Secret Love - Novemeber 2008

There is something so personal about Cabaret, the experience of feeling as though the performers are putting on a show just for you! Director Frank Ford has brought back his critically acclaimed production of ‘Secret Love’ starring Catherine Campbell & Craig Behenna. Based on ‘The Alibi’ by Angela McKay it tells the story of housewife ‘Kathy’ whose entertainer husband ‘Ronnie’ dies in a tragic fall. ‘Ronnie’ continues to haunt ‘Kathy’ throughout the show as we eventually discover the truth of ‘Ronnie’s’ death. Both players give an outstanding performance, which is exceptionally difficult given their proximity to the audience. Cabaret, although much smaller in production values, often requires greater skill from the performers, like watching a film, each emotion, action and reaction is in close up. La Boheme is a perfect little cabaret space, suitable for no more than 100 patrons; the venue is convivial and intimate. Ford has created an enjoyable night of cabaret in this production and the performers deliver it with sophistication and outstanding ability.

Published for the Independent Weekly
Paul Rodda

Disappearance - November 2008

The Border Project, producers of this abstract piece of theatre, are a group of artists committed to exploring the future language of live performance. It is written in the program notes that they “are deeply committed to reconnecting with an audience of our generation”, that they feel is “disconnected from traditional theatre”, and that they have “an ongoing investigation into using popular forms as a device to take audiences into unfamiliar, unique and experimental territory”. Well if this is the brief, the ‘The Border Project’ has certainly achieved it in the production of ‘Disappearance’.The title speaks for itself. The show is concerned with our great fascination with disappearance in Australian culture; ‘Picnic at Hanging Rock’, the Harold Holt disappearance, the Lindy Chamberlain case, and recent films such as ‘Wolf Creek’ and ‘Open Water’. It opens with the audience confronted by a large black curtain and a solitary chair with which performer Alirio Zavarce begins to tell us of his fascination with the idea of losing his own identity, disappearing, until his climax where he actually succeeds. It then delves into familiar territory as the large black curtain is drawn revealing a scene from ‘Picnic at Hanging Rock’ and a large geo-dome which almost reaches the top of the performance space. Rory Walker, dressed as ‘headmistress’, is flanked by four school girls played by Katherine Fyffe, Jude Henshall, Ksenja Logos and Astrid Pill. A short reincarnation of the film takes place on stage until the girls have scaled the geo-dome, and disappear from the auditorium. The third and final part of the show is an abstract emotional exploration of the themes of disappearing, an invigorating soundscape is created by Andrew Russ, which is at times reminiscent of being in ‘Nightmare on Elm Street’ – but which is effective in maintaining the audience’s attention – when the lack of story line has lost us for good. There are superb performances from all the players including 10 year old Melissa Pullinger, but the piece must be viewed for what it is, and emotional exploration into the psyche, it delves into the fascination of ‘Disappearance’ and doesn’t give any answers. The show has been a collaboration and “gestation” of ideas and workshops since 2003. Maybe it’s not complete? I believe it could be refined further. ‘Disappearance’, a thought provoking presentation.

http://www.independentweekly.com.au/news/local/news/entertainment/theatre-review-disappearance/1366816.aspx

Published for the Independent Weekly

Paul Rodda

Rent - November 2008

Based on Puccini’s ‘La Boheme’ the, love it or hate it, musical ‘Rent’ is no small undertaking, and Catchy Title Productions, under the direction of Scott Nell, have met this challenge head on, and won! The show is based around a group of 8 friends, each as important as the next in terms of their role in the show, and each requiring a consummate professional to handle the difficult score, whilst maintaining the emotional intensity necessary to deliver this poignant story effectively. Nell has cast this production perfectly - with a cast of leads, none more or less exceptional than the next, even the ensemble is capable of handling any part.
The story centres around ‘Mark Cohen’, skilfully played by Josh Brittain. Brittain is affable and urbane, easy for the audience to quickly become comfortable with, and perfectly suitable as the narrator. His best friend ‘Roger Davis’ is a great contrast to ‘Mark’. Played by Jason Ferguson, ‘Roger’ is a character in turmoil, struggling with his own right to existence, the Aids infected musician is outstandingly depicted. ‘Roger’s’ lover ‘Mimi’, also HIV positive, has a much different outlook on life, to “live each moment as her last”. Ruth Blythman as ‘Mimi’ strikes a stunning balance between the lustfulness and vulnerability of her character - her voice is beautiful, if not sometimes over sung, but the overall performance is energetic and skilful as she flaunts and fly's across the stage. Lovers ‘Joanne Jefferson’ and ‘Maureen Johnson’ played by Deanna Farnell and Whitney Boyd respectively have a great sexual connection, their voices are outstanding and the duet ‘Take Me or Leave Me’ is the highlight of their performances. Farnell also demonstrates the awesome power of her voice in her solo’s sung over the cast in ‘Seasons of Love’ and the reprise of ‘I’ll cover you’. Self appointed outcast ‘Benjamin Coffin III’ is played by Fahad Farooque. ‘Benny’ as he is known, has married into wealth and excluded himself from the ‘Bohemian’ idealisms that his friends hold, Farooque performs with great élan and sophistication. Rounding out the 8 friends is ‘Angel Dumont Schunard’ and his lover ‘Thomas B Collins’. James Christopher Reed as ‘Angel’ has the difficult task of portraying a drag queen, and dancing in 3 inch heels! He is lively, affectionate and loveable, and connects well with the audience, quickly becoming a hit! This leaves us with Rod Schultz as ‘Collins’, and it is customary to save the best till last! Shultz’s performance is amazing! This is evident from the moment he first opens his mouth to sing, but from then on it only gets better. Shultz moves the audience like only a professional can, not leaving a dry eye in the house after his reprise of ‘I’ll cover you’, his ‘Collins’ is a masterful interpretation of the deeply centred character. There were a few opening night technical hitches, nothing that wont be rectified throughout the run, and none of which were enough to diminish the outstanding performances on stage. Catchy Title took a huge risk, the result is reward enough. Buy a ticket and see it. Love this show or hate it, you shouldn't miss out on this experience!
Paul Rodda
http://www.independentweekly.com.au/news/local/news/entertainment/theatre-review-rent/1357550.aspx
Published for the Independent Weekly and Stage Whispers Magazine.

