A Midsummer Nights Dream Come True

A Midsummer Nights Dream

A Midsummer Nights Dream Rating

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3

It’s a scorching 38-degree day, the sun is beating down fire-like rays, and I cannot stop sweating, and yet, when I am welcomed into Williamstown Botanic Gardens, everything feels a little bit cooler. Leaves en masse create dappled shade, and as I am guided on where to put my seat, my body temperature drops ever so slightly as my excitement rises.

I am here today to see Ozacts Midsummer Night’s Dream and, as an avid Shakespeare lover and student of the performing arts myself, this little clearing in these gardens suits me perfectly. A stretch of rope lines off the stage of gravel and grass, and shortly after, the play begins!

There truly is no better play well suited to a clearing in the gardens than a Midsummer Night’s Dream, and this company made full use of the different entrances and exits that were allowed in this setting. It truly felt as if the audience were a birds’ eye into the forest where all this beautifully comedic mayhem took place.

The beauty of this stage was that, apart from some pillows and blankets, the set design was stunningly simplistic and fully allowed the actors to tell the story without getting caught up in props and tidbits.
There was an attempt at sound and music, but as it was a rather open space, this got slightly lost. However, when heard, it created an ambience that further told the story in all its glory.

I want to give a (virtual) round of applause to every actor in this show. Each character had such a solid foundation, and I felt like I knew who they were. As an ensemble, each joke, each moment, and each word bounced superbly between both them and the audience. It was truly something magnificent to behold.

However, a special mention must go out to a few of this magic ensemble. LYSANDER, played by Ryan Stormland (who also played the Lion), had comedic timing as quick as a whip. As the Lion, the true feeling of just wanting to be involved was spot on, and as Lysander, each insult to Hermia(played by Kim Devitt) not only rolled off the tongue so splendidly but truly hit home not just to Hermia but also to us as an audience. HELENA, played by Maddie Roberts, (who also played ensemble parts) also displayed such a captivating array of feelings, from confused to offended to deeply madly in love, I fell for it all as hard as she fell for Demetrius!

All of this was further emphasised by gorgeous costumes. I loved the concept of Nick Bottom(played by Andy Delves) having donkey ears attached to his top hat and this reveal openly made me cackle. Titania’s costume was also an absolute sight to behold and created such a stunning silhouette which Carli Jones used to full advantage.

It’s so difficult to get an audience to understand Shakespeare, especially if they know nothing beforehand, but as a part of that audience, this ensemble transported us to a frolicking forest of fairies and fickle love that made us laugh, gasp and openly cringe and I would have it no other way. So if you wish to while away a balmy afternoon, I would highly suggest checking out Ozact and their Shakespeare in the Gardens. You will not be disappointed!

To book tickets to A Midsummer Nights Dream, please visit https://www.ozact.com/home/dates-locations/

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.

Australian Open

Angus Camerons Australian Open

Angus Cameron’s Australian Open Rating

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8

The Australian Open is a modern Comedy written by Angus Cameron and directed by Hayden Burke. It explores the dysfunctional and interconnected relationship between a queer couple (Felix and Lucas), and Felix’s family. It incorporates mild social commentary with quick witted humour, creating a character driven story that hits highs and lows in high frequency.

Act One was a riotous time that culminates in the drama of ‘Family Christmas Lunch’. The pacing was excellent, building consistently to this titular moment. The versatility of Sandro Colarelli and Lisa Hickey’s performances must be commended, as they play the bigoted parents who evolve throughout the play. They show much range during their performance, with complete commitment to beats of physical comedy as well as dramatic intensity.

Act two does a tremendous job at showing the effects of the events from earlier in the play, and how each character responds to them. Whilst we get so much diversity and growth from everyone’s characters, they are very human remaining still flawed at the core. The story ends with intrigue and moments of reconciliation which leave the audience feeling uplifted. The comedic timing and tone were excellent throughout.

What this play did exceptionally well was the balance of tension and comedy. There were many moments of drama that built tension, that the audience was left to sit with for a satisfying length before comedic relief burst through. This is a standout take-away, giving the audience a rollercoaster ride of ups and downs, but all wrapped up and delivered as entertainment. This is due to the collaboration between talented actors, a fantastic script and great direction. The set was fairly minimalistic due to the intimate setting but was used most effectively, transitions were covered well never leaving the audience waiting for long. The set design was inventive, using a tennis net as a billboard with lights. I also appreciated the further ceiling lights made to look like tennis balls.

Australian Open is a wonderful character driven comedy that explores queer relationships, self discovery and the merits of eskies. I was overjoyed to see fun and positive representation of many things including BDSM elements and open relationships. The only thing I would’ve liked to see would have been a romantic and uplifting kiss between Felix and Lucas at the resolution of their story, to really drive home the rewarding pay off for those invested in their journey. The Cast and Crew should be commended for a hilarious and sometimes too accurate play. Audiences will have a delightful and engaging time, and shouldn’t miss Angus Cameron’s Australian Open.

Australian Open runs for two more weekends only. To book tickets to Angus Cameron’s Australian Open, please visit https://piptheatre.org/australian-open/

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.

