Tag Archives: comedy

Review: Converted! (ATYP)

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Venue: The Rebel Theatre (Sydney NSW), Jan 3 – 25 , 2025
Book: Vic Zerbst
Music & Lyrics: Vic Zerbst, Oliver John Cameron
Director: Hayden Tonazzi
Cast: Helen Dallimore, Paul Leandre Escorrido, Ashley Garner, Cassie Hamilton, Nat Jobe, Melody Kiptoo, Scarlet Lindsay, Teo Persechino, Megan Robinson, Redd Scott, Teo Vergara
Images by Daniel Boud

Theatre review
Teenagers at the “Fix Yourself!” camp are hoping to improve their self-esteem, but like most other places, an overbearing and stifling emphasis on heteronormative values, is instead deteriorating their sense of self worth. Converted! by Vic Zerbst and Oliver John Cameron is an often charming musical about queer youth, and their struggles in a world determined to negate and change their nature. The plot may on occasion be incoherent, but its idiosyncratic style and array of spirited tunes, help to keep us amused and attentive.

Vibrant direction by Hayden Tonazzi ensures that the show is consistently energetic and irrepressibly quirky. A cast brimming with sincerity passionately imparts its story, including performers Helen Dallimore and Nat Jobe who stand out for the comedic nuance they bring to their roles as camp counsellors. Music direction by Mark Chamberlain introduces variation to our experience of songs that could otherwise feel formulaic. Uncomplicated choreography by Jeremy Lloyd ensures a theatricality without compromising the natural movement of characters.

Whimsical set and costume designs by Savanna Wegman set the tone for this cheeky and cheerful presentation. Lights by Brockman give the production its polish, along with a captivating colourfulness that represents perfectly queer culture, and the tradition of defiance against banality that it exemplifies.

Pride is not only about individuals overcoming challenges. It pertains to the continuation of legacies, and the understanding that freedoms that have been won, remain under constant threat. Pride necessitates that we remember the monumental sacrifices that had been made, and that we are prepared to extend victories to all others who still have to fight for justice. Queers are fervent in celebrating our authenticities, if only to demonstrate that truth and integrity are never to be feared. 

www.atyp.com.au

Review: Elf: The Musical (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), 19 – 29 Dec, 2024
Book: Bob Martin, Thomas Meehan
Music: Matthew Sklar
Lyrics: Chad Beguelin
Director: Eric Giancola
Cast: Brianna Bishop, Oscar Bridges, Simon Burke, Andrew Dunne, Gareth Isaac, Madeleine Mackenzie, Lara Mulcahy, Katrina Retallick
Images by Daniel Boud

Theatre review
Buddy embarks on a journey to New York to find his biological father, having recently learned that he is not a natural-born elf. Elf: The Musical was created several years after the success of the 2003 motion picture on which it is based, bringing further joy to the holiday season for audiences of all ages.

Under Eric Giancola’s effervescent direction, this stage version emerges as a comedic delight determined to leave crowds beaming with pleasure. Charming choreography by Mitchel Woodcock is a memorable feature, adding richness and dynamism to the narrative’s inherent momentum. Splendid video design by David Bergman increases the kineticism of the experience, working with our imagination to render believable a wide range of locations, as it delivers irrepressible colour and movement to have us mesmerised.

Performer Gareth Isaac plays Buddy with an appealing naivety, and along with his vibrant ebullience,  convinces us to invest in this story about an oversized Santa’s helper. As Santa, Laura Mulcahy’s natural charisma shines to great effect, completely enchanting with the confidence and humour she introduces. Simon Burke and Katrina Retallick are notable for their magnetism in the roles of Mr and Mrs Hobbs, both effortlessly captivating, as parental figures in Buddy’s search for belonging.

Christmas may always be first and foremost about the birth of a deity, but increasingly we regard it to simply be a time for togetherness and harmony. No matter our beliefs, it becomes a greater possibility during these festivities to lay down the arms, and to hold sacred a moment, if only for remembering to hope for peace on earth, and mercy mild.

www.sydneyoperahouse.com

Review: The Pigeons (KXT on Broadway)

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Venue: KXT on Broadway (Ultimo NSW), Dec 7 – 21, 2024
Playwright: David Gieselmann
Director: Eugene Lynch
Cast: Tel Benjamin, Lib Campbell, Micaela Ellis, Kath Gordon, Jackson Hurwood, Kandice Joy, Mark Langham, Andrew Lindqvist, Dominic Lui
Images by Justin Cueno

Theatre review
Robert has had enough of the rat race and is calling it quits. Things in the office are always chaotic anyway, so his disappearance seems not to have changed the tone of daily life very much. Any interpretation of its narrative however, is probably not of much importance for David Gieselmann’s The Pigeons, in which form and style take precedence over actual content or story.

