Ghost Quartet: A Haunting Musical Kaleidoscope

Ghost Quartet

Ghost Quartet Rating

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When I first sat down in the Hayes Theatre, watching the performers playfully improvise to keep us entertained while a technical problem delayed the start, I really wasn’t sure what to expect.

The stage was covered with Persian rugs and dressed in various antique furniture, cameras, and lamps. I knew there would be music. I knew there would be a blackout sequence (I read the program warnings), and I knew there would be no interval. But even when it was all over, and the audience leapt out of their seats for a standing ovation, I still wasn’t quite sure what I’d just experienced.

The best way to describe Ghost Quartet might be as a haunting, quirky, and inventive musical dreamscape. Directed by Brandon Pape, Antipodes Theatre’s production of Dave Malloy’s Ghost Quartet is like a fusion of The Twilight Zone and One Thousand and One Nights.

I must admit, I found the plot a little hard to follow initially, but that didn’t diminish my enjoyment. It involved sisters, an astronomer, the stories we tell each other, and the ghost of Thelonious Monk. Ultimately, I decided to simply let go and immerse myself in the musical kaleidoscope. By the end of the production, the themes of ghosts, memory, and the passing down of stories across generations were conveyed in a surprising, effective, and powerful way.

The lighting design by Sidney Younger was beautiful and haunting, while the sound design by Evan Drill was outstanding. Antipodes’ actual ‘Ghost Quartet,’ led by musical director David Butler, constantly surprised me with their range, talent, and humour. They were all unique individuals and yet perfectly harmonious, interacting well with the audience in a way that kept the whole theatre engaged.

Hany Lee, Willow Sizer, David Butler, and Cameron Bajraktarevic-Hayward are all incredibly talented actor-musicians, each covering various musical styles and instruments while delivering strong individual and collective performances. There is one fifteen-minute sequence where you’ll find yourself wondering, long after the show, how they could keep changing styles and instruments so flawlessly.

Skipping an interval was a wise choice, as pausing the rollercoaster of this production would disrupt the show’s momentum and wake us all up from a musical trance. Like waking from a dream, returning to the same place is impossible once the spell is broken. It didn’t seem to be a problem. Despite the delayed start and extra pre-show drinks, I didn’t notice anyone leaving to miss any part of the show. This is a show I would wholeheartedly recommend experiencing—perhaps more than once.

Ghost Quartet by the Antipodes Theatre Co. is playing at the Hayes Theatre in Potts Point, Sydney, until the 1st of February 2025. To book tickets to Ghost Quartet, please visit https://hayestheatre.com.au/event/ghost-quartet/

Photographer: Angel Legas / 3 Fates Media

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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/

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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/

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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/

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