Melbourne

The Addams Family Inclusical – A Spectrum Of Success!

The Addams Family

The Addams Family Rating

★★★★★

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7

Once a year… it’s time for ‘Stars and the Moon Theatre’ to celebrate the stage with their intoxicating Musical Inclusical.

This year it is Wednesday and her kooky family who gather at the Alexander Theatre telling a gripping adventure with swordfights, potions, explosions, and scarier still, family dinners.

Director Lauren McKinnon, Musical Director Charlotte Greenslade, and Choreographer Benjamin Curé, together with an award-winning creative team, have brought the iconic Addams Family to life and it’s WAY better than good.

Stars and the Moon (STaM) is a unique ALL-ABILITIES theatre company. Their castmate model pairs performers with and without disabilities to support each other to make moving and accessible theatre with, not despite, their diversity. It is absolutely AMAZING! At first I did wonder “how will this work”, being on stage together as two people playing one character for all the roles in the show, but IT WORKS and dare I say it as my daughter agreed; we thought it was better than just one person.

Joining the contagious double-clap engages us immediately in the music we know so well… BA DA DA DUM… ‘click click’ and then ‘When You’re an Addams’ kicks in, I almost want to jump up to bunny hop and twist with them all giving quite the spooktacular opening.

So fantastic how they introduced all the “Ancestors” who complete the show atmosphere in strange and deranged costume sets of themes like cavemen, sailors, prisoners, clowns, ballerinas etc etc etc. Such fun and clearly this cast ensemble were loving the experience too. And the make-up, oh the make-up!

The set, the lighting and the energy from everyone on stage is so enthusiastic and who wouldn’t want to shake it with Cousin ITT – my favourite costume of seemingly bodylength dreadlocks, but can the Addam’s family be ‘normal’ for one night?

I’ve always loved the Gomez and Morticia characters. Gomez’ expression on everything is spot on, he’s so entertaining and Morticia is impeccable in her mannerisms and her unique ‘blackness’. Sometimes loving each other to bits and sometimes having a few marital issues, all four bounce off each other as if the roles were made for four people instead of two. The concept is again, genius!

 

The Addams Family

The one-liners keep coming…. I’m still laughing at the hilarious mention of Scomo to Covid 19 and Morticia in the bedroom…

Wednesday as we all know has come into her own fame these days and it must’ve been a thrill to be cast as her – she is everything she should be and might be getting married… or will she? The acting by these girls is very good and they will keep you enthralled.

Pugsley took me back to watching him on The Addams Family re-runs as a kid and his electric chair face, ‘eeeek’… all he wants is for his sister to continue the torture…

The startling appearance of THING at the dining table was timed well and FULL DISCLOSURE showed off overwhelmingly impressive vocal talents – Alice, the mother of Lucas who might marry Wednesday, belting it out and standing on the table (a surprising move for her character) got applause that would’ve woken the dead!

Lurch and Uncle Fester were brilliant and could have stepped straight out of the TV series … they really have got all of this right and everyone plays their parts so well to intertwine this story of family differences.

So, will Gomez’ daughter Wednesday and Mal’s son Lucas tie the knot? Scenes throughout the show are full of comic emotion and messages about how to work things out, but if it all fails, well death is just around the corner to look forward to anyway.

This show was nothing like I expected. Yes, I knew it would be good as I had heard the STaM shows were high standard, but this? I did not expect a show where they could easily play in any theatre in Melbourne and still get a no-hesitation full-standing ovation from even the toughest critics. These people on stage are incredible, they absolutely crush the meaning of ‘all-abilities’, every single one of them – and their abilities as a group, WOW WOW WOW!!

My final note therefore are words from Grandma Addams “stop tik tokking and pick up a book” or grab a script – whoever you are – get into Theatre!

When I wrote this review there were very few tickets left and now they are SOLD OUT, so don’t miss their next show and check out INSTAGRAM @starsandthemoon_theatre or website https://www.starsandthemoon.org/

Theatre notes: Sign language is provided on the side stage with this show and the theatre caters for wheelchair access of course. Performers in wheelchairs are on stage too – remember, this is an ALL abilities show like no other!

Even though I did not personally know anyone in the show, I felt an immense sense of proudness on what this special theatre company had accomplished as they took their bows. Supporting the arts is so important, but supporting all-abilities in the arts, let’s champion these efforts.

