OZ Acts As You Like it

OZ Acts As You Like it

OZActs’ rendition of William Shakespeare’s “As You Like It” at the Williamstown Botanic Gardens provided an accessible and high-quality theatrical experience.

Despite rain earlier in the day, the setting of the Botanic Gardens provided a perfect backdrop. The atmosphere outside the performance space was immediately immersive, with people dressed in period costumes milling about, playing music, and interacting with the audience before the show commenced.

One of the highlights of the production was Rosalind’s portrayal, whose expressive movements and charismatic presence captivated the audience from the start. Touchstone (the court Jester) also stood out, entertaining the crowd before the show and during intervals with his witty antics. He even indulged in playful banter with the audience, encouraging them to throw fruit at him.

Despite the inherent complexity of Shakespearean language, the play was easy to follow, pleasing the wide audience, which included many family members of the cast (which Touchstone pointed out to the audience) and children. Song interludes helped set the scenes, and classic lines such as “all the world’s a stage” were delivered poignantly, resonating with the audience.

The chemistry between cousins Rosalind and Celia was another standout aspect of the performance, particularly in scenes involving scheming and plotting. The actors delivered every line with confidence, and the quick costume changes between characters were executed impressively, adding to the dynamic nature of the production (noting that the whole production was outdoors – so there was no traditional dressing room!).

The side and background characters added layers of comedy to the play, contributing to its light-hearted and comic tone. Despite this, the production skillfully balanced the humour with the darker subject matter, reminding the audience of the characters’ banishment by the Duke.

The outdoor setting was utilized to its fullest potential, with the production cleverly using the space. For example, during a scene where a character hangs love poems about Rosalind, blank scrolls are hung on tree branches, enhancing the immersive experience.

The costumes were exemplary period pieces, with each outfit contributing to the characters’ disguises and identities. From the intricate details to the versatility of accents and mannerisms, the costumes added depth to the characters and the overall narrative.

The production maintained a high energy level throughout despite the challenges of staging an outdoor play in unpredictable weather conditions. Moments such as Rosalind fainting and needing to be carried (“Counterfeit, I assure you”) provided memorable highlights, showcasing the actors’ commitment to their roles.

Overall, OZActs’ “As You Like It” production at Williamstown Botanic Gardens was a delightful rendition of Shakespeare’s timeless classic.

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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Comedy Roulette – Take The Gamble

Comedy Roulette

Down one of Melbourne’s scenic laneways on a mellow Wednesday night in Theory bar, Comedy Roulette was about to begin. Hanging plants and disco balls adorned the booked-out show, which was filled with enthusiastic first-time attendees.

The premise was simple and clever – as our two bubbly, enigmatic hosts, Kru Harale and Olga Loitsenko, explained to us – behind the comedians on stage, a large spinning wheel was to be projected, containing a wide variety of prompts from “what Sydney hates about Melbourne”’ (which Hannah Sainty nailed – the good-looking people, and the good coffee) to “self-help titles that won’t sell”.

The wheel would begin to spin when the audience chanted, “Spin…that…wheel!”. The line-up of comedians rotates per show (much like the wheel itself), with this show featuring Suren Jayemanne, Diana Nguyen, Charlie Lewin, Hannah Sainty, Henry Yan, Zach Riley, Chris Nguyen, Aarti Vincent, Oliver Coleman, and the two fabulous hosts. A callout of “Who in the audience likes gambling?!” was met with a chuckle, and the games had begun – with the wheel’s prompts being a surprise to the comedians.

The show kicked off with Olga bantering with the front row and introducing the audience to a winning Estonian Eurovision song (and hilariously noting how widely Eurovision had been expanded for Australia even to be included).

Comedy Roulette

Oliver then made the audience giggle with his ‘enlightened’ persona, complaining about people meditating in public in Coburg. The laughs of the audience were magnified at various times throughout the night when jokes featured familiar Melbourne locations and tropes – later, the famously unclean Flinders Street Railway Station toilets would be the butt of a joke.

The comics employed various ways of engaging with the audience to spin the supposedly “voice-activated” wheel throughout the night, including stating “, We are a cult, and we must chant!”. Charlie didn’t miss a beat when the wheel had a momentary technical delay – he casually bantered with the audience like they were old friends, giving some sage words of wisdom – when your boomer Dad cracks it at one of your siblings – take that as an opportunity to add in your own personal crises to the mix.

After a quick drink break, the comedy took a more introspective turn, with topics ranging from Hannah’s reflections on the absurdities of health food shops to Suren’s thoughts on the complexities of religion, family dynamics, and the true crime genre (which Chris noted he loved listening to, but not partaking in). I laughed particularly hard at Zach’s recollection of a horrible past job in an unsanitary pub kitchen and when an audience member asked Aarti about her ‘worst Tinder date’, as she dryly explained that she was married before Tinder was even invented.

Henry charmed the audience with his awkward and endearing persona and stories. Diana’s candid anecdote about her mother’s horrified reaction to a previous comedy show entitled ‘Naked’ ended Comedy Roulette on a high, leaving the audience in stitches with her unabashed humour.

Throughout the night, each of the 11 comedians delivered an audience-engaging set of observant, clever, and witty jokes—the perfect mix of pre-prepared stand-up material and fast-paced improvisation. Comedy Roulette is a gateway drug to the upcoming Melbourne International Comedy Festival, in which many of the aforementioned comics will be performing. Take a gamble if you dare, as this is a room full of comedians to watch.

