Sam King presents TA DA: The Ramblings of a Magician

Sam King presents TA DA: The Ramblings of a Magician

Sam King presents TA DA Rating

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Great magic does not have to be big and extravagant to entertain, and Sam King proves this in his award-winning show, “Sam King Presents TA DA: The Ramblings of a Magician”.

Perfectly located at Melbourne’s quirky and iconic Butterfly Club, the friendly staff immediately welcomes you, and Sam himself personally greets each guest in the intimate theatre space.

From start to finish, Sam brings warmth and connection to the audience, putting the entire room at ease. Sam brings a calm confidence to the stage, keeping the audience completely engaged throughout the entire show.

Although a magic show at its core, the sheer talent of Sam’s stand-up comedy routine bits cannot be overlooked. Simple and effective magic tricks and illusions are cleverly connected to his ingeniously crafted comedic narratives.

At times reminiscent of the comedy stylings of Noel Fielding and Julian Barratt (of ‘The Mighty Boosh’ fame), Sam has created a magic show that masterfully intertwines his passion for magic with his quick wit and brilliant talent in comedy.

With an intimate audience, it wasn’t long before Sam had the entire room entranced and taken on an unexpected and utterly entertaining narrative journey. We were introduced to unforgettable characters, including Gary, the bitter violin case, Thumper the rabbit who had met an unfortunate and untimely end, and a strangely hilarious unfinished wooden ventriloquist puppet.

There is nothing better in the world of entertainment than watching a creative artist do what they love on stage. From start to finish, it was clear that Sam not only loves what he does but is also extremely talented.

Sam’s passion for magic and comedy fed directly into the audience. Laughter abounded in those brilliantly placed comedic moments, and the audience was openly amazed by the magic and illusions that were thoughtfully paced throughout the show.

Although some people cringe at the thought of being involved in audience participation, Sam masterfully involved a large proportion of audience members, finding that lovely ‘sweet spot’ where people feel comfortable enough to want to actively engage and be a part of the show.

This was quite simply one of those feel-good shows that give the audience exactly what we all need more of these days: a really good belly laugh and an escape from the humdrum of daily life.

‘TA DA’ is on until the 6th of July at the Butterfly Club.

Sam’s next show, ‘Tricks & Stuff,’ his award-winning close-up magic experience, runs from July 9 to 13 at 483 Swanston Street.

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The Exotic Lives of Lola Montez at Chapel Off Chapel

FINUCANE & SMITH’S THE EXOTIC LIVES OF LOLA MONTEZ

The Exotic Lives of Lola Montez Rating

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2

Attending the latest production of “The Exotic Lives of Lola Montez” at Chapel Off Chapel was an exhilarating and unforgettable experience. This show is a kaleidoscopic journey through the life of one of history’s most controversial and audacious women, brought to life by an all-female presenting cast.

The performance is a brilliant blend of fantastic singing, ranging from Broadway show tunes to opera and everything in between. It also includes burlesque dancers performing classic fan dances to full-frontal nudity, showcasing a spectrum of artistry and boldness.

The show is a highly feminist work, written and directed by women, and it tackles numerous significant questions relevant during Lola Montez’s time and today. Lola’s assertion that her body was her own and belonged to no one else remains a powerful statement in the current context.

Caroline Lee, a triple Best Actress winner and a direct descendant of Lola Montez herself, delivers a stellar performance. She expertly portrays a woman living life on her own terms in a time when women had limited choices. The narrative delves deep into what it means to live a life defined by one’s own desires and terms, questioning the value of a life lived outside societal norms.

The storyline beautifully intertwines Lola’s life with the historical context of Victoria and Melbourne, referencing artifacts that can still be seen in the National Gallery of Victoria. One notable episode from Lola’s life that is vividly depicted is her infamous horsewhipping incident involving the editor of the Ballarat Star. This event, among many others, is recounted with both humour and drama, creating a captivating narrative.

FINUCANE & SMITH’S THE EXOTIC LIVES OF LOLA MONTEZ

The show also features burlesque performances that range from historical references to modern interpretations, including a male performer stripping down to a single piece of tape, leaving the audience in suspense. This daring and unapologetic approach is a recurring theme throughout the show, making it both provocative and thought-provoking.

Despite a few minor hiccups, such as occasional line drops by the performers, the overall experience was incredibly enjoyable. The production’s raw honesty, combined with its mix of storytelling and sensual performances, makes it a must-see.

Don’t miss out on this incredible performance that celebrates the life and legacy of Lola Montez in the most spectacular and unapologetic fashion.

**Performance Details:**

**Dates:** 21 – 30 June

**Times:**

  • Friday 21 June, 8pm
  • Saturday 22 June, 8pm
  • Sunday 23 June, 6pm
  • Wednesday 26 June, 8pm
  • Friday 28 June, 8pm
  • Saturday 29 June, 8pm
  • Sunday 30 June, 6pm

– **Tickets:**

  • $88 Table Seat*
  • $48 Standard
  • $38 Concession
  • $38 Groups 6+

**Duration:** 80 minutes (no interval)

**Contains:** Theatrical haze, coarse language, nudity, and lots of dancing. Suitable for ages 15+.

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The Last Train to Madeline

The Last Train to Madeline

The Last Train to Madeline Rating

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4

The Last Train to Madeline is an emotive and nostalgic play that follows childhood best friends Maddy and Luke in Wangaratta from the ages of 8, 16, and 23 as their lives collide.

