It’s simply MARVELous: A Risque Parody

Marvel

MARVEL: A Risque Parody Rating

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6

The big energy opening number to MARVELous: A Risque Parody gave the audience a taste of what was to come. There were showgirls dressed in sexy red, white and blue outfits, high kicking, singing and dancing around a muscular square jawed Captain America, played by Luka Lea-Vestic holding up his big round shield.

It was reminiscent to a scene from Captain America named “The Star Spangled Man with a Plan” except director, creator and composer Samwise Holmes cleverly wrote a parody called “The Man with America’s Ass” with lyrics such as “Who’s got a glorious gluteus maximus? The vote for the world’s greatest bum is unanimous. A posterior that’s all class. The man with America’s Ass”!

From here I guessed that this was going to be a mix between a satirical musical, a flamboyant gathering of colourful costumes and cheeky burlesque dancing. What I didn’t foresee was another layer – one which involved not only raunchy strip dancing, but dancing in many different styles, including a ballet act, dancing using a whirlpole and a modern puppet master dance led by Scarlet Witch, played by Brea Holland. Added into the mix was a good dose of aerial and stage acrobatics, with risqué humour woven in. Listening to the audience’s reaction to the performances around the theatre, it was clear that MARVELous was hitting all the right notes!

Each performance involved a seperate Marvel character act, unique to them and was unrelated to others. There was not a storyline from start to finish, rather a series of acts where the Marvel characters embodied their character traits and special powers. They performed a particular dance, sometimes singing along to parodies of a well known scene from a movie. When they were not performing as their main Marvel character, the cast of 12 supported each other by playing other roles onstage.

One stand out performance was by Megan Wonfor, who played Black Widow. Her fight scene with two ninjas dressed head to toe in black was phenomenal. The three of them did a “dance fight” full of acrobatic tumbles and sharp acrobatic leaps, all in time to music. It was visually one of the most beautiful fight scenes I’ve ever seen!

Another performance I really enjoyed was from Fat Thor, played by Thomas Remaili, who used the pole in his routine and made climbing up it and hanging off at zig zag angles look easy, despite wearing croc slip on shoes and having his legs and arms covered, which left me wondering how he was able to grip the pole. His huge prosthetic belly didn’t hinder Fat Thor as he performed his routine, and his humour had the audience laughing and cheering him on.

Deadpool, played by Justin Wise, was the show’s sassy narrator. When he was onstage, his role as the storyteller appeared to be more of a stand up comedian and involved him bantering with the audience to bring the show to a more personal level.

The choreography of all the dance acts was so varied, and executed with precision by the actors. If all the dance routines were too similar, it would have been a lacklustre show. Choreographer Luka Lea-Vestic ensured that audiences would be treated to a mix of styles that captured our attention.

James Wallis’ lighting, in combination with the creative three-story cityscapes scaffolding set design by Dan Potra, was effective throughout the show to both elevate the vibrancy of the mood and to build the suspense in darkened scenes. In one performance Iron Woman, played by Lulani Rawson, led a multi woman lineup of Marvel characters in a dance, with each performer using her lights on her hands to create exciting paths of lights into the audience as the male performers lit them up from behind. This was a mesmerising scene.

Action Reaction Entertainment have brought a dynamic show to the Chatswood Concourse theatre for fans of the Marvel Cinematic Universe. There were cheers and laughter as they understood and appreciated the jokes and references throughout the performance. Even if you weren’t familiar with all the characters, there were acts which brought in parodies of some very well known musicals as well. Despite some opening night hiccups with the sound, the soundtrack paired with the casts’ high energy performances ensured the audience had plenty of laughs and a MARVELous night out.

MARVELous: A Risque Parody is playing at the Chatswood Concourse.
Be aware that it is an 18 + event.

Show Run: Friday 26 July – 10 August 2024
Tickets: from $59 – $125

www.marveloustheshow.com.au

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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Bum-Believable Fun and Chuckles Galore

The Bugalugs Bum Thief

The Bugalugs Bum Thief Rating

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1

‘The Bugalugs Bum Thief’. Go on – you can’t resist. Say it out loud. Relish the alliteration and feel the silliness spread across your face. Bum bum bum! Let’s be real folks – the word ‘bum’ is a universal delight! Kids and adults alike can’t help but crack a smile when they hear it. And we get truckloads of bums in this humdinger of a show that’s totally cheeky, totally funny, and totally bonkers!

