The 80s Are Definitely Back!

Momentum

Momentum Rating

★★★★★

Click if you liked this article

Momentum
Produced by JT Performing Arts Company and Sydney Fringe Festival
at Chippin Street Theatre

This is a dance focused piece by a new theatre company and a group of young dancers. It shows a series of vignettes of various themes with some dance solos mixed in between. It has overwhelmingly heavy 1980s influences, in dance style, music and look. Even if some of the songs were written later, they all have 80s call backs. There are four core dancers and three soloists. The four core dancers do work their butts off, as these sections are quite long and relentless.

Before the show started, I was looking through the digital program. It always alarms me when there is so much explanation of a work in the program, this is either a sign of no clear point of view or over intellectualising. I think in this case it was a bit of both.

Chippin Street Theatre needs to replace their speakers. They are both blown out. I would recommend wearing ear loops or eye plugs as the music is at a deafening level the entire time. This is very distracting throughout the show.

 

The three soloists Jasmine Bowtell, Ashley Miller and Alyssa May really stood out. Yes, they had less to do but they all had clear focus of their intention with what they wanted to say in their solos. Ashley and Alyssa should consider focusing on cabaret dancing as they definitely have the height, extension and look for it. These jobs could help them travel the world with their careers. Jasmine Bowtell would have to be the best dancer of the night with beautiful technique and a natural grasp on raw emotion, that you could tell she was feeling with every fibre of her being. Her first solo was a particular stand out.

Out of the four core dancers there was definitely a difference in ability, which became most apparent in the unison dancing. Sometimes the steps were right, but style was not consistent and clean between the four. I wonder if this was opening night nerves and perhaps this will improve in the run. It is quite a marathon for them. Perhaps shortening the sequences and adding more solos would have helped the pace and stamina.

Out of the four core dancers Mia Ryan really stood out. Her precision with every step made it very clear who dominated the “company” collaboration choreography. My eye was always drawn to her every time she was on stage. I would have liked to have seen more solos by her.

JT Performing Arts Company is a brand new theatre company and this is their first outing. I know a lot of hard work and energy went into producing the show and that is an accomplishment in itself.

Momentum runs until Saturday 26th.

To book tickets to Momentum, please visit https://sydneyfringe.com/events/momentum/.

Spread the word on your favourite platform!

They Did Indeed Kicketh Much A**

She Kills Monsters

She Kills Monsters Rating

★★★★★

Click if you liked this article

She Kills Monsters is one of those productions I find quite intriguing as a youth theatre director. It’s a tough piece to work with, but it’s quite beloved, and I was excited to see how Epiphany Arts would handle its complexity.

There was a warm welcome as we entered Eternity Playhouse, with its old school cinema vibes. The atmosphere is already set from that first entry, building with 90s bangers before you look around the room and notice cloaked figures either side that seem to have appeared out of nowhere. The D&D setup is on the stage, and we move into ominous music as the ensemble slowly fill the space, engaging us from the start. Then the rock cranks and the chaos begins.

We meet Agnes, played by Holly Gallagher, and her boyfriend and best friend who are trying to connect with her in the wake of losing her sister. Agnes needs to understand who Tilly actually was, beyond the sibling rivalry that kept them apart. She follows Tilly’s diary trail, which leads her to Dungeon Master Chuck, brought to roaring life by Caspian Macarthur Mitchell, who hits every comic beat with a natural ease and is endearing enough of a douche that it’s genuinely hilarious. As the youngest cast member, it’s quite a feat.

 

From there, Agnes must take on the Quest for the Lost Soul of Athens, and along the way we meet some very colourful characters indeed. Jake Nelson as Narrator/Orcus is a real asset; professional dungeon master in real life, his command of the storyteller role grounds the whole adventure with warmth and wit. Martha Tidyman as Lilith alongside evil duo Ivy Wilkes as Evil Gabbi and Astrid Macarthur Mitchell as Evil Tina are fully committed and entertaining, with Astrid clearly relishing her role as the iconic antagonist for the third time. The ensemble, including Maisie Goldfinch, Ella Roseman, Jamie Callum, Luna Austin, Stephanie Calia and Autumn Orwell, bring high energy and great commitment to character throughout.

Holly is an engaging Agnes, with lovely light and shade and a beautiful voice. Ruby Elane’s Tilly is the emotional core of the piece; a lost soul who didn’t get to realise her dreams but created a vivid and fulfilling dream world. It’s a deep, layered performance. The choreography by Anna Jaques, who co-directs alongside director Annie Macarthur, does a great job of creating that connected ensemble energy, keeping the 90s dance numbers tight and the fight sequences genuinely thrilling. Stage combat advisor Vincent Chung’s influence is felt too.

The use of screen helps with some of the more complicated elements of the piece, and the props and costume department absolutely slayed (see what I did there?). There were a couple of technical hiccups, which I have noticed before in this space, and I hope that’s an opening night snafu they iron out, because this show really is very well done.
The highlight was a powerful, transcendent performance of Uninvited with incredible harmonies that got me right in my 90s inner teen.

