Where Little Stars Shine: Coach Mon’s Baby Wonderland

Coach Mon’s Baby Wonderland

Coach Mon’s Baby Wonderland Rating

★★★★★

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Up the stairs of the multi-story landmark Clocktower building in Moonee Ponds, I come upon a theatre studio lit up in bright primary colours, complete with a giant matted floor, and two rows of seats at the back. With prams parked downstairs in the entrance hall, hoards of parents gladly seat themselves criss-crossed in these roomy surroundings, with their babies and toddlers in tow, eagerly awaiting ‘Coach Mon’s Baby Wonderland’, a musical adventure for infant and tots, to begin.

Among the ohhhs and ahhhs, I am enamoured by a set decorated in pure Australiana. Encompassing a journey over land and sea, a tree is bedecked in thick foliage, representing the Australian bush. An underwater vista set piece is sitting upright, representing the Great Barrier Reef. And finally, a mountain-shaped cutout is brimming with sparkly perfection, representing the Snowy Mountains. A resounding set design, simple yet effective; not unlike ABC’s Playschool, or the imaginary magical kingdom set in Mr. Rogers Neighbourhood.

The show begins naturally, gaining the children’s attention with singer and musician Jackson Peele kneeling on the floor with a guitar in hand, dressed in a tracksuit in purple, green and blue hues. Beside him is the show’s star and co-creator, Coach Mon, played by Monique Warren, similarly dressed in a sports hat and uniform wearing green, red and purple. Together, they begin the show in an intuitive fashion, milling around and interacting with the mums, caregivers and toddlers as everyone is still walking in. Feeling as if we will be playing an active role in this upcoming adventure.

Once the door closes, Coach Mon and Jackson start singing a welcome song, pleasantly and gently, warming up the audience and harmonising well. They teach the children to wiggle their fingers and touch their toes. Coach Mon has a beautiful light and poppy voice, drawing the toddlers in with her animated facial expressions and fun, sharp choreography.

The story begins as Coach Mon and Jackson talk about the galaxy, and the stars that light up the night sky. ‘Twinkle Twinkle Little Star’ begins, and everyone joins in. Suddenly, a shooting star crash lands on the stage. They pick it up and a rendition of ‘Little Star’ is then sung, asking where she’s come from, and if she is lost. With a tinkling noise, we discover the star’s name is Stella, and in her fall, she has lost three missing pieces. Coach Mon decides to help Stella find them, so she can fly back out and shine once again in the universal skies.

 

So ‘off on an adventure’ we go, by singing ‘Walking in the bush’ to find her missing pieces. Where lovely bird sounds are heard, along with ‘Leaves blowing in the wind’, as Coach Mon grabs some bushes off the tree and bounds through the pathways of children – to rustle the bushes on the ground as she walks around.

Creating an exciting sensory experience, the children look up enthralled, as the Old MacDonald nursery rhyme begins to play, with the words updated to reflect the animals seen in the Australian bush: like Kangaroos, Wombats and Koalas. As ‘Ei-ei-oh’ is sung out, a little girl starts hopping up and down out front, as a toddler claps her little hands. As Coach Mon mimics each animal, the children are having an absolute ball. It is so heartwarming to see.

Suddenly? Behind the bush tree – they find a piece of the star. As they shake it, a sound tinkles. They put it back on Stella. But two more pieces are still missing.

And so we venture underwater, with Coach Mon cleverly adding swimming lesson movements. Suddenly, a large sheet of lightweight blue fabric is held by both Coach Mon and Jackson, who manage to float it above the children all around the room, as if the children are sitting under the waves of the ocean. Singing a classic underwater song, we are in the ‘Great Barrier Reef’. But that’s not all. For a surprise ensues, enlightening our morning audience with a huge sparkly jellyfish, who floats ever so gently around the room to an amazing effect. Then lastly? A fish is held blowing bubbles out, to great delight, encouraging the tots to pop the bubbles with their hands for further sensory joy, all under the guise of blue oceanic lights.

After another piece is found? We head up on a steep walk, to the Snowy Mountains, delightfully displayed by Coach Mon and Jackson, who pretend to climb up either side of the mountain cutout, two-by-two, with their fingers.

