Carlotta: The Party’s Over

Carlotta: The Party's Over

Part of the lure of seeing an entertainer, the self-proclaimed and well-earned title of the ‘Aussie living legend’ Carlotta AM, is the hope that the show will be fabulous. And that plenty of sequins, feathers and bright costumes will adorn her – and Carlotta did not disappoint.

She burst onto the stage to thunderous applause and cheering from the audience, wearing a black outfit covered in dazzling diamantes and dark feathers for her show, The Party’s Over.

It seemed this title implied Carlotta would retire, yet in her own words, she would perform until the day she can’t, as retirement would be too boring. Carlotta has had a long and varied career, and it seems she isn’t going to quietly exit showbusiness to drink cups of camomile tea and knit!

The musical director, Helpman Award winner Michael Griffiths, accompanied Carlotta on the piano, singing some songs alongside her. Michael brought a polished charm to the stage. Also on the set were two talented musicians playing the bass guitar and drums.

The Hayes Theatre is a small venue that allowed Carlotta an evening that seemed an intimate performance, and at times, she exuded warmth and felt like she was friends with everyone in the audience. Indeed, she did have some friends in the audience, and she kindly gave a shout-out to her one-hundred-year-old friend and another friend in the biz with whom she had previously worked.

Carlotta has a quick sense of humour and injected a lot of levity into her show. No one was safe from her witty remarks, especially not the front row, who traditionally were targets for a comedy show! No topics and no people were off limits, even the ex-PMs, a certain broadcasting studio whose security was exceptionally high, “millenniums”, and even her own self, making light of her age and that it was a “hideous age” she was currently at.

She made everyone laugh when alluding to keeping up with the demands of performing standing up for long periods when she was in her eighties and feeling too hot in her costumes. (She had three costume changes, each as captivating and fabulously outrageous as the last, complete with tall, sparkly headpieces and gigantic feather fans).

Carlotta’s singing voice was strong and robust, and she sang classics such as I Write the Songs, My Way, and I Still Call Australia Home. She had the audience singing along, clapping, and swaying in their seats.

Scattered throughout her show, Carlotta reminisced about different parts of her life. She had performed in Les Girls in Kings Cross for almost 30 years, followed by a career in television. She gave a condensed version of the history of Kings Cross and how lovely it used to be, with a good reputation where people from overseas wanted to come to dine at the Bourbon and Beefsteak pub and see shows at the Les Girls nightclub.

Carlotta is a seasoned performer comfortable in her own skin. She is an advocate for the LGBTIQ+ community, leaving the audience with a message to always be yourself and not be silenced on your thoughts because – “darlings, life is too short.”

Running Time: 75 minutes, no interval
Performances: 28 Feb -3 March 2024
Hayes Theatre 19 Greenknowe Ave, Potts Point

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

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Riders – Europa Festival Film Review

Riders - Europa Festival Film Review

The Europa Film Festival is in full swing in Melbourne and Sydney, offering me the perfect opportunity to review the Australian Premiere of Slovenia’s Riders.

Directed by Dominik Mencej, Riders was Slovenia’s submission for the Best International Feature Film Academy Award and this, its Australian premiere, forms part of the Europa Europa film festival running from Feb 15th to Mar 11th.

Set in the spring of 1999 in Slovenia, the film follows two friends from a small village. Inspired by their love of Easy Rider, they travel cross-country on their souped-up mopeds. Anton (Petja Labovic) is seemingly on a quest for his ex-girlfriend, and Tomaz (Timon Sturbej) is seeking truth and acceptance. They are joined along the way by the enigmatic Ana (Anja Novak), who is trying to travel cross-country for reasons of her own, and elder bikie Peter (Nikola Kojo), a father figure and older version of Anton.

Riders - Europa Festival Film Review

The performances are nuanced and authentic, with Tomaz and Anton sharing equal billing in their journey. Tomaz, with his gentle demeanour and unwavering loyalty, becomes the unsung hero of the journey, while Anton’s fiery spirit and impulsive actions add a layer of unpredictability. With her mysterious allure, Ana redirects their path towards the seaside, a twist that enriches their voyage. The initially tense relationship between Anton and Peter evolves into a believable mentor-protege bond, adding another layer of emotional depth to the story.

Mencej masterfully controls the film’s pacing, allowing audiences ample time to engage with each character’s development and the group’s interpersonal dynamics. This deliberate storytelling showcases the complexity of their personalities and mirrors their internal quests for identity and belonging.

At its heart, “Riders” is a meditation on the search for self, brilliantly symbolized by the protagonists’ journey across Slovenia. Is there any better way to do this than to jump on your motorbike and journey across the country?

We glimpse love, jealousy, anger, tragedy, a hint of romance, and redemption of a kind that culminates in a conclusion that satisfies but remains open-ended at the same time, inviting us to ponder the characters’ futures.

This is an excellent film with a simple premise about the ever-elusive quest for truth, portrayed with depth and authenticity.

This film gives us a small snapshot into another time and another country far removed from Australia but remains timeless in terms of the human experience. We’ve all had our seminal moments, and this film encourages us to reflect on our own journey, the personal truths we’ve uncovered along the way, and ponder those that still remain hidden from our view.

I wholeheartedly recommend “Riders” to anyone attending the Europa Film Festival.

For Sydneysiders, this film can be viewed at the Ritz Cinema in Randwick on the 18/2 and 3/3 at 5:15pm.

For Melbournites, this film can be viewed at Classic Cinemas, Elsternwick, on 18/2, 29/2 and 8/3 from 5:15pm.

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

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Send For Nellie

Send For Nellie

The opening night of ‘Send For Nellie’ is a bright and deeply captivating performance celebrating and commemorating the life of Sydney’s own cross-dressing cabaret queen, Nellie Small.

