Who Died and Called you King. The Mill. 14 June 2024
Gritty down to earth road show tale theatre, in production and performance, with a brilliantly developed black comedy end makes You Are the Kitten a gripping, must see, think-lots-after experience.
New Years Eve, Sydney:
Claire (Chrissy Miller) has busted out of home after a mother/daughter argument. She crashes into Elisabeth (Britt Ferry), a none too together human leading a too thin for its own good greyhound.
Somehow, in the midst of their equal or opposing goals for the day (which coincidentally includes mutual need to escape one thing, person or other), they hang together; kind of bond; build a loose plan to do NYE together. See fireworks at midnight.
What ensues is a series of encounters and experiences in which both women, with different backgrounds and realised, or unrealised, sufferings explore that through bent, wonderful, and twisted encounters culminating in a significant moment. The moment an op-shop owner blows dope smoke into a small kitten’s face. It’s a pivotal symbolic image. Are their lives, their experiences as awake or aware as a stoned kitten? Let’s see.
Ellen Wiltshire’s direction is ideal for stripped back bare bones theatre in which narrative is key, as is the design. Gloria (the greyhound Elisabeth leads) is represented by a heavy length of jetty rope, synonymous with Sydney harbour. That dog’s suffering is emulated in howling voice by Elisabeth during its part of the narrative.
Playwright Nicole Plüss’s characters are a brilliantly opposing yet united pair; Claire, a middle-class girl awaking to the reality of her sexual abuse by a family friend; Elisabeth, a very street wise, deep in poverty, smart arse, housed in a shit hole, with a cat house, filled with real cats.
The power of this gripping production is the choices these emotional misfits make. Claire is so easily led. Elisabeth so easily willing to offset her realty with such remarkable, gutsy, pop philosophy, chutzpah. It’s also too funny for subject matter. They are an absorbing duo of compatible incompatibilities. Ideologies that somehow find a wondrous dark unity.
The twist and turn of imagery and shared narration/action between Claire and Elisabeth is seamless as it is physically played out onstage. This is majestic poor theatre at its finest. Then it does a marvellous turn in the last quarter of the production. It’s the kicker. The thing that makes one think!
Playwright’s great achievement, well set by Director.
David O’Brien
When: 14 June
Where: The Mill
Bookings: Closed
Adelaide Cabaret Festival. The Banquet Room. 14 Jun 2024
The nature of improv is such that it is very hit and miss, and often both. This production is no different, although it is fortunately more hit than miss.
Jane Watt and Rob Johnson have been leading this show for some time at various festivals and it runs quarterly at the hayes in Sydney, so if you missed it this time, catch it next time you’re there. The remainder of the cast is a moving feast, and this production also featured Artistic Director Virginia Gay, who seems to pop up all over the place.
Julia Zemiro, Tom Cardy and Orya Golgowsky round out the cast, with Victoria Falconer improvising wildly on piano – kudos to her!
The show began with a quick, episodic improv game to smooth the way for those who hadn’t been exposed to the concept before, and there were surprisingly quite a few this night. A little more ‘miss’ with this one, but they were just warming up. Audience member Chloe provided the key words for a song (favourite film, place to go, etc) and the cast began to feel their way in, managing to create a workable and entertaining song of ‘Die Hard and the Mall’s Balls’.
Then on to the musical, which was created in the same fashion with audience suggestions. Hence we ended up with ‘The Pageant: The Musical’, with key words dictating that it had to be a children’s pageant, and must contain baton twirling and helicopter parenting.
Gay came straight out of the blocks with Zemiro as her feisty stage mother. Oddly enough, Gay declared that she was 19, and quickly reverted to a six year old with psychosis. Beautifully worked. Zemiro did some channelling of her ‘Fisk’ character, over-bearing and always right. The interplay between these two was delightful, as were Gay’s exchanges with her dead father. Equally entertaining is he partnership of grandfather Orya Golgowsky and frustrated grandchild Rob Johnson.
There are some very clever turns (the spooning song) and Falconer moved them along brilliantly, both anticipating and encouraging a bit of musical mayhem. This is a cast obviously experienced in improv, ready with their ‘Yes, And’, ready to move in from side of stage when a scene started to flounder, picking it up and moving it on.