Suddenly, the temperature drops, and Coach Mon throws out netted white cloths to be used as snowflakes, encouraging parents and kids to wave these cloths up and down. Icy winds are blowing as they sing ‘I’m a little snowflake’ – asking toddlers to touch their face, nose and toes with the freezing snowflake. Then to count to 3, and ‘throw your snowflake back to me‘.

To the children and parent’s delight, the final piece is found, a child yells out, ‘great job’ – and the whole audience laughs uproariously.

As we wave goodbye, Stella is sent back up to the sky. A sweet and heartwarming finale to a great Australian adventure. Ending with a beautiful line, ‘Our friend Stella is now shining down on us.’

All in all, I would highly recommend any parent to bring their child along and be bedazzled by this sweet and delightful show. Hats-off to director and co-creator Laura Aldous for making this children’s production polished and professional, as it contained all the enchanting elements of toddlerdom combined. The children all bopped and danced in dreamy landscapes with smooth transitions, a classic warm up and goodbye song; sensory surprises; kids encouraged to sing and dance, and movement coached clearly throughout. What was especially lovely was the music and singing being so natural and gentle, with an acoustic guitar and no backing tracks. I also loved the Australian landmarks, animals, bush songs and references used across the show, making this production unique for parents, carers and children of all ages.

To book tickets to Coach Mon’s Baby Wonderland, please visit https://www.melbournefringe.com.au/whats-on/events/coach-mons-baby-wonderland.

Photographer: James Rush

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The Courage To Become: A Saltwater Girl’s Journey Home

Saltwater Girls

Saltwater Girls Rating

★★★★★

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Deep within the depths of the Motley Wherehaus I enter Vault 2 – a tiny rectangular 25-seat theatre encased in wall-to-walk black draping, already creating a dramatic, moody, and immersive chasm of theatrical bravery for me to embody.

Against a black minimalist stage dimmed against green and crimson lighting, and flanked by white candles on either side of the stage, a black scenic cube remains static, along with a black lonesome notebook.

Overhead? Ominous sound waves are heard, of violin and guitar music rippling through the room. And at last, the shadow of a lonesome figure is cast behind the stage curtain, singing a traditional Catholic hymn. As the lights brighten, we meet Sydney-raised Lana Filies, writer and creator of ‘Saltwater Girls’, a confessional show about a woman’s journey of self-discovery – back to her own true identity.

As we meet our heroine, prayers are sung, and knees are on the floor, and Filies begins her sinful tale at aged 12, by strapping us in and encasing us in a patriarchal nightmare – in a no-holds-barred cell of an all-girls Catholic school. Or a ‘Catholic Utopia’, as Filies would have liked to have believed.

But as with most teenagers, curiosity often kills rigid order. Social norms fall by the wayside. Leading us by the tail – into the scene of a sin-worthy crime – a church broken-into by Filies, and her Catholic school cohort: her three other girlfriends and her male cousin. Where they come face-to-face with a bottle of wine and proceed to get drunk – a wicked start to some primal adventures. A first kiss with a girlfriend ensues, unleashing a sexual urge so strong, that a lesbian yearning is awakened.

This accelerates to a lingering bathroom kiss at a school party. Full of Catholic guilt, her Sappho secret is kept under wraps. Trying to cure what she believes to be a slight malady, she tries to ogle Zac Efron or Harry Styles, only to dream of Gillian Anderson instead. And as the drips of perspiration blare out of the theatre’s speakers, threatening to overpower her desires, they somehow remain stuck and suppressed: within an establishment built on shame.

 

By year 11? A revolutionary occurrence develops, when a crush on a lesbian teacher uncovers a host of virtues revered: self-respect, self-worth, and validation. For defying one’s social norms. For sticking to one’s values and principles and fighting society’s rules. When she discovers this teacher has a partner – she is sad but ever more curious. The pièce de résistance? The overwhelming discovery of a book of ancient Sappho poetry, written around 600 BCE, featuring verses of intimate human emotions, romantic longing and unapologetic female-led desire. As she looks up the teacher’s photo with her female partner? Something clicks. It is her own true identity beginning to bud, towards an exciting future: to finally be free to be herself.