The Boy from OZ - November 2008

The rights for the ‘Boy from Oz’ where only released for public performance early in 2007 but already companies all over Australia are snapping up the opportunity to tell the ‘Peter Allan’ story. Narrated by ‘Allan’ himself the show takes a journey through the life and times of the performer and includes many of his famous numbers as well as songs perfomed by real life characters ‘Liza Minelli‘ and ‘Judy Garland’
alongside him.
For Marie Clark musical Theatre this production is a collaboration of many great performances culminating in a show that has had audiences coming back night after night.
In the lead role of ‘Peter Allan’, Kym Clark has created a great character and leaves the audience believing they are watchin ‘Allan’ in the flesh. Clarks movement and characterisation was spot on! In the supporting roles Rachel Rai gives a steller performance as “Liza Minelli’ and Louise McNamara is spot on with her impersonation of ‘Judy Garland’ - perhaps a future career opportunity exists here! Chris Anderson as ‘Chris Bell’, of the ‘Allan’ brothers act gives us a strong performance, but the standout of the supporting artists is Jo Hunt as ‘Allan’s’ mum ‘Marion Woolnough’. Hunt dances and sings across the stage with gusto and fervor and has the audience on the edge of their seats during her rendition of ‘Dont Cry out Loud’.
Ole Weibkens set was obvious straight away - with clever abstract pieces placing the action and tonnes of black used everywhere. The black was unfortunately overpowering and the performers had to work very hard to overcome the drab feeling of the set. In some cases they couldnt. There were some confusing moments when amazing pieces of scenic art where flown in at the opening of scenes, only to be removed again 2 minutes later and never seen again, and Weibkens art needs more time for the audience to comprehend the detail. This coupled with multi coloured ‘mood’ lighting by Micahel Whitmee, didnt seem to brighten the stage and made it difficult to enjoy the vibrant performances.
Technically it was very disapointing to hear as many amplification issues as this production had so late in the run. Levels on microphones were all over the place, and often singers couldnt be heard over the energetic orchestra. Brilliant performances by Amy Hutchinson, Kate Dempsie and Sally Scott as ‘Allan’s’ backup singers were clear and easy to hear, but only serverd to highlight the issues with other microphones.
A show full of outstanding perfomances, toe tapping numbers, and bright costumes which will be remembered as a milestone for Marie Clark.
Paul Rodda
Published in Encore Magazine, December 2008

Vanessa Amorosi – Live at the GOV - Oct 2008

The second show for Amorosi at the Governor Hindmarsh hotel was a hit with audiences who packed into the venue despite the stifling 30+ degree heat of the day.
The 26 year old ARIA award winner performed songs from her latest album ‘Somewhere in the Real World’ which has been a 2 year writing collaboration with musicians and artists all over the United States since signing with Universal Music Australia in 2006.
Amorosi is a born performer, pitch perfect live – listening to her sing is like putting on the CD and cranking the volume until the windows shake!
Treating her fans like a room full of close friends, Amorosi included audience members onstage and even mingled – moving to the back of the room and singing from atop a chair. Her own brand of pop/rock is a hit with fans of the music, and her covers of old favourites had ‘Absolutely everybody’ singing at the top of their lungs as they watched Vanessa ‘Shine’. An audience favourite was the encore performance of the AC-DC hit ‘Long way to the Top’, where the spectators did more of the singing than she did – screaming the lyrics at the top of their lungs!
For fans of the artist this was a mouth watering selection of some of Amarosi’s best music, past and present, and a taste of things to come.
Paul Rodda

http://www.independentweekly.com.au/news/local/news/general/live-vanessa-amorosi/1351398.aspx

Published for the Independent Weekly.

The Soweto Gospel Choir - June 2008

Choir- Noun: Any group of musicians or musical instruments; a musical company, or band, or a division of one. Gospel- Noun: Folk music consisting of a genre of a-cappella music featuring call and response.
The ever popular ‘Soweto Gospel Choir’ returned to Adelaide following their sell out performances of 2007 to present their new show ‘African Spirit’. The singers created an inspiring and uplifting experience as they transformed the Festival Theatre stage into a vocal tapestry of vibrancy and exuberance. The celebration of the singers is a rousing experience; fervently lifting the audience to their feet with arms raised high, clapping to the effervescent and passionate voices of the 26 African singers.
The Choir’s incredible harmonization, combines perfectly with the voices of the lead singers, and Djembe players. The stage consisting only of the singers standing in 2 rows on a stepped platform is alive with the vivid colours of their traditional styled costumes featuring pattern and radiant colour. The Choir, who formed in 2002 originally sang only culturally inspired pieces, but their repertoire now includes pop and rock numbers as well as US gospel inspired songs, and soul. Coupled with the angelical voices the performers use traditional dance to highlight the beats and rhythms of the song, kicking and jumping energetically in time with the music.
Popular numbers included ‘Amazing Grace’ and the shows finale ‘Oh Happy Day’ from more mainstream popular music. Winners of a Grammy award in 2008 for best traditional world music album, Soweto Gospel Choir’s ‘African Spirit’ is an amazing show and one not worth missing!
Paul Rodda

Published for Stage Whispers Magazine

Chopper - Make Deadshits History - Arts Theatre - March 2008

The non-traditional theatre going audience really enjoyed Heath Franklins hilarious impersonation of Chopper, and complete with beer and … more beer, poured into the auditorium to listen to what this foul mouthed character had to say about making ‘dead shits history’. Franklin creates the perfect atmosphere for his character and the impersonation is spot on, audience members with the privilege of meeting the man after the show soon realise that the modest mannered man who portrays this cruel and exciting character is nothing like the man he creates. Audience participation was a key successful component in this production, and the embarrassed audience members dragged up on stage were no-doubt grateful for the ‘Dutch courage’ they had swallowed in the foyer before the show, as Franklins Chopper cajoled and humiliated them for the audiences entertainment. The production featured a cutaway to a projector screen where Chopper had pre-recorded footage serving as an interval, segue and break for Franklin between ‘sets’. This show is and will continue to be a sellout so if you don’t want to miss it, be sure to book early! 4 STARS

Dave Hughes - Thebarton Theatre - March 2008

Dave Hughes leapt to fame on television shows such as the ABC’s now axed ‘The Glass house’ and regular spot on Channel 10 variety Show ROVE. He has also starred in episodes of The Panel for the same network and for a short stint on Football TV in ‘Before the Game’ but although Hughes commercial brand comedy was appealing to most of the 1800 strong crowd it seemed to have lost its edge. The Thebarton Theatre was bulging at the seams with hundreds of fans as they crammed in tighter than sardines in a can to witness the ‘Holden means a great deal to Australians’ legend deliver his Australianised version of comic genius, but it seemed as though Hughesy has settled into the comedy a bit much. The difficulty with becoming such an nationally recognized icon is that audiences attend the performance with a high level of expectation and often that can lead to disappointment if that expectation is not met. However regardless of the opinions of the minority who failed to raise a smile let alone laugh throughout the performance, Hughes’ foul mouthed humor ruled, and the majority of the audience loved it! Enjoy Australia. 3 STARS

