Gutenberg? Darn Tootin-berg!

Gutenberg! The Musical!

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The latest effort from Second Beat Productions, Gutenberg! The Musical! is a side-splitting spoof, following Bud Davenport and Doug Simon, authors of a wildly inaccurate and off-beat musical about printing press inventor Johannes Gutenberg, who are auditioning their work to potential Broadway producers – with delirious overconfidence. The actors boast that chances are if you don’t know the person sitting next to you in the audience, they in fact are a producer; Since details around Gutenberg’s life are scant – at least based off the most cursory Google search Bud and Doug did – we are told the musical is historical fiction, which is, apparently, fiction that’s true. This intentional ineptitude and naiveite sets the tone for the entire show, a rib-tickling tour de force from the creators of Beetlejuice: The Musical.

The plot follows Gutenberg, a wine presser, intent on enlightening the illiterate townsfolk of medieval German town Schlimmer, culminating in his invention of the printing press, despite the nefarious efforts on an evil Monk, who seeks the destroy the press, and keep the town in figurative darkness. Described as a reading of a musical, with no set or costumes, and just a few props – Bud and Doug play all the parts themselves, with the help of hats labelled with character’s names – making the chorus line particularly comical. Gutenberg! The Musical! has no pretensions, and it is soon evident that what Bud and Doug lack in expertise and conventional talent, they make up for with relentless enthusiasm and optimism. This script itself bursts with silly asides and flippant dark humour, subverting expectations throughout for the funniest evening at the theatre I’ve enjoyed this year.

 

 

The night I attend, Bud is played by Liam J.K, who co-directs the play with Daniel Kirby, with Kirby playing the role of Doug. They are capably accompanied by Rae Rose on keys, who is also credited as Music Director. J.K and Kirby throw themselves into their work with gusto, bringing the perfect balance of charisma and chaos, each literally wearing a multitude of hats, navigating the shifts between multiple characters with madcap mastery and natural comedic credibility, their timing and interplay with each other top-notch, regardless of which character they are portraying at a given moment.

Overall, it is remarkable the substantial impact a small team with a clever script can deliver – without any major production features or other artifice. Gutenberg! is an amusing look behind the curtain, and an eminently enjoyable antithesis to other more polished and produced shows. Highly recommended.

To book tickets to Gutenberg! The Musical!, please visit https://piptheatre.org/gutenberg-the-musical/.

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Cirque Nouvelle: An Elevated and Mesmerising Modern Circus

Cirque Nouvelle

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Anticipation is high at Fortitude Music Hall, as Cameo Rascale Entertainment present their latest production, Cirque Nouvelle – a thrilling and heart-warming journey bound to charm audiences of all ages. Billed as a seamless collaboration rooted in trust, athleticism and shared imagination, Cirque Nouvelle delivers abundantly as a visually spectacular modern circus, with high production value and undeniable skill, risk and appeal.

The talented ensemble cast are led by Performer/Producer husband and wife duo James and Rebecca Capener, whose dance, acrobatic and juggling work are especially memorable. It is indeed a family affair, with James’s father Steve Capener our quirky and comical Ringmaster for the evening, “Edwardo”, who connects well, particularly the youngsters – providing some narrative structure to proceedings, and a little introspection. The program notes James Capener has spent his life on the stage, captivating audiences since the age of 5 years old; This preparation and experience is evident – yet effortless – of James and the entire cast. I am regularly holding my breath throughout the show but there’s no need to be nervous watching, despite the danger; I am thoroughly impressed each time I exhale, with another routine successfully completed.

 

 

Each performer is of the highest professional calibre, exuding joyful energy, impressive physical conditioning and advanced technical merit, with sharp instincts for what ignites a crowd – along with some goofier antics, to appeal to the young and young at heart. Along with the Capener’s, Simon Crawley is a particular standout with his tremendous strength and control in his Cyr Wheel and Handbalancer acts, with Aerialists and Dancers Vladislav Fefelov, Elysha Atwell, Michelle Screaigh and Leah Walker each bringing polished and eye-catching dazzle and daring to their work. It is a real joy to watch performers so attuned to one another and to their craft; Their enjoyment is clear and contagious.

With nods to tradition, Cirque Nouvelle remains fresh and balanced, highlighted by death-defying feats of coordination and athleticism. The music selection is terrific, adding nicely to the overall energy and impression. The lights, costumes and stage effects work well, uplifting the performances even further, while retaining the show’s versatility to work equally well in a variety of venues, from community halls to the big city stages. Running at a touch under 2 hours with intermission, the show is well paced and varied, that leaves us wanting more. Overall, Cirque Nouvelle is an elevated and mesmerising modern circus, which was enthusiastically received after their Brisbane performance.

To book tickets to Cirque Nouvelle, please visit https://www.cameorascale.com/cirquenouvelle.

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Brace Brace: Poignant, Rapid-Fire and Darkly Comedic – A Must See

Brace Brace

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Ray and Syliva meet across a crowded room and instantly fall in love. Within a year, they are married and heading off on the honeymoon of a lifetime, three weeks on a distant beach, twelve hours away.