But all is not rosy on the outside. This teacher gets stood down for discrimination. Liberation turns to rage. In Filies’ mind, it’s time to act out, as she is disciplined within a cluster of defiant boys as punishment. Where instead of fighting, she meditates and shrinks. A whole identity further squashed, sending her into a depressive state, unable to break free once more.

But in a timely fashion, a relationship breakdown (with a male) leads her to finally live a life she can only dream of, as she moves to Kings Cross. Eventually, she talks of finally accepting who she truly is, and how she grows to finally feel free- to fall in love with a woman of her choosing.

That to heal from one’s past? One must fight for one’s identity. That to move forward? One must give themselves the permission to become unstoppable – as a true Saltwater Girl. In purifying one spirit. In rising in one’s identity: all within the cleansing of the sea’s salty currents.

This is a beautiful coming-of-age story by Lana Filies combining storytelling, poetry, and song. It is masterfully directed by Amelia Gilday, and lovingly produced by Moon Bureau. It is a lovely piece of theatre promoting the magic mystery of self-discovery.

To book tickets to Saltwater Girls, please visit https://www.melbournefringe.com.au/whats-on/events/saltwater-girls.

Photographer: Amelia Gilday

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Spooks, Spoofs, and Splendid Sketches: Why ‘Nosebleeds’ is a Melbourne Fringe Must-See

Nosebleeds

Nosebleeds Rating

★★★★★

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As I walk down the laneway of Meyer Place, I arrive at a mysterious dark door, which unbeknownst to me, leads up two flights of stairs to the Improv Conspiracy Theatre, a destination for lovers and students of improvisational comedy in Melbourne.

I enter a dark, intimate theatre where smoke machines cast the room in an eerie-like glow, and where shiny red lights set the stage in a lurid setting, much like a Vintage B movie, about to take centerstage.

For what I am about to witness is anything but ordinary. It is a sketch theatre comedy called ‘Nosebleeds’, created by an extraordinarily funny team of veteran improvisers and comedians: Holly Bohmer, Mario Hannah, and Taylor Griffithsz This trio dare to take the bizarre vintage horror trope and milk it for all its worth. Who dare to peek behind the historic fright-night cliché, find its twisted elements, and transform them into fresh, inventive comedy gold. For this Melbourne Fringe favourite spoofs the historic elements of Vintage B horror – taking us onboard a hilarious 60-minute spook-fest with out-of-the-box characters, pulpy villains, arrogant witchy crones, and gruesome larger-than-life playacting.

The end result? A masterful, hilarious, thrill-ride of campy-like proportions. Vignettes-like scenes, among many to mention, that break-the-mould with tremendous portrayals of bizarre characters.

A seance-turned-screaming match between a bereaving British couple, who are clearly on twisted wavelengths.

A pious, puritanical pair, about to skinny dip in a lake but warned against its algae-like dangers by an old hunchback witch, played brilliantly by Taylor Griffiths, who also happens to delight them with the warnings of pre-marital sex, with an outrageous erotic performance finished with a throw-away line, ‘you must try before you buy’.

 

A delusional naval officer, hilariously played by Mario Hannah, who, after six years, comes back home and announces to his wife and child that he is engaged to a mermaid, who is simply a medium-sized fish, of which he is grossly enamoured with.

A gothic heroine in the form of a newly-arrived governess who outwits her murderous boss.

And last but not least, having us in stitches was the show’s interactive exorcist scene – with the enormously delightful show-stopping Holly Bohmer, flawlessly playing a Linda Blair role to the audience’s delight – complete with convulsive mouth movements with an ovulation egg, spasmodic sounds, and offerings of a feline-nature to a male audience member as a token of love.


In all, this show was the best I have seen at the Melbourne Fringe so far this year, and I would highly recommend it to anyone who loves great comedy with a warped, twisted sense of humour.

Kudos to the trio of Holly Bohmer, Taylor Griffiths and Mario Hannah; and director Matt Jenner for taking late-night improv comedy to new heights in Melbourne. For taking a simple-yet-effective approach to ‘vignette-style’ theatre-making with a static stage design, few costume changes (save for some well-intentioned props), and fantastic sound and lighting effects by Simon McCulloch.

