of the Liveworks Festival 2024, which will be hosted at The Carriageworks Performance Space from 23rd to 27th October.

Follow the link to book in for this or any other shows during the festival @ https://carriageworks.com.au/events/liveworks-festival-2024/

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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