Staged at the Meat Market in North Melbourne, the set was immediately striking: the floor was filled with three old TVs flickering with static, while the rest of the space was filled with train tracks, fake plants, and a structure above.

The chemistry between the two leads (Ruby Maishman as Maddy and Eddie Orton as Luke) carries the show- it’s no easy feat to have a production with only 2 characters, and they make it look effortless, with a natural rapport. Much like the world of a child that revolves around only yourself and your best friend – we never see any other characters on stage, but their presence is felt – especially that of Maddy’s father, the driving force behind many of her actions.

Maishman’s Maddy effectively transitioned from an 8-year-old coming to terms with a stifling town and a mother who can’t look after her properly to a teenager desperate to escape. The audience can see how Orton’s Luke has been deeply impacted by Maddy’s actions—from a hopeful and eager-to-please 8-year-old to a 23-year-old who tells her that he is “tired.”

Utilising the same costumes for all 3 time periods, we as the audience are clued in by Maishman and Orton’s juvenile lilt and innocent conversations to indicate they are 8; these are noticeably absent as the characters age before our eyes.

At times, I felt anxious for the fate of the seminal prop of the video camera- especially in the scenes as 8-year-olds where it was getting thrown around – but both actors exhibited immense skill in their physicality, dodging the many TVs lining the stage and climbing the elevated structure (sitting on the edge of a row gave me an advantage of having the best view for these scenes).

The projection of the video camera’s live film onto the TVs reinforced the sense that these vignettes of Maddy and Luke’s lives were Luke’s memories being replayed. The play’s pacing continually draws you in, as the pieces of two characters’ lives are constantly being put together, and we revisit their most formative moments.

Despite the heightened, biting dialogue between the two leads, humour shined through: “You can’t marry your dog; she’s a girl,” says 8-year-old Luke…. “It’s 2003,” replies Maddy, cleverly grounding the audience in the past amid a soundtrack of 2000s-2010s indie pop and classics.

I wouldn’t be surprised if a movie or TV show of The Last Train to Madeline were a possibility for the future; the audience couldn’t help but root for (and sometimes see themselves in) the two youths. The dreamlike quality of the staging and the ruthlessly accurate adolescent dialogue made for exhilarating and comforting viewing.

The Last Train To Madeline is in its final week. Sessions run each night at 7:30 p.m. with the closing night scheduled for 6 p.m. on June 29th. Please don’t miss your chance to see this unique new Australian play.

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Blood in the Water

Blood in the Water

Blood in the Water Rating

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6

Playwright Jorja Bentley has authored a gripping and provocative theatre show with ‘Blood in the Water’. The show comes laden with content warnings: sexual violence, violence against children, & domestic abuse. Despite these hard-hitting themes, ‘Blood in the Water’ is also truly hilarious.

The show begins with the mother (Ruth) and daughter (Jen) engaged in verbal sparring about Jen wanting to go glamping with her friends on the night of her mother’s birthday dinner. The stepfather (Reuban) offers to drive Jen to both as a negotiation, then soon after receives a phone call that alters the course of their domestic life.

It is revealed that Ruth’s son (Jen’s brother) has been arrested for raping his girlfriend, Anna. Ruth’s sister, Sal, becomes Jen’s trusted ally in the family, where both were kept in the dark about Ruth and Reuben, knowing that there was concrete evidence against Ruth’s son; he had filmed it. The footage is leaked, and the son is sentenced to 4 years in prison.

Ruth and Sal had grown up with an abusive mother, and questions of nature-nurture and victim-perpetrator are explored. Sal’s liberal, outspoken character contrasts with Ruth’s uptight persona and the picture of suburban domesticity we see in her and Reuben’s home. Reuban is concerned with appearances and how this news will affect his political career.

Ruth desperately tries to avoid the reality of what has happened, seeking absolution for her son. Sal and Jen feel a sense of betrayal at Ruth’s avoidance of acknowledging the enormity of her son’s wrongdoing. The play follows each family member over the course of a year as they grapple with the weight of the son’s conviction and the choices they must make moving forward.

Mia Tuco, Chris Koch, Lana Schwarcz, & Karlis Zaid have fantastic stage chemistry and deliver the play with the authenticity it deserves.

Fantastic one-liners bring levity to the gravity of the subject matter being explored. Aspects of modernity are interrogated through quick-witted quips and satire. With notable lines like “You know I don’t study on Sunday. Sundays are for procrastination and existential dread.”

Sal and Jen’s honest relationship offers solace through this time. Humour and transparency bring the two characters closer together and provide safety and opportunities for healing.

Paralleling them both, and where this play is both confronting and entertaining, can the mother accept that she can both detest her son’s behaviour and love him? Jen’s boundaries are more marked, but can she offer support to Anna and still miss her brother? We see the care and concern she harbours below the surface.

Blood In The Water runs at the La Mama Courthouse from Jun 20 – Jun 30 to the following session times and runs for 100 minutes, including interval:-

  • Wed: 6.30pm
  • Thurs, Fri: 7.30pm
  • Sat: 2pm, 7.30pm
  • Sun: 4pm
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