With improv, the audience must be prepared to go along for the ride that the cast is taking them on; this night they certainly did. A welcome addition to the Cabaret lexicon.
Arna Eyers-White
When: 14 to 15 Jun
Where: The Banquet Room
Bookings: Closed
Adelaide Cabaret Festival. Catherine Alcorn. Dunstan Playhouse. 13 Jun 2024
From the moment Catherine Alcorn’s hugely bewigged head pokes through the curtains, you know you’re in for a fun night. What you don’t know is that The Divine Miss Bette quickly moves into a remarkably fine-honed theatrical experience that goes far beyond what one expects from a ‘tribute’ show.
There are two levels at work here: Alcorn has studied Bette Midler’s style and mannerisms and worked very hard at emulating them. She has the Midler mince and moue down pat, almost disturbingly so. But behind the spangles, eye flutters and vocal mannerisms, Catherine Alcorn is clearly at work, and every now and then she pops out to let you know that.
The show opens raucously with Friends (from Midler’s 1972 debut album ‘The Divine Miss M’) and in an indication that this will not be religiously Midler, the Staggering Harlettes, also big wigged and sequinned, vibe to The Who’s, Who Are You. Acknowledging her backup singers Misty (Kat Hoyos), Fisty (Chloe Marshall), and Vendetta (Karla Hillam) and band (Musical Director and piano, Benjamin Kiehne, Crick Boue on Bass, Sam Leske on electric and acoustic guitar with Ben Todd on drums), it’s straight into a boogie belter with Glen Miller’s In The Mood – you wait for it to segue into Boogie Woogie Bugle Boy but she stops short; and you know it’s a tease.
The band is restrained, as you know they must be. Even as the Harlettes are pulling moves from the Ike & Tina Review the band is cool, laidback, Sam Leske pulls a lick or two out of the Telecaster, changes guitars without being noticed, then polishes the 70s wah perfectly, but never raises a sweat. Clearly it is not in the bassist’s contract to raise a sweat either. Cool as cucumbers, he and drummer Todd.
Alcorn’s between song patter is what takes this show past tribute and into full music theatre. In her Divine Madness concert video, Midler pays homage to American vaudevillian Sophie Tucker and Alcorn happily intersperses songs with Sophie’s signature phrase “I’ll never forget it you know!” and tells some pretty blue jokes; Alcorn doesn’t resile from these, and they create some pretty funny engagement with the crowd.
In the main, this production is about Bathhouse Bette, the sassy, bawdy woman who played gay bathhouses in the ‘seventies, but every so often, the pensive, passionate Bette appears. Alcorn’s skills are such that the audience has barely finished chuckling at one of her bon mots when they are jolted into introspection with songs such John Prine’s, Hello In There or the Beatles’, In My Life.
The Harlettes take the spotlight for a moment and take on TLC’s, Waterfalls – not the most successful number of the evening, but entertaining nonetheless.
There’s a small break for a costume change; Bette and the Harlettes appear looking like red Christmas ornaments as they sashay across the stage. She baits her audience… most amusingly takes the piss out of The Rose – “I’m sick of singing this! You sing it!” and the audience dutifully does. At this stage they’d do anything for her. From A Distance becomes a serenade from the balcony, and Boogie Woogie Bugle Boy finally turns up, interspersed with a rousing rendition of Beyonce’s, Single Ladies.
The close encapsulates the spirit of the show; the curtain comes down, the band keeps playing, then Catherine Alcorn appears as herself, stunning in black. She gives a laden and wonderful speech about how she got here, and the entire audience considers they have just been told it took 12 long years for this show to be accepted into the Cabaret Festival fold. Madness. This show is as assured, as sassy, as capable and as technically adept as it is possible to be. It is also the very spirit of cabaret, and in closing with a beautiful rendition of Wind Beneath My Wings (as herself), Catherine Alcorn earns a standing ovation. It is fitting.
Arna Eyers-White
When: 13 to 15 Jun
Where: Dunstan Playhouse
Bookings: Closed
Free Agents Youth Theatre. Goodwood Theatre and Studios. 13 June 2024
Underage conscription in WWI happened despite its illegality. Free Agents Youth Theatre’s Lambs delves into the how, why and at what cost.
