Fiji Untold: A Captivating, Contemporary Journey Through Pacific Folklore

Fiji Untold

Fiji Untold Rating

★★★★★

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When a young girl is banished from her village under the order from the village chief – who happens to be her father, what is a girl to do?

Does she sit in submission, staying stagnant and stuck? Or does she long to fly, fly away, to discover her own adventures beyond the tight fortress of her village home?

The exploration of this story arc is quite common in nursery rhymes and fairy tales. Beauty and the Beast, Alice In Wonderland and even The Little Mermaid come to mind. For this is the journey of self-discovery. When a young girl longs to break free from the confines of her protective home.

In ‘Fiji Untold’, this arc is told via the beauty of Fijian contemporary dance, under a sea of misty blue and yellow light. Where a bright and cheery dance troupe of villagers sing and chant within a dreamy forest landscape. Through sharp, co-ordinated movements, they begin telling the tale of a local village girl Lagi, the chief’s daughter, who resembles an innocent young village princess dressed fanciful In a white and blue printed costume.

But things are not always so stagnant as they seem.

When Lagi dares to break the rules of the traditional Meke dance, and not follow vital instructions, things get complicated.

In repeatedly leaping and pirouetting like a ballerina; even as the villagers try to settle her energy down by lifting her on a giant mat, as if to contain her, she cannot be stopped. As free as a flying bird – her disapproving father and community are at a loss of what to do with her.

So, their choice is simple.

 

Her tribal clothing is removed. Her head bows down in shame. They banish Lagi to the bamboo forest and she runs straight into the unknown. A adventure all her own, where she meets a plethora of creatures great and small.

An old witch. A menacing, female snake. Mythical sticks held by creatures lure her over a makeshift ladder, straight into the realms of the underworld, where she falls to the floor in a spotlight of white.

But in order to learn her lessons, she must face some challenging scenarios. Namely, facing mythical creatures from Pacific folklore.

Firstly, in the spiritual form, she meets five majestically tall women on stilts, looking like giants overhead. Their beautiful costumes shimmer under red lights. A bit demonic and larger-than-life, keen to teach her their ways. Suddenly, mythical creatures appear and circle her, trying to put a spell on her. Another giant whispers in her ear. Slowly, she also transforms into a giant woman.

When her costume disappears, a male creature tries to attack her. She knocks him out, and the other creatures drop their weapons.

Lastly, we meet a colourful, pink-haired, shape-shifting iguana. But he is peaceful, handing Lagi two magical sticks that, culturally speaking, are embodied with mana—spiritual energy. The kind of Chi, a positive universal life force, that helps her realise she must correct her wrongs, discover her power and come back home with forgiveness in her heart.

Fiji Untold is a vibrant show to watch, blending traditional Fijian folklore with bold, contemporary dance and spiritual, mana-driven storytelling. With beautiful costumes featuring tribal touches of spiky-straw detailing, handwoven straw spear-shaped fans, ornate hairstyles and tribal bone necklaces.

These dancers are so skilled at create mystical shapes so effortlessly. Using ornately-made props and hand movements in synch, they can transform any scene into one of legendary beauty, featuring mythical animals and folkloric beasts.

Combining high-octane theatrics and moving scenes, Fiji Untold by globally-acclaimed VOU Dance Fiji is a beautiful, cultural extravaganza that would no doubt be enjoyed by many.

To book tickets to Fiji Untold, please visit https://voufiji.com/fiji-untold-show#fiji-untold-australia.

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Young Frankenstein

Young Frankenstein

Young Frankenstein Rating

★★★★★

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Frederick Frankenstein feels the weight of his family name like no other. With a gift for science, trying to distance himself from his grandfather’s experiments seems like an impossible task. However when he’s called to settle his grandfather’s estate and discovers his lab where it all took place, Frederick catches the bug to reanimate, just as Vincent Frankenstein did before him. With the help of his friends (and lovers), he awakens The Monster and, well, you pretty much know the rest. Except this time, the story is put to song, dance and repackaged as a sex comedy.

My dad has been begging me to watch this movie for years so I couldn’t believe my eyes when I saw this pop up at Theatre Works. This show is the perfect sell for me to go back and explore the rest of Mel Brooks’ hilarious filmography.

A delightful parody of both the musical and the classical horror genre, Young Frankenstein pokes loving fun at the tropes we all know; the blonde bimbo, the superficial wife, the old crone, the violent monster and makes them the stars of the show. This show somehow becomes a fabulous version of the very things it’s making fun of, with the same campy songs and witty lyrics like Brooks’ other smash hit, The Producers.

