melbourne theatre - Whats The Show

A Very Naughty Christmas – Naughty and Nice

15 December 2023 Bee Hayward

Woodward Productions’ A Very Naughty Christmas does exactly what it says on the tin and does it exceedingly well. Both hilarious and heartwarming, this raunchy Christmas cabaret had me laughing non-stop for the full eighty-minute run time.

It’s sparkly, sexy, spectacular, side-splitting, and, of course, very naughty. Get ready to hear your favourite carols as you’ve never heard them before, alongside some dazzling dancing, burlesque, skits and stand-up. But be warned, as executive producer Alex Woodward said: “Melbourne audiences are going straight on Santa’s naughty list.

The show features a cast of eight exceptionally talented performers, each bringing unique and distinctive flair to the performance. Not only are they all hilarious, but they are also captivating. Each of them has incredible vocal talent, impressive dance ability, and a knack for comedy. I can’t stress enough just how remarkable they are.

This show is comedic gold, but it’s also a showcase of some of Melbourne’s finest talent. There’s something magical and hilarious about seeing your favourite Christmas tunes performed by this stellar cast, accompanied by the naughtiest lyrics and just a little bit of nudity.

Aside from being incredibly gifted performers, this cast also knows how to engage an audience. Their energy and excitement were contagious – I felt like I was a part of the show (and owing to the amount of audience involvement, at one point, I really was!).

The atmosphere was welcoming and inviting, and the set and costumes were bright and colourful. Every aspect of the show contributed to that classic and cozy Christmas feeling with a cheeky twist. Indeed, carolling has never been sexier.

Not for the easily offended, this Christmas comedy spectacular is a must-see. A Very Naughty Christmas is running at the Alex Theatre until December 23rd. Do yourself a favour and grab a ticket. You might end up on the naughty list, but trust me, it’s worth it.

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

The Visitors(The Opera) – A Reimagining

22 October 2023 Bee Hayward

The Visitors, taking place on the 26th of January, 1788, is a reimagining of the arrival of the First Fleet from the often unexplored Indigenous perspective. Adapted from a play of the same name by Jane Harrison, this Opera will take you on a powerful and sometimes confronting journey, allowing you to view a key event in Australian history from a perspective you might not have considered.

The narrative follows six Aboriginal Elders and one younger initiate. They are gathered on the shore, awaiting the arrival of the First Fleet into the harbour and are trying to reach a unanimous decision on how they will react. Do these visitors mean harm? Should they be allowed safe passage?

As a complete newcomer to the world of Opera, my expectations entering this show were of curiosity. I anticipated some pleasant music, powerful vocals, and a straightforward narrative. The Visitors was so much more than this. It is not just a performance but an invitation to listen to often unheard voices, to gain new insights and to consider different perspectives; it was a great privilege to be a part of the audience.

Jane Harrison, the creative force behind the play upon which this show is based, also provided her talents as the librettist for The Visitors. Harrison’s mastery of language and the extraordinary musical expertise of composer Christopher Sainsbury created a wonderful synergy. It’s challenging to find words that truly capture the sheer beauty and power of the music.

I rarely purchase merchandise at shows; however, if there were a CD recording for this performance, I would have bought it in a heartbeat. For now, however, this auditory treasure seems confined to the live performance. Yet this is for the best. To experience The Visitors in person was not just to hear the music but to be fully immersed in a transformative journey.

The music and story were brought to life by an incredible cast of seven performers: Marcus Corowa, Zoy Frangos, Lillian Fromyhr, Jess Hitchcock, Eddie Muliaumaseali’I, Elias Wilson, and Shauntai Sherree Abdul-Rahman. Each member of this ensemble is not only an exceptional vocalist but also a compelling and powerful actor.

They each artfully created a unique and distinct character, each with their own stories to tell and their own unique desires. They didn’t just sing the words; they breathed life into the narratives, crafting real, authentic characters that the audience truly cared for.

I would be remiss not to mention the others involved in bringing The Visitors to life. The set, designed by Richard Roberts, was simple yet incredibly striking, providing a backdrop that allowed the story to unfold with clarity and impact. Combined with expert lighting cues by Rachel Burke, they together created a visual landscape that perfectly suited the narrative.

And I of course, have to mention The Victorian Opera Chamber Orchestra, who provided their musical expertise to bring the show together. I was lucky enough to have a view of the orchestra from the circle, and it was an absolute delight to see their talent and passion live alongside the performance. Every aspect of The Visitors was carefully crafted and expertly put together by a multitude of talented and passionate individuals.

The Visitors ran at the Playhouse for only one weekend. However, I hope this show and this exceptional cast will return for an entire season soon. CEO of Victorian Opera, Elizabeth Hill-Cooper, wrote that The Visitors is “an investment for the future of opera in this country and the telling of a tale from our young history with the insights from the oldest occupants of any land.”

These words hint that this brief stint of The Visitors was merely a prelude to something more enduring. Everyone deserves the opportunity to witness this performance.

This review also appears on It’s On The House, or checkout more reviews at Dark Stories Theatre Reviews.

Spread the word on your favourite platform!

Aza: Stories of Grief in Diaspora

20 October 2023 Bee Hayward

Aza: stories of grief in diaspora, conceptualised by Charaf Tartoussi, is a poignant exploration of grief intricately interwoven with the nuanced experience of diaspora. Currently gracing the stage at the Melbourne Fringe Festival, this deeply moving performance unfolds within the setting of a wake and is truly a show that is worth your time and attention.

