Nothing Rotten Here

House Of Rot

House Of Rot Rating

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‘House Of Rot’, Hayes Theatre, Potts Point, is a stunning piece of cabaret by Dino Dimitriadis and Victoria Falconer. Inspired by the documentary, ‘Grey Gardens’, about an aunt and cousin to Jacqueline Kennedy-Onassis. These two wealthy women suffer a dramatic decline from wealth to poverty and become eccentric recluses. Paul Capsis and Adam Noviello have a blast playing these two lost souls. Capsis is Big Edie and Noviello is little Edie.

The opening number doesn’t feature the two protagonists. Victoria Falconer gives a beguiling rendition of ‘Windmills Of Your Mind’. What a voice! Her vocal skills and piano playing panache have the audience in wonder. ‘Windmills’ also closes the show. It’s such a poignant song for this cabaret. Falconer shines again when she performs a violin solo piece, which is deeply evocative.

Capsis and Noviello talk at the audience a lot. It’s their theatrical trick. This technique is particularly effective for their banter. When Capsis utters “that he misses boredom”, everyone erupts with laughter. Capsis’ comic timing is a skill to behold.

This cabaret has an eclectic mix of songs. ‘I Touch Myself’ ( a nude Noviello playing piano), ‘Tea For Two’, ‘Young And Beautiful’ and ‘I Am What I Am”. When the Capsis and Noviello combination really soars is when they perform a duet of Sondheim’s ‘Send In The Clowns’ and The Cranberries’, ‘Zombie’. It’s such a daring duet that works. Noviello is very tall and slim. (A contrast to the small, stockiness of Capsis). He glides across the stage in a haunted, rebellious fashion. When Adam sings, one can tell that he loves to really launch his voice. It’s powerful. Capsis does more than match this younger performer. It’s obvious these two actors know how to bring the best out of each other.

 

 

‘House Of Rot’, is a special production in a special space. The set with it’s black chairs, black walls and black floor, is striking. The actors are dressed in stylish black ensembles, as well. It all looks very slick.

Hayes Theatre in Potts Point, is quickly establishing itself as the place to be in Sydney. It’s a cosy theatre, which is perfect for the claustrophobic existence of these two recluses. Loneliness, aging and isolation are all put under the microscope.

Any time Paul Capsis goes on stage, there is an expectation that the show will be world-class. Being able to get up close and personal with the performers on this show, is thrilling.

‘House Of Rot’, is a 70 minute romp. The time frame doesn’t make you feel cheated. Quality triumphs over quantity every time. I’m sure Paul Capsis gets a standing ovation whenever he struts his stuff. He did his best to look genuinely surprised when the audience rose as one to salute him, Noviello and Falconer. I love Hayes Theatre too, for its intimacy. Musical theatre is joyous in a cosy space. The acting fraternity feel the same. At every Hayes performance, it’s easy to spot actors in the audience. They adore the place.

You’ll have to be quick to grab a ticket. This production will sell-out. ‘House Of Rot’, provides one of the most amazing theatrical experiences of the year.

To book tickets to House Of Rot, please visit https://hayestheatre.com.au/event/house-of-rot/.

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We Laughed, We Cried, We Grooved, We Swooned!

A Transgender Woman On The Internet, Crying

A Transgender Woman On The Internet, Crying Rating

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Wow. Yesterday was the International Day of Trans Visibility, and what better way to honour such an important occasion than by seeing Cassie Hamilton’s hyperpop musical, “A Transgender Woman on the Internet, Crying”.

I love the Old Fitz, not least because of the complete transformation of the set with every new show. This one was brilliantly done, with stylised graffiti and old skool speakers that pumped out the hyperpop hits. What is “hyperpop”? Thanks, Mouth_Feel, played by Rosie Rai, for answering that question. This is one of many questions raised, asked, and answered in this powerful and vulnerable piece of work; some you never thought to ask, some you should have thought to ask, and some most of us have no right to ask. All are handled with a delicate balance of truth through song, delivered with poignancy and emotion by this incredibly talented cast.

The story centres around Avis O’Hara, aka the DIY Doll, played by the epically talented writer and creator Cassie Hamilton. Avis has built an online platform by leaning into being “the right kind of trans”; with an emphasis on “right”, where those internalised self-hate pathways sometimes end up aligning. I first came across Cassie Hamilton in ATYP’s production of “Converted!” and was excited when this project was announced, eagerly awaiting a Sydney season. Even more so when two of my favourites, Blake Appelqvist (who I’ve been fangirling since Fangirls) and Teo Vergara (stole my heart in Jagged Little Pill), were announced, and it was a pleasure to make the acquaintance of the equally talented Rosie Rai. These four powerhouses bring their own unique authenticity and depth to their characters. Blake plays Corrin Verbeck, a left-tube vlogger who, along with besties Mouth_Feel and Sasha (Vergara), is sick of the toxic messaging by people like Avis and conspires to expose her.

It’s a classic frenemies-to-lovers story, but also a beautiful celebration and deeply moving collective healing and purging of complex trauma for one of the world’s most marginalised and persecuted groups of people. The foursome harmonise beautifully, with vocals (musical direction by Lillian Hearne) and choreography by Dan Ham and Riley Gill that allow each performer to shine.

 

 

Jean Tong’s direction is a real asset to the production, grounding and guiding the chaos with a deft hand. Tong allows high energy and spontaneity to flourish while maintaining a sharp pace and a strong emotional through line. There is a kind of guerrilla-theatre quality to the staging that feels entirely appropriate here, and the performers absolutely thrive within it. It is a confident, responsive directorial vision that gives the work room to be both playful and devastating.

The creative team deserves huge credit for the world they’ve built. Ruby Jenkins’ set is grungy, eye-catching, and feels like a playground for the characters to gleefully exist in. Rachel Lee and Nick Moloney’s lighting leans into cliché musical-theatre lighting state, and the work is better for it. Dan Ham’s choreography is crafted not only to capture each character’s movement, but to allow each performer to comfortably move within their abilities and fully relish the dance breaks. The lighting and sound design are engaging and responsive, with one of the most impactful moments coming when the production makes the brilliant choice of pure silence at a significant emotional peak.

The trans joy and journey are loud and proud, as they should be. But this work is also an important commentary on the fast-moving pace of online interaction, how quickly acceptance and encouragement can turn into control and isolation, and then just as easily flip into hatred and the dreaded “cancelling”. It highlights the impact of keyboard warriors and the knife’s edge of finding online belonging while surrendering freedom, autonomy, and authentic self-expression. It shines a dark light on the struggles many face when it comes to cyber culture, particularly in specific communities.

The audience was thoroughly engaged throughout. We laughed, we cried, we grooved, we swooned. This is a truly well-written, beautifully crafted show that is a must-see. I might just need to go along and see it again if I can manage to secure a ticket before they sell out.

To book tickets to A Transgender Woman On The Internet, Crying, please visit https://www.oldfitztheatre.com.au/a-transgender-woman-on-the-internet-crying.

Photographer: Brett Boardman

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