Direction by Eugene Lynch, along with choreography by Cassidy McDermott-Smith, introduce a great amount of frenzied energy to the piece, but never quite draws us into any real fascination with the artistic experimentations taking place on stage, only becoming increasingly alienating over the course. The cast can be credited for their undeniable investment into the experience, with players like Tel Benjamin, Lib Campbell and Kath Gordon leaving good impressions with their rendering of comedic moments when opportunities arise.

Costumes by Lily Mateljan may only mimic dreary aspects of humdrum normalcy, but a moment of extraordinary absurdity involving a necktie, certainly proves delightful. An adaptive set design by Lochie Odgers too delivers an element of surprise in later portions of the show. Lights by Topaz Marlay-Cole are well considered, but available equipment proves restrictive in the implementation of the designer’s more creative ideas. Music and sounds by Christine Pan, often delightfully performed live, are effective in reminding our sensibilities to venture somewhere surreal.

Pigeons have a homing instinct that means they always come back. Our human nature can be thought of as something that always wishes to return to square one, but evidence suggests that we are capable of breaking out and moving forward. Art especially should have the capacity to resist repetition, and our artists can be relied on, to introduce new ways of thinking and being, even if the ways they choose to challenge us, can be difficult.

www.kingsxtheatre.com | www.theothertheatre.com.au

Review: Hot Tub (25A Belvoir)

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Venue: Belvoir St Theatre (Surry Hills NSW), Dec 6 – 21, 2024
Playwright: Lewis Treston
Director: Riley Spadaro
Cast: Jack Calver, Patrick Jhanur, Melissa Kahraman, Kieran McGrath, Ella Prince, Shannon Ryan, Diane Smith
Images by Katherine Griffiths

Theatre review
The Hunter-Whites have more dollars than sense, and something about the Gold Coast just sends them in a tailspin. Hot Tub by Lewis Treston is an absurdist comedy about the wealthy, a fantasia on the frenzied existence of cash-rich and drug-fuelled moguls, with lifestyles propped up by property ownership and a distinct shortage of moral concerns. The play is composed of highly amusing dialogue, featuring flamboyantly imagined personalities; its narrative may be lacklustre, but its spirit is certainly wildly infectious.

Commensurately exuberant direction by Riley Spadaro delivers a show as camp as it is unabashedly depraved. There is a sophistication to Spadaro’s approach that counteracts the obvious humour of Hot Tub, and while it may not prevent us from feeling empty at the end, the journey is unquestionably entertaining.

Grace Deacon’s set design is attractive and remarkably finessed, and even though her costumes do not sufficiently portray affluence, the colourful imagery being formulated proves a delight. Lights by Phoebe Pilcher are energetic and richly tailored, bringing a wonderful sense of variety to our visual enjoyment of the piece. Madeleine Picard’s sound design is less conspicuously presented, but the vitality it imbues is unambiguous.

It is clear that the cast of Hot Tub is deeply committed, with every performer bringing an unwavering focus to their parts. Ella Prince is particularly memorable as Officer Sheryl, with a level of theatricality that feels completely off the charts, yet accurate to the aesthetic being rendered. Diane Smith too introduces a brand of bizarre to her delicious interpretation of a grandmother more interested in money than in family, admirable for her iconoclastic depiction of an Australian matriarch. 

There is something in the very bones of our way of life on this land, that insists that we make safe and bland decisions. Even in art, we are often held back from jumping off cliffs, as though the repercussions will forever be dire, even though nobody can know for certain what awaits thereafter. In Hot Tub, we can see that a leap of faith has been taken, a kind of wild abandon is in action, perhaps informed by the unequivocal queerness that serves as central guiding principle, establishing the language and paradigm from which it communicates.

It is a play about family, yet love seems non-existent, or at least undetectable in a conventional manner. Queer people perceive kinship differently. Queer people may even understand love differently. There is a communal connection taking place, when we laugh at glamorous characters being awful parents, and even though they leave us needing more, we know that for a moment, we had been held.

www.belvoir.com.au | www.instagram.com/presentedbybub

Review: The Heartbreak Choir (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), 29 Oct, 2024 – 12 Jan, 2025
Playwright: Aidan Fennessy
Director: Anna Ledwich
Cast: Valerie Bader, Tyallah Bullock, Nancy Denis, Carita Farrer Spencer, Jay Laga’aia, Jasper Lee-Lindsay, Georgina Symes
Images by Prudence Upton

Theatre review
Barbara and her friends have left their choir to set up their own offshoot. When Savannah suggests the new name “Heartbreak Choir”, they all agree on its suitability, but it takes considerable time before we understand the reasoning behind their choice. At the foundation of Aidan Fennessy’s play The Heartbreak Choir is something quite profound and moving; however a lack of focus and an overreliance on humour, detract from what could have been a powerful experience.