Congratulations to the ENTIRE CAST & TEAM:

WEDNESDAY – Ruby Alford & Thanh-Tuok Autran
LUCAS – Alexander Gilbert & Dimitri Gosios
GOMEZ – Gabe Harari & Max Nunes Cesar
MORTICIA – Aisha Sivac & Lizzie Locke
UNCLE FESTER – Mark J Rintoull & Zac Parkes
PUGSLEY – Kade Groves & Meg Heathcote
GRANDMA – Jodi Sanders & Nixy Antmann
ALICE – Ashleigh Cole & Ellie Goldenberg
MAL – Bailey & Tal Ellinson
LURCH – Gilbert Esse & Joseph Folwell
THING – Jaimie Chapman & Viv Kane
COUSIN ITT – Zac Chester & Benji Arndt

ANCESTORS – Amy Tapp, Tamara Stanton, Asher Stanton, Brendan Saffer, Michaela Sacho, Michelle Gauci, Charli Cantoni-Bud, Lyndall Peachman, Ciara Wilson, Bille Ream, Daniel Kraus, Claudia Nanovich, Hope Challis, Monique Lustig, Uri Lowinger, Alice Johnson, Mia Penso, Adam Geller, Mark Polonsky, Conor Wilson, Theodora Tran, Cameron Miller, Kahli Anquetil-Kneale, Tahli McLean, Carlia Slade, Danni Miller, Dani Filip, Devin Goralsky, Ella Dunne Riseley, Netanel Morris, William Jasper, Lexi Kelsall, Zoe Better, Cheryl Plaut, Ebony May, Sally Elliott, Amit Shahar, Kate Skinner, Ryan Wilson.
Stage Manager: Ari Mosberg, Cast Manager: Tyla Manager, Front of House: Netanel Morris, Set Designer: Harry Gill, Costume Designer: Jessamine Moffett, Lighting Designer: Sidney Younger.

THE ADDAMS FAMILY book is by Marshal Brickman and Rick Elice, MUSIC & LYRICS by Andrew Lippa, BASED ON CHARACTERS CREATED by Charles Addams.

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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A Horse Named Winx – Gallops To The Cinema!

A HORSE NAMED WINX

A Horse Named Winx Rating

★★★★★

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9

I’ve taken a jockey’s view seat at the beautifully posh Como Cinema in South Yarra – a perfect place to see the new big screen preview on the life of ‘Winx’, an Australian thoroughbred mare; a champion like no other who stole the heart of our nation like a modern day ‘Phar Lap’.

‘A Horse Named Winx’ is a movie length documentary on the story we DON’T know about Winx. If there had been a reality TV show during her racing years and after her retirement, this would be it.

Winx held the power to give the chance of a lifetime to trainer Chris Waller. Chris is interviewed extensively and rests on his true emotions and love for Winx – he seems humble and thankful – a bloke who previously felt like he didn’t belong amongst the great names of horse-racing.

The documented movie follows Winx’ owners’ memories and all those who were part of Chris’ training team; those who rode and cared for her from early days on the track right through to the birth of her record-breaking $10million foal.

Whilst the hopeful story (in general terms) is one very familiar to me; having lived on a horse stud with my brother and his mates dabbling in training and racing (like many others, they would’ve loved to have lived in Chris’ boots). Hearing my own mother’s childhood stories of her family’s retired racehorse property. My former lawyer-bosses trying their hand at the prestigious ownership game (they wrote out a lot of cheques for little return). This screening of Winx’ life however enlightened me to see what it’s really like for those who take on a filly without knowing her incredible potential.

‘A Horse Named Winx’ is “real” and not “acted” – you are seeing actual footage of the races with straightforward speaking from everyone at the heart of Winx’ career and success. You will probably watch it with eager eyes not because you might get some inside information on picking a winner (I personally don’t bet on horse-racing but I’m sure many who see it might), but because you will more generously appreciate all the work and sacrifice that goes into those moments where you scream GO GO GO, dress up for the Melbourne Cup or hear about your friend winning big on a trifecta.

There’s so much more to horse-racing; SO, SO, SO much more – it’s important to recognise that all the hype and glamour is brought about by animals trying to go faster than those next to them. ‘A Horse Named Winx’ highlights those thrilling minutes, but explains the real timeline to get to them. It shows us a fine line between training and talent.

