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

Children Are Stinky

Children Are Stinky Rating

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1

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.

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Finesse: An Australian First

Finesse

Finesse Rating

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Whilst always being required of course for Salsa and Latin dance classes, ‘heels’ have rarely been seen in a regular dance school until very recently. Now you can find ‘heels’ classes on many weekly dance timetables at studios everywhere, but reviewing the first specific heels dance show in Australia, is very exciting!

The Siren Heels Company “Finesse” launch on Friday 5th July 2024 promised “delicate, impressive and sexy”. Excellent and engaging dancers, Estelle, Georgia, Jaime, Jessica, Jordan, Kimmie, Liam, Lia, Maddy, Sarah and Vicki, bring the vision together with Director and Founder of the new venture, 25 year old Peyton Leete.

Rehearsals must have indeed been taxing but worth the long hours as their timing and syncopation on the accents of the music is slick and their energy endless. All the dancers, including Peyton herself, are a tight team for the entire program – smooth transitions and incredible stamina is also on show here, and yes, you’ll hold your breath and your heart will skip a beat or two in parts.

Firstly, the music choices on the program can’t be beaten, they are perfectly selected from yesteryear’s Hollywood glamour to a modern day Catwalk vibe. Secondly, great costuming must be praised and it would have taken some very creative wardrobe brains to think of how black lace and a red garter would go strutting alongside a bright orange puffer jacket and make it work!  

In the showcased burlesque items, I wonder what designers of the essential corset undergarment in early centuries women’s fashion would say about these current elegant pieces, which definitely do not seem to hinder any breathing or ability to move.

Act 1 is full to the brim of everything ‘JAZZ’ – A fitting opening “Feeling Good”, choreographed by Peyton, has everyone on-stage and in the audience knowing that a long awaited night is now full steam ahead!

So, let me get right to the point, no dance show taking you back in time is complete without Fosse and a favourite was surely ‘Big Spender’. Originally written for the musical Sweet Charity, I doubt there’s another song even remotely similar that packs a punch like it does. A flashback moment in itself, I remembered performing to this song in my own youth as I watched Maddy’s solo, though the moves were a lot more tame back then (haha), and Maddy a lot more daring!

Fun fact, whilst ‘Big Spender’ is famous for Shirley Bassey and Peggy Lee, it was actually recently discovered that Cilla Black first performed it at London’s Savoy Hotel in 1966, by a forgotten tape found by her family. It makes a memorable moment to watch dancers perform to a song with interesting history. My grandmother would have known the words off by heart and although if she were here today she may not have approved entirely of Maddy’s attire, my 18 year old daughter sitting beside me and listening to the song for the first time, loved it!

‘Jaguar’ performed by Jordan is eye-catching choreography and her technical training is obvious, but her interaction with the audience was what stood out for me with this solo and I’ve seen a zillion dance solos over the years. Her gorgeous persona shone, she was mysterious and told the story she wanted to tell while we listened.

Act 2 is themed ‘FRENCH’ – filling the theatre with anticipation on shadows as ‘Derniere Danse’ dimmed the lights and ‘Fever’ heated up the lighting. However, I had seen in advance that ‘Toxic’ was on next – you know when you want to say turn up the volume, because Jessica definitely did that defining single justice. Then a WOW with ‘Roxane’ (I’m a tango fan), performed by Sarah – insane dancing, flawless execution.

Act 3 titled ‘FAME’ – I absolutely have to give a shout out to Liam for his solo ‘Queen of Pop’. Boys who dance never cease to be an incredible inspiration and steadfastly prove that this industry is definitely for both sexes and who doesn’t love a death drop, especially when you least expect it. The crowd did go wild!

If we were not informed by now that the growing popularity in ‘heels’ classes can incorporate many genres of dance, Kimmie’s talent certainly amplified this in her very rhythmic and more commercial style solo, before the group remix of Britney Spears’ hits was the showstopper highlight.

