About The Show – Romeo & Juliet/Macbeth Double Bill

Romeo & Juliet/Macbeth Double Bill

G’day everyone! Today, we’re thrilled to have a yarn with the lead actor from the imaginative Romeo & Juliet/Macbeth Double Bill. These unique 90-minute musical adaptations shed a fresh light on the Bard’s timeless tales. Hang tight as we dive into this creative fusion and hear all about the joys and challenges of bringing such an intriguing performance to life.

About Romeo & Juliet/Macbeth Double Bill

What is this Production about?

This production is a double bill of 90-minute musical versions of Romeo and Juliet and Macbeth, with Australasian Indie-Folk and Bluegrass/Americana music, respectively. Music, Mischief, and Magic—It’s Shakespeare like you’ve never seen it.

What character are you playing, and what can you share with us about them?

The cast for both shows is the same, so all actors play roles across both shows. In this iteration of these shows, I play Romeo and Lady Macbeth. It’s been a lot of fun revisiting Romeo after a year away from the show, rediscovering all the little intricacies that made that character feel so special to me. Playing a gender-swapped Lady Macbeth was a daunting challenge, but one that has been so rewarding.

What’s challenging about bringing this script to life?

Bringing Shakespeare into a more modern context without losing what makes it such a timeless and special sort of show is always a challenge, especially when you throw musical elements into the mix, but I think we handle the material with just the right amount of revelry and rebellion all at once.

What sort of person is going to love this show?

We like to think that our shows are for everyone, whether you like the bard’s work or not, but it is always a particularly special moment when someone who before coming along would have said they categorically hated Shakespeare tells us after the show that they finally feel like they get why people love his works so much. So I would say, in particular, people who don’t like Shakespeare will love our Shakespeare.

Call someone out by name: who must come see this production?

I want to see any of the Australian musicians whose songs we use come along to the show. It’s been so special to get to connect with some of the Kiwi artists we’ve used music from, and I’d love to get that connection across the ditch as well! So that means I want to see: the band Dragon, the band Jet, The Dreggs, Divinyls, and Kyle Lionheart at the show!

Where can patrons purchase tickets to this production?

The production runs from 27 May – 1 June at Chapel Off Chapel. To book tickets to the Romeo & Juliet/Macbeth Double Bill, please visit https://chapeloffchapel.com.au/show/the-barden-party-shakespeare-double-bill/.

Thank you so much for sharing your insights and excitement for the Romeo & Juliet/Macbeth Double Bill. Wishing you all the best for the upcoming performances – may they be filled with all the music, mischief, and magic that makes Shakespeare unforgettable! Break a leg!

Other production interviews can be viewed in our About The Production Series.

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Betrayal: Chapel Off Chapel

Betrayal

Betrayal Rating

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2

For those familiar with Harold Pinter’s plays, you will know the spitfire dialogue his work is famous for, and Betrayal does not disappoint.

The story centres on a seven year affair told in a reverse order and cleverly represented through the literal drawing back of the scrim curtain as the play unfolds. Almost immediately it’s made clear that director Rachel Baring knows how to handle this play with thoughtful restrained symbolism and precise economy of movement.

Gabriel Partington’s Jerry in particular has a circular waltz-like quality which the audience enjoyed. Michaela Bedel’s portrayal of Emma was suitably poised and measured. The physical dynamic between the lovers Jerry and Emma was well choreographed and suited the intimate performance space. However it was the relationship between Jerry and the cuckolded Robert (played by Heath Ivey-Law) that truly shone.

Ivey-Law balanced his character adeptly between moments of self-preservation, cheeky sarcasm and at times potential danger. Hints of sexual power play between the two men were played off very conscientiously and successfully. You almost felt sorry for Emma being somewhat neglected in the real love affair between the men.

With a minimal set of a few choice pieces of furniture and props, the performance allowed the actors’ portrayal of their characters to take centre stage. No doubt this was a deliberate choice from director Rachel Baring in collaboration with Thursday’s Child Theatre.