I can think of no better description than that provided by Melbourne Fringe: “In 50 minutes of vulnerable and sincere storytelling, they will move through the motions of their loss and attempt to answer the question: how does grief change when it is experienced in the immigrant diaspora, and how does it stay the same?” Watching Aza, I was reminded of the true essence of theatre: unadorned and authentic storytelling.

Performing in the Old Council Chambers is a challenging task – it is a small and intimate venue, every rustle from the audience is amplified, and in the distance, you can hear music and applause from other shows. But these performers were undaunted, embracing the intimacy of the space and using it to their advantage. As they spoke and shared their stories, I felt a genuine connection, and I found myself truly immersed in their words.

Aza isn’t a play performed by its actors; instead, it is a story lived by its writers. These storytellers, armed with their own life narratives and uniquely profound voices, extend a personal invitation to the audience. It’s an invitation to walk with them through an intimate path, to share in a journey of love and loss. Hearing these words and sharing these narratives was indeed a privilege.

Our four storytellers (Charaf Tartoussi, Farah Beaini, Thabani Tshuma, and Parminder Kaur) exhibit remarkable writing skills and shine as brilliant and compelling performers. They held nothing back, bared themselves completely, and invited us to share their grief and healing. By sharing their truth, they opened a door for the audience, granting us permission to grieve in our own way, free from judgment.

Time is running out to see this exceptional piece of theatre, which is showing until the 22nd of October at the Melbourne Fringe Festival. Be prepared to shed a few tears; Aza; stories of grief in diaspora is an emotional journey that refuses to shy away from the true depths of grief and will undoubtedly leave a mark on those fortunate enough to be a part of the audience.

This review also appears on It’s On The House, or check more reviews at Dark Stories Theatre Reviews.

Spread the word on your favourite platform!

Slutnik 2: Planet of the Incels

12 September 2023 Sheba Small

Flick’s “SLUTNIK 2: Planet of the Incels” was a dazzling space age adventure.

It is the extravagant and anticipated continuation of the SLUTNIK™ franchise, following the success of its fabulous predecessor, SLUTNIK™ 1. The enthusiastic opening night audience for SLUTNIK™ 2, comprised of numerous fans of the first installment, is a testament to its popularity and widespread appeal.

For those unfamiliar with the backstory, SLUTNIK™ 1 chronicles the journey of a renowned group of lesbian space cannibals, accompanied by their trusty robot MOTHERBOARD, who departed Earth a century ago in search of liberation from patriarchal oppression.

The plot centres on Andromeda (Sara Reed) and MOTHERBOARD (Matilda Gibbs), rediscovering and reliving the secreted data of when the “sluts” had been compelled to make an emergency landing of their malfunctioning spacecraft on an unfamiliar planet. To their dismay, they discover the very thing they sought to escape from.

However, these men are not ordinary men, but rather, they are Incels who have been incarcerated within a dome by supposedly wicked lesbians. In addition to their desire for compliant women, these Incels also seek to escape, and believe in exploiting the visitors to achieve their sinister goals.

Matilda Gibbs is an exceptional MOTHERBOARD, and such a highlight of the show. Sara Reed portrays the conflicted Andromeda. She is truly enjoyable in her portrayal of an earnest explorer, being confronted with an entirely new experience – the Incel Men. The men, namely Ben Ashby, Ethan Morse, Michael Cooper, William Strom, and Benji Smith, are all recognizable as man-boy types and together, create a comical and perplexing chorus.

The Incels are easily ridiculed, yet they manage to captivate audiences with their provocative dance numbers, choreographed by Mia Tuco. Their interactions, and manipulations form the crux of the show, providing a platform to explore themes such as power, masculinity, and autonomy.

The Incels’ dialogue is also used in matrix-style set dressing, which creates interesting contrast with the flamboyant flourishes of MOTHERBOARD’s retelling. Read: in real life, toxic masculinity forces men such as these characters to present themselves in bland uniformity, but Costume Designer Emily Busch has made them into glittering cowboys.

The language they use was apparently taken verbatim from Incel websites, documentaries, etc. Jon, played by Benji Smith, is a sinister, charismatic leader of the Incels, exuding an air of authority and menace. “Nice guy” Elliot, portrayed by Ben Ashby, attempts to win over Andromeda with his charm. The other three men, played by Michael Cooper, William Strom and Ethan Morse, while initially rude and boorish, ultimately prove to be more redeemable, revealing deeper layers of humanity, despite being so unsympathetic.

Juxtaposed to the incels, Motherboard and Andromeda’s exchanges are a fascinating exploration of what it means to retell truthful and challenging stories – especially the burden of lived experience and trauma.

I applaud Flick and the whole production for their camp, sci-fi, musical spectacular. The story was a stunning and tactful interrogation of the dumpster-fire world we navigate today. Contemplating the end of the show, I walked away fired up by the pathos and soothed by the glamourous flourishes in sound and design.

I look forward to seeing SLUTNIK 3!”, but in the meantime, be sure to see this show before it closes on 16th September at Theatre Works.

This review also appears at It’s On the House.

Spread the word on your favourite platform!

Spread the word on your favourite platform!

Spread the word on your favourite platform!

Connect Online