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