The show is sometimes truly funny, but it also has a tendency to deviate too much from its central concern. Direction by Anna Ledwich imbues a palpable warmth, particularly in its portrayal of community, even as the narrative struggles to resonate sufficiently with the darker themes that inspire it. 

Set and costumes by Nick Fry deliver a convincing realism, along with a spaciousness that facilitates easy movement by its cast. Lights by Verity Hampson can be somewhat abrupt with their transformations, but are calibrated well to guide us through shifting temperaments. Occasional singing is an enjoyable feature, with musical direction by Sally Whitwell providing just enough complexity to give a sense of elevation, and a lustre to the production. 

Performer Valerie Bader is a passionate presence as Barbara, if somewhat strained with her interpretations of the play’s more emotive portions. Jay Laga’aia is highly charismatic in the key role of Peter, effortlessly instigating our investment into his character’s journey of healing. Also memorable is Jasper Lee-Lindsay whose restrained approach for the part of Peter’s son Beau, translates into moments of tenderness and much needed gravitas. The persistent lightness of The Heartbreak Choir offers an accessible entry point into the trauma at its core, yet for something more effectively cathartic, it is ultimately unavoidable to confront and feel the actual pain.

www.ensemble.com.au

Review: Irving Berlin’s Holiday Inn (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Nov 22 – Dec 22, 2024
Music and Lyrics: Irving Berlin
Book: Gordon Greenberg, Chad Hodge
Director: Sally Dashwood
Cast: Zohra Bednarz, Emma Feliciano, Paige Fallu, Matt Hourigan, Nigel Huckle, Niky Markovic, Chloë Marshall, Mary McCorry, Jamie Reisin, Jacob Steen
Images by Robert Catto

Theatre review
All Jim wants is an idyllic life of marriage in rural Connecticut, but when Lila discovers that the farmhouse is not quite to her taste, Jim quickly finds a new love interest in Linda. Based on a film from 1942, it is perhaps not a surprise to find in Holiday Inn, that women are but interchangeable and disposable. The book by Gordon Greenberg and Chad Hodge for this 2014 musical version, preserves what some might term an old-fashioned charm, but for others it is probably only the interpolated songs from the Irving Berlin oeuvre that holds any appeal.

Direction by Sally Dashwood is correspondingly nostalgic in style, with an approach that is perhaps overly sterile and conservative. Zealous choreography by Veronica Beattie George is highly animated, but a restrictive set design by Bell Rose Saltearn hinders the cast from performing freely. Lights by Véronique Benett introduce dynamism to the staging, but it is the extensive wardrobe by costumier Brendan de la Hay that provides some visual splendour.

Music direction by Abi McCunn is faithful to the relevant era, ensuring that Berlin’s hits remain enchanting. Leading the cast are Nigel Huckle and Mary McCorry who both impress with their singing abilities as Jim and Linda, although chemistry is nowhere to be found on this occasion. More captivating is Jacob Steen who plays Jim’s partner and friend Ted, demonstrating exceptional flair and a knack for harnessing dramatic authenticity, even for a story that is completely absurd. There is something about the Christmas season that feels ridiculous, but we participate anyway, understanding that so much of the joy comes from a willingness to indulge in a collective delusion, about this portion of the calendar holding so much more meaning, than the rest of the year.

www.hayestheatre.com.au

Review: August: Osage County (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Nov 9 – Dec 22, 2024
Playwright: Tracy Letts
Director: Eamon Flack
Cast: Tamsin Carroll, Bee Cruse, John Howard, Bert LaBonté, Amy Mathews, Johnny Nasser, Rohan Nichol, Will O’Mahony, Pamela Rabe, Anna Samson, Greg Stone, Helen Thomson, Esther Williams
Images by Brett Boardman

Theatre review
After hiring Johnna as caretaker, Beverly vanishes, leaving his wife Violet and their three daughters in a state of chaos. August: Osage County by Tracy Letts takes the form of a family drama, with outrageous dialogue and plot points delivering both excitement and hilarity. It is a work of theatre that not only indulges our sentimentality with its extravagant storytelling but also prompts contemplation on the origins of our modern discontents.