Well-recommended for a night of great belly laughter, and out-of-the-park shenanigans!

To book tickets to Nosebleeds, please visit https://www.melbournefringe.com.au/whats-on/events/nosebleeds.

Photographer: Simon McCulloch & Mario Hannah

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Melancholia: When Tap Meets the Human Mind

Melancholia

Melancholia Rating

★★★★★

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Tap dancing, as a whole, would usually bring to mind a nostalgic air of old 1940’s Hollywood, featuring singers and dancers hoofing to high-energy numbers.

Other than Australian Dein Perry’s West End hit ‘Hot Show Shuffle’, and his hit film and show ‘Tap Dogs’ a few years later; I had not seen a contemporary tap show in a while.

So when I excitedly entered the black box theatre at Chapel Off Chapel to see ‘Melancholia’, by Studio Stocks, I knew I was in for a night of absolute, mesmerising entertainment. Mainly, because I knew that Garry Stocks’ contemporary tap production was not only going to deliver a night of high octane, high-energy tap, but is also known to have turned the art of tap on-its-head and inside-out. Taking this specialised dance form to a whole new realm: of thought-provoking entertainment for the modern age.

From the moment this show began, I was immersed by eight dancers slumbering onstage, dressed in beiges, whites, blacks and navy: embodying me in an immediate state of desolation. Encasing the audience in a chasm of moody music, while turbulent sounds strum. Having dancers moving in slow motion, as if locked under a stormy ocean’s currents. Where the mind of an audience can lay still, at least for a while, save for the steady rhythm of the music, and the mercurial lighting matching it.

As the show progressed, it weaved my thoughts in and through: an artstorm of emotional exploration. For each dance number explored the various ways mental health affects our mind. How sometimes, we must face challenging times in our lives, and work out ways to come out the other side.

 

In each tap dance sequence, Stocks successfully expresses these innovative concepts, by taking us on his own profound journey – through the eyes of a restless mind seeking solace. Scenes of dancers tumbling in tormented dreams. A mate-ship scene with Stocks trying to get through the physicality of work through his struggles. Even a show-stopping, heart-wrenching ballet sequence where Stocks exemplifies relationship grief, as he dances a dreamy pas-de-deux – yet the one he loves walks off stage, leaving him alone once again. Yet, straight after, he shows resilience by bonding with his group of friends. With them rallying around him – giving him hope and support. The support of community, that helps us all heal and find resilience when life gives us lemons.

Each of the company’s dancers are deserving of their own accolades, bringing their individual set of energies to this electrifying experience.

Bill Simpson brings a rough-ish, larrikin-style charm to his tap dancing, complete with brown rugged boots and high-octane shuffling, making him a joy to watch.

Claire Stubs brings an air of elegance to her dancing with fluid, graceful movements that pair beautifully with her unique tap style of sleek prowess.

Lucas Thompson, along with his excellent tapping, is certainly a performer to keep watch of, particularly as he has the fluidity and capacity to express the moods of every single dance sequence he appears in; with an air of extreme professionalism.

And finally, former ballerina Jane Wood, who, together with Garry Stocks, performed such touching choreography that it was simply breathtaking to witness. The fluidity of movement in and away from each other, the intertwining of two people so close yet so broken apart from one another, as if in different worlds. This sequence alone, exemplified the emotional toll of grief and how it weaves in and out of our lives. This moment elevated this production to another level completely, leaving the audience spellbound.

Simply said, Melancholia, conceived and directed by Garry Stocks, combined with the mesmerising lighting design by Sidney Younger, and a string of music makers, truly set the heart of the show ablaze – getting the audience to rise to their feet in rapturous applause. Making Melancholia’s opening night a resounding success.

If you are looking for a highly-energetic, rhythmic and forward-thinking tap experience that reaches emotional levels beyond the expected, then Melancholia is the show for you to see right now.

To book tickets to Melancholia, please visit https://www.garrystocks.com/melancholia-studio-stocks.

Photographer: Brodie James, Bill Simpson

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