The bass is pumping on âBitch Better Have My Moneyâ as we enter The Old Fitz Theatre. Courtney Cavallaro, Emma Wright and Rebecca Sgouros are lounging around dressed like âbruvsâ, just doing their thing, as the audience gets seated. The set is a basic youth hangout with a dated fridge and a futon, a six-pack of beer atop the fridge and a poster about COVID and some sanitiser on the bench. These items suggest the era to be somewhere around 2020, backed up by the mention of the âend of the world in three daysâ that comes soon after the show commences.
Rebecca Sgouros opens with a powerful and poetic monologue, hitting beats with poignant pauses. At times, she seems to be staring directly at you as she presents a moralistic challenge or subversive view. Itâs unsettling and awe-inspiring at once. When she finishes, the lights and sound perfectly match her integration with the rest of her crew, as they start their wolf-pack bonding ritual before breaking into a dance that is aptly performed to a song with repeated lyric âBonkersâ.
I hate spoilers, so I wasnât aware in advance that this was a gender-flip piece, but it became clear very quickly. Rebeccaâs character, Cory, is the leader of the âpackâ. The self-referred âdogsâ are always on the hunt, always looking to get their âclit wetâ. They engage in âlocker room talk” while pushing and shoving and one-upping each other. They launch into discussing the news that the world is possibly ending in three days and discover that seventeen-year-old âLuckâ is still a virgin. Of course, this wonât do.
Cory is the ringleader, getting the new blood to do her dirty work. Daks (Emma Wright) is the beating heart of the crew, who is torn between being a âreal womanâ and her clear conflict in the face of these societal norms, as well as a protective urge towards the newcomer, Luck. After more of their barking, growling dirty talk they get their âBig Clit Energyâ on and venture out to cause a ruckus cos girls be girls, right?
The dog-pack motif paired with the gender-flip highlights the preposterous nature of the patriarchy and the norms we accept and allow as a society. The banter between them echoes that we’ve heard too many times when it comes to males, and underscores the impact on young boys as they develop a sense of self and what it means to be a man. Rebeccaâs narrative, told through the shifting power dynamics of the triad and the exceptional transitions between scenes, is punctuated by the lights, sound and ensemble work between the players. Itâs pure genius that leaves no stone unturned.
Every line has a beat, with clever use of prose and layering. These three execute this seamlessly, which can only be attributed to a strong connection, workshopping and partnership in the background. Each of these incredible actors has their own individual moments of wrenching our hearts, among all the nuance of their keeping up appearances and delivering comedic lines to a full house of raucous laughter… all without breaking character.
Itâs a darkly hilarious piece about a pervasive reality, and it tells a tragic tale in a truly remarkable way.
Itâs powerful and entertaining, and not to be missed.
One of the greatest musicals of all time, now playing June 6 – June 15 at The Round: My Fair Lady (based on George Bernard Shawâs play Pygmalion) tells the story of Cockney flower-girl Eliza Doolittle and Professor Henry Higgins who takes a bet that he can pass her off as a lady within 6 months. Made famous by Julie Andrews & Rex Harrison, My Fair Lady won many awards and broke many records since its Broadway debut in 1956. The music is universally known and loved and includes timeless songs such as: Wouldnât It Be Loverly, With A Little Bit Of Luck, The Rain In Spain, I Could Have Danced All Night, On The Street Where You Live and Get Me To The Church On Time.
The write-up on Babirra Musical Theatreâs website sums it up; this is an all-time favourite, but not one you see being produced often anymore. Suitable for all ages, Babirra have gratefully given the script, set and costuming their expertise and itâs especially a no-brainer for your grandparents to go see. Tickets would make a great gift for them too: https://babirra.org.au/
Having followed the journey of leading lady, Siobhan Judge, playing âEliza Doolittleâ, and with my own daughter having taken singing lessons with Siobhan for a while, I predicted sheâd probably be fantastic! Exactly that she is; in every scene and every song! Siobhan grew up in the Australian Girlsâ Choir and later graduated from Monash University; taking the role of âperforming arts teacherâ at Melbourne Girls College. Apparently the students love her and I bet she will have carloads from the school grabbing group bookings to be WOWed by seeing both her extraordinary vocal talents in fine tune and acting skills up close in this demanding role. The show is also Siobhanâs debut with Babirra and thatâs saying something about how well she plays Eliza – she was made for it and Iâm sure she gave this impression in auditions from the start.
