It’s simply MARVELous: A Risque Parody

Marvel

MARVEL: A Risque Parody Rating

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The big energy opening number to MARVELous: A Risque Parody gave the audience a taste of what was to come. There were showgirls dressed in sexy red, white and blue outfits, high kicking, singing and dancing around a muscular square jawed Captain America, played by Luka Lea-Vestic holding up his big round shield.

It was reminiscent to a scene from Captain America named “The Star Spangled Man with a Plan” except director, creator and composer Samwise Holmes cleverly wrote a parody called “The Man with America’s Ass” with lyrics such as “Who’s got a glorious gluteus maximus? The vote for the world’s greatest bum is unanimous. A posterior that’s all class. The man with America’s Ass”!

From here I guessed that this was going to be a mix between a satirical musical, a flamboyant gathering of colourful costumes and cheeky burlesque dancing. What I didn’t foresee was another layer – one which involved not only raunchy strip dancing, but dancing in many different styles, including a ballet act, dancing using a whirlpole and a modern puppet master dance led by Scarlet Witch, played by Brea Holland. Added into the mix was a good dose of aerial and stage acrobatics, with risqué humour woven in. Listening to the audience’s reaction to the performances around the theatre, it was clear that MARVELous was hitting all the right notes!

Each performance involved a seperate Marvel character act, unique to them and was unrelated to others. There was not a storyline from start to finish, rather a series of acts where the Marvel characters embodied their character traits and special powers. They performed a particular dance, sometimes singing along to parodies of a well known scene from a movie. When they were not performing as their main Marvel character, the cast of 12 supported each other by playing other roles onstage.

One stand out performance was by Megan Wonfor, who played Black Widow. Her fight scene with two ninjas dressed head to toe in black was phenomenal. The three of them did a “dance fight” full of acrobatic tumbles and sharp acrobatic leaps, all in time to music. It was visually one of the most beautiful fight scenes I’ve ever seen!

Another performance I really enjoyed was from Fat Thor, played by Thomas Remaili, who used the pole in his routine and made climbing up it and hanging off at zig zag angles look easy, despite wearing croc slip on shoes and having his legs and arms covered, which left me wondering how he was able to grip the pole. His huge prosthetic belly didn’t hinder Fat Thor as he performed his routine, and his humour had the audience laughing and cheering him on.

Deadpool, played by Justin Wise, was the show’s sassy narrator. When he was onstage, his role as the storyteller appeared to be more of a stand up comedian and involved him bantering with the audience to bring the show to a more personal level.

The choreography of all the dance acts was so varied, and executed with precision by the actors. If all the dance routines were too similar, it would have been a lacklustre show. Choreographer Luka Lea-Vestic ensured that audiences would be treated to a mix of styles that captured our attention.

James Wallis’ lighting, in combination with the creative three-story cityscapes scaffolding set design by Dan Potra, was effective throughout the show to both elevate the vibrancy of the mood and to build the suspense in darkened scenes. In one performance Iron Woman, played by Lulani Rawson, led a multi woman lineup of Marvel characters in a dance, with each performer using her lights on her hands to create exciting paths of lights into the audience as the male performers lit them up from behind. This was a mesmerising scene.

Action Reaction Entertainment have brought a dynamic show to the Chatswood Concourse theatre for fans of the Marvel Cinematic Universe. There were cheers and laughter as they understood and appreciated the jokes and references throughout the performance. Even if you weren’t familiar with all the characters, there were acts which brought in parodies of some very well known musicals as well. Despite some opening night hiccups with the sound, the soundtrack paired with the casts’ high energy performances ensured the audience had plenty of laughs and a MARVELous night out.

MARVELous: A Risque Parody is playing at the Chatswood Concourse.
Be aware that it is an 18 + event.

Show Run: Friday 26 July – 10 August 2024
Tickets: from $59 – $125

www.marveloustheshow.com.au

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

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Children Are Stinky: Fart-tastic Circus Fun For All Ages

Children Are Stinky

Children Are Stinky Rating

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Are children really stinky? How many ‘bot bot’ jokes can you fit into a 45 minute show? And who enjoyed this jam packed, super fun extravaganza more? The adults or the kids? These are extremely important questions if you are aged 4-12 or a grown up who has surrendered to their inner child. In the spirit of ‘Children Are Stinky’, an exciting, award-winning children’s comedy by Circus Trick Tease, the answers ….. will be revealed at the end of this review. Spoiler Alert!

Jason and Kylie (not their real names) take an extra big and farty bow! You two rockstars managed to mesmerise a mob of 150 mini-humans without resorting to TikTok trickery, coolness, or screen time sorcery. Your old-school, analogue awesomeness has earned you a gold star in the annals of kid-entertainment history.

‘Children are Stinky’ dares young adventurers to be smart, imaginative and active. A joyful jamboree of giggles, grins, and triumphant high-fives in a crazy circus celebration of youthful exuberance and laughter.

How truly wonderful to see children bouncing and dancing in their seats, unable to tear their eyes away from the charm of this immensely silly and clever show. What is it about? Well…. nothing, but how nice it is to be alive, move your body and cackle until your bum drops off. It’s like they were stuck in a vortex of pure, unadulterated joy – and honestly, who can blame them? It’s a spectacle so awesomely absurd, you’ll be jiggling along with the kids in no time. Pure bliss erupted when a small but mighty voice cut through the chaos, triumphantly declaring ‘YOU licked it!’ (don’t panic – it was a blackboard) – a hilariously perfect moment that encapsulated the show and elements of audience participation.

