A Playful Parody – Potted Potter Returns to The Seymour Centre

A Playful Parody – Potted Potter Returns to The Seymour Centre

Potted Potter Rating

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What began as a skit in 2005 to entertain people lining up to buy Harry Potter and the Half-Blood Prince in a London bookstore has become Potted Potter, a smash hit sell-out show all around the world. This modest five-minute skit grew to incorporate the first six books in a one-hour show in 2006. Creators Daniel Clarkson and Jefferson Turner expanded their show in 2007 to include JK Rowling’s seventh book, which is where the magic lies in this current form.

It’s easy to see how Potted Potter has outlasted other parodies over the last 17 years. The formula is simple – make your audience laugh! And laugh we did for almost all of the 70-minute performance. There were audience members of all ages, from kids dressed up in their favourite Hogwarts house uniform as others donned witch’s pointy black hats to parents and the older generation attendees. At times, it was similar to a kid-friendly ‘clean’ stand-up comedy set, complete with a lot of audience participation and laughs. One part I shan’t spoil had the audience involved in a group game.

The script was deceptively clever, delivered in a rapid conversation between the two characters, Brendan and Scott. Despite the fast narration, there were no fumbles or tripping over the quick-witted lines. Paired with comedic physicality and perfect timing, the character’s expressions sometimes gave away their surprise when interacting, hinting at some smart stage improvisation. This appeared to keep the script fresh and was delivered so well that it was hard to tell whether it was improv or really good acting. Either way, it worked. They cleverly wove in lines that were particularly Australian too, at one time referring to the ‘bin chicken’, which made everyone laugh.

The set design by Simon Scullion was purposely basic, which didn’t place them at Hogwarts; rather, it added to the charm of a parody. The same was true for the costumes and props used. It was like Turner and Clarkson raided their dress-up and toy box at home and used what they had, such as a stuffed snake and various wigs. Rather than detract from the performance, they added a comfortable charm and a good spice of fun to the Potted Potter experience.

Composer Phil Innes created an air of Harry Potter expectation as the audience was being seated. The music as each book tale begins is cute in the repetition.

The performance also featured some magic, as expected from a book about this topic, as well as a hilarious musical duet complete with a dance break between the two characters to close the show. One of my favourite lines delivered by a ridiculously dressed character was, ” Look it up in the book of cool.”

This quirky performance of Potted Potter will appeal to people of all ages if you expect a lighthearted and quick tour through the seven books’ plot points.

Do you need to have read all seven books to enjoy this performance? No, not at all. It certainly referred to certain things that people who love the Harry Potter series would quickly understand; however, those who hadn’t read all the books gained an understanding of what was going on easily. The characters were all there, in fine form, represented by the two actors.

Potter Potter An Unauthorised Harry Experience is playing at The Seymour Centre, Sydney, from 12 – 21 April and will tour Melbourne, Adelaide, and Perth throughout May.

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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Wild Dogs Under My Skirt

Wild Dogs Under My Skirt

Tusiata Avia’s Wild Dogs Under My Skirt has made its way across the ditch from New Zealand to the Illawarra. Adapted from Avia’s poetry collection of the same name, it invites the audience to take a peek into the life of Samoan women.

The five characters, played by the outstanding ensemble of Anapela Polata’ivao, Ilaisaane Green, Stacey Leilua, Joanna Mika-Toloa and Petmal Petelo, were raw and beautiful, exuding class and intensity.

As a poet myself, I was floored by the storytelling and the mix between the character’s native tongues and English. Seeing poetry come to life in such a creative and immersive way is incredibly special. These women have allowed the audience a glimpse into their culture, sharing their beautiful voices in both spoken word and song. Their harmonies were heavenly and incredibly moving, much like an Opera Aria that an audience understands purely by the crescendo of the orchestra and the emotion on the performer’s face. It was unnecessary to be fluent in their dialects, as their portrayal of emotions and accompanying moves were vivid and told a story in themselves.

Leki Jackson-Burke should be acknowledged and commended for his beautiful contribution to the performance. Watching someone make an impact with very few scene opportunities is always a treat. He may not have been a character or part of the story, but his musical contributions added an insurmountable degree of feeling. The drum beats and use of beautiful instruments maintained or raised the intensity of a scene, drawing the audience in and forcing them to listen.

Whilst Wild Dogs Under My Skirt can be classified as a comedy, much darker themes lie between the poetry. Split-second changes between young girls giggling and laughing about the story of the Virgin Mary to discussing horrific acts of sexual violence were staggering. The flow of the stories and the chosen sequence proved very powerful and took the audience on an emotional journey. The portrayal of the rollercoaster, which is life for Samoan and Pasifika women, was both lovely and uncomfortable. Years of dark colonial history, the sexualisation of Pasifika women, and the dastardly patriarchy in all its glory are all laid out on the stage.

This show was absolutely remarkable, and it’s not difficult to see why it has won its awards. It is such a privilege to have a production that has been performed in New York and provides a window into different countries and cultures right here in our backyard.

Wild Dogs Under My Skirt is performing at the Illawarra Performing Arts Centre, Wollongong, from 10-13 April and Riverside Theatres, Parramatta, from 18-20 April.

Make sure to grab a ticket for yourself; you don’t want to miss this!!

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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Hannah Gadsby Woof!

Hannah Gadsby Woof!

Hannah Gadsby brings their new show “Woof” to Melbourne Arts Centre for the Melbourne International Comedy Festival. Their star has risen well and truly since her show Nanette hit Netflix in 2018. Today, they grace the cover of Rolling Stone Magazine (AU/NZ edition) with the headline “Comedy’s enfant terrible is relishing their anti-hero era”.