I won’t give anything else away, there’s a LOT in this show, there’s a lot of dancing, a lot of iconic music, a lot of smiling, clapping, jaw-dropping action, but mostly I would say there is LOVE. Love for dance, love for showcasing dancing in heels with excitement, and of course it’s sultry and sassy from start to finish, so the show suits older teens and adults because it does have mature themes throughout.

Peyton created Siren Heels Company because she wanted to create a space that nurtures passion and creativity. This company is for dancers who want to inspire each other and challenge the ideas of Heels dancing which encompasses many genres and styles. The idea for Siren Heels Company came to her five years ago and she started planning. Her new company embodies the values of treating people fairly, working hard, having fun and supporting each other.

“Heels is often misconceived as being hyper sexualised and in actual fact this show is all about class and fun” Peyton said, and after countless rejections from those who have not always treated her like the professional that she is proud to be, she wants Heels dancing to be appreciated as the art form it deserves to be known for.

If you are interested to see what it’s all about, there is still time to grab a last minute ticket for Saturday 6th July 7pm via trybooking https://www.trybooking.com/events/landing/1230831 or keep an eye out for the next Siren Heels show – auditions are open and this is just the beginning …..

Congratulations to Peyton, who has been brave enough after dancing for more than two decades herself to develop her own dance company and put her heart and love into what she and her cast clearly love, those HIGH HEELS!

ps. the Silver Boots – where do you get them????

NOTE: This show was hosted at Melbourne Dance Centre, Brunswick. Parking is easy in the street or near Coles – walking distance away. The theatre venue is warm with tiered seating and a glass of wine was on offer with a welcoming atmosphere.

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Prima Facie: An Intense and Thought-Provoking Journey

Prima Facie

Prima Facie Rating

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2

Prima facie—a Latin phrase meaning “at first sight” or “based on first impression”—is used in civil and criminal law to denote that a legal claim has sufficient evidence to proceed to trial upon initial examination.

Prima Facie opens with defence barrister Tessa Ensler (played by Sophia Forrest) confidently sauntering onto the stage, ready to tackle her latest court case. Tessa is in her element, prepared to interrogate and break down her witness, determined to continue a several-month winning streak. The script voices Tessa’s inner thoughts, providing a blow-by-blow account of her strategies and tactics. We learn that her impressive win streak includes several sexual assault cases.

The dialogue in this one-woman show utilizes Tessa’s internal monologue throughout, allowing us to follow her journey intimately. Through Tessa’s thoughts, we meet the significant people in her life and experience the play’s events. Sound effects skillfully enhance the emotional depth of the opening scene, conveying an additional current to Tessa’s thoughts and underlying emotions, allowing the audience to connect with her immediately.

As the play progresses, Tessa’s seemingly upward journey is disrupted by an event that leaves her questioning everything she knows. Her previously slick demeanour gives way to confusion and vulnerability, depicting the emotional turmoil of seeking justice and needing to be believed. The play explores the toll on her personal and professional life as she grapples with shattered illusions and seeks justice. Has she been unfair in her past treatment of victims in court interrogations?

What will the aftermath of this event mean for her? Will she be believed? Will justice be served? Will the perpetrator walk free? Will her voice be heard?

Congratulations must go to the production team for compiling a finely-tuned show. The set, costumes, sound, and transitions blend together seamlessly. The large stage is cleverly utilized, with versatile wooden boxes transforming into various props for each scene. The backdrop shifts smoothly, with a revolving stage component used cleverly in scene transitions, depicting locations from courtrooms to nightclubs. Visual media elements add tension at critical moments, offering visual insights into Tessa’s inner journey and effectively depicting time shifts in the play’s action.

