Brown Women Comedy Performance: A Light Look at Being a Brown Woman

Brown Women Comedy

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Deciding to be a comedian professionally is probably one of the bravest steps someone can take.

Some people are naturally funny, others are talented writers who have the skill to take a situation and focus in, give it a tweak and make it sound hilarious. From the many comedy acts I have been to, almost all comedians poke fun at their occupation in their set, and point out how poor they will be all their life. Brown Women Comedy, featuring four bold Indian and South Asian Australian comedians, did indeed broach this.

The first comedian, Niv Prakasam, extended this line of thinking and talked about her job as being someone who was simply carrying forward a family tradition, that of Generational Debt! I have heard other comedians talk about how disappointed their parents are, that they’re not a lawyer or a doctor earning the big bucks, but Niv swung this joke around with her Generational Debt take, and it was refreshing.

Niv spoke with the easy-going flow of a seasoned performer and was a wonderful opening act. I really enjoyed her stories about coming from a conservative country and how different Australia is from her home. She took this topic and brought a whole lot of different and amusing tales, some involving arranged marriages, what it means to hug, or hold eye contact with someone (that’s it, you’re now betrothed) and the audience reacted very well. Niv was able to incorporate the audience into her act, making them feel comfortable whilst talking to them.

Ramya Ranapriya followed and continued to make the audience laugh. In her set, she told stories about situations in her country. She talked about family (of course, the in-laws got a mention, but not even Grandma was spared!) and her dynamic views of the ever-changing world of becoming a mum reached the audience’s heart. Her stories from when she had a newborn and was bombarded by requests from everyone to meet her little one was relatable to many people – such as the endless stream of visitors (the quick look of the men visitors versus the delight of women visitors inhaling the scent of her baby) and was very funny. As was her take on how visitors brought money as gifts when they came – but I won’t spoil Ramya’s jokes by relating them.

Founder of Brown Women Comedy, Daizy Maan, followed Ramya. Her impressions of her friend’s friend made people laugh, and she cleverly circled back to this particular joke to close her set. Daizy told tales about her family, sharing some funny experiences ranging from her mum’s roti to awkward moments, which had the audience cringing in sympathy. One of the funny moments for me was something her mum said to one of Daizy’s friends, about her thighs! It is still quite an Asian thing for the older generation to comment about one’s weight, and this made the audience laugh.

To close the performance, Guneet Kaur came on, and brought another dimension to the show. She delivered her comedy set with a deadpan coolness, and this worked to bring out the joke’s meanings even more. Her stories about dating and being a racial chameleon were hilarious, as were some stories about dating, bisexuality and how lies can go wrong when making up a false family!

The four womens’ comedy acts were all different, with each comedian bringing another side of being a woman into the show. It was an all-rounded show, incorporating sexism, feminism and racism into 2025 and the modern Aussie world. If you feel like a break from the real world, a comedy show should whisk you away. Brown Women Comedy does just this – these ladies will whisk and stir up your funny bone and imagination, at least for an hour!

Brown Women Comedy was hosted at the Lennox Theatre inside Riverside Theatres in Parramatta and is part of the Sydney Comedy Festival.

Performances: 23 – 25 April 2025
Riverside Theatres. Corner Market and 353 Church St, Parramatta
Tickets: $44
www.riversideparramatta.com.au

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A Serene Soundscape: Noonan & Schaupps Southern Skies Volume 2

Songs Of The Southern Skies

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On the traditional lands of the Dharug people, The Parramatta Riverside Theatre played host to a celestial journey through the works of Australia’s brightest female songwriters and singers. Katie Noonan and Karin Schaupp’s “Southern Skies Volume 2” reimagines the timelessness of Australian music including industry royalty such as Aunty Ruby Hunter, Kate Ceberano, Missy Higgins, and Sia.

Amidst the pulsing, frenetic energy of Parramatta’s Eats.Beats.Art Festival, Noonan and Schaupp’s performance provided a serene oasis, a pocket of tranquillity in a world that seems to never stop. The crowd, a mix of ages and backgrounds, was visibly captivated by their heartfelt interpretations and innovative arrangements. These carefully curated selections showcased the enduring appeal, depth and diversity of Aussie music, reaching as far back as the 70’s. It was an intimate experience showcasing the talent of two extraordinary artists.