Adapted for the stage from beloved Aussie writer Tim Winton’s picture book, it’s a wonderful comedic goldmine of humour and wordplay. Not to mention a lesson in surrendering to the ridiculous. With its lighthearted and playful wit, this show is bottomless fun (pardon the bum pun) reminding us not to take ourselves too seriously.

In the crazy crayfishing town of Bugalugs, Skeeta Anderson wakes up to a terrible crisis – his bum’s gone missing! And he’s not the only one – the whole town’s bums have been pilfered! And now they can’t sit down! (cue some fabulous physical comedy) Skeeta embarks on a hilarious hunt to track down the sneakiest thief in town and get his bum back.

The talented trio of Ziggy Resnick, Madeline Li, and Toby Blome truly brought the house (and their pants) down in their ability to tap into the childlike spirit of kids on a mission, perfectly capturing an appetite for the unknown and the mischief that defines childhood.

Ziggy Resnick as Skeeta, embodied the innocence and curiosity of a kid in a ridiculous predicament, defying the limits, bringing a refreshingly genuine spirit to the character that was both heartwarming and hilarious.

Madeline Li and Toby Blome, as Skeeta’s trusty sidekicks, channelled their inner Scooby Doo gang members, displaying some remarkable versatility. They breathed life into a vibrant cast of eccentric Bugalugs townsfolk, including a hapless cop, Skeeta’s bum bereft parents and the intimidating Mrs Misery – complete with fluro-pink dressing gown, shower cap and a terrifying hairbrush – just to name a few.

The Bugalugs Bum Thief

Stef Furnari, talented percussionist and ‘one-woman band,’ added an extra layer of excitement and energy with her dynamic and lively drumming. These infectious rhythms accompanied several humorous Bugalugs songs and conundrums to great effect.

Audience participation? Of course! Bugalugs school teacher, Mr. Wally took the lead. We played several games of “Heads, Shoulders, Knees” and learned that Mr. Wally’s rule – “keep the ending close to the beginning” – is a sanity-saver during kids News Time. Lauren and James, our brave volunteers, shone bright.

Lauren almost overcame stage fright to share her favourite food, while James regaled us with a harrowing tale of his car hitting a rock and exploding luggage (talk about a show stopping steal!) Then Mr Wally’s bright red boxer shorts made a memorable appearance and everything was back on track.

Kids go wild for bum jokes because they’re the perfect blend of teetering on rude without being crude so this revival is a perfect bum-tastic treat for the funny bone. A marvellous celebration of catchy tunes and all things delightfully playful, superb entertainment for little ones aged 4-12. Now, for the big question…… just who was the brazen bum thief? Nah – that would be telling!

For the answer and all things to do with Bugalugs Bum fun, see: https://riversideparramatta.com.au/whats-on/the-bugalugs-bum-thief/ for further information.

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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Sunset Strip: The Bonds of Family and Forgiveness

Sunset Strip

Sunset Strip Rating

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1

Award winning playwright Suzie Miller (Prima Facie, Sold, Cross Sections, Reasonable Doubt) doesn’t shy away from writing about the painful parts of life. Her previous plays have been about homelessness, racism in Australia and the traps of selling your soul for materialism. Her latest play, Sunset Strip, continues to tackle some tough themes – grief, addiction, cancer, dementia, and complicated family dynamics.

New Theatre’s opening night of Sunset Strip was an emotional rollercoaster which took the audience into the world of two very different sisters, Phoebe (played by Molly Hadden) and Caroline (played by Erica Nelson). Director Annette van Roden’s interpretation has created a multifaceted story with some harsh, tender and lighthearted moments, sometimes all at the same time.

The set design by Annette van Roden is split into two scenes. There is a living room inside a house, somewhere in a mining town near Broken Hill, and a backyard which used to face a sparkling lake complete with sand and sun, now a dried-up dusty dirt bowl. I thought this could be a subtle interpretation of perhaps the bright and simple joy of childhood yielding into a more complex adulthood, with all the complicated issues that accompany it. Nothing remains the same throughout time.

Caroline, the city lawyer (“the smart one”, as Phoebe relates) arrives home for a visit with her sister and dad. We witness the first signs that all is not what she expects, when Ray (convincingly played by Vincent Melton) does not recognise her. Ray’s dementia leaves him having intervals of clarity between periods of confusion, and when he soon recognises and welcomes her back home after a few minutes, it is clear that Caroline is confused, and realizes that Phoebe has been shouldering their father’s deterioration on her own.

