Karate Man – A Brilliantly Clever Interactive Live Action Comedy

Karate Man

Karate Man Rating

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5

If you have ever played a video game, you’d feel the excitement of pressing a combination of different buttons on the controller and moving your character around the screen – to fight villains, explore different rooms and make decisions. The game always has a goal, often several, with riddles and various quests to complete before the goals are met, before you finally win the game. Perhaps it has taken hours to play. Imagine this. You know what I mean. Now think about the characters jumping out of the screen and are standing right now in front of you, swaying from one foot to the other, patiently waiting for you to give them a command on your controller. Your game has come to life – and you get to make decisions about what happens next. This is what happens in this comedic show Karate Man.

Co-creators and directors Bruno Dubosarsky and Daniel Scarratt have produced a truely unique and hilarious interactive play…and play we did! All audience members participated and became immersed into the story, by taking turns with the controller and pushing buttons, directing Karate Man to do what they wanted in response to the story’s many challenges.

The buttons were typical gaming commands such as kick, throw, punch, jump, grab as well as move left / right/ down and up, all of which Karate Man had to do immediately on command as soon as the it was read out by the game’s narrator. The sound effects added to the authenticity of a video game, complete with repeating sounds when the characters were waiting to be directed what to do.

 

This video game character was portrayed perfectly by Bruno Dubosarsky and done with such robotic fluidity that it was believable, his movements imitating the basic gaming commands of the 1980’s video games. As you can imagine, the fight between Karate Man, moving in a step by step controlled fashion (eg “right, right, jump, right, kick. Left, left, down, punch”) and his arch enemy Ross Roundkick, played with cheeky wickedness by Daniel Scarratt in the year 198X was hilarious and one of the highlights of the show for me. I was laughing so much as poor Karate Man was directed to move in ridiculous excess due to the audience still getting used to using the controls at the beginning of the show – it would have been exhausting for Bruno. At one stage, Karate Man was directed by the controller “left, left, left, left, left” right off the stage – the audience was crippled with laughter! I had never been to a Choose Your Own Adventure show like this before, and I loved it.

The story of Karate Man takes us into the lives of Karate Man and his wife Kara. Her name being half of his name seemed to be on purpose, and added to the cheesy charm of the show. Kara was played by Stephanie Ryan and her mannerisms of a video game character were spot on. Karate Man had to complete some challenges in this game and the audience was given three choices which led to different scenes and more goals to achieve. As the audience were making the decisions about where Karate Man was going to go next in our rendition of the play, I could see how the show would completely change on different nights. It would be interesting to return to experience another scenario and set of goals.

 

The supporting cast, Tim Dunk as the Time Fish, Juliet Rae Timmerman as Alex Coober and Maddie Atkins lent keen exaggeration into their video game characters and were very entertaining. All of the actors at different times were so funny, and I believe that some lines may have been impromptu.

The script was clever and contained some references to pop culture embedded. Prop designer Stephanie Ryan kept the stage simple. A few painted large posters were used, as well as a few other props, and was all this show needed as it was more reliant on the physical comedy and the script.

Shown as part of the Sydney Fringe Festival 2024, Karate Man was spectacularly funny and one of the most original interactive shows to hit the stage! Instead of playing video games at home, head out to the PACT Centre for Emerging Artists in Erskineville to have your own personalised adventure with Karate Man.

Show run: 17-21 September 2024
Tickets: $30 – $38
www.sydneyfringe.com/events/karate-man-a-live-action-video-game

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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Leather Lungs: Shut Up and Sing – Big Boots, Big Hair, Bigger Heart

Leather Lungs: Shut Up and Sing

Leather Lungs: Shut Up and Sing Rating

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2

It’s September in Sydney – time for the largest arts festival in NSW The Sydney Fringe Festival, to come alive. Over 400 events are being hosted across multi venues. I visited the Village Green Festival Garden at Darling Quarter on a cold evening to watch the cabaret Leather Lungs: Shut Up and Sing. The outside was chilly, but fortunately inside the tent it was warmer and was about to become even more so with the arrival of Leather Lungs.

Bursting onto the stage with bright blue hair, long eyelashes, wearing a sequin dress and a bright pink taffeta coat, Leather Lungs exuded energy and radiance. Their introduction and comedic story telling immediately had the audience cheering. We discovered that although this opening night act was the first time they had performed at The Fringe Festival in Sydney, this New Zealand entertainer has had a full career performing their self written cabaret all over the world. Leather Lungs has sung with Adele and performed for the Beckhams, and has won the Best Cabaret Weekly Awards in 2020 and 2021.