StageBugs Productions have amped up the silly and under Christian Cavallo’s direction, have layered jokes onto jokes, to keep you laughing the whole way through.

Not only hilarious, the cast delivers powerful vocals and incredible dance numbers that I did not see coming. The ensemble picks every moment to add to the bit, creating multiple focus pulling moments in the best way.

 

Juliet Nicholson as Inga was the star for me. Impeccable comedic timing, a beautiful voice and just the right amount of nudge-nudge, wink-wink in every action. Paired with Josh Direen’s Dr Frederick Frankenstein, the pair’s vibrant chemistry was totally charming.

Direen leads the show with ease. I loved the choice to create a new look for the Doctor; a clean cut, 1950s radio presenter vibe instead of the classic mad scientist look. It worked really well with Direen’s pristine energy and straight-guy role in the show.

Shannon Foley as Inspector Kemp and Harold The Hermit and Belinda Jenkins as Fraur Blucher each delivered standout performances in each of their big character numbers.

Joti Van Carlos Gore’s performances as The Monster was a real surprise. His physicality of the creature was hilarious, but especially so in his big number towards the end. I won’t give anything away, but this man can dance.

The set is strong, but with a few clunky opening night transitions felt slightly in the way at times. The funniest part of the show the stage was set with nothing but a horse drawn carriage, and a few ensemble members stepping into the role of passing trees and bushes.

Young Frankenstein is a masterclass in silliness. It’s a romp through a story you already know, with all the charm of an old Hollywood musical. Despite feeling familiar and comforting, it’s also a refreshing addition to the musical adaption world.

To book tickets to Young Frankenstein, please visit https://www.theatreworks.org.au/young-frankenstein.

Photographer: Matthew Chen

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The Musical That The Australian Musical Theatre Industry Desperately Needed

Dangerous When Wet: The Musical

Dangerous When Wet: The Musical Rating

★★★★★

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Dangerous When Wet is a fabulous new musical comedy celebrating the friendship and rivalry of local swimmers Fanny Durack and Mina Wylie – Australia’s first female Olympic representatives and winners of Gold and Silver in the 100m freestyle at the 1912 Stockholm Olympics.

Narrated by Australia’s first Hollywood Superstar, Annette Kellerman, this vaudeville-styled, hilarious and touching show will have you laughing, crying, singing along and rejoicing in Australia’s swimming history.

It was such a joyous experience to be at opening night of this wonderful new musical. Based on a true story, with an all female cast and nearly all female creative team. It was truly an amazing way to celebrate many fabulous female Australian icons. We need more of this!

This has a beautiful score by Joanna Weinberg and had me humming many of the tunes as I left the theatre. It is so refreshing to hear such glorious legit musical theatre singing by all cast members. The melodies and counter melodies with gorgeous harmonies shone through. The music in act two is where this particularly shines and has one showstopper number after the next. Just when you think you’ve heard the best song in the show, the next song comes in to knock your socks off. Hopefully they consider doing an original cast album.

 

The cast of 8 not only play their respective principal roles but many other smaller parts as well. There was much great strength in stamina by all.

Megan Walshe as Annette Kellerman is an absolute star. The creative team must have thanked all the gods when she auditioned. Excellent comic timing, velvet toned speaking voice and bell like singing voice and oh can she dance. The Olympic song in act two was a highlight of the show. By the way, she also choreographed the show.

Cypriana Singh as Fanny Durack and Grace Trainor as Mina Wylie were perfectly cast in their leading roles. They sounded exquisite when singing individually and together. Their acting was so genuine and heartfelt. I think we will be hearing from both of them a lot in the future.

Jacinta Gregory as Cecil Healy was hilarious from start to finish and it’s exciting to hear a rich female tenor voice. Annerose de Jong as Mrs Mack and Eliane Morel as Rose Scott/Alick Wickham we fantastic comedy duo sparring team in the main and supporting roles. Addy Robertson and Vida Cullen were great support to the rest of the cast.

Darryl Wallis (Musical Director, Arranger and Accompanist) was the one man band for the show, he played beautifully and it fitted the vaudevillian style of the show.

Lyndal Loves costumes for Megan Walshe’s Annette Kellerman were particularly stunning.

I do hope that they get more opportunities to do this again. If the show gets licenced, it would be perfect for many universities and community musical theatre groups to perform.

I look forward to finding out what happens next to Dangerous When Wet the Musical.