Director/Writer Sean Riley’s production, developed over a two-year process with the cast has produced one of the richest, deeply considered and powerfully written hours of staged new theatre of 2024.
Lambs tackles that ‘one day of the year’ sociopolitical trope minus all the usual ANZAC mythology and virtue signalling, going directly to the realities at the core of 1900s Australia.
Australia is newly federated yet still colonial in heart and mind. England is still home. The Bush still heart of an agriculturally grounded society; yet it is a place to escape.
The world of Boys’ Own adventures and the ‘manly pursuit of honour’ fuels the extraordinary power of the production’s opening scene, encapsulating the spirit of the production’s intent as a whole.
“Once more unto the breach”, Shakespeare’s famed line from Henry The Fifth, utters Stanley Lamb (Eadan McGuiness) crouched on all fours in uniform as battle sound rages. A scene which quickly segues into a school group learning the play. A group eagerly discussing the oncoming potential of war. What is the breach? The trenches of France to come, unknown to teenage boys for whom war is a grand patriotic manly adventure.
It is Stanley and brothers Phillip (Hugo de Guzman) and Joseph (Jack Chadwick) whose fates illustrate choices made and the systems allowing them.
This smashing together of imagery and time in Riley’s writing and direction is a distinctive, deftly managed, powerful force of the production. Its narrative fuses present day bush town of St Judes and future trench warfare. Lambs traces the struggle between overt pro-war social attitudes, diminishing numbers of soldiers, and implicit but never spoken of acceptance of underage conscripts. It tears at family and community.
The work is at times chilling, heart-warming, and mournfully reflective, leaving you breathless often.
Riley’s cast is a powerful ensemble of extraordinary young actors, filling Riley’s intensely reflective, powerful and innocent characters’ dialogue and experiences with profoundly aware performances.
In their youth, even when playing roles older than themselves alongside those their own age, the cast absolutely accentuate the opportunistic barbarity of the desperate war times that accept child soldiers.
In partnership with Kim Liotta’s sparsely dressed set, Nic Mollison’s on point, scene defining light design, Eadan and Justin McGuiness of Little Fire Film’s mesmerising effective video design, and Composer Doctor Oscillator’s careful, mournful out of tune pianola score, Lambs is a complete world that could be a dream of the past, but is in fact emblematic of a lesser acknowledged truth of Australia’s WWI history.
David O’Brien
When: 13 to 15 June
Where: Goodwood Theatre and Studios
Bookings:Closed
Adelaide Show Grounds. 12 Jun 2024
Cirque du Soleil’s Luzia is a kaleidoscope of vibrant colours, intricate costumes, and gravity-defying performances. It is a mesmerising homage to the spirit of Mexico, rich with cultural symbolism and vibrant imagery. The 38th production since 1984, Luzia first premiered in 2016 and is the second tribute to the richness of Mexican culture – the first being Joyà in 2014.
Nestled within the infamous Cirque du Soleil ‘big top’, audiences discover a circular stage, replete with a veritable garden of Cempasuchil flowers (Yellow, or Aztec Marigolds). This is a stage designed for performance in the round, and when it revolves it ensures a prime view for every seat in the house.
“Fasten your seatbelts” we are told, as the lights dim; a solitary skydiver descending from the big top’s apex. It is Eric Koller – physical comedian and clown – parachuting into our hearts and minds. Arguably the heart and sole of Luzia, Koller weaves his simple narrative throughout the production, showcasing his impeccable timing and a boundless expressive range.
The dreamlike world of Luzia is then brought to life by Olivia Aepli as the ‘Running Woman’. She is accompanied by a majestic metallic horse puppet which dominates the stage and commands our attention. Aepli, clad in a stunning, expansive costume of the monarch butterfly, spreads her enormous butterfly wings and signals the beginning of our migratory journey.
An exhilarating ‘Hoop Diving’ performance follows where the cast, dressed as vibrant hummingbirds, bring the stage to life with spectacular tumbling and impeccable timing. Each performer soars and twists through the hoops with breathtaking precision, their feathered costumes creating the illusion of a flock in flight.
