Goofy, Gay and Gorgeous! A Fun-Filled Hour!

Purple Is The Gayest Colour

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The Substation is HARD to find initially! It’s a little bunker in the ground, opposite Qtopia and next to The Oxford Hotel. Rainbows surround the road and path. You’re here, and it’s delightfully queer.

We headed down into the intimate space, where Alayne welcomed everyone in a pastel purple beret, cute purple cardigan with daisies, purple shorts and purple socks. Everyone in this tiny space was put at ease when she greeted us with “Don’t worry, I don’t do crowd work!”. Nevertheless, my plus one made for the last row.

It’s a cool venue with concrete walls covered in artful graffiti. It was also literally very cool due to the vents, so be aware of that! Give yourself time to run over to the Oxford for a toilet stop prior too!

Purple Is The Gayest Colour is a one-woman stand-up act performed by Alayne Dick, yes it’s her real surname, yes she uses it to her advantage! Alayne had already set a comfortable tone with the initial welcome, then commenced with a flamboyant stadium star entry. It was fun, quirky and cutesy, which sums up Alayne quite well.

 

 

Stand-up takes an epic amount of guts. I love to consume it, I would be terrified to do it myself. Alayne leans into the awkwardness of it. This was mostly funny and endearing, but occasionally it felt like she would make up for not being sure if the joke would land, by quickly getting to the next one and that didn’t work every time.

I do watch a lot of stand-up and I am a neuro-divergent queer person, as is Alayne, so most of her work was relatable on that level. Some of it was a bit too silly, even for me, but I was laughing most of the time. She has developed comedic physical characterisation, stage presence and movement very well and she executed great use of the “call-back”, those got big laughs every time. The audience was definitely engaged and along for the ride.

I loved her authenticity, vulnerability and heart, and I found it to be a really great set, with only a few issues of confidence. Another one of these being ending with a “…and that’s the show!” which felt a little bit too sedate and broke the magic too quickly. A classic “You’ve been a great crowd!” or similar would have worked better.

As I said, I love stand up comedy, and I am aware it takes courage and vulnerability, and it can be incredibly hard to meet that challenge, especially repeatedly. I admire her work and I believe that as her confidence grows and she continues to back herself, the sky’s the limit. I look forward to seeing her again.

To book tickets to Purple Is The Gayest Colour, please visit https://events.humanitix.com/purple-is-the-gayest-colour-kfd8u4jl.

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A Darkly Hilarious Piece About A Pervasive Reality

What Of It

What Of It Rating

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The bass is pumping on “Bitch Better Have My Money” as we enter The Old Fitz Theatre. Courtney Cavallaro, Emma Wright and Rebecca Sgouros are lounging around dressed like “bruvs”, just doing their thing, as the audience gets seated. The set is a basic youth hangout with a dated fridge and a futon, a six-pack of beer atop the fridge and a poster about COVID and some sanitiser on the bench. These items suggest the era to be somewhere around 2020, backed up by the mention of the “end of the world in three days” that comes soon after the show commences.

Rebecca Sgouros opens with a powerful and poetic monologue, hitting beats with poignant pauses. At times, she seems to be staring directly at you as she presents a moralistic challenge or subversive view. It’s unsettling and awe-inspiring at once. When she finishes, the lights and sound perfectly match her integration with the rest of her crew, as they start their wolf-pack bonding ritual before breaking into a dance that is aptly performed to a song with repeated lyric “Bonkers”.

I hate spoilers, so I wasn’t aware in advance that this was a gender-flip piece, but it became clear very quickly. Rebecca’s character, Cory, is the leader of the “pack”. The self-referred “dogs” are always on the hunt, always looking to get their “clit wet”. They engage in “locker room talk” while pushing and shoving and one-upping each other. They launch into discussing the news that the world is possibly ending in three days and discover that seventeen-year-old “Luck” is still a virgin. Of course, this won’t do.

 

 

Cory is the ringleader, getting the new blood to do her dirty work. Daks (Emma Wright) is the beating heart of the crew, who is torn between being a “real woman” and her clear conflict in the face of these societal norms, as well as a protective urge towards the newcomer, Luck. After more of their barking, growling dirty talk they get their “Big Clit Energy” on and venture out to cause a ruckus cos girls be girls, right?

The dog-pack motif paired with the gender-flip highlights the preposterous nature of the patriarchy and the norms we accept and allow as a society. The banter between them echoes that we’ve heard too many times when it comes to males, and underscores the impact on young boys as they develop a sense of self and what it means to be a man. Rebecca’s narrative, told through the shifting power dynamics of the triad and the exceptional transitions between scenes, is punctuated by the lights, sound and ensemble work between the players. It’s pure genius that leaves no stone unturned.

Every line has a beat, with clever use of prose and layering. These three execute this seamlessly, which can only be attributed to a strong connection, workshopping and partnership in the background. Each of these incredible actors has their own individual moments of wrenching our hearts, among all the nuance of their keeping up appearances and delivering comedic lines to a full house of raucous laughter… all without breaking character.

It’s a darkly hilarious piece about a pervasive reality, and it tells a tragic tale in a truly remarkable way.

It’s powerful and entertaining, and not to be missed.

