Steel Magnolias by Encore Theatre Company

Steel Magnolias

Steel Magnolias Rating

★★★★★

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In 1985, in a fictional town called Chinquapin Parish, in Northwestern Louisiana, lies an at-home beauty salon owned by Truvy Jones, a happy-go-lucky local hairdresser. She’s young-at-heart, loves the local gossip, and makes women feel loved and cared for in her company.

But this tiny mecca is far more than the sum of its parts. For in this beauty nook, Truvy weaves together a circle of strong, sassy Southern women to gather, connect and socialise.

Women called Steel Magnolias.

In honour of Dolly Parton, who starred as Truvy in the film version of Steel Magnolias in 1989, Encore Theatre Company is proud to present its latest instalment, in an equally nookish theatrette at the Clayton Community Centre.

Where, inside, we are invited into a world of southern hospitality, starting with a gorgeous set design by Susan and Peter Rundle.

The show opens our senses into a bright and colourful space full of nostalgic hair and beauty posters, with a yellow, mint green, pink and turquoise colour scheme, much like a candy shop. Bold on the outside, and sweet and sugary on the inside.

In the first scene, Truvy is teaching Annelle Dupuy, a new employee and hairdressing student, the ins-and-outs of her hair and beauty biz. It is Saturday. A busy day to come. Annelle is nervous. We also learn she is a newcomer to town and seems quite sketchy about revealing facts about her personal life.

 

Then in walks Clairee Belcher, known as the town’s wealthy socialite. Then Shelby Eatenton, a young 20-something nurse who is getting married, and her sensitive mum M’Lynn, who’s a tad overprotective of her. Then, to round off the women, a human windstorm comes through the sliding door. It’s Ouiser Boudreaux, the old town crow, carrying on and complaining about well, just about everything in her life.

But one thing they can all rely on? Is each other, in good times and in bad.

Speaking of which; we learn that all is not as rosy as it seems. Shelby has Type 1 diabetes, and wants nothing more than to be a mum, but is told that her body is weak and cannot withstand a pregnancy. To prove this point, we are witness to her going into hypoglycaemic shock at the salon, as Truvy is styling her hair. She recovers, but this sparks a warning about her future health. A compelling thread of fear her mother M’Lynn carries throughout the duration of this production.

This show is about the strong friendships these women have with each other, through thick and thin. Through the light and the dark. As such; the six ladies in this cast are all brilliant in their own ways and portray their roles well, thanks to the wonderful direction by Susan Rundle.

Kirsty Hall brings Truvy’s joviality to life, and knows how to delicately balance humour with a great dose of realism. She seemed so natural in this role, and carried this show beautifully from start to finish with great aplomb.

Molly Spencer, as delightful, young Annelle, is instinctually clever in how she embodies this role. In every scene, she commits to every hilarious character moment, yet adapts her role with a great deal of sensitivity. Knowing exactly when to pace, pause, and finally, when to raise the stakes for greater laughs.

Lisa Upson, a late addition to the cast, shines as Clairee. Bringing the exact mix of steely strength, warm sarcasm, and an unwavering will that is required in this role. She is not only believable; but fiercely forthright, and brimming with class.

Glenda May is an absolute delight playing Ouiser, bringing the energy of a shrewish older lady to the fore; yet making her an absolute gem, encased in comedy gold.

Justine Garnes perfectly personifies her role as Shelby, exuding the essence needed to portray a steely Southern Belle. Charming and soft; yet unwaveringly strong. She is a joy to watch.

And finally, Gabby Llewelyn as M’Lynn is the absolute heart of this show, taking us through a roller coaster ride filled with the spectrum of motherly love. She takes ownership of her own emotional wheel – to drive home the experience of a Southern mother in crisis, with soft wings and nerves of steel.

In all, this production of Steel Magnolias was simply beautiful and heartfelt. The cast was superb and I would highly recommend it for a great night out.

To book tickets to Steel Magnolias, please visit https://encoretheatre.com.au/.

Photographer: Dave Swann

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Oh My God! A Comedy of Biblical Proportions

Oh My God! A Comedy of Biblical Proportions

Oh My God! A Comedy of Biblical Proportions Rating

★★★★★

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In the beginning
 there was darkness. And behold
 God popped out from behind the scenery and said, ‘Let there be light!’ And lo. The stage lights did come up and we were treated to Popular Playhouse’s ‘Oh My God! A Comedy of Biblical Proportions.’

The earth did shake, rattle and roll, Lucifer did shimmy in the Garden of Eden, Sarah did do a pregnancy test on the toilet, a plague of rubber toads did descend upon Pharaoh, and, as it was foretold, the audience were thoroughly entertained, while the occasional Boeing 747 flew overhead.