The Idols Idol - March 2008

Chris De Havilland has created a story based on the character Kevin A Legend, who is a musician from the humble Australian town of Doyaflyup. He tells us how he as met and given songs to many of great singers in history – these include the Bee Gees, Roy Orbison, ABBA, Cher and Tom Jones. As he tells his story of fame and fortune Legend sings for us some of the numbers he wrote to help these legends of music take their careers to the top. The self confessed ‘world’s greatest impersonator’ take his show full circle, it could be said that sometimes it’s so bad - its good, and with his ‘dad joke’ humor Havilland does a pretty good job of keeping his audiences smiling. He is supported by the Sizzle sisters, who offer back up harmonization and occasionally lead the female numbers, but at times they appear unrehearsed and the performers keep looking to each other for timing and direction. Technically there were a few issues and overall the show did feel like it went a little long, it may have benefited from some cuts and fine tuning to the comedy but generally and entertaining evening. 2 STARS

X-Stacy - Fat Lip Productions - March 2008

Based on the true story of what happens to a family after the influence of drugs takes the life of someone you love. The show is played in a venue called ‘The Lipodome’ which unfortunately is acoustically poor, and with so much yelling from the actors, the dialogue is often completely inaudible. The cast however works very hard and there are standout performances by lead actor Vince Fusco as ‘Ben’ and Megan Morgan in the title role of ‘Stacy’, Ben’s sister, who dies. The rest of the cast were placed nicely in their roles and with the run of the season will become more comfortable in their parts.
The show was incredibly intense and could have benefited from more light and shade, the intensity however was not mistaken on the faces of several audience members who were moved to tears by the productions power. A promising show, with some great performances set in a disappointing venue. 2 ½ STARS

X-Stacy - Fat Lip Productions - March 2008

Based on the true story of what happens to a family after the influence of drugs takes the life of someone you love. The show is played in a venue called ‘The Lipodome’ which unfortunately is acoustically poor, and with so much yelling from the actors, the dialogue is often completely inaudible. The cast however works very hard and there are standout performances by lead actor Vince Fusco as ‘Ben’ and Megan Morgan in the title role of ‘Stacy’, Ben’s sister, who dies. The rest of the cast were placed nicely in their roles and with the run of the season will become more comfortable in their parts.
The show was incredibly intense and could have benefited from more light and shade, the intensity however was not mistaken on the faces of several audience members who were moved to tears by the productions power. A promising show, with some great performances set in a disappointing venue. 2 ½ STARS

A Midsummer Nights Dream - Her Majesty's Theatre - March 2008

When you are attending a production of Shakespeare’s ‘A Midsummer Night’s Dream’, you can often say with conviction that you know what you are in for. This however is not the case with A Dash Arts Production of the Bard’s famous comic work.
Playing at Her Majesty’s Theatre for the Adelaide Festival Season 2008, director Tim Supple has produced a work of Shakespeare unlike any seen before. The dazzling production made up of a cast entirely of Indian and Sri Lankan performers has everything from acrobatics, dance and traditional music to fight sequences, love scenes and song. But there is a twist! At least 80% of the dialogue is NOT traditional Shakespearian English – the actors use their native tongue and deliver lines in Bengali, Hindi, Malayalam, Tamil, Marathi, Sinhalese and some Sanskrit.
This inventive way of altering dialogue to fit with a more cultural portrayal of the piece serves to both enhance and distract from the piece. Although this is not the first time Shakespeare has been spoken in another language, it is the first time it has been delivered to a predominantly English speaking audience without the aid of subtitles. Any audience member unfamiliar with the production could be forgiven for losing the plot (no pun intended) and it was evident how the lack of understanding alienated some theatre goers who decided not to return after the interval.
But for lovers of the work it was an unforgettable experience! The production was lively, exciting, colorful and invigorating. At times it was sexually explicit, in stark contrast to the Yohangza Theatre Company’s Korean production of the piece in 2007, and the unfamiliar dialect forced the audience to concentrate on the action.
The cast consists of acrobats, dances and actors both classically and traditionally trained who where hand selected from auditions of over 800 performers in 9 cities across India and Sri Lanka, and there diversity and skill speaks volumes.
The set was a bamboo construction covered in white paper through which the fairies propelled themselves early in the first act, slowly removing all the paper throughout the show to reveal the structure behind. Musicians were placed either side of the earth stage creating ambient rhythms with crude and professional percussion instruments and the actors were clad in colorful Bollywood style gowns both extravagant and simple in their elegance.
Outstandingly good was Ajay Kumar as ‘Puck’ and Philostrate. Kumar’s ‘Puck’ played visually with the lovers during their fight scene to great effect – involving and drawing the audience into his mischief. Joy Fernandes as ‘Bottom’ was also a crowd pleaser, delivering his character quite straight he still managed to win the audiences affections, not to mention waves of laughter and applause.
If you are familiar with A Midsummer Night’s dream this production will be an enjoyable and refreshing variation to whet your Shakespeare appetite, if not, then read up on the plot before you venture into the theatre! 4 STARS

Hans, The Showpony Tour - Mars Bar - March 2008

Bursting onto the stage in hot pants, purple hat and feather is Hans, star reporter for NOVA 91.9 and burlesques performer. Hans is…. Well Hans is Hans, camp, outrageous, conceited and fabulous! Matt Gilbertson who plays the character could be forgiven for forgetting where Matt ends and Hans begins.
Supported by the Ungrateful Bastards, a backup band comprising members of well known Adelaide cover band Triple Score, and flanked by 2 gorgeous dancing girls, sisters Kendall and Courtney, Hans takes popular songs, re-writes the lyrics and weaves them into a story full of one liners and audience expense jokes – and it works! Light hearted entertainment that left the audience tapping their feat and shaking their booty. 3 STARS

Jeff Green - Nova Cinema 2 - March 2008

Careful, here comes Jeff, and he might just make you laugh with his dry wit and vulgar humor. Outstandingly funny is this Brit comedian who uses observations of some of life’s most awkward moments to reel his audience into fits of laughter. Jeff Green manages to find that line that’s not meant to be crossed with his audiences – then he dances on it! Playing at the NOVA cinema 2 for the length of the Fringe season this is a must for fans of quality British comedy! 3 STARS

Mark Watson - Nova Cinema 2 - March 2008

Mark Watson’s comedy flows like lava from the lip of an erupting volcano, each joke coming thick and fast and every quip hotter than the next!
It’s very easy to watch this seeming hypochondriac burst into life with fits of energy as he flails almost uncontrollably through his dialogue, but don’t be fooled, what appears to be an act careering wildly out of control is really the awesome wit and power of Mark Watsons well rehearsed and faultless characterization.
He brings much of himself to the comedy, often appearing to lose the story on a tangent - adlibbing as he goes – but you can be guaranteed that the road you are travelling is a hilarious one and you will soon be back on track for a great night of comedy! 4 STARS

