Melbourne Fringe Festival

Beowulf: Reforged – A Mastery of Spoken Fantasy

Beowulf: Reforged

Beowulf: Reforged Rating

★★★★★

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Have you ever yearned for a trip back in time to old fireside chats with the town bard? Perhaps with some mulled wine in hand and the outside world left for a bit? Then this is the show for you! Lit by fire, flame and some cleverly placed lights, Dr Felix Nobis enters the stage in the Waterside Forge and (surely through some type of magic) starts entrancing us into this fascinating tale of beasts, heroes and fantasy.

Not only was the tale a grand adventure of peaks and valleys to listen to, but Nobis presents this tale in a way that makes me want to listen and to witness this mastery of spoken word was breathtaking. This show was simplicity personified with minimal props, wardrobe, music and lighting, but the impact was maximised by Nobis’ narrator skills. He was able to take an old tale, breathe fresh life into it and present in a way that left the whole audience captured and hanging on to every breath and word from this fireside troubadour.

This story was further brought to life by an incredible harpist playing on the stage who seemed to spin golden spiels of tune from her strings. The immersion and old style melodies allowed me to go back in time to meat, stew and late nights in a tavern with your friends. Tonight, this was not just a show, but a place for the community all here to share in a magnificent tale.

The atmosphere of the show was one of comfort, with plush red chairs and old wooden benches. It almost felt a little bit ramshackle and mismatched, but in the best way possible. And to have the show set in a working forge, surrounded by old stone and fire? I really want to commend Georgie Wolfe and Ryan Hamilton on the design and production of this show and understanding that it didn’t need to be grand, in fact being more simplistic allowed Nobis to shine in his chronicles.

Beowulf: Reforged
Beowulf: Reforged

 

The audience reactions very much mirrored that of my own, with all of us gasping and laughing as Nobis’ weaved his story. This accompanied by the relaxed costume and blacksmiths props helped to immerse us all in a world long gone. And it felt relaxing to escape back there, even if it was just for 60 minutes.

This show delicately expressed what it was to be theatrical and dramatic in a fantastical sense, and, as a lover of fantasy and poetry myself, this is something I would love to see more of in our theatre community today.

Beowulf Reforged is part of the Melbourne Fringe Festival and only has four sessions left. For tickets, book now @ https://melbournefringe.com.au/event/beowulf-reforged/

Remaining Sessions:-
• Wednesday, 9 October, 7:30PM
• Thursday, 10 October, 7:30PM
• Friday, 11 October, 7:30PM
• Saturday, 12 October, 7:30PM

For further information about Beowulf Reforged, please follow: https://linktr.ee/beowulf.reforged

Photographer: Jaimi Houston

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KINDER Surprises: Where Drag Show Meets Storytime

KINDER

KINDER Rating

★★★★★

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1

‘The library is open. So sit down, be quiet, and listen up.’

Just around the corner from Melbourne’s Fringe hotspot, Trades Hall, producer and actor Ryan Stewart presents their debut show ‘KINDER’ – and between you and me, I’m all in for Goody Prostate’s message.

When an unexpected phone call turns drag clown Goody Prostate’s evening upside down, they’re left with just a single night to whip up the perfect act for a local library. Amid frantic costume changes and a rising tide of existential dread, Goody faces more than just pressure to perform – they juggle protests and politics, history and herstory, fruit loops and family. What begins as a whirlwind of colour, music, and fashion soon unravels to reveal a long-overdue reconnection with their inner child.

‘KINDER’ serves up a provocative response to the rise in reactionary politics surrounding children’s exposure to queerness. It’s a bold, high-wire act of queer history and social commentary, wrapped up in what can only be described as a drag-show-turned-revelation. The show explores themes of conformity, the complexities of the queer experience, and the importance of community care as Goody grapples with a deep sense of responsibility to nurture that in the next generation.

Ryan Stewart is a force to be reckoned with as the kooky, lovable, delightfully unhinged Goody Prostate. From slapstick one-liners to disarming bursts of vulnerability, Stewart navigates each of Goody’s highs and lows with a well-timed flick of their fan. Watching Goody’s mask slip, transforming from performer to person, is as poignant as it is wonderfully human. The intimacy of the space only intensifies the feeling – when Goody locks eyes with you from the centre of the room, you’re no longer part of the audience; you’re part of the story.