Rich with history, soul and laughter, Alana Valentine’s research into Nellie and her stage presence was well executed by performers Elenoa Rokobaro and Eleanor Stankiewicz, the incredibly talented musicians Maria Alfonsine, Camilla Bellstedt and Wollongong local Jodie Michael, and director Liesel Badorrek.

Elenoa Rokobaro brought Nellie Small to life with grace and power. Her vocals boasted of control and an enjoyment of the craft. Rokobaro captivated the audience, whether jazzy or mournful, throughout each song, and it was difficult to look away.

Her scene partner, Eleanor Stankiewicz, should be commended for her commitment to each character she transformed into. With hats and jackets as the sole means of a character change, Stankiewicz put everything into the physicality and vocal performances of the people in Nellie’s life. Right down to the way a certain character would sit or walk or even hold their hands when listening to Nellie perform, there was never any confusion as to who was on stage with Nellie at the time.

The hilarity of movement and costume choices contrasted with the authentic conversations and laws of the 1930s and 40s in Australia. Using clown noses and vaudeville choreography made those scenes and the following songs more powerful.

Clearly, each person on stage was having a good time, which encouraged the audience to be consumed by the story. The set up of cabaret tables directly in front of the stage and the performers moving through the crowd at different times allowed for an immersive experience. From the get-go of the theatre doors opening and jazz music playing softly from the speakers, it was like stepping back in time to a smoky jazz club and waiting to hear the shouts of “Send for Nellie!” in order to salvage a performance.

This performance, however, needed no salvaging. ‘Send For Nellie’ is a moving story of a cross-dressing, gender non-conforming, black Australian woman pursuing her passion in show business and is backed by more multi-talented women. ‘Send For Nellie’ is a good time from start to finish. The entire creative team should be very proud of themselves.

Tickets are available to see ‘Send for Nellie’ at the Illawarra Performing Arts Centre via the link below.
Performance Times: Thu 15 Feb, 6:30pm; Fri 16 Feb, 7:30pm; Sat 17 Feb, 1:30pm &7:30pm
Where: Bruce Gordon Theatre–Illawarra Performing

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

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Shaken and Stirred – An Evening With James Bond

When listening to some movie soundtracks, certain iconic notes link that song to a movie and are immediately recognisable, similar to lines recited where you know precisely which Shakespeare play they hail from.

In the case of the James Bond franchise, they are the first four notes of the opening theme. You know them, that first scene – where the black camera lens swirls open, and James Bond appears, dressed in formal attire, confidently holding his weapon. These four notes are followed by a tune that places listeners in a particular era; one of intrigue, one of suave sophistication, one where the men are debonair and the women breathtakingly beautiful. The “Bond, James Bond” era.

On Saturday night, 3 February, this is exactly where everyone went in their memories inside the theatre at The Concourse Concert Hall in Chatswood. The sixty-plus musicians from the Willoughby Symphonic Orchestra (WSO) presented an evening of James Bond movie themes.

Delightfully conducted by Dr Nicholas Milton AM, the WSO took us on a musical memory journey from Dr No in 1962 to 2012’s Skyfall. The distinct sounds of the sixty decades shone through with each theme, and I immediately visualised the actor playing James Bond and the associated colourful villain in the film. After all, one doesn’t exist without the other – the hero and the villain. They seesaw much like the music’s portrayal of deception, danger and determination. Performed one after another, it was interesting to hear the recurring recognisable 007 leitmotif pop into a few different theme songs. All orchestrations were by Nic Raine.

Dr Nicholas Milton was dynamic in conducting the WSO. From the opening theme song and throughout the many changing tempos, his enthusiasm was infectious and enabled the audience to be swept along with his energy. As well as being a Concertmaster, Dr Milton showcased his skill as a musician and joined in as a pianist on one of the songs. This was only one part of a show where people on stage had dual roles. During Live and Let Die, musicians sang the backup vocals, which surprised and delighted the audience and in Another Way to Die, I interpreted the strings section performing a visual type of ‘Mexican Wave’ with their bows in the air, which I loved seeing.

This was not a show to be silent the whole time, with the audience showing their full appreciation with claps and cheers after musicians’ solos, such as when Rick Cassar and Lars Mehlan showcased their talents on their trumpets. The WSO received a standing ovation at the concert’s end, prompting an encore of two more James Bond movie songs.

Some James Bond themes are not purely instrumental, and we were fortunate enough to have been treated to the vocals of incredibly talented British singer Mary Carewe. Mary is an established and well-respected recording artist and recitalist with an extensive repertoire, including Broadway musical songs, cabaret, and jazz. She seamlessly brought her own style to the songs, and I was impressed by how she sang life into the body of the music. Certainly not surprising, as she has made a CD of The Music of James Bond with the Royal Philharmonic Orchestra. Not to be understated were Carewe’s beautiful outfits, with one in particular, a sparkling and glittering nod to the true glamour of James Bond.

The 21 songs that the Willoughby Symphonic Orchestra performed were perfectly chosen to showcase the talents of the musicians. The slow, romantic ballads of For Your Eyes Only and All Time High were sweet and earnest, whilst the stand-out song for me with the varied slow and then frenzied tempo was Live and Let Die. A perfect song to close the first half of the concert.

It was impressive that the WSO performed all except a handful of James Bond theme songs. Even if you haven’t seen these movies, this orchestra’s renditions made for a beautiful evening of classic British 007 music. It was an immersive performance, and as I left the concert hall, I knew I’d be humming those four-plus notes all night.

Running Time: 90 minutes with a 20-minute interval
The Concourse Concert Hall, Chatswood
Saturday 3 February, 7pm
Sunday 4 February, 2pm

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

An Evening With James Bond