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre to see what else is on in your town.

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A Fish Is A Terrible Friend

A Fish Is A Terrible Friend

Phoebe Anne Taylor heard the words she wrote in her play A Fish Is a Terrible Friend spoken out loud for the first time in three years and was terrified. Written over a period of one and a half weeks whilst in residency at Arteles Creative Center in Finland eight years ago, Taylor’s words give life to characters negotiating the meaning of life, love and loss and reveal a lot about her thoughts at the time. I was privileged to attend a reading of the play hosted by Incognita Enterprises at the inspiring venue and artists’ hub, Montsalvat, Eltham.

A play reading is very different from a fully produced play. There are no costumes or sets, lighting or sound effects to convey when or where a scene takes place. We have to listen carefully to the “big print,” that is, the playwright’s descriptions of the scenes and actions of the characters, which are read out loud by a Narrator, in this case, Taylor herself, who is also an actor.

It is understood that the actors will be reading from their script with little or no rehearsal. In this case, there was one rehearsal a week before. The actors remain seated for the duration, and we watch them carefully for facial expressions and body language that add to their vocal communication. There is nothing else to watch. We have to use our imagination to provide an image of the character’s appearance and movements (for example, when the narrator says, “They kiss”).

This makes the whole experience more like listening to a radio play or podcast, and I closed my eyes to picture the scenario or wondered how it could be made to work on stage. We are drawn into being co-creators of the play’s imagery in our minds. In fact, the whole creative process is on show here, especially highlighted by the playwright’s introduction and the Q&A discussion at the end. I found it an exhilarating and inspirational format.

Luckily for us, actors Sarah Hallam, Sally McLean, Paul Rochford and Phoebe Anne Taylor are all seasoned professionals who are so highly trained that each of them are also actor trainers. It was not hard to follow what was happening, and the performances were engaging. Interestingly, Taylor has been intentionally writing gender-neutral characters into her plays for some time now. This allows them to be played by any gender, whether cis or trans. The characters pronouns are written parenthetically as “(they/them)” which then can be replaced in the rehearsal stage with the preferred pronoun of the actor and/or at the discretion of the director.

The protagonists of this play are Alpha (Rochford) and Omega (Hallam), and they need to work out their tortured relationship before the world ends. “I want to die with you, but I couldn’t leave you”, admits Alpha while they watch the doom approaching. McLean plays four other characters who serve to interrupt, comment on and move the action along. Her reading of the sleazy bartender called the Flamingo was hilarious and pretty much stole the show.

I haven’t given away much about the play itself because the highlights of this play reading were the insights into Taylor’s creative process and how it sparked my own imagination. Plus, I think you should see it yourself when it gets fully produced. In the meantime, keep an eye on Incognita Enterprises for its quality events, classes, and productions.

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre to see what else is on in your town.

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The Wharf Review – Pride in Prejudice

The Wharf Review - Pride in Prejudice

Being a Pom, if I had seen this production advertised, I would honestly have said, “No, not for me.” I’m not interested in politics beyond the important issues, and Australian political satire is definitely not my usual wheelhouse. That said, I’m so glad I got the opportunity to see this show. I was surprised and genuinely entertained by The Wharf Revue’s pith and wonderful wit in their latest production, ‘Pride in Prejudice’.

The company romped energetically through two hours packed with songs and skits, all ripe with intelligent social commentary and a keen eye for the ridiculous. Despite the occasional slip into some Benny Hill-esque style humour, they provoked and delighted in equal measure, calling out both the hypocrisy and the difficulties of our current political landscape.

The Wharf Review - Pride in Prejudice

They deftly illuminated the prejudices we still unconsciously carry, many of which are a hangover from our colonial days. Poking gleefully at the beasts that are Australian ‘bloke’ culture, climate change, racism, the ‘Yes’ vote, sexism, inequality and many well-known government representatives in all of their ever-changing and inconsistent glory, the show was blunt, pithy and very funny. Not even Biden, Putin or the Royal Family were safe.

The cast shone, seamlessly shifting from one political player to the next, with an uncanny ability to truly bring their subjects to life. A confused elderly Joe Biden was a gem in this respect, but I would like to give a real shout out to Mandy Bishop, whose diverse vocals and comedic talent were a delight throughout but especially in the Jazzy ‘Toughen Up & Fly Right’ where she sings about the vagaries of life as Peter Dutton’s deputy, Sussan Ley.

The whole show was brilliant, but highlights would have to be Trump (played by the fabulous Jonathon Biggs) and Giuliani on the run from a chain gang, during which Trump whips out a ukulele and sings a gem of a song, ‘In the Land of Mar-a-Lago’, about Trump’s magical resort created for important people like them, in all of their misogynistic, narcissistic and ruthless beauty, which was a big hit with the crowd and made me laugh out loud.

I also cannot go past the tender song about the outcome of the recent Indigenous ‘Yes’ vote, which was lyrically poignant and movingly delivered to a slowed-down reworking of ‘Bad Moon Rising,’ and which proved that the Revue has an enormous heart as well as biting wit.

In the olden days, the role of the court jester was to highlight the folly of those in power, and every member of the Wharf Revue skilfully did this with punchy, no-holds-barred humour.

So, even if you are politically more slacktivist than an activist, go see it! Unlike Albanese, whose election promises have now been downgraded to ‘more of a values statement’, I promise you you’ll get great value from this show.

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre to see what else is on in your town.

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