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!

This Still Deserves To Win Best Play And Best Actor Of The Sydney Fringe!!

The Man

The Man Rating

★★★★★

Click if you liked this article

The Man by James Graham
Old Fitz Hotel Theatre
Second run for Sydney Fringe Festival

It was an utter joy to a return viewing of this glorious play and masterful performance by Mike Howlett.

This is a much better space than better space than Lane Cove – Pottery Lane Performance Space, even with the remanence of set from the other play that’s showing in the same space, at the moment.

I would urge people from Griffin Theatre Company, Belvoir Street Theatre and Sydney Theatre Company to come and see this joyous work and make talks for it to be produced by them. This would also tour extremely well, so Arts on Tour should see this as well or any other funding/touring body out there.

Ben is an earnest, not so confident, neurodivergent, warm, funny and often lonely character who takes us on a journey through the challenges of doing his first ever tax return as a sole trader. The UK tax system is quite different to ours and follows many annoying British bureaucratic systems that don’t make sense, even when you’ve done it many times. Imagine how Ben feels. Through each receipt, that is given out to the audience on the way in, he tells the story of what they were from, what happened at the purchase and why they are important. We get reflection of a year in the life of Ben and what a year he had. No performance is the same as the order of collecting can to which audience member can never be planned. Which is why returning to the show was a joyful experience and felt like seeing a fresh show.

 

This performance was a lot more emotional than the last one that I saw in the first run in Lane Cove. Perhaps it was the order of the receipts or the weight of a sold out opening night in a more central venue. Mike Howlett is a master at naturalistic acting and storytelling and I still believe he deserves to win every single theatre award for his performance.

Claudia Leon is utterly charming as the voice of Lisa, who is Ben’s tax hotline operator.

I take my hat off to the creative team for uplifting this work and getting another run in. I hope it’s the start of many more to come. A little more light on the stage, particularly downstage right would be beneficial to not lose moments of Mike’s masterful performance.

I hope for the cast and creative team that this is a completely sold out run. I definitely plan on returning to see it again.

Run, don’t walk, to the Old Fitz Theatre to see The Man before the run ends on October 2nd!

To book tickets to The Man, please visit https://www.oldfitztheatre.com.au/the-man.

Spread the word on your favourite platform!

Every Single Sydney Theatre Award Should Go To…

The Elevator

The Elevator Rating

★★★★★

Click if you liked this article

3

The Elevator by Eloise Snape
At the Ensemble Theatre

“Margot’s back from mat leave — and she’s not messing around. Before nappies and sleepless nights, Eco Engines was spiralling through a PR meltdown, tanking faster than you can say “carbon footprint.” Now she’s back in the CEO chair, ready to rally her team of corporate eco-warriors and clean up the mess. But her comeback hits a snag when she gets stuck in the office lift. As tensions rise, Margot’s cool starts melting faster than the polar ice caps. THE ELEVATOR is a sharp, funny and fearless dark comedy that’s anything but clean. Green washing, corporate spin and tangled lies — playwright Eloise Snape delivers a whirlwind of laughs and truth bombs in this new Australian play.”

The Elevator by Eloise Snape is one of the best new plays I have seen in a long time. If you want to be in the arts you have to have something to say, and Eloise Snape has it in spades. This is a play that every emerging playwright should see and study. It is a perfect balance of situational circumstances, comedy, drama and emotional gravitas.

I don’t often say this, but this is a perfectly cast show.

Shirong Wu as Alison is a master of comic timing. At first, I thought her breathy, broken voice would be annoying throughout the play but quickly realised it was a planned out character choice that was masterful. She eats the scenery and makes the most of every amazing one liner that Eloise Snape has craftily given her. I would see her in anything she is in.

 

Di Adams as Ollie is so grounded and delivers the amazing twist at the end with so much passion and skill, you don’t see it coming. I have enjoyed everything I have seen that she has been in, so I knew I was in safe hands when she was in the cast.

Leeanna Walsman as Margot probably has the most challenging role in the show but pulls it off brilliantly. Playing a CEO of a company that she is trying to save from disaster, while being one day postpartum of her first born daughter and stuck in a lift with two people she clearly can’t stand. I think if this had been given to anyone else they might have fumbled but Leeanna delivers one of the best performances of career to date in this role.

You can tell this must have been a joyous play to create in the rehearsal room. You can tell that director, Anthea Williams, let the cast have a huge sense of play. Certain accepts would have had to have been set but it is joyous to watch actors being let to do what they do best.

The set, lighting and costumes were stunning. Both Kelsey Lee and Keerthi Subramanyam, deserved a standing ovation alone.

It is also joyous to see an almost entirely cast and creative team of women working at the highest standard. There should be more of this, and I hope this team creates more impactful work like this together in the future.

I felt honoured to be able to experience this shows opening night and world premiere. Any time that a project of Eloise Snape’s is on I will be there.

Bolt as fast as you can to this glorious production and experience its magic.

The Elevator runs at the Ensemble Theatre until October 18th.

To book tickets to The Elevator, please visit https://www.ensemble.com.au/shows/the-elevator/.

Photographer: Prudence Upton

Spread the word on your favourite platform!

Subscribe to What's The Show

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