  • Director: Kate Campion
  • Set Designer: Bruce McKinven
  • Set Realizer: Andy Cross
  • Costume Designer: Lynn Ferguson
  • Lighting Designer: Peter Young
  • Composer & Sound Designer: Melanie Robinson
  • Audio Visual Designer: Jessica Russell

Sophia Forrest’s outstanding performance anchors this intense one-woman show. Forrest adeptly portrays multiple roles, guiding the audience through Tessa’s transformation from a confident lawyer to a victim seeking redemption. Through the internal monologue, she effectively embodies the slick lawyer, interrogator, interrogatee, victim, daughter, sister, judge, and judged.

Enough credit cannot be given to Sophia Forrest for the remarkable effort in tackling the immense content of the role with skill and finesse. One can only imagine(shudder at) the mountains of preparation required to portray this role so successfully. A shoutout to understudy Holly Easterbrook, who must also have undertaken a similar journey in terms of effort and preparation.

The play’s heavy themes are thought-provoking and resonate deeply. You won’t necessarily leave the theatre with a light heart, but you will leave with plenty to think about, having witnessed a first-class production.

Prima Facie runs at the Heath Ledger Theatre from July 1 to July 21. Tickets range from $30.00 to $139.00.

The show lasts one hour and forty minutes without an interval. Content warnings include strong themes of sexual assault, coarse language, and the use of haze and smoke effects.

Photographer Credit: Daniel J Grant

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Blood in the Water

Blood in the Water

Blood in the Water Rating

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6

Playwright Jorja Bentley has authored a gripping and provocative theatre show with ‘Blood in the Water’. The show comes laden with content warnings: sexual violence, violence against children, & domestic abuse. Despite these hard-hitting themes, ‘Blood in the Water’ is also truly hilarious.

The show begins with the mother (Ruth) and daughter (Jen) engaged in verbal sparring about Jen wanting to go glamping with her friends on the night of her mother’s birthday dinner. The stepfather (Reuban) offers to drive Jen to both as a negotiation, then soon after receives a phone call that alters the course of their domestic life.

It is revealed that Ruth’s son (Jen’s brother) has been arrested for raping his girlfriend, Anna. Ruth’s sister, Sal, becomes Jen’s trusted ally in the family, where both were kept in the dark about Ruth and Reuben, knowing that there was concrete evidence against Ruth’s son; he had filmed it. The footage is leaked, and the son is sentenced to 4 years in prison.

Ruth and Sal had grown up with an abusive mother, and questions of nature-nurture and victim-perpetrator are explored. Sal’s liberal, outspoken character contrasts with Ruth’s uptight persona and the picture of suburban domesticity we see in her and Reuben’s home. Reuban is concerned with appearances and how this news will affect his political career.

Ruth desperately tries to avoid the reality of what has happened, seeking absolution for her son. Sal and Jen feel a sense of betrayal at Ruth’s avoidance of acknowledging the enormity of her son’s wrongdoing. The play follows each family member over the course of a year as they grapple with the weight of the son’s conviction and the choices they must make moving forward.

Mia Tuco, Chris Koch, Lana Schwarcz, & Karlis Zaid have fantastic stage chemistry and deliver the play with the authenticity it deserves.

Fantastic one-liners bring levity to the gravity of the subject matter being explored. Aspects of modernity are interrogated through quick-witted quips and satire. With notable lines like “You know I don’t study on Sunday. Sundays are for procrastination and existential dread.”

Sal and Jen’s honest relationship offers solace through this time. Humour and transparency bring the two characters closer together and provide safety and opportunities for healing.

Paralleling them both, and where this play is both confronting and entertaining, can the mother accept that she can both detest her son’s behaviour and love him? Jen’s boundaries are more marked, but can she offer support to Anna and still miss her brother? We see the care and concern she harbours below the surface.

Blood In The Water runs at the La Mama Courthouse from Jun 20 – Jun 30 to the following session times and runs for 100 minutes, including interval:-

  • Wed: 6.30pm
  • Thurs, Fri: 7.30pm
  • Sat: 2pm, 7.30pm
  • Sun: 4pm
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