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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Baskerville: A Sherlock Holmes Mystery

Baskerville: A Sherlock Holmes Mystery

The Adelaide Rep’s first offering for 2024 at their home of the Art’s Theatre is Baskerville -A Sherlock Holmes Mystery. Written by Ken Ludwig, it is based on the story by Sir Arthur Conan Doyle. Geoff Brittain directs the production, which is ably assisted by Olivia Jane Parker.

The cast consists of Andrew Horwood as Sherlock Holmes and Sam Wiseman as John Watson. These are supported by Anita Zamberlan Canala, Thomas Midena, and Kim Clark, who play the remaining characters who have to fill a whopping 35 roles.

As you can imagine, with the cast playing so many roles, numerous costume changes take place, including several on stage. What a challenge for all involved! The costumes were all created by the surely overworked Gillian Cordell and were suitable for the type of production and in keeping with the period.

The set, designed by director Geoff Brittian, is nice and simplified. A screen projection dominates, making it effortless to create the atmosphere for a wide variety of scenes and locations. The lighting design by Richard Parkhill accomplishes its job and lends strength to the various scenes, assisting in generating a variety of moods.

The audio design for the show was very neat and clever, with Michael Diakomichali designing and performing the audio live. This turned out to be a great asset to the show, with a live soundtrack that included some slightly recognisable pieces as well as original pieces. The timing of the cues was spot on.

The play flows well, partly due to the simple set design, comprising a few scenic trucks and a projection screen. This made it easy for the action to flow smoothly. As often is the case with big sets, scene changes can take time, but here, we can see the economy of set design complimenting the pace of the story. With clever scene changes, we move from 221b Baker Street to the estate of the Baskervilles on the Moors in an instant.

Being opening night, there were a few moments when the pace seemed to drop. This play needs power to keep the gags rolling, but the cast will undoubtedly become slicker with each performance.

There were many funny moments, which the audience lapped up. Geoff Brittain has schooled his cast well to get every laugh out of the script. The cast does a wonderful job on stage, knowing when to hold for the laugh. Occasionally, they miss the light, but that can be put down to an opening night technicality.

This was an enjoyable play with plenty of laughs and entertainment that made the trip to the theatre worthwhile. So scurry along to get your fix Sherlock Holmes fix before the season ends on April 6th.

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.

Photos by Richard Parkhill.

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MILF And The Mistress

MILF And The Mistress

I must admit, walking into this theatre piece at the lovely Jack and Jill’s Basement, I was cringingly expecting some burlesque/cabaret/kink crossover. I went in with low expectations and left shocked and elated at how brilliant and thought-provoking Jennifer Vuletic presented this show.

At first, as Jennifer showed us some simple rope tricks and talked about the illusory nature of magic, I was sure I was with an accomplished performer, but I was still hesitant about the content I would see. Not that I’m a prude at all – in fact, I love to see real, actual experiences of sex on stage. It’s more that the Fringe is littered with much of the same content; the lure of tasselled boobs and whooping crowds. So, at first, the ropes made me think, well, here we are again. But – we certainly were not.

Soon, we met Ali, an older, suburban, lesbian mum who was married and had two boys. She unleashes a torrent of words describing her life and situation, the somewhat drab and entrenched existence she finds herself in—she’s not discontented; life is fine, but it’s just a little…dull. It’s missing something.

The writing is very fast-paced, and it took me about five minutes to hook in and really listen. It was a little hard to keep track of the narrative initially, but once Jennifer started to talk about being interrogated regarding how her wife got pregnant, I was reeled in.

The shock of the first scene featuring the Mistress is wonderful and exciting. Jennifer is inherently believable throughout and clearly a deeply accomplished actor. Her body and voice are working in incredible sync, and she can use the tonality of her instrument to shift characters effortlessly. This is not a one-woman show where she plays or inhabits multiple characters; however, she sometimes imitates the people who are speaking to her – with brilliant effect. A highlight was Sandra, in the staff room, telling Ali about FetLife and opening her up to a whole world of possibility – icky, scary and pulse-pounding.