Noonan’s ethereal vocals, paired with Schaupp’s masterful guitar work, breathed new life into iconic and some lesser known gems. Their performance was a stunning tribute to the extraordinary talent of Australian female singer-songwriters, culminating in a meditative and memorable evening.

With less-is-more magic, they paid homage to the original songwriters and singers. This stripped-back approach highlighted the strength of the songwriting itself, revealing unexpected soul in familiar tracks. Who would have thought that Olivia Newton-John’s “Xanadu” or Kylie Minogue carried such spiritual messages and connections?

Noonan’s voice is truly something special. Her incredible range effortlessly bridges the spectrum of human experience. She wields a unique ability to transform a song, cradling the soft moments while reverently holding space for the lyrics, before ascending to operatic heights. Every note is infused with a sage sense of love and authenticity as we witness the music flow through her. Her respect for her craft and why she does it is inspiring and evident in every note.

 

Noonan is also a natural storyteller. She is so warm, inviting and humorous, introducing each song and their creators with quips, memories or anecdotes – like she’s welcoming you into her living room.

Classical guitarist Karin Schaupp, an internationally sought-after recitalist and soloist, is the perfect musical foil for Noonan. Her technical brilliance and intuitive playing style provided subtle support, intricate harmonies, and emotional depth. A new found appreciation for this instrument and its artists was discovered.

While this performance was a minimalist masterpiece, featuring only Noonan’s vocals, Schaupp’s intricate guitar work, and some sparse percussion, the album itself features guest singers. Make sure you check out Kate Ceberano’s fabulous new version of “Brave” that reveals the raw power of her incredible ability and emotional expressiveness. ‘I Thought You Were God’ with the brilliant Clare Bowditch is a lesson in harmonising and the magic that happens when two great voices come together.

Noonan and Schaupp are a dual talent that sustain, fiercely advocate for, and shape the Aussie music industry scene. There’s a reason these ARIA-winning powerhouses are celebrated. Deceptively simple but deeply profound, “Southern Skies Volume 2” is music that calms the heart, ignites the imagination, and offers enlightenment.

A soundtrack for creative expression or quiet contemplation, Noonan and Schupps are a symbiotic testament to the universal beauty of words and music and the way they can move and inspire.

Don’t just listen to it, experience it.

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Guards At The Taj: Beauty But at What Cost?

Guards At The Taj

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This is a tale of deep friendship, loyalty and duty – and beauty. In 1648, two Imperial Guards stand tall, dressed proudly in blue and silver uniforms with their backs to the ornate gate of Taj Mahal. It has been 16 years in construction, made by slaves and craftsmen. It is the morning before the first viewing of the Taj Mahal, which was rumoured to be the most beautiful building in the world. The Emperor Shah Jahan wishes for the Taj Mahal to remain the most beautiful of all and thereby issues a decree to ensure that this beauty is never replicated, forcing these guards to carry out an impossibly gruesome task.

Babur and Hunayun are bound by many rules – they aren’t allowed to turn around and look at the Taj Mahal, they must keep their sword raised and are forbidden to speak. To break these rules, as we discover from their conversation, could lead to harsh punishments, from being locked up for three days to death by elephant trampling.

However, even the threat of such consequences does not stop the impulsive chatter of Babur, played by Akkshey Caplash with such childlike enthusiasm that I immediately warmed to him. The other guard Humayun, played by Idam Sondhi, is the opposite of Babur. He is earnest and takes his job seriously, and we soon discover that he is the son of a senior military man. Humayun craves the approval of his father, has loyalty to his emperor, and believes in working hard to achieve rewards. It is perhaps, this tunnel view which will cast a shadow over both their futures.

Akkshey and Idam portray a strong friendship between the two characters. There are many moments of levity as well as philosophical conversation that takes place, showing a depth to their relationship. Akkshey’s Babur is a dreamer, creating and sharing ideas for his original inventions. Throughout the play, Idam’s Humayun loosens up and also shares his own creative invention. The two men are caged by their lower station and the rules of the more privileged, and their dreams and inventions signify their longing for being free. There was a theme of birds scattered throughout the play, and I found the links of freedom to these birds woven into the story cleverly significant.