A HORSE NAMED WINX

Winx’ job was to be a racehorse and was the “world’s best” in her era they say, something her buyers never thought would happen when their last bid was knocked down to originally purchase her at a mediocre price. And despite never going overseas; another factor showing her trainer and owners put priority on horse-welfare and did not succumb to invitations from around the globe and subject her to a 36hour flight. As an avid animal lover, this inclusion impressed me. These people don’t see the need to big-note themselves. They constantly praise the horse.

Two lines stood out to me:

“Who cares if she wins, is she OK?” and “What’s best for Winx?”

Mostly you are watching serious stuff and the thoughts behind difficult decisions being made, but there is some fun; apparently Winx could be a diva! You’ll find out how she got her name, and giggle at comments from the strapper “I’ll have to move to Germany” after she’s afraid Winx has hurt herself, the kind guy who broke her in “I rode her first”, and the farrier who states “no foot, no horse”. I liked these people who were also in Winx’ journey having their say and I liked seeing the veterinarian teams too being gratefully acknowledged.

Winx’ story proves anything is possible, you can be last and still come out on top. I agree with one cute race spectator’s opinion: “who wouldn’t love her?”

If you can hold back a tear on her final race ending with Hugh Bowman, you’re more stoic than me and I was watching that particular win for the first time (I now know why my mum wanted me to watch it back then).

This look into horse-racing is detailed from the opening scene to “awwww” return in the last one.

Enjoy and learn, as you should with documentaries, but remember not all racehorses are this fortunate (most are not) however highly recommended if you want to see a “real life” in-depth showing of the behind-the-scenes world of superstar equine athletes.

Exceptionally well done by Director Janine Hosking and Writer Andrew Rule who were given an opportunity of unprecedented access to develop a moving cinematic documentary; a horse-racing fairytale!

The star of the show is WINX.

Be the first to see her feature run in ‘A Horse Named Winx’ from 5 September 2024 – Tickets: https://www.palacecinemas.com.au/movies/a-horse-named-winx

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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Mad Nun Productions Presents Flick

Flick

Flick Rating

★★★★★

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4

From the moment ‘Flick’ (Madelaine Nunn) walked on stage, the entire audience was drawn into her captivating story and exploration of life, love, loss, and grief.

Brilliantly written, with a humanly comedic through-line, this one-woman show is exactly what we want to see in theatre.

The somewhat extraordinary, yet in other ways, quite ordinary and very relatable storyline was so beautifully crafted and conveyed by Madelaine. It felt like we were there with her; every awkward, funny, hopeful, or devastatingly sad step of the way.

‘Flick’ follows the story of a 30-something year old a palliative care nurse, who comedically draws the audience into her world of working with those at the end of their life. All whilst juggling her own experiences of love, lust, friendship, death, grief, and loss through various relationships she has in her own life.

With a blank stage, a single stool, and the most basic of lighting and sound, Madelaine’s performance alone took us deep into Flick’s world. The only visual hint for the audience, being that she is dressed in her work scrubs. It just goes to show that when the writing and acting is en pointe, there is no need for fancy sets, lighting, or sound. The performance speaks for itself, and the audience’s imagination is enough.

For anyone like myself, who has worked in healthcare (and even moreso, for those of us who have worked in end-of-life healthcare), so many relatable moments were expertly and honestly written into the show (in the often unexpectedly humorous ways that they present themselves in real life).

Flick
Flick
Flick
Flick

And even to those who have not had those lived experiences, the truth and honesty of the storytelling and character relationships were in and of themselves fundamentally relatable to our own human behaviours.

If I wasn’t genuinely laughing at the (often far too!) relatable moments, I was drawn to tears on more than one occasion through the very real moments of the deep sadness that come with grief and loss.

This show brilliantly explores and highlights the dichotomy and often seemingly non-sequitur nature of our human emotions and experiences: how there is so often unexpected humour in the face of death, melancholy in happiness, or how sometimes our behaviour in grief may just be a little bit (or a lot) on the crazy side. And what a wonderful way to remind people that these are all very normal aspects of the human experience.

Each character explored through the lens of Flick was so honest and relatable: from her co-workers, to her the patients, to her best friend, or her mother. I could very easily place real people from my own life into each character.