To book tickets to What Of It, please visit https://www.oldfitztheatre.com.au/what-of-it.

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A Modern, Fun And Silly Take On A Familiar Story With A Lively And Joyful Cast!

Christ Almighty: A Comedy of Biblical Proportions Rating

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We had a little hiccup getting to this show, arriving at the wrong theatre. It took a little bit of asking around for the penny to drop. Luckily Flight Path theatre was not too far from the Seymour Centre (where this show has previously appeared).

We did a questionable car park and then raced over to find the door slightly ajar. We weren’t sure what to do until God himself warmly beckoned us in. We found a spot to discreetly watch the beginning until it was safe to make our way to our seats.

This was my first time at Flight Path theatre and I am a big fan of intimate theatres with effective use of staging and immersive engagement with the audience such as this. The set was bright and pretty with the nostalgic warmth of a childhood television show.

The performance opens with Jesus (played by the well-cast Giuseppe Rotondella) discovering that God (played by the hilarious Brenton Amies) is his real father and that it’s time for him to flee the nest and go on a quest. Mary and Joseph concede to his departure after an hilarious music number.

Along the way, Jesus shares his “magical gifts” with devoted followers such as best mate Peter (Isaac Broadbent) and sceptics such as Doubting Thomas (Babette Shaw). His first big cultural immersion is a stoning in Sodom, where we meet activist Mary Magdelene (Emma Flynn), and my favourite song of the show “Homophobes Are Gay” sets the tone and lens for the approach to this otherwise well-known story.

Each actor commits to the many layers of their characterisation while also allowing the comedy to shine. They rolled with a few punches including loud planes overhead, the clear namesake of the theatre. There was also a painful-looking prop issue that was seamlessly woven into the narrative by Isaac Broadbent.

It was the familiar story of Christ headed to the Cross with a modern take, current references, and commentary. The audience was in fits of laughter for most of it and the cast fed off this beautifully.

The musical numbers were fun and spanned a number of genres. Another highlight being King Herod’s “Vogue” and Pontius’ rap. I’m not sure if the singers were tentative or there was a mic issue, as the last bits of a lot of phrases seemed to trail off. However, I thoroughly enjoyed “The Introspective Song” where Giuseppe and Emma were able to go all in. It was clear the two of them are established musical theatre talents.

It felt slightly too long a piece that lost a bit of momentum towards the end, this was likely the complication of staying true to the Biblical narrative’s timeline. I was grateful for the lift in energy brought by the final musical number/curtain call. Overall, I really enjoyed the cast and their commitment to character, as well as their ensemble work and I found the show to be good, silly, fun!

To book tickets to Christ Almighty: A Comedy of Biblical Proportions, please visit https://www.flightpaththeatre.org/whats-on/christ-almighty-a-comedy-of-biblical-proportions.

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A Campy, Quirky, Delightful Emotional Rollercoaster Ride That Will Delight

Madame Martha's Parisian Cabaret

Madame Martha’s Parisian Cabaret Rating

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Madame Martha’s Parisian Cabaret is a campy, quirky, delightful emotional roller-coaster ride, that will hit you in all of the feels, over a truly captivating hour of queer joy.

What better place for my first theatre review than my beloved Old Fitz, which I fell in love with with “Cut Chilli”, and have since frequented as a viewer, and even performed in their “Senseless & Fitz” Shakespeare night. The vibe is funky and atmospheric. The bartender very accommodating of requests for a “lemonade top up” when I realised that Negronis may look cool, but taste rather vile.

The welcome is warm as we enter the theatre. The set is very much in line with Parisian cabaret. Deep burgundies and mixed glass lampshades, doorways adorned with “show lights”. I sit in the second row, knowing all spots in this delightfully intimate theatre are a winner.

Then our beautiful trio enter; graceful, careful, flowing and enchanting as they fill they space with their bodies and soon their harmonic voices. With Meg Hickey having absolutely no limits to what can be achieved with those vocal pipes… and an accordion to boot. Their costumes are gorgeous and each artist moves with their own unique elegance as they dance and sing a rendition of “Bad Guy”.

It becomes clear their physical freedom, poetic exploration and musical gifts feed off the shared talent of the trio and their reverie is only broken by the omnipresent, fearsome watchful eye of “Madame Martha”.

The choreography is stunning. Every movement is full-bodied and intentional. There is a collective heart between this troupe that keeps you captivated, entranced and SAFE as deep themes are tackled through the many facets and layers of “cabaret” with a touch of Vaudeville. Be prepared for tits and tips (well, more than that, but I couldn’t resist the alliteration). The actors bare themselves both literally and figuratively on the stage with full abandon and celebration of their forms.

My eyes filled with tears as Iva Rosebud delivered a deeply moving “What Makes A Man A Man” taking us on a heartfelt musical journey.

Jens Radda is giving “Mother” energy and keeping the three of them connected and intertwined throughout.

The crowd favourite was clearly the extraordinary “Pink Pony Club” where the harmonies slayed, and the audience were ready and rearing when it became clear we could now sing and clap along.

This show lets you all the way in and touches you in deep places. It was a delight!

To book tickets to Madame Martha’s Parisian Cabaret, please visit https://www.oldfitztheatre.com.au/madame-marthas.

Photographer: Solitude & Co

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