So, after being awe-struck by Siobhanâs ability, equally another star performer in the show is Tim Maloney playing her on-stage father âAlfred Doolittleâ. The belly-laughs from him and from us were non-stop as he commanded our attention from the very first words he spoke and I knew straight away he was going to be a stand out in this production. I learn from the program that Tim has done over 80 musicals, yes 80! No stranger at all to getting full attention from the audience, he shows off that he wholeheartedly loves performing and we loved watching him. In fact, by the end of the show, we were smiling as soon as he stepped out of the wings before he even did anything at all and we were cheering out loud when he took his bow, yet we did not know him prior. Bravo!
âHenry Higginsâ is a masterful character and masterfully played by Mark Monroe. This character is a bit of a mix up and heâs interesting fun, but mostly (given the dialogue in todayâs era) you might want to tell him to be âmore like a womanâ rather than vote for his desire to have women behave more like men! Mark is excellent though, I laughed at how he paced up and down puzzled by Eliza and her outbursts or trying to control her and teach her to speak properly like a âladyâ. His colleague on set is of course âColonel Pickeringâ played by Tim Murphy, another gem on stage as the kinder of the two gentlemen for the most part. Both are eager to see however if Eliza, with 24/7 linguistic education from Henry, can go from being a âcommon flower girlâ on the street where they met her, to fool those in high society that she might be a âduchessâ or maybe even âroyaltyâ.
âMrs Pearceâ (Henry Higginsâ housekeeper), played by Fiona Carter, isnât certain she agrees or not with such an idea, but she convincingly helps to care for and look out for Eliza, and Fiona was wonderful in her genuinity.
I waited with anticipation for where Henry says âI think sheâs got itâ and âThe Rain in Spainâ from Elizaâs new found pronunciation consumes the auditorium with her operatic flair. I asked Siobhan after the show if going from a tricky âCockneyâ accent to a most âposhâ English one was hard to perfect. She smiled and said being âposhâ was easy, but the Cockney took some practice – she readily had to let go of any embarrassment in rehearsals with extended âahhhhsâ and many an elongated e. I daresay much of the cast had to spend quite a bit of time running lines similarly with the accents required and itâs paid off well as this show wouldnât be what it is without the vocabulary detail.
A âtestâ outing at the races is one of the most entertaining scenes (complete with loud galloping sound effects), and brings to the stage a loveable enthusiastic âFreddyâ played irresistibly by Charles Conway and a not so enthusiastic character in Henryâs very proper mother, played beautifully and engagingly by Patricia McCracken. I always ask someone at interval how they are enjoying the show and two appreciating ladies answered âyes, they are all very strong arenât they and we love the mother, sheâs our ageâ haha, Patricia had deservingly won their hearts. I think this a special part of live theatre; connecting with certain actors, not just within the show but for you personally.
Exceptional work from the whole cast, ensemble was energetic and polished; enjoyed so much the dancers in the imaginary scene and watching the ballroom. Congratulations to all!
Finally, I note I donât usually review shows where I know lead cast members, but it was indeed a pleasure to see Siobhan pull off âElizaâ knowing this role was a dream come true for her. A group of theatre-lovers, such as BABIRRA, provide individuals the chance to do something they are passionate about, but who may not necessarily want (or choose) to pursue a professional career in that tough industry. A big thank you to the committee and volunteers of âamateur theatreâ whose efforts make this happen, and, in the process, give us (the audience) the chance to see more shows.