A Very Naughty Christmas

A Very Naughty Christmas

A Very Naughty Christmas Rating

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1

‘A Very Naughty Christmas’ is back for its eighth year with a delicious new array of jaw-dropping spectacles and skits. The musical features raunchy dance showcases, brilliant Christmas parodies, and hilariously vulgar gags in what is fast becoming Australia’s best Christmas show for adults.

The star-studded cast attacks the stage with vivid confidence. The company is small yet fierce, many of whom are triple-threat performers and graduates of Performing Arts institutes from all over Australia. The show offers almost too many memorable scenes to choose a favourite, and running at just under two hours long, the spectacle is a joy to witness from beginning to end.

The most iconic of parodies include “Walking ‘Round in Women’s Underwear” and “It’s Beginning to Look a Lot Like Christmas” (with an expose of X-rated toys…in every store). The calibre of vocal strength among principal singers rivals the talent of Australia’s most well-known musical theatre performers. Grace Laing and Jarrod Moore win over the audience’s affection, particularly for their indulgent vocal qualities, memorable storylines, and natural on-stage charisma.

 

Asmara Soekotjo stuns as the cast’s most striking mover, unsurprisingly adorned as this season’s Dance Captain. Soekotjo takes center stage in a parody of The Police’s “Roxanne”, turned “Rudolph Put On The Red Light” where she displays her aerial and lyrical might.

Led by the idyllic Mr Santa Claus, played by Tim Paige, the musical sees several hysterical audience interactions during the evening of fun. The cast revels in mischievous antics all night by poking fun at and embarrassing the viewers unlucky enough to be scouted into the limelight by performers. For those particularly unfortunate, a segment of the audience on-stage performance could be involved.

The talented live band adds to the glossy exterior of the production without any significant reliance on pre-recorded material. High-quality lighting, production, live sound, and cast confidence are a testament to the production’s long-standing history of success.

The extravaganza of risque bliss is nestled in St Kilda’s Alex Theatre and is a Christmas show not to be missed. A Very Naughty Christmas is making its way through nine total shows running in Melbourne until December 21.

To book tickets to A Very Naughty Christmas, please visit https://melbourne.averynaughtychristmas.com/

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.

Skating In The Clouds

Skating In the Clouds

Skating In The Clouds Rating

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3

Clare Mendes’ current play “Skating In the Clouds”, directed by Emily Farrell, brings her passion for saving the environment to the fore but also shows her passion for people and relationships. Two years in the making, with assistance from a Malcolm Robertson grant, Mendes explores the responses we make, as individuals, as generations and as a society to that big topic, climate change.

I say “we” because, through the actors on stage, we see ourselves represented. Summer and Autumn, in solid performances by Katrina Mathers and Rebecca Morton, are like two sides of a coin. Together, they are facing a world that is changing, but they have opposing coping mechanisms. Autumn, a scientist, wants to fix it but despairs at her inability to get to the root cause. Summer would rather hide in her daydreams, imagining a perfect future unaffected by such changes, yet the truth hits her in small moments every day. How will they navigate the future together? Can they reconcile their differences?

The play makes more sense when viewed as a morality play, with the symbolically-named Summer and Autumn together being our Every(wo)man (or Every person). Described as a “magic-realist romp”, there is a disconnect from a specific time and place. The beautifully simple set by Bianca Pardo is timeless, and despite Melbourne’s locations being mentioned, we imagine it to be in the clouds. Whilst we are told that our ladies are turning 70 in 2040, we don’t feel like we are fully in 2024 either. Props are oversized. It’s all very dreamy.

 

Performers El Kiley and Shamita Sivabalan ably support the action with youthful energy in scenes that punctuate the main storyline. Their physical embodiment of various characters reveal different societal responses to the climate crisis: politicians, journalists and rich corporate workers as examples.

For me, the highlight of the play was the confrontation scene between Mathers’ Summer, and Sivabalan, playing Summer’s daughter, Toby. After the discussion of ideas that dominate Summer and Autumn’s conflict in the previous scenes, we finally see raw emotions we can relate to. Summer has to face her fears for her daughter and mourns the simplicity of life when she was young; she wonders how we got into this mess that includes the overproduction of disposables. Toby believes herself and her generation innocent and rages against the undeserved burden, directing it at her mother. But the argument is pointless. The problem remains and mother and daughter must find hope for the future by finding small ways they can contribute to change. The passion in this scene has stayed with me, both its rage and its hope, and is a testament to the writing and the performances of the actors.

The lighting design by Natalia Velasco Moreno and the sound design by Sharyn Brand supported the action effectively but, along with all the creative team including set/costume, actors and movement (Lucy Payne) I would have liked to have seen more of their stamp on the whole production. The amount of talent in the creative team is immense, and the “magic-realism” element could have been leaned into even more, allowing the story and its deeper emotional meanings to unfold in the spaces between the words.

“Skating in the Clouds” is on at Theatreworks, Acland St, St Kilda, until Saturday, December 14th.

To book tickets, please visit https://www.theatreworks.org.au/2024/skating-in-the-clouds

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.