To book tickets to Dangerous When Wet: The Musical, please visit https://dangerouswhenwet.com.au/.

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Adore Händel: A Baroque Birthday Bash of Scandal, Sass and Spectacle

Adore Händel's Birthday Party: Little Black Book Vol. 3

Adore Händel’s Birthday Party: Little Black Book Vol. 3 Rating

★★★★★

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On a balmy Friday night, The Melbourne Fringe has upped-its-ante. As I await to enter its famed Archive room to see Adore Händel’s latest instalment, ‘Adore Händel Birthday Party: Little Black Book Vol. 3’, I am greeted in the foyer by characters walking around in costume: a life-sized lobster encased in glitterati and a death-defying clown in gothic garb, preparing me for a night of theatrical otherworldly-ness.

A sold out evening. A 60-seat theatre. A high-ceiling room – one side laden with tall grey architraves. The other?With pencil-lined burgundy stencilling on the walls. The scene unfolding? I am a guest at the birthday party of Adore Händel, no less. A spectacle-inducing,18th century time-travelling Baroque performer, who is turning 269 years old.

But age is only a number. For in the span of an hour, I am transported to the world of Adore, conceived by Melbourne-based baritone Luke Bell. Where, like an 18th century rock star, he bursts upon the stage singing ‘Sweet time traveller’, laden in the theatrical brilliance of maximalist European court hair, makeup and fancy-pants, party-hearty costuming. Think ornate embellishments. Luxe ribboning. Puffed-up hot and light pink organza sleeves with gold detailing.
And… a larger-than-life, quick-witted personality to match.

The scene I have entered? Adore’s annual birthday fest, where with a flourish-and-a-disney-ditty, plans to launch his little black book documenting a plethora of scandalous dalliances that he has kept a secret, until now.

Proudly singing the “Toreador Song” from Carmen, Adore boasts about the excitement, danger, and glory of his past lovers and ill-advised rendezvous, lost in a bullring of scandal and bon-vivant desire, much to the audiences delight.

 

But alas? This rapturous little book has disappeared. Sheepish and embarrassed, Adore frantically tries to contact Peter, his long-time assistant, while giving us a dramatic rendition of Queen’s ‘The show must go on’, despite these sets of most unfortunate circumstances.

And so, Adore is on a mission, to rescue his prized possession and set out to capture the unsuspecting wrongdoer of this heinous, unforgiving crime.

Paranoid as an unraveled-pearl-torn-from-its-seam, Adore interacts with the audience to see if they were indeed the culprit – as he searches for means, motive and opportunity.

Hilarity ensues as Adore peeps out at us like a crime-solving Sherlock Holmes. A microscope is shone across our faces. Suspiciously searching with mild interrogation as to who has stolen his prized possession, time is fleeting by. Without a clue to stand on, and desperate for some answers, Adore thinks that perhaps the shifty culprit may be linked to one of his past lovers.

With misty-eyed recollections, brilliantly scripted by Hannah Belle, Adore then sings ‘Bring on the men’, and does the unthinkable – daring to take us on a journey back to his time-travelling past. To surprisingly unveil the stories of three seperate ‘Dangerous Liaisons’ – that may unmask the identity of this high-octane thievery.

And thus, we are taken on a cart-ride of Cinderella-like proportions. From a fiery 18th century ball in Venice; to a late 1930’s horse-riding heist in the American West; to a pop record-deal gone wrong, we are indeed on the case of this mad whodunnit.

But it is Luke Bell who truly steals this show with his tremendous collection of hilarious antics and standout vocal gymnastics. A rendition of a testosterone-fuelled Johnny Cash song, ‘Ring Of Fire’, that rouses the audience to laugh and clap alongside him. His beautifully baritone voice cutting through with deep resonance during ‘Cry Me A River’, with misty-eyed, emotional substance. His instrumental talents of playing a kazoo, and finally, having a glass of Chardonnay while blowing a party blower out as a cigarette. No pun intended.

In all, this Cabaret-style show, lovingly produced by Lydia Keulsen, has sass, style and bawdy humour all rolled-into-one, purely for those of us who just want to be entertained at the highest level. If you love campy wit, a rumpy-bumpy storyline, standout operatic singing and tight-as-a-corset choreography, then this striking show is for you.

To book tickets to Adore Händel’s Birthday Party: Little Black Book Vol. 3, please visit https://www.melbournefringe.com.au/whats-on/events/adore-haendels-birthday-party.

Photographer: Bri Hammond

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