 

Writer Rajiv Joseph, who was the 2016 winner of the Obie award for Best New American Play and also won the Lucille Lortel award for Best Play, has written an engaging script. Although there was no interval, there were two distinct parts, the turning point being the grim act the guards were forced to do by decree of the Emperor Shah Jahan. James Browne, the set and costume designer, created a daunting dungeon complete with underground water drainage.

Much like Babur and Humayun’s vast imaginings, I thought that there was intentional purpose to allow the audience to build their own images in their heads of some key scenes, guided by the set and stage lighting by lighting designer Kate Baldwin and composer and sound designer Me-Lee Hay.

This shone through in two particular scenes for me, with the first light morning unveiling of the Taj Mahal – where we didn’t see an image or a physical set of the beautiful building, but rather experienced it through the clever use of light and the actor’s reactions. The other stand out lighting and sound scene had explosions of red splashed on stage, and a rhythmical harsh slice sound amongst a frantic soundscape which signified one of the key horrifying moments in the play. This scene was gripping, and there was no need to show the actual visuals of what was happening, as we could see it in our mind. I noticed one audience member had their hands up to their mouth, clearly involved in the play.

Guards at the Taj, skilfully directed by Bali Padda again, two years after his directorial debut of the same play, is on tour throughout Australia throughout September and October 2024. This review was from the performance at the Riverside Theatre in Parramatta on the 12th September 2024.

Guards at the Taj is a confronting and beautifully scripted and acted play which will make you want to delve a little deeper into finding out whether or not this was based on a true story. Go see it, wherever it is playing around Australia!

Running time: 90 minutes, no interval.
Tickets from $59
www.riversideparramatta.com.au/whats-on/guards-at-the-taj

Photography by Noni Carroll Photography

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Bonnie Lythgoe’s Snow White – A Magical Spectacle for All Ages

Bonnie Lythgoes Snow White

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Bonnie Lythgoe Productions celebrated its tenth anniversary with a brand-new production of Snow White. The latest pantomime opened over the weekend at Riverside Theatre, delivering enchanting charm, humour, and a dazzling spectacle that captured audiences both young and old.

Snow White follows the classic fairy tale of a kind-hearted princess whose beauty provokes the jealousy of the wicked queen. Determined to remain the “fairest of them all” and marry Prince Sebastian, the Queen orders Snow White’s demise. Little does the queen know her plan doesn’t quite go according to plan as she seeks refuge with new friends.

The performances were a key highlight of the production. Eliza Sunderland’s performance as Snow White, the titular character, exudes innocence that perfectly captures the essence of the beloved character. Her vocal performances, especially during the musical numbers, blended classic Disney charm with more contemporary energy.

Another stand-out performance was the devilishly over-the-top Wicked Queen, portrayed by Debora Krizak. The audience is encouraged to boo at her as she enters the scene to plot against Snow White. You can’t help but enjoy her wicked antics, thanks to her charisma and banter with those sharing a scene with her. Other notable mentions include Mark Jones as Muddles, a colourful character with witty one-liners injecting the show with humour, Tim Maddren as Prince Sebastian and Barry Pearl as Chambers.

 

From the moment you sit down, it’s clear that Snow White is a visual feast. The set design transports the audience into a magical fairy tale world. Lighting and effects bring to life the forest, village and menacing Queen’s lair, making the stage feel like it’s straight out of a storybook. The costumes, specifically Snow White’s signature gown and the Wicked Queen’s ensemble, contribute to the fantastical atmosphere. The inclusion of modern pop songs, which are performed with enthusiasm and flair, adds a contemporary touch to keep the production fresh and relevant.

Lythgoe has masterfully incorporated audience participation by creating an engaging and interactive experience. Children were invited to cheer along for our favourite characters (and boo for the evil ones), sing along to the catchy tunes, and join in on the “behind you!” moments, ensuring that the younger audience members stay involved.

Overall, Bonnie Lythgoe’s Snow White is a vibrant, energetic, enjoyable production that ticks all the boxes. It’s a fun, feel-good show filled with magic, laughter and mischief. The show is a perfect outing for families and will leave you smiling long after it ends.

With only a short time before closing night is upon you, be sure to get your tickets that are available for a range of sessions between 13th-21st September @ https://riversideparramatta.com.au/whats-on/snow-white/

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