Babirra Music Theatre is a long well-established musical production company and has always encouraged involvement and participation from the local community, both in performing and behind-the-scenes. Donât miss this show MY FAIR LADY, or their next: GREASE!
Venue: The Round, 379 Whitehorse Rd, Nunawading, is, I think, the very best suburban theatre in Melbourne and likely the biggest newer one – opening in 2023. Easy to get to, park at and with arguably the most comfortable seats and extensive (vegan inclusive) canteen youâll enjoy in a theatre venue anywhere, plus great coffee before, during and after interval with tables and chairs to wait and chat with the cast afterwards. Very easy access for wheelchairs and assisted-walkers – âretirement villageâ buses were lined up at the matinee we went to and cars can pull up in a drop-off zone straight outside the door. Enjoy!
CAST:
Eliza Doolittle played by Siobhan Judge Prof. Henry Higgins played by Mark Monroe Colonel Pickering played by Tim Murphy Alfred Doolittle played by Tim Maloney Mrs Higgins played by Patricia McCracken Mrs Pearce played by Fiona Carter Freddy played by Charley Conway Zolton Karpathy played by Matthew Davies
FEATURED ENSEMBLE Jamie, friend of Alfred, Lord Boxington – Steven Keane Harry, friend of Alfred – Brent Denison Higginsâ butler – Mark Curran Higginsâ footman – Paul Ash Mrs Hopkins & Mrs Eynsford-Hill – Ann Hubbard Queen of Transylvania & Lady Boxington – Catherine Bolzonello George, Bartender – Garry Barcham
ENSEMBLE: Esther Bruerton Owen Davies Isobel Edmondson Michael Fang Emma Gilding Mia Grasso Beth Hanlon Steph Herbert Abby James Christine James Alysa Kimpton Yvette Lipovetsky Aaron McBride Tommy Murphy Lotte Papson Liam Rosewarne Avalon Waterfall
Director – Alan Burrows Musical Director – Marty Macaulay Choreographer – James Kaiser Assistant Director – Mark Cluning Set Design – Barry Pearce Costume Designer – Ely Tapp Co-Production Managers – Jo Brincat, Steve Cavell Hair/Make-up, Wigs – Louise Reeder, Maren Holm Set Construction – Garry Barcham and Team
PHOTOGRAPHY CREDIT: Gavin D. Andrew Design: @luke.jay.designs
Oz Comic-Con is not only for comic book fans (although the con does boast a comic book lounge, equipped with bean bags and comic books to borrow), but for fans of any following. As you walk around the showground, you may spot Deadpool and Wolverine hanging out, but you could run into John Wick, the Doctor and his TARDIS, Darth Vader or Captain Rex, Freddy Fazbear, Hatsune Miku, and countless others.
Thereâs a consistent buzz of excitement in the air while like-minded people meet others from within their fandoms during the community space meetups; exchanging fan theories, trading cards, and keyrings at the trading post; giving tips on how to improve your cosplay game at the workshop stage; and meeting the voice actors from popular shows such as âHazbin Hotelâ, âGenshin Impactâ, âFire Emblem Heroesâ, and more. If you ever get lost, the volunteers roaming the space are all very friendly and more than happy to help.
The big names (in alphabetical order) for Oz Comic-Con, with schedules for autographs, photo opportunities, meet and greets, and Q&Aâs, consisted of: Brandon Rogers (âHelluva Bossâ; âHazbin Hotel), Catherine Tate (âThe Catherine Tate Showâ; âDoctor Whoâ), Giancarlo Esposito (âBreaking Badâ; âThe Mandalorianâ), Laila Berzins (âGenshin Impactâ; âHunterXHunterâ), and Ratana (âGenshin Impactâ; âFire Emblemâ). The lines to meet these talented actors and voice actors were so thick, the tables for the talent were not visible, only their official Oz Comic-Con signs on the wall above their heads. Seating for the Q&Aâs filled rapidly for each new guest â if you wanted to see your favourite actor, you had to be sure to line up early!