But somewhere between take-off and landing, everything changes.

Soon after we strap in for Pip Theatre’s latest theatrical journey, we are taken by turbulence; Brace Brace follows the trials and transformation of trauma, avoiding didacticism, but with plenty of lighter moments to lift the mood. This is a story of survival that counts the cost, asking the most compelling of questions: what would I do?

Written by playwright Oli Forsyth, Brace Brace is a tricky script to perform, traversing time and space, boasting clipped, rapid-fire dialogue, full of interjections – handled here with aplomb. The story is thematically balanced, tight and well-paced – the truth and precision of delivery a testament to the production’s thorough preparation. I enjoy the immersive presentation, complete with inflight announcement, airline safety instructions for the program, and nice pictures of the newlyweds in the theatre foyer.

 

 

The cast are Henry Solomon as Ray, Amelia Slatter as Sylvia and Matthew Filkins in multiple roles. Each actor shows nice emotional range, giving light and shade amidst distress and resilience; The portrayals are contemplative, sharing shifting perspectives on morality, accountability and moving on. Solomon and Slatter show spontaneous, fluid movement, with nice connection – and at times anguished disconnection – as the honeymooners. The story relays how they met, and the incident that changed their lives on the way to their honeymoon, the initial exhilaration turning to examination as the couple trade places in their reactions; She is initially philosophical but ultimately finds it hard to forget, he is initially more uncomfortable – with the framing of the event, and perceptions around his role in both that and perhaps his role in their relationship more broadly – but then is better able to check his emotional baggage.

Solomon and Slatter beautifully highlight the tension between honouring your own experience and freeing yourself from it – a challenge Ray and Syliva struggle to overcome. Filkins shows good versatility in his roles; His multiple casting works especially well here, where the presence of one character he portrays looms large throughout, despite only a brief physical appearance on stage.

Overall, Brace Brace is thought provoking and rendered with honest emotional weight, seasoned with levity. The fight scenes are well handled in the intimate space, the simple set all that is required to bring the story to life. Poignant, rapid-fire and darkly comedic, Brace Brace is a triumph for director Deidre Grace and the entire Pip Theatre team. A must see.

To book tickets to Brace Brace , please visit https://piptheatre.org/brace-brace/.

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Witness For The Prosecution: A Compulsive Courtroom Caper

Witness for the Prosecution by Agatha Christie

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First staged in 1953, Witness for the Prosecution is an enduring thriller from the Queen of Crime, Agatha Christie, following prisoner Leonard Vole (Reagan Warner) as he stands accused of murdering the wealthy widow Emily French, shortly after being made the primary beneficiary in her will. His fate turns on the testimony of his wife Romaine Heilger (Sandy Adsett) who hatches a plan which sends the proceedings into disarray, perplexing the prisoner’s barrister, Sir Wilfrid Robarts (David Hill) and audience alike; In typical Christie style, suspense ascends certainty, the solution is shrouded until the very end – and we are in for entertaining evening, piecing the puzzle together.

Reagan Warner is animated and layered as Leonard, showing appealing restraint in the role, effectively embodying his character’s very English sensibilities. Leonard is portrayed as familiar, respectable and at least superficially decent – however the audience question their trust in his true character and motivation, with cause for our reservations remaining throughout. David Hill has some fine moments as Sir Wilfrid Robarts, capturing suitable ambivalence with nice rhythm in the witness examination scenes; While Hill strains for his lines occasionally on preview night, his portrayal is nonetheless sympathetic, with the bearing and gravitas required for an esteemed man of the law.

 

 

As Romaine Heilger, Sandy Adsett is enigmatic, eye-catching and thoroughly enjoyable, as we wonder whether she is duplicitous or dedicated. Liz Hull as Janet Mackenzie is another highlight, creating a memorable characterisation, paying fabulous attention to small details such as gait and gesture, turning her supporting role into a scene-stealer. As Greta, Kailan Tyler-Moss is sweetly naïve, bringing some levity to the plot’s more serious business.

Elsewhere, Luke Friedman is a lively study as Mr Myers KC – showing deft comedic flourishes, serving side-eye and sanctimony as he huffily adjusts his horsehair wig. Toby Chittenden is a memorable and commanding Inspector Hearne, David Scholes provides an unflappable and determined Dr Wyatt, with John Grey an assiduous Mr Carter. Wayne Hinton as The Judge, Paul Hynes as Mr Mayhew, Kip Jeffree as Court Clerk and Marisa Bucolo as The Woman each make an impression in their smaller roles.

The costumes look wonderful, the set and sound design are simple, yet effective. Unfortunately, the timing of sound effects is off in parts – i.e., a collective gasp from the jury, which lands about 2 seconds late. I think the jury sound effects could be dispensed with altogether, but if they are retained then tighter timing and smoother fadeouts would benefit. However, such critique is minor as overall Vox Productions have delivered a riveting revival of this compulsive courtroom caper. Hearty congratulations to Director/Producer Nicky Whichelow and the entire Vox Productions team.

To book tickets to Witness for the Prosecution by Agatha Christie, please visit https://www.metroarts.com.au/event/witness-for-the-prosecution/.

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