‘Oh My God! A Comedy of Biblical Proportions’ is the prequel to Popular Playhouse’s riotous hit ‘Christ Almighty.’ If you were lucky enough to bear witness to their romp through the life and death and life again of Jesus, then you know what the Bible’s Old Testament is in for.

No stone tablet is left un-overturned in their pursuit of laughs and the jokes come quickly and without warning, not unlike The Great Flood.

James Hartley commands the stage (and the Universe) as God, channelling Charlton Heston and Heston Blumenthal with a pinch of Sir Lawrence Olivier in Clash of the Titans.

His on again / off again partner for the evening (and eternity), is Lucifer, played with devilish relish by the remarkable Joseph Rotondella.

Sparks fly whenever these two are on stage together. It’s a beautiful thing. God may be wrathful, petty and frankly murderous at times, Lucifer is diabolical, cunning and spiteful, but ultimately, they’re two soft hearts struggling with the complexities of love.

Jesus makes a recurring guest appearance in the form of Oscar Wills, a humble chippy and sandal-clad stoner who helps hammer together a highlights reel from across the Old Testament.

 

We meet Eve and Adam, Emma Flynn and Max DĂżkstra, facing endless days playing rock and stick. Sarah and Abraham, Natasha Cheng and Oscar Baird, praying for a child and rapidly repenting when Isaac is delivered unto them in form of Roslyn Hicks.

Noah and Mrs Noah, Jamie Sturgess and Erin Pacholke, are joined on their Ark by a fabulous menagerie of animals (and a bird) including a panda and a delicious looking koala.

Rounding out the cast is the mountainous Daniel Moxham as Goliath. Most of the cast take on multiple roles and all throw themselves into the play headfirst.

There’s a noble tradition of popping religions’ self-important bubbles with comedy. Monty Python’s ‘The Life of Brian’ was banned outright in Ireland, Norway and parts of the UK when it was first released in 1979. Critics accused the movie of blasphemy and sacrilege.

‘Oh My God! A Comedy of Biblical Proportions’ owes something to the fabulous Mel Brooks and his irreverent hits ‘History of the World, Part I’ and the ingeniously titled ‘History of the World, Part II.’

Especial manna must be bestowed on Tommy James Green as Writer, Director and Producer. The Pythons and Mel Brooks are most excellent company to keep.

If you’re worried that you might be offended
 you probably will be, so you should buy two tickets and take a friend so you can be offended in company.

‘Oh My God! A Comedy of Biblical Proportions’ is now on at Flight Path Theatre, running from 15 to 31 October.

You can follow Popular Playhouse at:
https://www.instagram.com/popularplayhouse

Tickets are now available at: https://www.flightpaththeatre.org/whats-on/oh-my-god-another-comedy-of-biblical-proportions

To book tickets to Oh My God! A Comedy of Biblical Proportions, please visit https://www.flightpaththeatre.org/whats-on/oh-my-god-another-comedy-of-biblical-proportions.

Photography: Othniel Mani/TreeOak Media

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Fairytale: Ending

Fairytale: Ending

Fairytale: Ending Rating

★★★★★

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During the Melbourne Fringe, you have the unique opportunity to see theatre get stripped back. Small groups or individuals are making and performing with limited budgets and resources, just talent and creativity. Roisin McAlinden’s Fairytale Endings perfectly embodies what Fringe stands for, one woman running everything from ticketing to performance, using nothing but her own words and what props she can carry in her pockets.

Fairytale Endings is a one woman, stand up comedy routine that is deeply thematic, feminist and therapeutic. Roisin explores modern day dating through a Disney fantasy lens, throwing a raunchy twist on the classic “Happily Ever After.”.

The scene for Fairytale Endings is perfectly set by entering through The Bard Apothecary, a small but vibrant bar in the heart of the Melbourne CBD. Journey through the bar, down some stairs and find yourself in a cozy basement theatre space complete with couches and candles, ready to start the show.

 

Roisin opens the show with a bright, infectious energy that she carries throughout the performance, laughing loudly at her own anecdotes and effectively creating an engaging environment where audience members could relax, react and respond. From playing Smash Or Pass with Disney Princes to discussing why Melbourne is the ethical nonmonogamy capital of the world (true fact), Roisin’s easy crowd work created the perfect atmosphere for a comedy stand up set.

The stand up set itself explored Roisin’s experience post covid, from leaving a long term relationship and exploring her sexuality to moving to Australia and starting to date again. Her fantasy theme carries strong through the set, her new partner is her Prince Charming, she kisses several frogs and a magic mirror allows her to talk to her past self. However, Roisin is quick to remind the audience that, despite the name of the show, this is not a story with a happy ending. Frogs are better discovered by throwing them against the wall and Prince Charming may just turn out to be an electrician (and wannabe DJ) from Heidelberg.