It’s campy, chaotic, and everything you want from this show. Epiphany Arts have nailed it again. To quote She Kills Monsters “They did indeed kicketh much ass!”

To book tickets to She Kills Monsters, please visit https://sydneyfringe.com/events/she-kills-monsters/.

Spread the word on your favourite platform!

The “Energizer Bunny” Definitely Has New Competition!

Odie

Odie Rating

★★★★★

Click if you liked this article

Oide
Written and Performed by Emrys Quin
Directed by Emily Farrell

“ODIE: A one-man black comedy epic for the discerning modern hooligan.

In this ‘high language, low brow’ surrealist adaptation of the Odyssey, Odie is a Queensland State of Origin hooligan stranded in Sydney at 1AM after all the trains have stopped.

Surrounded by a hostile cityscape, Odie must resist the siren calls of the pokies, charm 10ft tall sports-commentating sea monsters, and make his way back to his missus, Penny, at the Ithaca Suites.

ODIE is a vigorous, incisive, and hilarious examination of modern Australian identity, masculinity, vice, and mateship; a cultural lampooning for the discerning modern hooligan.”

I think trying to compare this to Homer is a massive stretch. Perhaps this is to do the “journey” that the main character goes on in this spoken word, monologue, one person play.

 

I really have to applaud the high energy level from the performance of Emrys Quin. This performance starts at 100 and stays there for the entire 55 minutes. When he was able to break character at the bows, at the end, you could see how exhausted they were, having put so much into the performance. This is obviously a subject that the writer/performer is extremely passionate about and the level of dedication and focus is to be honoured.

All that being said, this was not a show for me. Sport being the focus of the piece really turned me off. This play made me dislike sport even more so. There are still many good things about this production.

The number of rhyming couplets in simple form, compound and complex forms is absolutely astounding as a piece of written work. The darker themes about all forms of addition really brought a lot of gravitas to work and was weirdly the saving grace of chaos that was being hit at every corner.

I think the space is terrible for a performance like this. The Boom Boom room is essentially a converted office space, with a stage that looks like it would fall apart at any second, an extremely dirty, black curtain behind it, little to no proper stage lighting and no sound proofing, so that you hear everything happening from the other rooms of the other performances, that are happening at the same time. Plus, uncomfortable seating that makes you want to leave after 20 minutes. Some huge improvements could be made by Sydney Fringe Festival for this space in the future.

If you love sport and relentless high energy, this is the show for you.

To book tickets to Odie, please visit https://sydneyfringe.com/events/odie/.

Spread the word on your favourite platform!

Alan Bennett’s Talking Heads

Alan Bennett's Talking Heads

Alan Bennett’s Talking Heads Rating

★★★★★

Click if you liked this article

As we go back to the 1990s, two women visit a library. In the classic Alan Bennett manner of talking, analysing, observing lives that are more than they appear, they lure the audience in with what at first appears to be a nice, friendly middle-class chat. Performed in an actual library and with carefully chosen books on display the atmosphere is one of gentility about to be imploded, as sex is discussed, in the nicest possible way.

The first monologue is ‘Nights in the Gardens of Spain’. Rosemary who is obviously married to a condescending husband is passing by a neighbour’s house, and before she can stop herself, she becomes involved with the neighbour’s life and a murder. As the incident evolves, she questions her own long-term suburban marriage and decides that it is as beige as the cardigan she is wearing.

Fiona Gordon plays Rosemary so convincingly that when she wanders into the library, the audience could be forgiven thinking she was part of their group. Her mild mannered perusal of gardening books, her passion, perfectly establishes a gentle conversation as her she discusses her friendship with her neighbour revealing her own need for independence. As she comes and goes discussing the next stage of the situation, uncomfortable observations of her relationship are revealed.

 

The second story, ‘Her Big Chance’, follows Travis, an overly optimistic and naive actress who believes through her own skills she has been offered a leading role in an arty German movie. Her genuine belief in her being considered as a professional actress is astoundingly naive when being told at each step to cross another boundary that the audience can see is leading to exploitation. At times, we wanted to stop her or at least warn her as she agrees to each request starting with taking her top off.

Sophie Dillman as Travis, wanders in to the library choosing books about how to get on with people and is absolutely convincing as a silly young woman who is wandering in to saying yes when she should say no. Her acting life hasn’t quite turned out as expected and she is just certain that she will get her next break in a major role but her actions lead to a darker side of movie life. At times we laughed with her observations but at other times, we squirmed when she made foolish decisions.

Each actor delivers aspects of their story and takes turns to return for the next part. A clever direction by Diana Volpe with the actors leaving and returning means the audience guesses at the turn of events. Accompanied by the gentle and beautiful music at intervals by Michael Atherton, the audience almost walked in the shoes of both characters. As Travis states,”Acting is really just giving”.

To book tickets to Alan Bennett’s Talking Heads, please visit https://sydneyfringe.com/events/alan-bennetts-talking-heads/.

Spread the word on your favourite platform!

Subscribe to What's The Show

Reviews, show news and what is on, straight to your inbox.