Along the outskirts of Artists Alley, there is a Comic-Con store, for all your previous Comic-Con guestsâ autograph needs; a space for tabletop gaming, where a collection of games, including âCatanâ and âRummikubâ, are available to play with your friends; the Australian eSports League has a setup of PC and consoles to show off your skills; learn to play âMagic: The Gatheringâ trading card game with friends or strangers; and show off your dance moves on the Just Dance stage. The South Australian chapter of âGhostbustersâ can be found roaming, keeping everyone safe, while Daleks stand on guard next to the main stage, whether they were ready to pose with fans, or pose a threat, remained unclear.
Roaming Artists Alley, be sure to give yourself time to look at each booth, otherwise your neck may snap from trying to take in everything at once! The booths range in size, giving a marketplace, or bazaar-like, experience, with t-shirts, oversized biscuits, anime and manga collectables, Funko Pop Characters, local-made honey and mead (yes, at the same booth), handmade tankards and leather goods, framed insects, handmade jewellery, Melbourneâs Dr. Pickles tattoos, and even the ADF and Beyond Blue, talking to curious customers about how to join or volunteer with them.
The smaller booths consist of six rows of local artists showcasing their talents and merchandise on single tables â some with shelving, some with displays almost six feet high, and some with simple printouts â ranging from keychains to art posters to novels and much, much more. Artists were local, most being from Adelaide, but some hailed from interstate, excited to meet fans and introduce their work to new people. All the artists are more than excited to talk about their work, answering questions and having a casual conversation in general.
Kylie Chan, Queensland author of the âDark Heavensâ series, said she found herself excited to be meeting the next generation of fans. Owen Heitmann, Adelaide comic creator, explained that people come to cons to see and buy what they know, so the con provides an opportunity for local artists to expand their network, without having to rely on social media â a statement that both Keelan Ash of killustrate_illustrations and Lushie from Lushieâs Art both agreed with.
Oz Comic-Con is more than a home base for fans to emerge and converge, itâs an opportunity for local artists to show themselves to a wider audience, and itâs a fun, safe space for exhibitors, attendees, guests, and volunteers alike. Service pets are allowed, the spaces are wide enough for electric wheelchairs and scooters to roam freely (the throngs of people may be the largest obstacle), and the Code of Conduct means Oz Comic-Con protects those of all ages and dis/abilities.
Popular culture is alive, thriving, and ⊠popular! Donât miss out on a chance for those collectables, and a chance to meet like-minded fans.
To book tickets to Oz Comic-Con in your city, please check for dates and times @ https://ozcomiccon.com/.
However, it is Lucasâs alumni from the 25th anniversary production who steals the show the night I attend; Tony award winner and Grammy nominee Alfie Boe as Jean Valjean gives a tour de force performance, with exceptional vocal ability unsurprising of a renowned opera singer with resume outside of the musicals, in addition to beautifully nuanced character delivery, showing equal measures of strength and sensitivity in what is essentially the story of his characterâs struggles and redemption. Boeâs interplay with other Cast is excellent, the scenes with Bradley Jadenâs Javert especially memorable. Jaden deserves notice for performing Javert with sufficient sympathy, charisma, and recognition to bring likability to such an antagonist; His characterâs turmoil and ultimate unravelling are hard-hitting.
Youngsters Christopher Joseph and Scarlett Sheludko also excel in their respective roles of Gavroche and young Cosette. I did not see the latter, who is reminiscent of a young Lea Salonga, in the curtain call â and suspect that was due to it being after her bedtime. The overall standard of the entire Cast, including the Ensemble, is excellent; All bring presence, dedication, and authenticity in their roles â which they are beautifully made-up and attired to perform. I would be remiss not to mention the Orchestra, under the direction of Adrian Kirk, who tell their sonic story phenomenally.