A Local Man - Space Theatre - February 2008

6-16 Feb 2008. Space Theatre.
A Local Man is the story of Australia’s 16th Prime Minister, Ben Chifley.
Based on factual events, with elements of poetic license to move the story along the monologue, with Tony Barry in the title role, is an insight into the very public, well documented and transparent ‘political’ career of Ben Chifley, as well as his feelings, thoughts and less scrutinized private life.
The evening is set in Chifley’s modest Bathurst home in 1951, 2 months after the Labor defeat by Menzies and just prior to his death. It’s Saturday evening, his wife Elizabeth is out for the day playing Bridge with friends, and Chifley is working at home, preparing his retirement speech – likely to be delivered at tomorrow’s Labor conference. He records into a Dictaphone, switching back and forth between the speech and his intended political memoir, leaving reference points for his secretary Phyllis. Chifley is not well, suffering from what his family calls ‘the usual’. He is on his second heart attack, having already outlived his father and grandfather in years, both of whom also died from heart failure – thus coining the phrase.
This is a pragmatic portrayal of a flawed hero, which reveals both his successes and failings, notably the development of the national airline Qantas, The Joint Coal Board, restructuring and expansion of the CSIRO, the Australian National University and the development of the Holden car. But also as Prime Minister, the ‘unionist hero’ who sent in the army to break up the coalminers' strike instigated by the Union he formed, and the bank nationalisation disaster and subsequent ‘communist challenge’, that cost him government in 1949.
Tony Barry is poignant and affecting as Chifley – jumping from political strength to personal anguish. Images are projected cleverly onto a screen to let the audience visually reminisce with Chifley as he tells his story, and music is used to translate emotions felt by the hardened and firmly grounded former Prime Minister. Lighting designer Jason Bovaird has created a beautiful light-scape which helps the show along, highlighting appropriately where the story is coming from and in some cases where the story is going – a power outage twice in the show allows for the comic in Chifley to come out, as he declares to the darkness “bloody Liberal Government!”
Barry is clearly passionate about the message that audiences will take from the portrayal of this honorable and idealistic man. He addresses the audience after production, vowing to take the show on the road and spread the good that this one man had done. He proclaims in finale “Australia needs another Chifley” and in Chifley’s words “Fight for the right, and truth and justice will always prevail.”
Paul Rodda

Assassins - Flying Penguin Productions - December 2007

Sondheim’s Assassins opened December 18th, 1990 at the Playwrights Horizons, an off Broadway theatre in New York. This version for Flying Penguin Productions directed by David Mealor opened in the Space Theatre December 8th, 2007 and is the premiere of the show in Adelaide.
The story, based on the book by John Weidman gives a fictional account of the assassinations of US Presidents throughout history – set in a murderous carnival, the piece moves forwards and backwards in time, linking the common goals and disparities of 9 of histories most well know assassins.
The climax of the show comes during a surrealistic sequence where the assassins attempt to convince Lee Harvey Oswald that the murder of President JFK will give him the public recognition he deserves and will ratify the work of assassins of the past and future.
The set is designed to be reminiscent of the Wild West Show, staged events depicting American history, with a large stepped timber stage set amongst tents, through which the actors can make their entrances. A large projection screen is used to great success and connects the action on stage to famous images of history and artistic video footage, which conjugates the characters emotions with the mood of the sequence.
The all star cast and award winning director have produced and outstanding production of this thought provoking piece. Unfortunately at times the un-miked singers are difficult to hear over the orchestra. Cameron Goodall as ‘Balladeer’ and ‘Lee Harvey Oswald’ gives an energetic and considered performance. Christopher Matters as ‘John Wilkes Booth’ has a demanding presence and powerful operatic voice, but the dialogue is sometimes lost behind the thick southern accent. Stephen Sheehan as ‘Charles Guiteau ‘is dapper and appropriately nutty as the Oneidan assassin and Nathan O’Keefe is irreproachably nerdy and love struck as ‘John Hinkley’ – who we never see carry out his assassination attempt. Geoff Revell as the ‘Proprietor’ is suitably enigmatic filling multiple roles as radio announcer, techie, stage crew, and carnival leader to the assassins throughout.
Other exceptional performances come from Syd Brisbane as ‘Samuel Byck’ the dejected and psychotic Santa Clause and Michaela Cantwell as ‘Lynette “Squeaky” Fromme’ obsessed with Charles Manson and the idealistic destruction of humanity. Rory Walker shows great love and affection for Emma Goldman as the Anarchist ‘Leon Czolgosz’ and Peter Mitchell as ‘Giuseppe Zangara’ is delightfully murderous – blaming his attempted assassination of FDR on stomach pains. Bronwen James is uproariously funny as ‘Sarah Jane Moore’ and her scenes with Cantwell are clearly audience favorites. The ensemble is all very strong in multiple roles and the group numbers are harmoniously pleasant.
This very provocative show reveals a strange insight into the minds of our assassins. A must see.
Paul Rodda

Four Faces - Jay Robinson - December 2007

‘Four Faces’ is the artistic delineation of life as a gay man told through 4 different characters in dance. Jay Robinson in collaboration with, Anton, Gerard Van Dyck and Troy Mundy presents four solos each dissimilar from the next but all connected by the theme of homosexuality.
The first solo by Robinson, deals with the struggles faced by gay men growing up, understanding their desires and the impact of their preference on family, friends and social positioning.
The second piece choreographed by Robinson and Anton encapsulates the difficulty of connecting with a ‘superficial society’.
The third solo, by Robinson and Van Dyck incorporates a combination of acting and dialogue in conjunction with the movement, to challenge the stereotypical themes of modern society and explore the ‘masculinity’ of gay men. Jay also explores more universal themes of confidence, self importance and sex – confronting the audience with, often, explicit scenes of sexual exploration.
The final solo, by Robinson and Mundy approaches the 21st century themes of internet dating, web cam chat and individuals described by an electronic profile. Robinson showed us his characters resistance to these forums and eventual surrender and acceptance of them as loneliness and desire took over.
The piece was clearly very close to Robinson’s heart. His expression through dance was commanding and poignant and continually connected with the audience. Robinson showed great stamina and focus. He worked tirelessly in pursuit of the message and the audience showed great appreciation for his dedication in the form of a standing ovation.
The themes explored by Robinson were universal and held messages for all sexual orientations. ‘Four Faces’ was a moving performance which left everyone thinking.
Paul Rodda

