âA Very Naughty Christmasâ is back for its eighth year with a delicious new array of jaw-dropping spectacles and skits. The musical features raunchy dance showcases, brilliant Christmas parodies, and hilariously vulgar gags in what is fast becoming Australiaâs best Christmas show for adults.
The star-studded cast attacks the stage with vivid confidence. The company is small yet fierce, many of whom are triple-threat performers and graduates of Performing Arts institutes from all over Australia. The show offers almost too many memorable scenes to choose a favourite, and running at just under two hours long, the spectacle is a joy to witness from beginning to end.
The most iconic of parodies include âWalking âRound in Women’s Underwearâ and âItâs Beginning to Look a Lot Like Christmasâ (with an expose of X-rated toys…in every store). The calibre of vocal strength among principal singers rivals the talent of Australiaâs most well-known musical theatre performers. Grace Laing and Jarrod Moore win over the audience’s affection, particularly for their indulgent vocal qualities, memorable storylines, and natural on-stage charisma.
Asmara Soekotjo stuns as the castâs most striking mover, unsurprisingly adorned as this season’s Dance Captain. Soekotjo takes center stage in a parody of The Policeâs “Roxanne”, turned “Rudolph Put On The Red Lightâ where she displays her aerial and lyrical might.
Led by the idyllic Mr Santa Claus, played by Tim Paige, the musical sees several hysterical audience interactions during the evening of fun. The cast revels in mischievous antics all night by poking fun at and embarrassing the viewers unlucky enough to be scouted into the limelight by performers. For those particularly unfortunate, a segment of the audience on-stage performance could be involved.
The talented live band adds to the glossy exterior of the production without any significant reliance on pre-recorded material. High-quality lighting, production, live sound, and cast confidence are a testament to the production’s long-standing history of success.
The extravaganza of risque bliss is nestled in St Kildaâs Alex Theatre and is a Christmas show not to be missed. A Very Naughty Christmas is making its way through nine total shows running in Melbourne until December 21.
The Christmas Spectacular tour has officially begun with its season debut at Crownâs Palms Theatre in Melbourne. The glitzy extravaganza features magic, circus art, showgirl acts, and performances of universally adored Christmas songs.
The shining star of the night was host and principal singer Prinnie Stevens. Gracing the stage after rising to fame on Season One of The Voice Australia, Stevens radiated confidence and charm all evening long. Highlights of her vocal showcase included Mariah Carey’s hits âAll I Want For Christmas Is Youâ and âJoy to the Worldâ.
Illusionist Michael Boyd performed spectacular shows of magic that proved mind-blowing for viewers of all ages. The former Australiaâs Got Talent Finalist showcased brilliance as a magician and semi-host of the night with his captivating stage personality and interactive stunts.
Circus artist Aleisha Manion showcased gravity-defying stunts without fault. Her executions were polished, smooth, and perfectly timed between showcases of dance and song to maintain audience excitement.
Glamorous costuming took full effect and enhanced the performances of Showgirls and male dancers. The vast array of dance styles and stage-wear complimented the talent and sharp work of all performers.
The momentum of the show, however, was interrupted by the incorporation of several slow ballad songs, which halted the âextravaganzaâ theme of the night. Similarly, the frequent use of backing tracks with automated singing flattened the polish of the evening, and a pre-recorded speech during Santaâs appearance gave the finale an awkward feel.
Overall, the debut of the 2024 Christmas Spectacular was a success, with the cast and crew delivering a dazzling evening as intended. The spectacle held the attention of even the youngest crowd members from start to finish by showcasing short bursts of entertainment. At 90 minutes long, it makes for a perfect snapshot of Christmas-themed excitement for all ages. The show is now on the road heading for Canberra, followed by stops in Brisbane and Adelaide before concluding in Sydney.
To book tickets to The Christmas Spectacular, please visit https://thechristmasspectacular.com.au/
The Butterfly Club has once again been set alight by brilliantly talented performers as part of the final season of Madwoman Monologues.
The show is produced by female-oriented theatre company Baggage Productions. Founded in 1999, Baggage Productions has staged Madwoman Monologues every year since 2011, bringing together actors, directors, and creatives from the Melbourne region.
Programme One of this seasonâs Madwoman Monologues sees six monologues encompassing loss and heartbreak as an overwhelming theme.
Opening with âMollâs Wighty Taskâ performed by Melina Wylie, the audience welcomes her abundant technical skill and dedication to character. Following the story of a widowed Englishwoman, Wylie explores hilariously absurd ideas with bold confidence, before slowing the monologue down toward its grief-stricken cornerstone. Between detailed costuming and carefully placed accenting Wylieâs monologue was able to leave a lingering shadow throughout the night.
âScrubâ written by Louise Hopewell is performed by Kate Mulqueen. The successive monologue offers an effective contrast as the audience follows the story of a millennial-aged woman beginning a new job on a construction site after losing her partner to an affair. The script offers an abundance of hilariously put profanity, with supportive use of props and stage design adding to an indulgent use of characterization. Mulqueenâs performance is heartening, relatable, and soul-bearing as she intertwines the tragic loss of family members throughout her story.
Alice Daly took to the stage next with her performance of âButtered Toastâ by Isabella Gilbert. Gilbertâs stunning script paired with Alice Dalyâs committed performance made for a highlight of the night. Audiences were entertained with Dalyâs dictation of a hilariously awkward first date, and charmed by her commitment to numerous comedic demands.
