Jack And Millie

Jack and Millie

Jack and Millie Rating

★★★★★

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4

So, a story about cancer. A topic and illness infamously known as a big damper on pretty much everything. How does one convey a story with a sense of positivity, of movement, of life still continuing through this unpredictable time?

Enter Alain Beek, Actor and Director with Essence Productions whose story was told through Jack and Millie. And what a story it was!

Beek was joined on stage by Phil Cameron-Smith (who played Jack) and Ross Daniels (who played every other character) in this heart-touching story. Truly a loaded theatre cast!

Beek not only shared this story, but when she was on stage, I felt every one of her emotions, her eyerolls and her smiles. Beek is an inspiring story teller and the depth of her character was highly tangible to each audience member. She helped me understand this story in ways that just reading a script would not. Beeks’ character Millie felt wonderfully lived in, like a familiar coat you put on or a close friend to confide in. And that just helped to draw me in even more.

Cameron-Smith is Jack in this play and represents all the thoughts that Millie has about cancer. Some do hit home hard, but I was surprised to see how many of these thoughts were also comedic. Cameron-Smith had me laughing a lot and helped to put a more wholesome and positive spin on what should be quite a downcast story. He was funny, deadpan and at times unapologetic in his views which made for all the more riotous viewing! I would happily see a play all about Jack and his thoughts and feelings.

And filling in every other character we have Ross Daniels, and my, what stage presence! It was so easy to watch Daniels as he went between characters, especially in the Zoom scene (trust me, watch it and laugh a lot, because I have never seen anything more relatable). Daniels had this incredible focus to him, even off stage, and managed to play characters ranging from cold and informative to a supportive friend and buddy. And each one of these characters was so believable! Daniels also had these unique little movements or actions he would do to get into each character which was fascinating to observe.

As an audience member, I really enjoyed some of the choices that were made by the Director Nigel Sutton, especially props wise! The stage was only set with 2 big white boxes which were used in such simple ways and yet transported me to a restaurant or the park seamlessly. The costming for this play was also very simple, just plain whites for each character. And I think this all needed to be understated to let the story shine through which was more than successfully achieved. 

I did also want to commend the creative uses of sound effects, especially the ring tones for each character that gave such a unique insight into that character. The assumptions were handed to the audience with very little to go off and my imagination thoroughly enjoyed filling in the blanks. And other members of the audience afterwards expressed similar thoughts to me – this was a truly enjoyable experience.

So, in conclusion, please see this play if you can! This is a funny story full of life’s ups and downs, but left me feeling positive. It is said in the program of this show that this script is deeply loved by those who feature in it, and even as an audience member I was able to feel this. This was not a sad story, just an eventful one filled with delicious morsels of laughter to help you on the way. And one (I can confidently say) I would happily see again!

For further information about Essence Theatre Productions, please follow: https://www.essencetheatre.productions/

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Lizard People

Lizard People

Lizard People Rating

★★★★★

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8

“Lizard People” is a light-hearted comedy by writer-director-producer Laura McKenzie that pokes fun at just about anything in pop culture. The interplanetary Lizard Conglomerate are planning the destruction of humans on earth. It does this by sending individual Lizard people to take over the bodies of prominent Earth leaders for short periods of time and getting them to do dumb things that sow discord. “Divide and conquer” is part of the mantra.

But the Conglomerate, lead by a virtual Lizzo, is an authoritarian regime and Shiv, our protagonist Lizard person, doesn’t quite fit in. Despite months in a remedial “performance management program”, he continues to be fascinated by human culture and has taken up knitting, journalling, listening to Grimes and reading Malcolm Turnbull’s biography in secret. Lizzo needs to test his allegiance and sends him on a mission to embody Elon Musk and to follow orders without question. Somehow they end up in Ballarat……

The strength of this play is in the casting and the quality of the performers in the ensemble. Elliot Wood shines as Shiv and is endearingly enthusiastic in his adventurous curiosity for all things human. They are joined by Clover Blue (Tony) and Georgia Barron (Tiff) his siblings. Their banter is fun to watch and the characterisations are playful and engaging. 

The strength of this play is in the casting and the quality of the performers in the ensemble. Elliot Wood (Shiv), Clover Blue (Tony) and Georgia Barron (Tiff) are the Lizard People who are also triplets. Their sibling banter is fun to watch and the characterisations are playful and engaging.

Bridie Pamment (also assistant director) shows her comedic range as TV journalist, voice of Lizzo and Elon Musk’s partner, Grimes. In the human world, Blue and Barron also play childhood friends from Ballarat who are now sharing a house. There’s a lovely chemistry in their relationship.

Each actor is a pleasure to watch, as individuals and as ensemble members, fully at home on stage and in each character they played. I would love to see more of them!

 

There is a multi-media element to the show, with film projections by Park Avenue Media supporting scenes and scene changes. Shiv’s transformations from Lizard to human and back were filmed and feature Wood’s movement skills. The set (Jessamine Moffett) and costume changes were minimal and therefore highly effective for the fast-paced scene changes which were well supported by light (Kate Kelly) and sound (Olivia McKenna) design. The montage scene showing Elon, Grimes, Maz and Spider bonding as housemates brought all these elements together really well.

There was a light skimming over a lot of interesting ideas such as the nature of humanity, of power, of evil vs good, dictatorship vs democracy, romantic vs sibling love, poor vs rich, curiosity vs compliance. I would love to see a film version of this where some themes are explored more deeply and the stakes are higher for all involved.

But in the meantime, enjoy the fun of “Lizard People” playing at the Meat Market Stables till October 21!

For tickets, book @ https://melbournefringe.com.au/event/lizard-people/

For further information about Laura McKenzie, please check: https://www.lauramckenzie.site/

Photography: Tom Noble

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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.

 

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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