The use of sound was also well-marked. Background music and ambience helped maintain the atmospheric tone for each scene and their various locations. One moment that stood out was when the sound abruptly stopped right before a scene involving physical confrontation. The contrasting silence in this moment compared to the rest of the play served as a poignant signpost of the dangers vulnerable people face in relationships.

While this play is set across seven years spanning backwards from 1977 to 1968, this time period seems irrelevant to the themes presented. The complications of infidelity and expectations placed on relationships seem universal sticking-points now as they ever were. Yet regardless of what time this particular story takes place, we understand with reverberating clarity the emotional complexity of love, partnership, loyalty and indeed betrayal.

Betrayal is showing at Chapel Off Chapel until the 25th of May and runs for 70 minutes with no interval. There is a content warning of some coarse language, adult themes and domestic violence however these depictions are not gratuitous. This play might be a bold choice for date night but it will definitely make the journey home full of conversation.

To book tickets to Betrayal, please visit https://chapeloffchapel.com.au/show/betrayal-by-harold-pinter/.

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Fresno: The Musical

Fresno

Fresno Rating

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16

Let’s cut to the chase. If you like musical theatre, this is a must-see. It’s fun, it’s well-paced, and it’s imbued with the kind of effortless charm that you want to find at your friendly local pub.

Set in an Irish-American bar, Fresno explores a slice of life of young bartender, JJ (Jackson Cross) and the ragtag bunch of bar flies that surround him. While the themes and situations in the show weren’t uniquely American, the American setting gave it a distinctly “sitcom” feel and helped establish the stakes and the journey across the evening.

From the moment you walk into Chapel Off Chapel’s Loft, the world is established with a functional set and clever use of neon signs to define the locations. The Loft is the perfect home for this show, allowing the creative team to use the black box aesthetic of the room as an asset rather than a hindrance. I’ve definitely been in bars and pubs like this!

The music feels like a love letter to musical theatre, with clear nods to Jonathan Larson and Sara Bareilles, amongst others. The use of varied musical styles is well-considered, with a familiarity that lets you know what you are supposed to get from that number. Similarly, the book leans heavily on strong character archetypes and recognizable tropes, making it easier to invest in the characters early, knowing exactly who they are.

The cast makes the most of these archetypal characters, especially in the comedic moments and, for my taste, that’s where they shine. So much of the writing is laugh-out-loud funny and the cast settled in quickly to find the pace and timing that the audience responded to. There was an engaging sense of camaraderie and chemistry on the stage that was very appealing. Special mentions to Lachlan Edis and Antoinette Davis for some truly memorable comedic turns throughout the show.

Leading the cast were Jackson Cross, Douglas Rintoul and Naomi Leigh. Cross delivered an impressive balance of heart, comic timing and powerful vocals. He was paired perfectly with Rintoul’s charismatic acting and versatile singing. Leigh, playing an aspiring pop singer, brought a poignancy and authenticity that helped the music shine and made me long to hear this show recorded so I could listen to it on repeat.

Daniel Tusjak (keys), Eve Pinkington (drums) and Cody Leggett (guitar) formed a tight and responsive band and the sound was well-balanced, allowing the audience to revel in the music and engage with the text.

Dealing with themes of found family and the value of community, the writing is light touch with enough heart to keep you emotionally invested but not so deep that the comedic pacing is jarring.

Fresno is a fun evening out that brings all the best elements of “comfort watching” your favourite tv show. Hopeful, life-affirming and genuinely funny, Fresno confirms that Australian original theatre is alive, well and deserving of all the love we can give it. I think we can all drink to that.

To book tickets to Fresno, please visit https://chapeloffchapel.com.au/show/fresno/

Photographer: Shane Palmer

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MELANCHOLIA – Premiere connects Tap Dancing & Contemporary

MELANCHOLIA

MELANCHOLIA Rating

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11

‘Melancholia is the premiere work of Melbourne’s own contemporary tap dance company, Studio Stocks. Founded by acclaimed tap dance artist Garry Stocks, Studio Stocks pushes the boundaries of percussive dance, weaving elements of contemporary movement with a fresh, genre-defying approach to tap. Audiences explore the depths of loss, pain and grief, while discovering moments of hope and healing through the power of rhythm.