Much Ado about Nothing - Burnside Players - December 2007

Comedy Version
Shakespeare’s play much ado about nothing is one of the more commonly performed of his repertoire. So, for a company to make this production a success there needs to be a clear point of difference, something that would separate their version from all of the others.
Burnside players have attempted to revitalise this piece by writing an alternate ending – based on the premise that all Shakespeare is either comedy or tragedy dependant on whether the main characters either marry or die at the end.
The comedy version is as written, true Shakespeare. The alternate ending has been written for the tragedy. However, whilst the cast all appear to work very hard, it is evident that they have little understanding of the text. Given the wordiness and difficulty of Shakespeare it is important that first and foremost the actors understand the dialogue they are delivering, if the actors don’t understand it, the audience don’t have a hope!
Good performances come from a few of the lead roles; Joanna Patrick as ‘Beatrice’ is very passionate and energetic though at times a little melodramatic. Jamie Wright as ‘Claudio’ maintains good focus and stillness, unlike many of the other actors who cover the lack of understanding of the dialogue by pacing. Selena Bradbrook is strong as ‘Margaret’ and Nathan Troisi as ‘Dogberry’ and Bonnie-Fay Henry-Edwards as ‘Verges’ offer some light hearted moments and nice comedy, though their characterisations are often too much and should have been directorially controlled.
The setting and lighting is awkward, and although costuming all matches, the overall look is reminiscent of the end of year production in primary school. Long and difficult to watch.
Paul Rodda

Educating Rita - Mixed Salad Productions - July 2007

Rita is vibrant, and eager to understand. Understand poetry, literature and criticism and so surreptitiously begins tutelage with the morose Frank Bryant. Frank, a failed poet and lecturer who has resigned himself to a life of empty lectures and booze, has his world turned upside down by Rita. He is excited by her unique views of the world, her language, acute observations and just by her. This is a powerful story of self discovery and the freedom of choice - to choose the song you will sing.

Playing in the lead role of Rita is the accomplished and award winning Nicole Rutty. Rutty is always a pleasure to watch and this production is no exception. Her Rita is dynamic and lively. There are lucid moments of madness when through the gabble comes wonderful truths cleverly interwoven into the script by the playwright Willy Russell.
Mixed Salad Productions Co-founder and award winning actor Dave Simms plays opposite Rutty. Simms performance is a powerful archetype of the disconsolate and depressive Frank. He clearly struggles with giving Rita the education and understanding she desires, whilst trying desperately not to destroy her natural insight.
As audiences of Mixed Salad Productions have come to expect the Setting, Lighting and costumes all excelled, as did the infamous opening night feast, in keeping with the themes of the play. With a few opening night nerves ironed out, this will be a wonderful show. A credit to the production team and a great night of theatre.
Paul Rodda

Two Gentleman of Verona - Mixed Salad Productions - November 2007

Mixed Salad productions has taken one of the earliest of Shakespeare’s pieces and transformed it into a play suitably pitted in the year 2007. Transforming the bards characters into film stars, movie producers, personal assistants and subservient ‘vinyl clad’ hermaphrodites.
The story is of two best friends who are to be separated in pursuit of life, love and careers, but whom through a chance meeting, both happen to fall in love with the same woman. The gentleman are Valentine and Proteus, the latter definitely a gentleman, the former more likely a cad.
When Valentine realizes his love for his friend’s affection Silvia, he enters into a devious plan to have Proteus exiled so he can be free to have Silvia to himself, and all this whilst cheating on his own love Julia.
Many of Shakespeare’s later themes were tested in this piece – notably the disguising of a woman as a man in an attempt to infiltrate and better understand the affections of their love.
Director Dave Simms has cast a talented and competent cast in this production and every person on stage plays an integral part, and usually more than one, in bringing this text to life.
James Edwards as Brad Valentine is skillful and heart-felt and juxtaposed to him, Adam Tuominen as his friend Ben Proteus is conniving and sleazy whilst remaining suitably torn by his dear friendship and recent affections. Jamie Hibbet as Silvia gives us much feeling and empathy of her love for Proteus and transforms wonderfully to play her dual role as Lucetta. Natasha St Clair Johnson really looks the part with her Hollywood smile and delves into the torment Julia suffers at the hand of Proteus as she discovers his love for Silvia. Sue Wylie as Ann Duke is formidable and a force to be reckoned with, her duke has much presence and controls every situation. Damian Carr’s Speedy is cleverly and believably nervous and Glen Christie as Thurio has no trouble convincing us his character is arrogant and proud of it. The standout however was Nicolas Ely, another actor playing multiple roles Ely showed great affection of his employer Proteus and distain at his constant rejection. His brief monologue with canine Tomasito was unfortunately upstaged, with most of the audience’s attention focused on the dog.
The set was cleverly painted as a film strip and the action was suitably placed. Lighting was a very effective element when used in the charters rumination sequences. An excellent production that requires concentration, and deserves it.
Paul Rodda

Blood Brothers - The Hills Musical Company - November 2007

This is the musical story of two brothers ‘Edward’ and ‘Micky’ who are born on the same day, one who is kept, and one, given away. Their mother, ‘Mrs Johnston’ is too poor to keep them both, and knowing the trouble she will be in if she does, gives one to the desperately childless ‘Mrs Lyons’. As the boys grow up they become friends, despite the obvious class differences. In a dramatic conclusion to the story both of their lives are lost, fulfilling the prophecy that twins separated at birth must never learn they are a pair, for if they do they would both immediately die.
This piece directed by Max Rayner borrowed a lot of its staging and setting from the London show still running on the West End today. This may be a risky proposition. Anyone seeing the show again might be comparing it to the London production, undoubtedly staged on a much larger budget, but, nonetheless all of the elements in this amateur recreation are highly successful.
Narrating the story in the role with the same title is Scott Nell. Nell, recognised for his character acting ability and well known in Adelaide theatre circles, tackles this role with gusto. His voice is stunningly deep and eerie, his multiple roles as the ‘Milkman’, ‘Bus Conductor’ and ‘Teacher’ are light and humorous in comparison. The brothers played by Chris Buhagiar as ‘Mickey’ and Matthew Brooks as ‘Edward’ are decidedly different. Buhagiar gives strength and energy to ‘Mickey’ and maintains an excellent accent throughout all the dialogue, Brooks is more proper as ‘Edward’ with an educated tone and warm naivety. Both sing their roles well. Jenny Scarce-Tolley has the difficult role of ‘Mrs Lyons’. A myriad of emotions are experienced in this characters journey and Scarce-Tolley delivers them all - longing, desperation, anguish, agony, fear, hate and passion - with skill and élan
Michelle Nightingale as ‘Linda’ plays her characters age ranges with skill – from 7 years to 25 she never appears to be patronising or false in her interpretations of the characters tribulation. Angas Smith works very hard with ‘Sammy’ and gives a lot of energy, but as ‘Mr Lyons’ fails to convince us that he is a man of any strength or stature – though this may build throughout the run. The show stopping performance however comes from Robyn Smith as ‘Mrs Johnston’. Smith is pitch perfect, resolute and skillful in her portrayal of the downtrodden mother with strength to raise a family in desperate times. Her performance is emotionally moving and powerful and it is little wonder half of the audience leaves the auditorium wiping a tear from their eyes. It is disappointing however that a projection of Marilyn Munroe images has been incorporated into her songs only serving as a distraction for the audience and continually breaking the emotional tension that begins to build throughout each of her numbers.
The ensemble also work very hard, the original production incorporates synthesizers over the voices and attempts were made at this with the lead characters, but a lack of microphones for the ensemble meant spoken words or sung lines were often lost behind the music. The orchestra, under Musical Director Emma Knights played excellently. The set was simple and effective and the costumes did the job, though some if the outfits were a little disappointing and didn’t point up enough of the differences between the upper classes and the poor.
Overall the piece seemed to lack a little bit of pace, but was, without a doubt, an excellent show and well worth a look.
Paul Rodda