Then, in ‘Adagio’ – which is a nod to the golden age of Mexican cinema - the ‘flyer’ (Naomi Zimmerman / Anastasia Gorbatyuk), with the utmost poise and unwavering trust, places her life in the hands of her three ‘porters’ (Roberto Carlos Freitas Grispach, Anton Glazkov, Krzysztof Holowenko), creating a breathtaking display of human connection and courage. Each hand-to-hand throw and catch is testament to the profound trust and teamwork of the performers as she is flipped and hurled through the air; the elegance and grace, perfectly juxtaposed with real danger and genuine risk. There are no safety nets here, folks. No crash mats to catch a fall.
Tall, dominating cacti are silhouetted against the setting sun as Enya White then takes to the trapeze in a sensual collaboration with a cyr wheel artist (Sarah Togni / Shena Tschofen) amongst a cascading waterfall that descends from the heavens. Together the women create a seamless blend of strength and fluidity, each swing and spin echoing the rhythm of the falling water. The water becomes part of their dance as the droplets leap from their spinning and swinging bodies.
The name ‘Luzia’ is actually a fusion of two Spanish words that mean ‘light’ and ‘rain’, both core elements in this show’s creation. The lighting is exceptional throughout, but at this early stage we have barely scratched the surface where the water is concerned.
Koller returns with beachball and whistle in hand. It is clowning at its best as he takes the audience on an epic storytelling journey with nothing but his skilful expressions and the aid of the whistle. The audience are putty in his hands, just begging to be shaped and manipulated.
Then continuing the theme of the beach, and re-enforcing 1920s Mexican cinema, strongman Ugo Laffolay demonstrates his exceptional physical strength and balance atop a dangerously tall stack of hand-balancing poles. Then footballers, Abou Traoré and Igo Da Silva Matos wow us with their exceptional soccer ball juggling abilities in a nod to the highly celebrated Mexican sport. They kick, flip, spin, and even breakdance(!) with consummate skill.
When Koller again returns, shortly before intermission, to take on the ‘rain’ and attempt to fill his drink bottle, everyone in the house is left in stitches. Impressively, the shower of water begins to depict elements of the native flora and fauna of Mexico.
After intermission the set continues its transformation. Luzia is filled with references to Mexican cinema, art, handicraft, religion and history including a giant suspended orb that features as a major part of the set and is variously lit or projected onto throughout the production. It is affectionately titled the ‘Disk of Luzia’. The disk is said to reference the sun, the moon and the Aztec calendar.
The following performances of ‘Masts and Poles’ and then Krzysztof Holowenko’s 360 degree rotation on a giant swing wearing a luchador mask continue the Mexican themes. Though the production’s emotional pinnacle is reached, however, when Jérome Sordillon takes to the Aerial straps, as singer Majo Cornejo elicits spine tingling tones with her exceptional vocalisations.
Sordillon, representing a “demigod of rain” emerges on the aerial strap from a pool centre stage. The pool references a naturally occurring Mayan sinkhole which were believed to be “gateways to the afterlife”. Sordillon performs a mesmerising dance with a life-size panther puppet brought to life by puppeteers, Gerardo Ballester and Andrii Lytvak, in a performance where man and beast seem to become one. Here, the sequencing, choreography, production values, and music are so perfectly executed as to be emotionally overwhelming! It is indeed a spectacle to behold.
With this hard act to follow, Ivan Do-Duc has his work cut out, but does not fail to amaze with his tricks on the bicycle. Then contortionist, Aleksei Goloborodko, divides the audience, with many turning to look away as he demonstrates almost unnatural levels of flexibility. One sits in astonishment, marvelling at Goloborodko’s exquisite control and balance as he twists and bends into seemingly impossible shapes.
The closing act, entitled ‘Swing to Swing’ brings home the ever-present danger for this troupe of performers, as not one, but three, fail to land complex flips between apparatus. It is a chilling reminder – and not the first of the evening – of the courage and sheer will these talented individuals bring to bear each and every night.
As the evening draws to its conclusion and the artists take their bows, many of the opening night audience spring to their feet in a round of well-earned adulation. This is a night much loved by those in attendance, and one I suspect many will speak of for days and weeks to come.
Get in on the experience. This is not a show to be missed.
Paul Rodda
When: 9 Jun to 7 Jul
Where: Adelaide Show Grounds
Bookings: cirquedusoleil.com