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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Redcliffe Musical Theatre Presents The Lovely Bones

The Lovely Bones

The Lovely Bones Rating

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1

Redcliffe Musical Theatre’s interpretation of “The Lovely Bones” is a spellbinding, tragic tale of the Salmon family as they navigate the grief and the investigation behind the murder of their daughter and sister Susie. Watching from her place in the heavens, Susie attempts to interact with and process the scenes that play out in the world she has since left. Based on the book by Alice Sebold, this play was adapted for the stage by Bryony Lavery and directed by local theatre professional Sandra Harman.

One of the first things I noticed was how well the actors took advantage of the space. The set design gave them a white backdrop, using varying heights and whitewash lighting to create a dynamic that clearly defined each scene. To distinguish the spiritual realm from the earthly, they used stairs and a small platform for scenes where Susie (Zoe Hitchcock) would struggle and bargain with the laws and limitations of her personal heaven. When challenging those limitations, Susie would come to centre stage to interact with other actors or deliver emotionally gripping monologues. Whereas, the Salmon family would mainly have their scenes stage right, either seated or around the family dining table. The left of the stage was often utilized in the scenes outside of the family home.

Contemporary theatre techniques, such as the use of music and multi-media were, for the most part, appropriately applied to complement scenes. While there were times they were used to accompany some comical relief, it was otherwise used to portray emotional moments, memorials or memories Susie relived. The simple backdrop allowed the audience to focus in on the actor’s performance, allowing actors to pull focus when needed. As there were a lot of emotional and psychological layers to the characters and plot, I felt that they each portrayed their roles quite well.

Jack and Abigail Salmon (Jonny Sweeper & Dee Heath) were especially commendable in their roles as they portrayed an accurate depiction of grieving parents, trying to keep the family from falling to pieces while still having their personal struggles. The actors playing multiple roles (Rachel Albrecht & Nikki Glowacki) gave impressive performances as Franny, the Sargent, the heavenly counsellor and Grandma Lynn. Minor roles such as Ray (Cobe Robbins), Ruth (Sarina Brener), Lindsey (Rory Argyles) Buckley (Lyds Dunne), Holiday the dog (Tylah-Jay Foster) and Detective Fenerman (Tim Albrecht) were colorful and confident in their depictions, adding the warmth and sentimentality required to paint Susie’s life as it was.

The character of George Harvey (Adrian Mackay) was appropriately executed and especially notable for their subtle ferocity and calmness in the face of conflict. I would have liked more complex scenes for this actor to explore the character further and see more of the actor’s skillset.

The role of Susie Salmon seemed to require a lot of emotional depth and the ability to explore that through multiple, heart-wrenching monologues, all of which actress Zoe Hitchcock executed effortlessly. Stepping into such a demanding role could be daunting for most, but it was quite clear that they were up to the task. I am eager to see their success as they grow in their skills as performers.

While there were occasions where nerves were apparent, I admire the cast for their commitment and professionalism within their roles. If there is any feedback, it would be with the volume and quality of the musical transitions. There were times when the music was too loud or did not seem to line up with the emotion of the scenes. Other times, the music felt too abrupt and distracting, seemingly taking away from the scene. It may put the audience at ease if there were a gentle fade-in or similar approach when playing music to enhance the show.

All in all, I highly recommend “The Lovely Bones”, and I am eager to see what the cast and crew of Redcliffe Musical Theatre do next.

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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Bleak Expectations: Presented by Limelight Theatre

Bleak Expectations

Bleak Expectations Rating

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3

Adapted from a series of BBC radio plays, ‘Bleak Expectations’ puts a fun twist on Charles Dickens’s classic tale. It is well-staged and performed by the team at Limelight Theatre.

Narrated by a grown-up Pip Bin, we look back on his coming of age as a young man in a life full of twists, turns, and slapstick English humour.

Gordon Park guides our story as the older Pip, with a commanding stage presence that fills the stage. Jack Riches, who brings a refreshing, happy-go-lucky nature to the central role, portrays his younger counterpart with naivety.

Natalie Wiles and Mary Del Casale round out the trio of Bin children as Pip’s sisters, the strong-willed, ambitious Pippa and spritely Poppy. Del Casale particularly shines as the cheeky youngest sister and later brings humour to the pining Ripley.

Peter Giles and Shayla Brown complete the family as mum and dad, with Brown to be commended for embracing her character’s rather bizarre arc with full force.

Tomas Kinshela is a stand-out as best friend Harry Biscuit, who brings a certain candidness to the character that is a pleasure to watch. Some of his finer moments play out when he is not the focus of a scene, with excellent nuisances and mannerisms if you’re lucky to catch them.

 

Also a highlight is Jason Pearce, who is comedic gold in his smorgasbord of roles—the Act 2 courtroom scene is a particularly memorable moment.

And what is a show without its villain – Mr Benevolent – which Gareth Bishop brings great life to. Across the board, the cast is to be commended for the high energy on-stage from start to finish.

The set for this production is rather impressive. The design team—led by Roger Oakes—created a single multi-level piece that largely serves as the family home and is used well throughout, with simple added dressings to help establish different locations.

Bold and colourful costumes from Julie Clark also help to transport us back to the 1800s.

All in all, this comedy is exactly that—a laugh-a-minute show that serves as a great escape from reality for an evening. Director Barry Lefort has put together a solid production lifted by a cast that looks like they are having an absolute ball on stage.

For Bookings, phone TAZ Tix at 9255 3336 or book online @ https://www.taztix.com.au/limelight/

Venue: Limelight Theatre
Civic Drive, Wanneroo

Performance Dates: September 12, 13, 14, 19, 20, 21, 22*, 26, 27, 28

Times: Evenings at 7.30pm, *Matinees at 2pm

Tickets: $27 Adult, $22 Concession (seniors/students),
$20 Member, Groups 20+ $22 each
processing fees apply

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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Into The Woods: Presented by UON Musos

Into The Woods

Into The Woods Rating

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UoN’s Musos took on the production of Sondheim and Lapine’s “Into the Woods”, a well-known challenge within the industry. Refusing to bow to opening night nerves, the cast was admirable, and put on a cracker took on the pressure of opening night nerves, and put on a cracker of performance for their first night show!

Singing, dancing, and acting their way through the performance, the cast transported us into their world of magic and fairytales, with each and every performer putting their all into the show.

The show featured jaw-dropping performances from some show-stopping singers, with their voices and belief in their characters bringing me to tears at all the best moments. Opening night comes with the inevitable occasional issue with timing and cues, but we watched the characters believably progress and grow into themselves. The characters, like the magical beanstalk itself, grew in confidence and timing as the performance went on, and the show will no doubt climb higher in quality and grow stronger with every show.

Aside from the acting, the set design and stage use were phenomenal. The cast had very limited space to perform such an intense play with complex staging, and they managed it extraordinarily well. The props deserved recognition of their own and were incredibly well-suited to the vibe and experience of the show.

Into The Woods

 

Opening night technical issues aside (those flimsy radio mics strike again!!), massive kudos to the tech crew, especially the conductor—he was on his feet but never missed a beat.

I would have loved to see a few more original takes on the characters and scenes, but overall, I recommend this as an enjoyable play, a good evening’s entertainment, and an enjoyable rendition of the popular 1986 play.

With only two sessions left, please show your support for upcoming local talent and book your tickets quickly here at https://www.newcastle.edu.au/events/community-and-alumni/the-conservatorium/into-the-woods-presented-by-uon-musos

Showtimes:

Friday, 13th of September: 6:30-9:30pm
Saturday, 14th of September: 1-4pm, 6:30-9:30pm

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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