An Experiment with an Air Pump - University of Adelaide Theatre Guild - November 2007

This piece concerns itself with a lot of issues, both moral and ethical, and demands the attention of the audience and great stamina and understanding from the actors to deliver its message effectively.
The story is based on the 1767 painting “An experiment on a Bird in the Air Pump” by Joseph Wright, whose works often depicted scientific subjects. It begins in a tableau created by the actors which portrays the painting. To cement this message to the audience, designer Ole Wiebkin has depicted a copy of this famous work, in his own unique style, as part of the backdrop to the set.
The fundamental theme centre’s around the turn of two centuries, with action set in both. The first in the year 1799, at the beginning of the Industrial revolution. The second in 1999, at the dawning of the Age of Biotechnology. In each century the characters are conflicted by their moral responsibilities to the growth and development of humanity through science and their ethical responsibilities as human beings. Cleverly interwoven into this story is the issue of the role of women. The evolution of man over 200 years is obvious in the juxtaposition of the female characters, and their comparative importance in each century. The playwright has challenged the audience with ideas, the piece doesn’t give answers, just opinions, and agree or disagree you’re guaranteed to leave thinking about it.
The action jumps back and forth between the centuries frequently and at times the audience could be forgiven for wondering in what direction the playwright was heading with the story. But the actors handle this easily, albeit with a range of mediocre accents.
Pick any player and you have a fervent performance. Cheryl Douglas as ‘Isobel’ a young Scottish maid, is stanch as the educated domestic with a hunched back deformity. Alison Scharber as ‘Harriet’ and ‘Kate’ and Amy Hutchison as ‘Maria’ both show great determination to their characters pursuits and deliver intense and passionate performances. Christopher Leech as ‘Fenwick’ is defiant and revolutionary in stark contrast to his ‘Tom’ who has resigned to his retrenchment, and Aldo Longbardi portrays wonderfully disparate performances as ‘Armstrong’ and ‘Phil’, two characters who couldn’t be more dissimilar from each other. Ben Brooker as ‘Roget’ and Sharon Malujlo as ‘Susannah’ and ‘Ellen’ round out this very talented cast.
The sound design by Maria Fava was effective and always complimented the action, though piece selection was not always married with the shows era. The lighting by Kim Littler was effective and gave dimension to Ole Wiebkin’s interesting set.
This show will give audiences much to think and talk about. See it.
Paul Rodda

Into the Woods - Gilbert and Sullivan Society - October 2007

Into the Woods is the story of ‘Happily ever after’ – or not, as the case may be. The musical story told by lyricist and composer Stephen Sondheim is billed as “one of the most brilliant pieces of contemporary music theatre in the repertoire”, and this production supports that claim!
The story is based on the interwoven legends of several well know fairytale characters including Cinderella, Jack and his mother, Little Red Riding Hood, Rapunzel, and the Baker and his Wife. The first act is concerned with their individual journeys to reach ‘Happily ever after’. The second act goes beyond this, to demonstrate that life is not as simple as good vs. bad. It’s about the choices we make, the way we influence others, and most of all to ‘be careful what you wish for’, because you just might get it!
Pick any actor or actress in this production and you have an excellent performance, special mention must go to Andrew Crispe and Steve Rudd, whose duets as the Prince’s were constantly crowd favorites. Outstanding in their roles were Annie Slade as Cinderella, Tricia Spence as the Witch and John Greene, whose deep operatic voice was well juxtaposed against the rest of the cast. The piece was well placed on the stage and with minimal scene changes the action still remained exciting to watch. The best performance of all must go to the production team however. Sound, lights, set and direction all working together so effectively that it was almost impossible to be bored by this production – a credit to the team of Rick Trevaskis for direction, Ross Curtis for music, David Lampard and his team for sets and costumes and Laraine Wheeler for lighting design. A very long show with lots of content, that could easily have been too much for the audience, with the show finishing over 3 hours after it begun, but despite its length a great night of theatre.
Paul Rodda

Oliver - Marie Clark Musical Theatre - June 2007

Never work with children or animals, unless of course you’re Marie Clark Musical Theatre. In this production of Oliver!, Director Brian Godfrey has got the most out of his ‘cast of kids’ The mood of the show was captured quite well and the overall look and feel of the production was fitting with the show. Costumes were excellent and the orchestra was also very good, never playing over the action or distracting from the piece. Special mention must be given to the movement and dance. Choreographer Rose Vallen has done particularly well on the larger numbers with simple staging and an element of ‘good fun’.
Oliver! is such a well known musical that there are only 2 options for its staging. Directors can either deliver what the audience expects to see, familiar charactrerisations, typecast actors and recreations of the more famous version, or go completely against convention and deliver an entirely original piece. To give the audience some of what they expect combined with new interpretations only serves to weaken the recreation. Godfrey has gone for a copy of the original, and has achieved most of the elements. But some poor casting, sound and often confusing technical decisions have detracted from this production.
Bill Sykes is supposed to be feared by all, however Peter Bevin’s attempt to be scary was more reminiscent of the Soothers commercial parody of the Godfather. Nancy, played by Cara Brown, was excellently sung. Her performance was powerful and played with conviction. Max Trengove as The Artful Dodger was very talented, but miscast, he was too old for the part and his voice too deep, Finally Hugo Koehne gave Oliver innocence with the perfect balance of rebelliousness, he sang beautifully and acted equally as well.
There were some attempts to integrate the action into the audience by brining the characters into the auditorium, unfortunately this destroyed the illusion with tech being forced to bring up the theatre lights so the action could be seen. Lighting onstage wasn’t much better, the spotlights were more like strobe lights and it was very distracting.
With a little more attention to technical issues this is a promising production, but die-hard fans of the show may be disappointed.
Paul Rodda