It’s not just raunchy jokes and fantasy metaphors. Entwined amongst the comedy are some insightful feminist metaphors and therapeutic moments that clearly resonated with the audience. From the pain of high heels to the emotional complexities of supporting a man(child), Roisin’s exploration of the “Princess experience” provides both the performer and the audience with a therapeutic experience that reimagines the idea of “Happily Ever After.”

To book tickets to Fairytale: Ending, please visit https://www.melbournefringe.com.au/whats-on/events/roisin-mcalinden-fairytale-ending.

Photographer: Chris Hillary

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Adore HĂ€ndel: A Baroque Birthday Bash of Scandal, Sass and Spectacle

Adore HĂ€ndel's Birthday Party: Little Black Book Vol. 3

Adore HĂ€ndel’s Birthday Party: Little Black Book Vol. 3 Rating

★★★★★

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On a balmy Friday night, The Melbourne Fringe has upped-its-ante. As I await to enter its famed Archive room to see Adore HĂ€ndel’s latest instalment, ‘Adore HĂ€ndel Birthday Party: Little Black Book Vol. 3’, I am greeted in the foyer by characters walking around in costume: a life-sized lobster encased in glitterati and a death-defying clown in gothic garb, preparing me for a night of theatrical otherworldly-ness.

A sold out evening. A 60-seat theatre. A high-ceiling room – one side laden with tall grey architraves. The other?With pencil-lined burgundy stencilling on the walls. The scene unfolding? I am a guest at the birthday party of Adore HĂ€ndel, no less. A spectacle-inducing,18th century time-travelling Baroque performer, who is turning 269 years old.

But age is only a number. For in the span of an hour, I am transported to the world of Adore, conceived by Melbourne-based baritone Luke Bell. Where, like an 18th century rock star, he bursts upon the stage singing ‘Sweet time traveller’, laden in the theatrical brilliance of maximalist European court hair, makeup and fancy-pants, party-hearty costuming. Think ornate embellishments. Luxe ribboning. Puffed-up hot and light pink organza sleeves with gold detailing.
And
 a larger-than-life, quick-witted personality to match.

The scene I have entered? Adore’s annual birthday fest, where with a flourish-and-a-disney-ditty, plans to launch his little black book documenting a plethora of scandalous dalliances that he has kept a secret, until now.

Proudly singing the “Toreador Song” from Carmen, Adore boasts about the excitement, danger, and glory of his past lovers and ill-advised rendezvous, lost in a bullring of scandal and bon-vivant desire, much to the audiences delight.

 

But alas? This rapturous little book has disappeared. Sheepish and embarrassed, Adore frantically tries to contact Peter, his long-time assistant, while giving us a dramatic rendition of Queen’s ‘The show must go on’, despite these sets of most unfortunate circumstances.

And so, Adore is on a mission, to rescue his prized possession and set out to capture the unsuspecting wrongdoer of this heinous, unforgiving crime.

Paranoid as an unraveled-pearl-torn-from-its-seam, Adore interacts with the audience to see if they were indeed the culprit – as he searches for means, motive and opportunity.

Hilarity ensues as Adore peeps out at us like a crime-solving Sherlock Holmes. A microscope is shone across our faces. Suspiciously searching with mild interrogation as to who has stolen his prized possession, time is fleeting by. Without a clue to stand on, and desperate for some answers, Adore thinks that perhaps the shifty culprit may be linked to one of his past lovers.

With misty-eyed recollections, brilliantly scripted by Hannah Belle, Adore then sings ‘Bring on the men’, and does the unthinkable – daring to take us on a journey back to his time-travelling past. To surprisingly unveil the stories of three seperate ‘Dangerous Liaisons’ – that may unmask the identity of this high-octane thievery.

And thus, we are taken on a cart-ride of Cinderella-like proportions. From a fiery 18th century ball in Venice; to a late 1930’s horse-riding heist in the American West; to a pop record-deal gone wrong, we are indeed on the case of this mad whodunnit.

But it is Luke Bell who truly steals this show with his tremendous collection of hilarious antics and standout vocal gymnastics. A rendition of a testosterone-fuelled Johnny Cash song, ‘Ring Of Fire’, that rouses the audience to laugh and clap alongside him. His beautifully baritone voice cutting through with deep resonance during ‘Cry Me A River’, with misty-eyed, emotional substance. His instrumental talents of playing a kazoo, and finally, having a glass of Chardonnay while blowing a party blower out as a cigarette. No pun intended.

In all, this Cabaret-style show, lovingly produced by Lydia Keulsen, has sass, style and bawdy humour all rolled-into-one, purely for those of us who just want to be entertained at the highest level. If you love campy wit, a rumpy-bumpy storyline, standout operatic singing and tight-as-a-corset choreography, then this striking show is for you.

To book tickets to Adore HĂ€ndel’s Birthday Party: Little Black Book Vol. 3, please visit https://www.melbournefringe.com.au/whats-on/events/adore-haendels-birthday-party.

Photographer: Bri Hammond

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