The air was electric with squeals of delight, shouts of ‘Higher! Higher!’ as Jason balanced on his head or a chair or over a kid, Kylie dangled from a swing and they both trashed the stage with balloons, puppets, props and nonsense – all set to a soundtrack of upbeat jams. The Parramatta light rail staff on their 100th testing loop were probably scratching their heads, wondering if they’d missed a memo about a spontaneous kindergarten rave party breaking out nearby!

Parents beware – there will soon be a buyers rush and shortage of whoopee cushions. Stock up immediately. They are now more coveted than a selfie with a unicorn. And kids across Western Sydney will be driving their parents bonkers over the holidays as they try to master handstands, drop siblings on their heads (oops!), balance chair towers, juggle (kind of), and probably swing from the clothesline.

This show was perfect stinky holiday entertainment. Get ready to revel in the nostalgia of retro-rad fun and games, and inspire the kids to put down their screens and get playful too! Your kid will love it. You will love it. And let’s be real, the farts are just the cherry on top – don’t pretend you’re not excited!

Answers:
1. Yes, children ARE stinky. But they were ok with that because everyone else is stinky too.
2. How many farts? At least 54. I lost count, but the words and actions never lost impact.
3. Who enjoyed it more? As an ex-kindergarten teacher I can honestly say that apart from writing this review, it was the most fun I’ve had since I had a crush on Greg from that other kids show.

See https://www.circustricktease.com/children-are-stinky for the stinkiest tickets in town.

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

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Duck Pond: Acrobatics Meet Avian Antics!

Duck Pond

Duck Pond Rating

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Pirouettes, waddles, and aerial feats – bodies defying gravity and whimsy taking flight. Circa Contemporary Circus presents ‘Duck Pond’, a fusion of fairy tales that redefines the boundaries of creativity and ruffles a few feathers. It’s not a circus, not pure dance, but unapologetically surrealistic and offbeat.

Yaron Lifschitz reimagines elements of Swan Lake and The Ugly Duckling with physical theatre, circus arts, and contemporary dance to retell a timeless tale of love, self-discovery, and acceptance. While Circa’s distinctively idiosyncratic approach results in a visually appealing show, it doesn’t always hit the sweet spot in adding depth and cohesion. It’s a conundrum – an experience that’s both refreshingly unconventional and bizarre in some choices. The show comprises three distinct performances pooled into one: kinetic spectacle, clowning, and a puzzling postmodern coda.

The stage itself is a masterful design element, a vast and versatile expanse bound by a curtain that wraps around three sides. Beautifully lit, its ribbons part, permitting seamless entrances and exits from all angles, accentuating the silhouette of black and white costumes. Ten outstanding artists carry the show with an impressive display of skill and endurance. Managing to execute challenging acrobatic choreography with precision and grace. United in their commitment, they demonstrate the power of trust and collaboration, integrating agility with lovely dramatic flair.

The best moments were when time felt suspended. Sophie Seccombe, a talented acrobat, mesmerised audiences with her exquisite adagio skills, gracefully transitioning from ‘The Ugly Duckling’ to ‘White Swan’ and culminating in a beautifully executed swan dive. Asha Colless, as the enchanting Fairy Swan Mother, brought grace and majesty to the stage, her impressive power and skill shone through in her captivating acrobatic performance.

The aerial silks routine, performed by three men, was full of air and floating vastness. The blue silks swung rhythmically, twirling them through the space. With strength and precision, they performed daring drops and releases. It ended all too soon. Kimberley Rossi, as the Black Swan Aerialist, delivered a breathtaking ropes performance. Harmonising her movements with the melody, creating a memorable fusion of sound and motion.

This was a hypnotising moment before the abrupt chaos that followed: a 5-minute stripping of the floor and stage in full view of the audience, merely to bring on stage a huge TV screen displaying swans fighting, a hoops act, and the cast showing skin while posing inside lit boxes on wheels. The story then had to work uphill to return to the lake and Tchaikovsky’s score, which would have been the perfect ending after the Black and White Swan pas de deux. Instead, this false ending and flight of fancy killed the atmosphere.

The brilliant soundscape, created by Jethro Woodward, is a testament to the power of music in elevating storytelling. It was a singular audio experience in its transportive mix of modern percussive, music hall nostalgia, and the otherworldly. Incorporating elements of well-known fragments of Tchaikovsky’s ‘Swan Lake’, it infused a touch of the fantastical, perfectly punctuating and underscoring the action. The remix of ‘Dance of the Cygnets’ was a fabulous adaptation to accompany a very amusing duck dance, while other musical moments whisked the audience away to a realm both familiar and strange.

Circa is Australia’s answer to Cirque du Soleil, and “Duck Pond” serves up circus avant-garde with a side of Vegas flair, which should please audiences expecting the wow factor. However, the combination of dramatic and absurd did not consistently mesh. Less could have been more. It would benefit from refining the narrative structure to bring home the denouement.

This production shines brightest when it pauses to breathe and allows the simplicity of effortless skill and stillness to blend, holding space for the audience, conveying powerful moments of fluidity and trust for the story to speak for itself.

See https://circa.org.au/about-circa/ for information on the dates of the Circa tour.

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

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