Molly Haddon’s portrayal of Phoebe is outstanding. Phoebe, who is the carer of their dad, as well as mum of two kids who are currently in foster care, is clearly nervous about seeing her sister. Her high energy on stage of being the younger – (less successful, less pretty, the one with the worse hair, according to herself) – sister with some news to break is palpable. She is buzzing, full of words and action whilst Caroline is more stoic, level, and sensible. We soon discover through Erica’s intense portrayal of Caroline, that her recent health experiences have taught her a lot about herself, and that being vulnerable is not something to avoid or run away from.

Through their sister relationship lens, the complexity and pain of life through trauma is highlighted. Though Phoebe seeks an outward desperation for her sister’s approval, it is Caroline who ends up being the one that is counselled by her father and Teddy (played by Shane Davidson). These moments were touching.

Teddy, Phoebe’s fiancé, brings another dimension to Sunset Strip. He has a history with Caroline and the two must work through their past, for the sake of Phoebe, her kids and their future.

This is a play where the audience will be left to ponder what will happen to these characters long after the curtain falls. Multiple themes are conversation starters, and this is one of the highlights of Suzie Miller’s script, and New Theatre’s production.

The beauty of Sunset Strip may not lay in the land and surroundings of this family, but in the rawness of human frailty, the need for connection and the ability for forgiveness.

Sunset Strip is playing at New Theatre, 542 King St Newtown.
Running time: 1 hour 45 minutes (including interval)
10 July – 3 August 2024
Tickets: Thrify Thursdays / New Theatre members $25
Concessions / Groups of 6+ $32
Full $37

Photographer: © Chris Lundie

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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Once Upon a Grimm Night: Interactive Theatre

Once Upon a Grimm Night

Once Upon a Grimm Night Rating

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4

An interactive theatre experience is not a seated and static theatre show. Nor is it one where you are pulled onto stage to become a part of the show, like in a stage hypnotist’s performance.

The ‘theatre’ setting for Once Upon a Grimm Night was a beautiful heritage house, Lindesay House, with lush green landscaped gardens that overlooked Sydney Harbour. Odyssey Theatre has chosen the perfect setting in Lindesay House for their Otherworld meets Ourworld theatre experience.

When we arrived for our 5:30 p.m. session, we were greeted by the impressively large house, with warm lights emanating from the windows, giving it a welcoming glow. Dusky twilight oranges and pinks painted the background of the house and the huge tree in front of it, where we waited for the show to begin.

Our group was soon welcomed by The Narrator (Jared Gerschwitz) with his infectious enthusiasm. It is a credit to Jared, who outlined the storyline, clarified our quest for the night, and made our adventure into the house enjoyable while maintaining a wicked sense of humour. Other characters we met initially as we were swept into the story included Cly (Phoebe Lumley Tow), the earnest maiden, and Grimm Volkov (Harlee Timms).

Along with the heritage house, the details put into the costume design and hair styling stood out for me. The Maiden Cly’s hair was fairytale perfect, complete with the flowers in her half-up/down wavy hair. I noted the jewellery worn by The Narrator, Grimm and the Witch, who we soon met, all added to the idea of what a fairytale character would feel comfortable wearing. Look closely, to peek at some cleverly hidden clues in their costume and jewellery design!

The fourth character, the Witch (Emily McKendry), had her own back storyline, as did all the characters. One fun part of this interactive theatre involved the audience helping her brew a magic potion to help further their quest. The way that Emily guided this particular scene down in the basement of the house in the deep, cold, stone kitchen was highly entertaining.

Throughout the play, the audience was given several puzzles to solve that immersed them deeper into the storyline. Everyone had to work together to come up with the answer. The group I went through with were all good sports, and we had an opportunity to discuss what certain clues meant to try and figure out the answers. If you were someone who would rather observe than participate, I am sure that the cast wouldn’t have made you do anything.

All four characters appeared to be able to read the room, with their mannerisms tailored to the audience. Odyssey Theatre’s director and writer, Emily McKendry, creatively handmade the clue props, which stood out as original and made for interesting puzzles to solve.

The storyline would suit all ages, as a fairytale does not need to be just for children. I recommend Once Upon A Grimm Night for anyone who would like an hour of doing something different.

It was an interactive theatrical experience that was quite original and uncommon. We became part of the story, and there was something satisfying about it. I could see this experience fitting into a family night out, a unique first date, and everything in between.

All characters presented the story with humour, and their quick-witted quips felt spontaneous and fresh. Once Upon a Grimm Night plays three sessions every Thursday and Friday night throughout July.

Tickets: $49
Venue: Lindesay House
1 Carthona Ave, Darling Point NSW 2027
Season run: Thursday 4 July – Friday 26 July 2024

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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