As a newbie, it was a wonderful introduction to Gadsby’s fast-paced, quick-witted, intensely analytic humour, which brought out belly laughs galore. Snappy asides like bullet spray on the way to the main punchlines compounded the fun. I was surrounded by pre-Nanette die-hard fans, so there was a lot of love in the house. And I can see why—Gadsby is earnest, humble, intelligent, funny, vulnerable, honest, and a truth-teller.

They’ve worked hard to be where they are now. For someone who can go for weeks without speaking (they have autism and ADHD) and who says they are bad at everything in life, including having fun, they have certainly played their cards to their advantage. They say their only skill is to talk to a room full of strangers and not feel scared. But what they choose to say has been both strategic and a personal lifeline. Nanette deconstructed comedy and social norms derived from centuries of white male dominance at a time when Australia was debating the same-sex marriage plebiscite. For this, Gadsby bared their soul, and it was raw and confronting.

Interestingly, Gadsby has tried hard, in good faith, to like Taylor Swift. It hasn’t worked. They even used her as inspiration for their 2016 show, Dogmatic. Of course, they have major differences: Gadsby has a depth of intellectual engagement with their art form and uses it to subvert and confront. Their 2023 Picasso-blasting exhibition at the Brooklyn Museum, It’s Pablomatic, is a case in point alongside Nanette. However, I can’t help but see some similarities: both use the power of story-telling and self-disclosure in their work, which fosters a high level of devotion in their predominantly female fan base; both live their lives in a way that encourages their fans to be unafraid to be themselves and in return, their fans care deeply about them and want to support them. But there is a vast contrast in their lived experience of otherness and, therefore, the depth of their fight.

Hannah Gadsby Woof!

Now, Gadsby has a global voice and has just launched a new Netflix comedy show, Gender Agenda, featuring seven gender-queer comedians from around the world. Being nouveau-riche means staying in posh hotels where the concierges don’t know how to respond to questions about doing your own laundry and the bathrooms have no toilet brush. Gadsby worries about becoming a rich arsehole, but I doubt that will happen – they take a spare travel toothbrush with them to clean up after themselves when a low roughage travel diet messes with their regularity.

“Woof” is a show about the worries that lead to anxiety. If you think the ending is a bit loose, well, that is the point. There is no closure, no easy answers. What happened to all those plastic dolls called Cabbage Patch Kids from the 80s/90s? Did they end up somewhere in a “Blair Witch style croquembouche”? Will Hannah Gadsby be able to enjoy swimming with a whale on her day off? Will their brain let them remember fun times as vividly as they remember a randomly defiled Tim Tam packet left for them to clean up when working as a hotel cleaner?

Enjoy this show where your host “takes all their worries and lays them out on stage in front of a darkened room full of strangers. It’s like group therapy, but the group is the therapist”. That’s us, but we don’t feel like strangers. So now Gadsby adds us to their list of worries, too, because therapists are all “f***ed in the head.”

“Woof” is playing until April 20 at the Melbourne Arts Centre Playhouse.

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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RBG: Of Many, One

RBG: Of Many, One

‘RBG; Of Many, One’, a play by Suzie Miller, has made its way to Wollongong. Originally a Sydney Theatre Company production, ‘RBG’ saw a sold-out opening night at the Illawarra Performing Arts Centre. This incredible one-woman show stars the phenomenal Heather Mitchell, who has reprised her role and is a brilliant display of talent.

Ms Mitchell embodied the United States Supreme Court Justice Ruth Bader Ginsberg through the decades, leading a decades-long tale of life, love, loss and societal change. Mitchell not only became Justice Ginsberg but constantly shifted between young and old, as well as each president and critical character that propelled Ruth to greatness. With her exactness of accent, speech patterns, and a variety of accents from across the States, Heather Mitchell captivated the audience from the moment the lights came on stage.

It’s easy to be sceptical when coming into a one-person show, particularly one with no intermission to break up the performance; however, Heather Mitchell’s immersive experience made it difficult to look away from it. She was funny and charming, making the storytelling completely disarming and inviting. It felt as though you were sitting in a room with Justice Ginsberg as if she were an old friend or a friend of your grandparents, recounting her glory days and telling us to continue the fight she dedicated her life to. Jokes and pointed comments about future hypotheses had the audience laughing with the beauty of hindsight.

The simplicity of the set and costuming forced the acting to maintain the show’s focal point. A single armchair repurposed over and over, a side table or a satchel bag are very simple props that, when paired with certain lighting or sound effects, transport the audience to each high and low of RBG’s life.

A seamless use of production elements invited the audience into Ruth’s recount of her most influential and moulding moments. Beautiful arias from her favourite operas, sound effects of the all-important telephone call, and real-life audio taken from critical events like Presidential debates and basketball games all assisted in the impressive immersive experience.

A screen above the stage helped keep track of the year or case being discussed. Small asides and lapses into memories weaved their way through the primary time or story being discussed. It felt like a stream-of-consciousness style of discussion rather than an hour and 40-minute monologue being spoken at you.

The play began in 1993 and ended with Ruth’s death in 2020, but recounted moments from her childhood and teenage years, as well as her time at Cornell University, Harvard Law, and Columbia Law School.

Playwright Suzie Miller, director Priscilla Jackman, and the entire creative team are to be commended for their dedication to history and ability to produce a version of the so-called “Notorious RBG” that felt simultaneously undiscovered and new while being the real recount of one of the most highly regarded influential legal figures of our time.

‘RBG; Of Many, One’ runs until the 6th of April with Merrigong Theatre Company at the Illawarra Performing Arts Centre. Tickets can be purchased via the Merrigong Theatre Company website.

The show is recommended for ages 15+ as it does contain some adult themes, herbal cigarettes and a complete theatrical blackout.

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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