The Importance of being Ernest - University of Adelaide Theatre Guild - June 2007

The Importance of being Ernest was first performed for the public on February 14, 1895 but the writing still has as much meaning to audiences today as it did then. The story is of friends Algernon and Jack and their pursuit of equally beautiful women Gwendolen and Cecily. Jack wishes to marry Gwendolen, who is Algernon's cousin, but Gwendolen seems to love him only because she believes his name is Ernest. By the same token Algernon wishes to marry Cecily, but she is only interested in him under the pretence that he is her guardian Jack’s infamous brother, also called Ernest. When each of the women discovers their prospective husbands are in fact not named Earnest much trouble and comedy ensues.
The cast performs well as an ensemble but are unfortunately restricted by some poor blocking in a difficult space. There are some standout performances from Marieka Hambledon as Gwendolen and Pam O’grady as Lady Bracknell. Hambledon and O’grady both deliver great intonations, true to the original Wilde scripting. Abby Coleman as Cecily gives an enjoyable performance as too does Norman Athersmith and John Sharpe. David Thring’s interpretation of Jack is energetic, but often played too much as high farce rather than high comedy as the piece was intended. Andrew Lawlor creates a sly Algernon, always playing the situations to his advantage. Lawlor’s accent is superb, but sometimes quite camp, detracting from the strength of the character. Outstanding characterisations are also given by Lindy Lecornu as Miss Prim, Cecily’s governess, and Gary George as Dr Chasuble.
Ole Weibkins set is innovative as usual, but too dark for the genre. The combination of traditional costuming, furniture and language with the abstract painting detracted from the piece.
Oscar Wilde’s writing is so clever and witty that it is almost impossible not to enjoy this production. If you have never had the pleasure of seeing a Wilde play, do yourself a favour and check it out.
Paul Rodda

Road - RedChilli theatre - May 2007

This abstract piece of theatre tells the story of 29 characters that live on the same 'road'. The characters each tell their own stories as well as interacting with each other to give the audience an insight into their lives. The production focuses on the seedy underbelly of Brittan, the northern suburbs, where poverty is king and sex and alcohol are high on the list of daily entertainment.
The 11 actors headed up by Scullery, the 'Road's' bum and alcoholic played by Kim Clark, each deliver as many as 5 characters each, changing location, costume and accent from scene to scene. Kim Clark's portrayal of Scullery is outstanding. One of the stand out performers in the production and the only actor who plays the same character throughout the show, Clark's, Scullery is exhilarating to watch. His characterisation maintains energy and focus and is believable from beginning to end.
Amy Hutchison and Cheryl Douglas also deliver exceptional performances as the youth in the piece, their characters struggling with peer pressure, alcoholism, and the social positioning of woman as sex objects in their district.
Ole Wiebkin’s set is impressive, but some scene changes took place in full light, and the illusion is destroyed when costumed actors appear moving furniture in other characters scenes.
Although the show is enjoyable from start to finish, it is long, and although the interval is cleverly used by the performers to carry the theme of the show into the second act, much of the audience could be forgiven for just wanting a break to refresh and reflect, before enduring the depressing stories of the finale.
Paul Rodda

Cabaret - The Hills Musical Company - May 2007

Clifford Bradshaw is an American writer struggling to unearth inspiration for his next book, and finds himself searching for it in Berlin. On his travels he meets an entertainer by the name of Sally Bowles, who performs in the local cabaret, the Kit Kat club. Our writer finds love with Sally, but the Nazi revolution is beginning to take hold and for their own safety and that of their unborn baby Cliff and Sally decide to return to America, but not before a few unexpected twists and interruptions.
This show is written to be a big, bold cabaret production, and while the cast work very hard and sustain good energy throughout; unfortunately the show doesn’t quite deliver. The production company has assembled a capable cast, but sadly some of the more flamboyant and talented characters voices are often lost as are much of the lyrics.
The choreography was strong, and Mel George and Rebecca Stanley should be congratulated for the overall look of the production. Popular numbers included ‘Don’t Tell Mama’, ‘Perfectly Marvelous’ and ‘Money’ but the show stopper had to be ‘Two ladies’ which had the audience in fits of laughter and received thunderous applause.
An energetic and vivacious performance from Jamie Richards as ‘Emcee’, but the performance of the night goes to Julie Quick as Fraulein Schneider, who, although a self confessed non-singer managed to entertain and excite the audience through all four of her numbers.
The set design by David Lampard was quite abstract, but fitted the mood of the play, and upon closer inspection had some very interesting links to the story line buried in its arrangement. Outstanding was the orchestra playing on the stage, and with the addition of microphones for the singers this would be a truly entertaining night of cabaret.
Paul Rodda

I love you, you’re perfect. Now change! - SINGular productions - March 2007

As the title suggests, this musical comedy revue tells the stories of over 60 diverse characters as they struggle with love, sex and relationships told through the voices and song of four of Adelaide’s best operatic performers. The tale begins with the opening passage of the bible, spoken over the tuneful hums of the chorale entering the stage from the auditorium dressed in hooded robes. The reading begins quite sincerely, word for word as religiously written, but very quickly the one liners’ are slipped in setting the audience up for a great night of laughs.
In the first act our 4 performers take us through the first date, and onto the complexities of first time sex, leading us melodically through the wedding and the joys and encumbrance of marriage, children and family. The singers continue in act two with tales of divorce, re-joining the dating scene, and finally losing the one you love and finding companionship as a widow.
With performances by Johanna Allen, Deborah Caddy, Adam Goodburn and Benjamin Rasheed, audiences should expect an outstanding interpretation. But in this production they get much more than that, these world class performances combined with skillful set design by Victoria Lamb, beautiful music by Nerissa Pearce on piano and Imants Larsens on violin, and brilliant lighting design by Marie Docking, make the cabaret atmosphere complete and audiences can sit back, relax and enjoy a masterful piece of writing and musical production. This production was superb, but could have benefited from some amplification. Although all of the performers are accomplished opera singers, this cabaret style performance lends itself to a more inclusive sound, allowing the audience to truly become lost in the music rather than struggling to catch odd words, hoping desperately not to miss any of the fantastic lyric.
Joe DiPietro and Jimmy Roberts, creators of this piece, have hit the nail on the head with this comic look at a slice of humanity, letting audiences laugh at themselves, whilst enjoying some of the best singers Adelaide has produced. See it.
Paul Rodda

