Last Actor Standing

Last Actor Standing

Last Actor Standing Rating

★★★★★

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Last Actor Standing is a recurring comedy improv game show where four actors compete to become the Greatest Actor Of All Time. Created by Lost Theatre Company, the show offers a completely different selection of guests and games every week, guaranteed to delight, entertain and sometimes shock audience members. Think “Who’s Line Is It Anyway” paired with “Taskmaster”, grounded deeply on the Melbourne independent theatre scene.

This Friday I had the pleasure of venturing into Club Voltaire to watch Joshua Bruce, Lilian Hudson, Jacob Kuek and emergency cover Ana Swadling battle through three rounds of on the spot comedy acting, chasing the crown awarded to the Greatest Actor Of All Time. From improvised plays and villainous plots to company catchphrases and long forgotten technology, these actors took a solid swing at everything that was thrown at them. All actors put on a good show (and congratulations to the recently crowned Lilian Hudson) but unfortunately I cannot recommend you go and see them (though highlights are likely to get posted on instagram), because every Last Actor Standing show boasts a completely new cast of Melbourne Theatre makers. This week, the cast featured actors from Lost Theatre Co.’s upcoming performance of Too Much Light Makes The Baby Go Blind (a clever bit of promotion, if ever I saw it) but other weeks, the show has welcomed improvisers, actors and musicians from a wide range of beloved Melbourne theatre productions.

 

 

I have been lucky enough to see a few Last Actor Standing shows and credit must be given to reoccurring hosts and co creators of the show Noah Sargent and Jay Watts who, along with writers Pip Wiseman and Alex Watts, repeatedly come up with new ways to test (and torture their actors) in a format that remains consistent with shows brand without becoming repetitive and allowing for a recurring audience. Noah and Jay have stated that their intention with Last Actor Standing was not only to create a show that would entertain audiences, but also a show that would provide connections for Melbourne artists and promotional opportunities for independent theatre. In doing so, they have created a vibrant network of young creatives who are defining the next generation of independent performing arts in Melbourne. If you want the opportunity to experience a future pillar of the Melbourne independent theatre scene at its base level, their Last Actor Standing Championship round (featuring all the winners from this season), is fast approaching. I highly recommend it as an entertaining way to spend a Friday night.

To book tickets to Last Actor Standing, please visit https://www.losttheatreco.com/.

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The Ransom Letter: A Play Reading Dressed to Impress

The Ransom Letter

The Ransom Letter Rating

★★★★★

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With actors and attendees alike dressed in their best 1920s glad rags, Marty MonStar’s “The Ransom Letter” transformed an intimate North Melbourne venue into a night of mystery, intrigue, and roaring fun.

“The Ransom Letter” follows private detective Joan Archer as she navigates crime, corruption, and depravity in 1920s Melbourne, all with her trusty gold revolver in hand. When Joan is caught in the midst of a political scandal, she must outsmart powerful players to win the game of survival. But Joan isn’t a successful private detective for nothing – she’s always one step ahead.

I felt very much like a film noir star myself as I slipped in from the rain and shook out my umbrella in the red neon lights of Club Voltaire. With the smoke machine on full blast, lights low, and Bessie Smith crooning over the speakers, the space had been transformed into a Jazz Age speakeasy. On stage, a single pendant bulb illuminated a candlestick telephone, a pack of cigarettes, and two chairs – Joan’s domain.

Play readings are often a fairly static affair, which I have no complaints about, but I’ll admit it was still pretty refreshing to see “The Ransom Letter” take it a step further, immersing the crowd with music, a set, and costumes. It gave us in the audience a little taste of the finished production and that extra touch is something I wouldn’t mind seeing more often!

Katrina Mathers played Joan with grace and humour, dishing out zingers and serving up whiskey (neat, of course). The play reading was narrated by David Macrae who, alongside HĂ©lĂšne Tardif, Ian Rooney, and Jonathan Griffiths, effortlessly juggled multiple roles, bouncing from stuttering suits to swanky flappers with ease. Their performances added a vibrant energy to the play, giving it charm and keeping the audience – and themselves, judging by a few off-script giggles – thoroughly entertained.

The baddie of the play, Prime Minister Howie, seems cheekily modelled after Australia’s former PM Billy Hughes, who was the founder of a couple of pretty notorious political parties. With this in mind, it’s easy to imagine what his character might be like. Ian Rooney brought Howie to life with a big personality, plenty of sleaze, and colourful language to match. Watching Joan and Howie’s frequent standoffs was a particular highlight for me – just picture two bulls butting heads, and you’ve got it.

As “The Ransom Letter” moves towards production, it’s clearly chock-full of potential. I’d love to see the main plot take centre stage from the get-go, giving that noir-esque suspense more room to build gradually. Joan’s persona shines naturally through her actions, and allowing the story to reveal the depth of her character lurking beneath her snazzy facade would add even more nuance to her role. The combo of film noir tropes and quintessential Australian humour made for an unexpected niche, but one that worked brilliantly; I hope they continue to lean into it.

“The Ransom Letter” was saucy, irreverent, and a little cheesy in all the ways the best film noirs are. I look forward to seeing it transform into a fully-fledged, glitz-and-glamour production. When the time comes, you’ll definitely find me returning in my best flapper dress and pearls.

Photography by H Long Nguyen Tran and Nelly Huang

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