Books are celebrated, and the literary nature of the text is balanced—sometimes, the prose is elegiac and complicated, and at others, it is simple, erotic, and funny. There were plenty of sly jokes and funny turns of phrase throughout, all delivered with aplomb and pace by Jennifer.

MILF And The Mistress

It is, in turn, a piece about the dream of eroticism and the reality of stepping into another world where your boundaries are pushed. It’s a love letter to kink, growing older, lesbianism and literature. It’s an inspirational work that encourages us all to take the risks we were always scared of, to pursue that dream you kept hidden. In this case, her dream is to experience spanking and bondage by a mistress finally, and much of the humour lies in that.

Tawdry as it might sound, how the material is handled means that we can imbue any dream into it. Whilst it is a play about kink and the character’s idiosyncratic and personal experience, it’s also a play about all of us and how we could all take a risk.

This is the sort of play I want to see on the main stage at State Theatre. It has so many powerful and important messages. Sex work is real work. People have desires, needs, and wants even when they are growing older. Sex work is self-care. There is magic in the minute. As the character says, this play beautifully explores “the everything of something ineffable.”

The Milf and the Mistress is a five-star theatre show that should be experienced by as many as possible. Jennifer is an uncommonly good performer, and the play shows us a world that might be unfamiliar, even scary but is, in fact, the world we all live in. The Milf and the Mistress is at Jack and Jill’s Basement on Pirie St, til Sunday, 10th March.

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre to see what else is on in your town.

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Jon And Jero: Stuff!

Jon And Jero: Stuff!

Accompanied by Reviewer Jr, my six-year-old daughter, we were keen to step into the Kingfisher at Gluttony and see Jon and Jero: Stuff! Why? The day before, Reviewer Jr had had a small interaction with them at the entrance to the complex and was immediately charmed by their antics. She should be charmed because Jon and Jero are absolutely fantastic.

The premise is simple; the show opens with Jero (Jeromaia Detto) playing a Neighbourhood Watchman in a beige trenchcoat, bragging about how good he is and, of course, failing to see the robber behind him stealing all of Jon and Jero’s stuff. The chorus of kids screaming “HE’S BEHIND YOU!” in the first moments of the show was hilarious and let us all know we were
going to have a very fun adventure together.

The play is in a loose choose-your-own-adventure style; as Jon and Jero discover the robbery, they have to head out into the big wide world, and the kids are offered an option every few minutes of where they should investigate. This format keeps the kids super engaged and makes me want to see another performance to see all the various options.

Jon (Jon Walpole) and Jero have exuberant energy and perfect chemistry and are very funny at all turns throughout the show. I was not the only adult in the crowd who was laughing the whole way through. The audience was so involved in every moment, and the kids were completely gripped even though they were yelling and giving advice the whole time. Reviewer Jr. had a smile as wide as Bass Strait throughout the entire hour.

Jon And Jero: Stuff!

The beats of the show – the hunt for a hot air balloon, a booger bog, a great sequence where Jero becomes a robot through the power of aluminium foil (as Jon said, “For $3 you can turn your friend into a robot too!”), their butts getting stolen, the cactus man, and more – have a sort of loose, improvisational vibe, but that’s absolutely fine. Jon and Jero seem able to roll with any punches and keep entertaining. The huge photo-real cutouts of each character that were employed any time the other needed to be off stage were some of the best props I’ve seen at this festival.

For Reviewer Jr., the highlight was going on stage and telling a joke; she looked over to me and gave me the thumbs up as she was about to tell her joke. Her thumbs up is like Ebert’s—a glowing recommendation. I take notes throughout each show to keep track of what I’m seeing, and I see my final note for “Jon and Jero: Stuff!” is “This show rules.” And it really does.

You couldn’t choose a better pair to entertain your little ones and keep you laughing. This is five-star family entertainment of the best variety, and I will definitely be seeing the next iteration when they (hopefully) return next year.

In the meantime, you can see Jon in “Butterfly” until the 10th of March at the WEA, and Jero in “MUSH”, until the 9th of March, at the Bally in Gluttony.

This review also appears on It’s On The House, and check out more reviews at Dark Stories Theatre to see what else is on in your town.

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