And Goody’s story resonated throughout the room that night. There was laughter, there were tears – it was a shared journey, with Goody reflecting emotions we all knew well: joy, pain, estrangement, liberation. This is what really struck me most about ‘KINDER’, this sense of community. There was no better place to be than right there in that chaotic, messy apartment, where both performer and audience shared complete understanding. This is the true power of theatre: to strip away the pretence and lay bare the raw, glittering heart of the human condition.

That’s not to say it wasn’t oodles of fun, too! Armed with a bubble gun and bedazzled lederhosen, Goody Prostate is unstoppable. Stewart strikes a perfect balance between introspection and laugh-out-loud hilarity – clowning around, bursting into song, and tearing through costumes like a kid let loose in a dress-up shop. It was a bedroom-floor fashion riot, and I loved every second of it.

Parenthood, childhood, the inner child – ‘KINDER’ explores it all. It’s about being a child, knowing a child, and nourishing the child you once were (or never got to be). It’s a celebration of never fully growing up while trying to be the grown-up you always needed. ‘KINDER’ isn’t just a performance; it’s a love letter to the self.

And what a way to kick off this year’s Melbourne Fringe! You can catch ‘KINDER’ at Trades Hall until October 6th, and if you can’t make it this weekend, no worries – Goody will be taking the stage next weekend at Upstairs @ Floridia in Flemington.

Check out ‘KINDER’ here: melbournefringe.com.au/event/kinder

Remaining Sessions:-
Sunday, 06 October 2024 – 8:00pm – Festival Hub: Trades Hall – The Square
Sunday, 13 October 2024 – 6:45pm – Upstairs @ Floridia
Sunday, 20 October 2024 – 6:45pm – Upstairs @ Floridia

For more information about the artist, please follow https://linktr.ee/arypresentation

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Aza: Stories of Grief in Diaspora

Aza: stories of grief in diaspora

Aza: stories of grief in diaspora, conceptualised by Charaf Tartoussi, is a poignant exploration of grief intricately interwoven with the nuanced experience of diaspora. Currently gracing the stage at the Melbourne Fringe Festival, this deeply moving performance unfolds within the setting of a wake and is truly a show that is worth your time and attention.

I can think of no better description than that provided by Melbourne Fringe: “In 50 minutes of vulnerable and sincere storytelling, they will move through the motions of their loss and attempt to answer the question: how does grief change when it is experienced in the immigrant diaspora, and how does it stay the same?” Watching Aza, I was reminded of the true essence of theatre: unadorned and authentic storytelling. 

Aza: stories of grief in diaspora

Performing in the Old Council Chambers is a challenging task – it is a small and intimate venue, every rustle from the audience is amplified, and in the distance, you can hear music and applause from other shows. But these performers were undaunted, embracing the intimacy of the space and using it to their advantage. As they spoke and shared their stories, I felt a genuine connection, and I found myself truly immersed in their words. 

Aza isn’t a play performed by its actors; instead, it is a story lived by its writers. These storytellers, armed with their own life narratives and uniquely profound voices, extend a personal invitation to the audience. It’s an invitation to walk with them through an intimate path, to share in a journey of love and loss. Hearing these words and sharing these narratives was indeed a privilege.

Old Council Chambers

Our four storytellers (Charaf Tartoussi, Farah Beaini, Thabani Tshuma, and Parminder Kaur) exhibit remarkable writing skills and shine as brilliant and compelling performers. They held nothing back, bared themselves completely, and invited us to share their grief and healing. By sharing their truth, they opened a door for the audience, granting us permission to grieve in our own way, free from judgment. 

Time is running out to see this exceptional piece of theatre, which is showing until the 22nd of October at the Melbourne Fringe Festival. Be prepared to shed a few tears; Aza; stories of grief in diaspora is an emotional journey that refuses to shy away from the true depths of grief and will undoubtedly leave a mark on those fortunate enough to be a part of the audience.

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