âAnythingâs Possibleâ performed by Phoebe Taylor, written by Adele Shelley earned a wave of praise from the audience. Her story follows the chaotic life of a mother wiggling her way out of an inconvenient run-in with a police officer. Taylor pools humor and lively storytelling together to create one ever-relatable monologue.
The evening was halted by a sweeping performance of âHoleâ, written by Sarah Durickovic and performed by Melanie Madrigali. The profoundly emotional monologue featured a well-crafted representation of a woman suffering tragic loss and deep sorrow. Madrigali delivered an emotionally charged series of thoughts with utter devotion, despite the direction of the monologue being at first unclear.
Co-founder of Baggage Productions and esteemed actress Christina Costigan closed the program with âICDHTâ written by Kate Rotherham. âICDHTâ tells the story of a mother dealing with heartache through cold morning swims, as advised by her therapist. Her story is hilariously bold, inspiring, and gripping as she commits with total devotion to her character.
The annual Madwoman Monologues are particularly special for they are written by women and performed by women. Each monologue explores grief and loss, comedy, and the charm of small wins in the lives of everyday women. The production brings together communities of actresses, creatives, and audiences to appreciate female talent in writing and drama. Madwomen Monologues is a more than pleasant way to spend a low-key night in Melbourne CBD.
Book in now for one of the remaining session dates/times @ https://thebutterflyclub.com/show/madwomen-monologues
Remaining Shows Wednesday 13 November 2024 7:00pm Wednesday 13 November 2024 8:30pm Thursday 14 November 2024 7:00pm Thursday 14 November 2024 8:30pm Friday 15 November 2024 7:00pm Friday 15 November 2024 8:30pm Saturday 16 November 2024 7:00pm Saturday 16 November 2024 8:30pm
Sweeney Todd has again emerged from the shadows into the Melbourne limelight, with audiences greeting this season’s combined Victorian Opera and New Zealand Opera cast with rapturous applause.
Directed by Stuart Maunder, Sweeney Todd unravels the story of a twisted barber who returns to Victorian-era London after being unjustly forced into a 15-year exile. Todd returns with vengeance, committed to finding his wife and daughter, but on his arrival is instead snatched up by the obsessed, and whimsically mad, Mrs Lovett, owner of the Fleet Street Pie Shop. Sweeney Toddâs initial plan quickly turns grotesque when he opens his Barbershop above Mrs Lovettâs Pie Shop and embarks on an evil murderous rampage.
The pair devise a plan to fill Mrs Lovettâs meat pies with the flesh of Toddâs victims, which has fleeting success before spiraling into tragedy. As Mrs. Lovett becomes deeply infatuated with the barber, Todd himself is one-track-minded in rescuing his daughter Joanna from the local Judge and punishing Judge Turpin for his long-time iniquity of Sweeney and twisted fantasies for Joanna. The barber finds himself causing irreversible damage as he and the audience embark on a journey of mounting obsession and evil desire.
The production is enhanced by the exceptional casting selections of its lead characters, who are utterly perfect for each role. Vocal technique and proficiency were certainly in their prime among the classically trained cast, and it was a joy to witness Sondheimâs iconic score performed with such accomplishment.
The audience was instantly charmed by this seasonâs Sweeney Todd. Ben Mingay impressed audiences with his unlimited vocal prowess and loyalty to the deeply troubled Mr Todd. Devotion to the complexity of Toddâs character was evident throughout Mingayâs portrayal, and in the ballad âEpiphanyâ audiences were left stunned by the singer’s astounding vocal range.
Mrs Lovett, played by Antoinette Halloran, was a stand-out performer who was able to both bestow her musical magic upon the audience and yet accurately fulfill the personal and vocal sensibilities of an unhinged middle-aged woman living alone in Victorian-era London. Her delivery of the comically self-deprecating âWorst Pies in Londonâ was heartily received by the audience.
Tobias, the adoringly protective orphan son of Mrs. Lovett and Mr Todd, was nailed in every sense by the talented Mat Verevis. The delivery of Tobias was boldly vulnerable and moving, as Verevis single-handedly decelerated the production to reveal an impending tragedy.
Costume and stage set design is led by Roger Kirk and contributes significantly to the overall polish of the production.
Perhaps one of the most iconic and challenging sets in all of Sondheimâs work is featured in the live staging of Sweeney Todd. As Mr. Todd and Mrs Lovett embark on an evil plan of collaboration, the circling stage set is turned into a multi-dimensional work of art. Praise is due for the immaculate delivery of Mr Toddâs hysterical barbershop chair, featuring a trap door into the basement of Mrs Lovettâs bakery.
The on-stage murderings typically prove to be another point of challenge (and contempt) throughout the production of Sweeney Todd, however, this staging seems to do it rather well. There was a reputable balance between well-illusioned and shocking bursts of fake blood, and yet also a total sense of control over every one of Mr Toddâs slaughter scenes.
At the conclusion of the musical, it was heartening to see the orchestra members and conductor Phoebe Briggs brought to the stage alongside the cast during the final curtain call – a rare and gracious nod to their unseen yet devoted duty to Sondheimâs musically complex score.
Overall, The Victorian Opera and New Zealand Opera cast delivered a staging of Sweeney Todd that was both creatively empowering and loyal to Sondheimâs original vision. The production is a must-see, and must-hear experience, with shows running at Melbourneâs Arts Centre until September 21.
Duration 2 hours and 45 minutes, including an interval
Language Sung in English
*Audio description and tactile tour. Do you or a member of your party need to access Audio Description for this performance? Register here to reserve a wireless receiver pack and ear piece and/or attend the Tactile Tour.
Age Recommendation Suitable for ages 12+, parental guidance is highly recommended.
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