It’s not very often that you walk out of a show and think that you’ve been a part of something quite special. But walking out of the opening night of ‘Flick’, with a full-house, and a standing ovation, I had that feeling.

For a one-woman-show to draw in and captivate an audience for over an hour through one continuous story arc is a great achievement. Madelaine’s performance did just that, and we all experienced a rollercoaster of emotions and relatable human experiences alongside ‘Flick’.

I would love to say to go and get tickets to this show at La Mama, but being a part of the ‘Explorations’ program, there are only three performances, all of which have unsurprisingly sold out.

But I get the feeling that this is not the last we will be seeing of ‘Flick’ and Madelaine Nunn. So, keep your eyes peeled for where it goes next. And then make sure to get a ticket, as this is a show not to be missed.

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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Thinner Than Water

Thinner Than Water

Thinner Than Water Rating

★★★★★

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4

‘Thinner Than Water’ written by Melissa Ross and directed by Tim Williams, offers a nuanced portrayal of a fractured family drawn together during a time of crisis. The play focuses on three half-siblings—Cassie (Amy Pollock), Renee (Katharine Innes), and Gary (Matthew Elliott)—who reconnect when their father’s health takes a turn for the worse. Renee, the eldest, naturally assumes a leadership role, displaying an authority over her siblings that is both practical and, at times, overbearing.

The other two siblings, though less organized, demonstrate a deeper empathy for those around them. This often puts them at odds with Renee, whose critical nature highlights the tension between them. The strained relationship with their father is apparent from the outset, setting the tone for the family dynamics that unfold throughout the play.

As the story unfolds, we see the shaky ground that Renee’s marriage is standing on. Her husband Mark’s level of criticism one-ups hers. As the play progresses, we find out Mark is not a cold-blooded narcist. The unfolding drama, acts as a catalyst that opens their respective vulnerabilities and provides stable-ground for them to have honest, productive conversations. Katharine Innes and Matt Trubiani take great writing, and deliver it with impeccable timing, humour, and stage chemistry.

Cassie is in an on-again-off-again relationship with Henry (Jerome Meyer) – a stable organised lawyer who is devoted to her, despite Cassie’s inconsistency in their relationship. The two have markedly different personalities and lifestyles. Henry’s similarity to Renee reflects interesting psychological subtext that is implicitly explored throughout the play.

Gary works in retail at a comic book store, and receives notable flack for it. He acts the part of stereotypical stoner meets anxious sweetheart. Like Cassie, Gary also struggles with responsibility. Him and Cassie are at ease with each other, where their mutual understanding anchors their relationship. Gary meets Angela (Nicole Chapman) at the start of the play. Angela is a single-mother looking for a reliable ‘big brother’ for her son.

Thinner Than Water
Thinner Than Water

When Martin is admitted to hospital the audience is treated to some great back and forth between Renee and Martins partner Gwen (Nin Macken), where the ball is largely held in Gwen’s side of the court. Gwen is a self-confessed chatterbox, Renee’s magazines, and forms prove inadequate barriers to deflect this. As the play progresses, we see the relationship between Gwen and Renee shift from superficial and one-sided, to honest and reciprocal, underscored by humour and depth.

There were a lot of set changes, broadcasting voicemails over these did help to alleviate their duration; but the play would benefit from shortening them. The use of the r-word felt unnecessary and could have been updated to something more appropriate. The narrative set-up is slowly drawn out over the first act, then after skipping forwards in time the resolution feels very compressed in the second act. I wonder if there might have been ways to alter this to convey the character growth that has transpired in this time- particularly in the case of Cassie, either through script changes, or acting choices.

Overall, this play is a funny, relatable, subtle, and complex work; supported with strong acting performances across the entire cast. The Alex Theatre was a fantastic venue, with great facilities. ‘Thinner Than Water’ is running 15-25 August at the Alex theatre in St Kilda, I highly recommend you take the opportunity to see it.

For Tickets:- https://alextheatre.au/thinner-than-water/

15 – 25 August 2024, 7 pm – 9:30 pm
Sundays 5 pm – 7:30 pm

Full $45 +BF
Concession $37.50 +BF

PREVIEW PERFORMANCE:
Full $35 +BF
Concession $27.50 +BF

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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