Mutzenball - Little Black Box - March 2007

Mutzenball explores the inner most desires of humans to be loved and cared for veiled under the guise of sex. It tells the story of 5 individuals each struggling with their own sexual inhibition or promiscuity told through the confronting tales of the characters sexual experiences. Mutzenball aims to awaken their audience to the inner sufferings of the sexually driven characters, by revealing their insecurities in emotional and explicit retellings of their occasion. The format utilises humor to rescue the audience from the pressure of the emotional torment the characters are expressing, and to carry the serious message light-heartedly to its conclusion.
Skillfully executed by the talented cast this production succeeds on so many levels. The content is confronting and un-abating, and some audience members could be forgiven for needing to ‘look in the other direction’ from time to time, but never is the voyeuristic styling used to excess or without purpose.
Lori Farmer heads up the cast introducing the audience to each of the characters and tying the un-threaded storyline together in a musical burlesque, much like the ring master in a circus. Her performance is convincing and at times moving for the audience and her intensity and emotional control believable.
Claire Dunn’s character struggles with the need for emotional contact. She is selling up her sexuality to men for the feeling of love and is being labeled as a ‘slut’, much to her own despondency. As her character attempts to convince both the audience and herself that she is a ‘good person’ her emotional transitions from desire to depression become evident. Claire delivers her role with passion and excitement, and maintains impressive focus.
Sarah Hunt plays a horny, vivacious and respondent young female who is living a lie. Social pressure has Sarah’s character forcing herself to participate in sexual acts she does not want to, and the strain is often too much, with Sarah stopping herself just before the climactic moment. Her acting is powerful and deliberate and her timing is impeccable, delivering relieving comedy one minute and shifting to emotional turmoil the next
Chris Nash has a particularly difficult role to play, though no character has it easy, Chris’ character deals with the pressures of love and homosexuality all in one breath. His ‘deep-throating a cucumber’ scene is poignant, initially brazen, but finally saddening as Chris’ character clearly struggles with his sexuality. Nash is compelling to watch, his energy is enormous and his dedication to his character faultless.
Finally Mario Spate, actor and musician for the piece, his comic timing relieves the audience during some awkward moments and his musical technique sets up some of the most emotional moments. The score under this piece is powerful, relevant, and evocative and allows the actors playing up to the music to push further, stretch the boundaries and explore their sexual realities.
The production company should be congratulated on assembling such a talented cast to translate a difficult and confronting piece. If you miss Mutzenball, check out little black box. There here to stay!
Paul Rodda

Bimbo - Higher Ground - March 2007

When the president is caught sleeping with a beautiful woman on the floor of his office, and the scandal is reported nationally in every magazine and newspaper, the radical step is taken of ignoring the advice of his political advisor and releasing a media statement affirming everything that has been reported. When the public doesn’t like what they hear, the president and his wife must come up with an ingenious plan to win the election and stay in government.
Paul Davies as the president has a strong presence in this wide and very open performing space; unfortunately his performance is the only one big enough to fill it. Natalie Page, who plays the president’s wife speaks with great diction but often loses the focus required to stay with her character through the long and wordy scenes. Phillip Riley, Advisor to the president and the show’s creator unfortunately appears to be out of his depth on the stage, though the script is innovative and shows promise, his performance was frequently too quiet and his delivery often directed at the floor.
Supporting performances by Chantal Amos, Tallora di Girolami and Amrit Kumar as the ‘presidents girls’ are refreshing and break the long scenes, but the dance sequences run too long and often without motivation.
The use of multi-media was effective, the sound effects and voice over’s were excellent and the music choice relevant, unfortunately it was so loud it only served to highlight how difficult it was to hear some if the live action on stage.
This is a light hearted piece of theatre, written, directed and performed by local artists and capturing everything that the Fringe is about. Definitely worth a look if you are interested in a piece of thought provoking writing – what if John Howard slept around?
Paul Rodda

Clash of the Theatre Titans - Impro Now - March 2007

Impro now have created a series of three theatre sport shows to entertain the Fringe Audiences this year. They are, “Aaah” Celebrity Scene, Theatre Sports Heats and the Clash of the Theatre Titans. This production involved 4 teams each vying for the prize of a single minty. The teams were required to play at theatre sports games where they took suggestions from the audience on locations, genres, names and actions they would use in their scene. The teams were created from comedians and actors currently taking part in their own shows in the Fringe.
The venue was fantastic and the audience made a great show for this opening night performance with at least 300 people turning out for a laugh. Straight off the bat audience participation was encouraged and as always the hecklers shone, wasting no time yelling out their suggestions to the players on stage. Traditionally the actors are totally unaware what they will be doing until the moment they step foot in the space, but unfortunately this production was slightly more scripted than this, with all the teams knowing what games they were playing before the show even began – this destroyed a lot of the spontaneity of the piece. Like most genres Theatre sports has had ebbs and flows in its popularity. The most recent spike due to the success of televisions ‘Thank God You’re Here’, but this compilation of sports failed to convince me it was completely unrehearsed.
Successful as the winners of the production and equally successful in popularity with the audience were the “Canadians”. Their lightning fast wit and somewhat left of centre sense of humor made them increasingly popular, triumphant due to their faced paced impro, the audience daren’t laugh in case they were to miss another pearler, but alas these two were just too funny, and even had their competitors in stitches on the side lines.
A great night out, enjoyed by all. A little less rehearsal by the players and a little more by the compare would have helped proceedings, but the audience showed enough gratitude through there applause to convince me the production was a success.
Paul Rodda

Ahh Celebrity Scene - Impro Now - March 2007

This 90 minutes of comedy is loosely based on the television show ‘Thank God You’re Here’, and showcases 5 comedians or actors currently performing their own shows in the Fringe. The evening is divided amongst the 5 personalities who come out and introduce themselves to the audience and offer a small ‘bite sized piece’ of the show they are performing in the Fringe, followed by an improvised scene which they know nothing about. Audience participation is encouraged of course!
The venue is an intimate little church lined with timber pews, perfect size and style for this kind of production but perhaps lacking in cushions, as the 90 minute run with no interval starts to have you literally on the edge of your seat looking for a little relief from the timber slats.
The evening is hosted by Tracey Corsten who manages to hold the show together with her own brand of wit, entertaining the audience with a few jokes and anecdotes whilst the performers are preparing for their scenes. Appearances we made by Tracey Davis, Ben Darso and Kate Burr, with standout improvisations by Jason Chong and Phill Howie, who’s comic timing and warped sense of humor make for some very funny moments on the stage.
Supporting performers were strong and held the scenes together very expertly as the guest performers worked their way through the scenes changing direction without notice and heading off on a comic tangent.
Improvised comedy is like car racing for thespians, enthusiasts go to the races to see a car crash, theatre goers head to impro to see experienced performers get caught out in a situation they can’t control! If you’re looking for a night of light comedy where anything can happen, then I suggest you check this one out!
Paul Rodda