Performed by an extraordinary cast of some of Australia’s most accomplished tap dance artists and rising talents, this evocative work promises to captivate, challenge and resonate with audiences on a profound level. Experience a performance that marks a new era in tap artistry and enjoy the emotional range that tap dance can embody from exuberant joy to deeply poignant reflection.’

That was the introductory write-up, so needless to say as a lover of all things ‘dance’, when I walked into one of my favourite theatres in Melbourne I was about to be in my element witnessing this ground-breaking creative at Chapel Off Chapel. I always enjoy the shows at this very professional boutique theatre and I’ve definitely seen some of the best shows I’ve ever seen here. They are often ‘different’, ‘out there’ and ‘exploratory’.

‘MELANCHOLIA’ – the meaning of the word surrounds depression and sadness, so I was very interested to see how the art form of tap dancing would be combined with contemporary dance to fuse the two; and how the cast would work together to bring about an actual embodiment of ‘joy’ from such a strong meaning in the title word. But this show does just that. You’ll leave happy, amazed and gobsmacked by what you’ve just seen.

Forget the toe tapping sounds done in concerts or musicals with a hat and cane. On stage, dressed in normal clothes (no fancy costumes) are some of the best tap dancers our country has; street style, their style. Blessing us with their ability to tap with the utmost clarity whilst also often moving their bodies in contemporary facilitation to music they also need to be in sync with; I found the concept alone mindboggling!

 

When I enter the theatre there are already six dancers on the stage; it is dark and they seem dark; gazing, sitting, lying, sliding, rolling. It was fun to watch them all and try and work out where their thoughts were and what their story was. Perhaps there was one and perhaps there wasn’t. Then another steps out of the wings in slow motion, and another – circling her feet in something like an imaginary puddle, seemingly not sure if she should step into it or not.

The show fires up and everyone’s on board, brilliant piece after brilliant piece, it is cleverly sectioned for the audience to enjoy and the artists to clearly demonstrate their skill sets both individually and in groups. Four girls. Four boys. Always great to see boys dancing!

It is a rare treat to see a company’s Director/Choreographer also on stage as part of the cast and my favourite was the duet by Garry Stocks and his wife Jade Wood. Garry in his tap shoes and Jade without on her contemporary side; an improbable mix, but they expressively tell a very genuine interpretation of togetherness with the choreography and execution of both styles being impeccable of course (both having performed extensively with the Australian Ballet).

The use of clever lighting in featured spotlights and strobe effects embellish the performance, but also very effective is the use of tiny spotlights hand-held and transferred by the dancers in action. I wonder who thought to incorporate this idea – genius. Loved the part when we were left with light on nothing but the shoes – they bring the absolute brightness here, and the ‘camp fire’ was the final magic touch duly deserving of the standing ovation.

Whilst I was expecting to be surprised with something new, I wasn’t expecting the feelings that I felt watching this show. More than once it sent a shiver, and tears were close on my cheek at the end. It’s not sad though, I think I just realized it was an absolute privilege to be there. I had just seen something totally different, totally out-there and totally exploring new ground.

In summary, the work is actually quite difficult to explain in words and when I asked my dancer daughter her opinion, she said exactly what I was thinking: “it’s like nothing I’ve ever seen before, it’s something you have to go see”. It truthfully is an evolution in dance.

Please, everyone who loves dance, do yourself a favour and check out the website for updates on Stocks Studios’ future productions and opportunities to be involved: https://www.garrystocks.com/studio-stocks

To understand just how good this new dance company is, you must go see them.

CONGRATULATIONS TO THE CAST:
GARRY STOCKS
PAIGE POTE
TIARNA LEIGH
JAYDEN WATSON
BILL SIMPSON
LUCAS THOMSON
CLAIRE STUBS
JADE WOOD

Photographer: Bill Simpson

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