Shut Up and Sing, Leather Lung’s solo show, blends storytelling and song together into a mesmerising walk through some experiences in their life. They begin with an original song which appears to be a dedication to their Nanna Gail and the very sound advice that she had given to them when she was alive. They share this memory as they reminiscence, conveyed in a sweet and gentle song about insecurity and being kind to yourself. Within the small tent, we could almost feel Nana Gail there with us.

Leather Lungs followed with a song that they and Nana Gail had sung when they were out exploring the woods – a cheeky rendition of Old MacDonald Had a Farm. Although this traditional nursery song doesn’t sound like the typical cabaret song, coupled with Leather Lung’s active physicality accompaniment around the stage and a hilarious repetitive impersonation of some farm animal noises, they had us in stitches laughing! This was also one song where we were encouraged to join in singing with them, which delighted the audience. 

Leather Lungs: Shut Up and Sing

Leather Lungs continued to capture the audience with their humour, wit and spectacular four octave vocal range! They had the skill of storytelling, highlighting some important serious themes, ranging from being in an unhealthy relationship and sharing some health issues, to balancing it with tales of growth, self acceptance and love. It was a beautiful mix in the show and Leather Lungs left us with the very real message to not be a bystander, and not to be complacent when faced with difficulties life will inevitably throw at us. Don’t depend on others rescuing you – a reminder as they purposely cut short the song “I Need a Hero”. We can rescue ourselves.

Leather Lungs reminds us via their song lyrics – “Life is no cabaret, but I’m inviting you anyway.. just Sing”.

Go see this show – it was and it wasn’t what I was expecting from a cabaret. Yes it was energetic. Yes there were songs, glitter, fabulously outrageous costumes, fishnet stockings, big boots and an even bigger voice. What I didn’t expect was the cohesive flow of life’s lessons told with tender charm – bravo Leather Lungs!

Leather Lungs: Shut Up and Sing, is playing inside the South Tent at the Village Green Festival Garden.
Dates: 17 – 22 September 2024
Tickets: $23
Duration: 55 minutes
Producer: Ben Anderson
www.sydneyfringe.com/events/leather-lungs-shut-up-sing

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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Ghostlight: Heartwarming With A Dash Of Shakespeare

Ghostlight

Ghostlight Rating

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Ghostlight is a heartwarming film that blends comedy and drama through its exploration of grief and healing. This film is an excellent look into how a family may come together (or not) after an unexpected tragedy.

Directed by Kerry O’Sullivan and Alex Thompson, Ghostlight tells the story of Dan (Keith Kupferer), a construction worker who finds solace and purpose in a local theatre’s production of “Romeo and Juliet” after drifting apart from his wife Sharon (Tara Mallen) and daughter Daisy (Katherine Mallen Kupferer) due to a personal tragedy.

The film’s strength lies in its authentic portrayal of a family grappling with loss. What helps to achieve this authentic portrayal is that the three main characters are a family in real life. Kupferer delivers a standout performance as Dan, who provides a heart-wrenching and uplifting journey of a construction worker dealing with the loss of a Shakespearean actor. The supporting cast, including Dolly De Leon as Rita, adds to the story, making the characters’ struggles and triumphs feel real and relatable.

Another strong strength of Ghostlight is its storytelling and the character development of the family. The storytelling kept the pace of the film going as you watch these characters grieve and grow together to become the tight-knit family they once appeared to be.

 

There are only minor quibbles in the film as Dan struggles to overcome his own grief and blame. The narrative is beautifully put together and evokes genuine emotion. Some of the most memorable shots happen during the theatre scenes.

Ghostlight is not just a film about grief; it’s about the healing journey and how you can find companionship and comfort in the most unlikely of places. The community theatre setting provides a perfect backdrop for the characters to confront their pain. The film depicts the unpredictability of life and how creativity can help deal with any obstacles.

Without giving too much away there were two scenes that struck much emotion; the first being Dans breakthrough about the personal tragedy and the performance of Romeo and Juliet. Overall, Ghostlight is a touching film that will stay with you long after the credits roll. The great storytelling and powerful performances make this a standout film worth the watch.

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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Guards At The Taj: Beauty But at What Cost?

Guards At The Taj

Guards At The Taj Rating

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2

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

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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