There is an aggression that feels intrinsic to the Weston household, rendered with confident surety by director Eamon Flack. Flack’s thoughtful juxtapositions of Johnna’s indigeneity against the Weston family’s whiteness, elicits persuasive deductions relating to colonisation, and the legacy of violence that forms the very foundation of Western civilisations. Furthermore there is a sense of being unmoored, at the centre of their very existence, that the Westons struggle with. Unlike Johnna who exemplifies a certain serenity in the midst of relentless upheaval, the Westons can never arrive at peace. Even as Violet fervently reaches for words to express multitudes of truths, or when her daughters try endlessly to settle in romance, their bitterness refuses to be assuaged. It is a generational curse that plays out in August: Osage County, an inheritance from the forefathers of yore.

Delectable performances from the 13-strong cast keep our intellect and our emotions firing on all cylinders. Pamela Rabe’s wild manifestations of Violet as an unhinged addict sets us agog, having us intrigued with the endless pit of toxicity that a person can contain. Tamsin Carroll brings marvellous complexity to Barbara’s narrative of interminable desperation, along with splendid timing that provokes both thought and laughter. Johnna is played by Bee Cruse, whose silent but strong presence speaks volumes for the entire duration, using elegant restraint as a philosophical instrument in this deep examination of existential angst. 

Set design by Bob Cousins evokes dilapidation, in relation to the family and to the nation in question. Costumes by Ella Butler represent effectively the middle class, if slightly austere in tone. Lights by Morgan Moroney are similarly unassuming, but are certainly encouraging of our attentiveness, for a plot that can travel in surprising directions. Music by Rachael Dease is subtle and sparse, but commendable for its perfect encapsulation of the tragic melancholy that undergirds all the action.

Talking psychology for individual characters in August: Osage County can only go so far. A meaningful diagnosis of their disorders must include much wider contexts than what transpires within the Weston household. Contemporary paradigms have a strong tendency to explain experiences in terms of personal pathologies, but a substantial part of how we understand our worlds, need a much greater appreciation of that which has been handed down, and that affects more than our immediate kin.

www.belvoir.com.au

Review: The Inheritance (Seymour Centre)

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Venue: Seymour Centre, Reginald Theatre (Chippendale NSW), Nov 7 – Dec 8, 2024
Playwright: Matthew López (inspired by the novel Howards End by E.M. Forster)
Director: Shane Anthony
Cast: John Adam, Simon Burke, Vanessa Downing, Teale Howie, Ryan Panizza, Tom Rodgers, Zoran Jevtic, Quinton Rofail Rich, Matthew McDonald, Elijah Williams, Jack Mitsch, Bayley Prendergast, Jack Richardson
Images by Phil Erbacher

Theatre review
Walter has bequeathed his house in upstate New York, to Eric. They had been neighbours in Manhattan who had connected on a deep level, with both being of a similar giving nature, and both in relationships with troubled men. The Inheritance by Matthew López talks about the legacy that exists between generations of gay men, and the struggles that bind them. In part a tribute to E.M. Forster and his novel Howards End, López’s creation is a grand, sprawling tale with ambitions to encapsulate the experiences of gay men as individuals and as collectives. It has a tendency to veer into didacticism, but its characters and narratives are gripping, with an abundance of brilliantly crafted humour and pathos to have us invested, for its lengthy duration of over six hours.

Striking a fine balance between earnestness and levity, direction by Shane Anthony is as enjoyable as it is provocative, always able to have us intellectually stimulated, even as it lulls us into its underscoring romanticism. Replete with passion, The Inheritance bears a seductive power that never lets up, persistent with its need to say something important, about community and about humanity, to an audience that may be queer or straight, liberal or conservative.

Actor Teale Howie is deeply affecting with his restrained but nonetheless deliberative interpretation of Eric, wonderful at establishing a soulful centre for the structurally complex storytelling that we find ourselves relishing in. Toby is Eric’s prideful boyfriend, played by Ryan Panizza with persuasive vulnerability, and with irresistible charm, to earn our sympathetic understanding of the damage that has come to define his personality.

Simon Burke takes on dual roles, compelling as both Walter and E.M. Forster, offering sensitive representations of gay elders, past and present. Walter’s longtime companion Henry is depicted by an intense John Adam, who brings scintillating drama with every appearance. Also noteworthy is Tom Rodgers, whose fragile presence as younger characters Adam and Leo demands that we regard The Inheritance with an open heart, reminding us that life is delicate, and that some may require more care than others, even if the brutality of homophobia may appear indiscriminate. The show can occasionally feel slightly under-rehearsed, but the ensemble impresses with a wonderful sincerity and tenderness, completely believable with all that they wish to impart.

It is a stylish production, with elegant set design by Kate Beere making effective demarcations of space that convince us of the story’s many locations with minimal fuss. Its beauty is enhanced by Alex Berlage’s exquisite lights, rigorous in their explorations of atmosphere, as they deliver calibrations of hue and luminosity that delight at every turn. Costumes by Tim Chappell may not be consistently flattering, but they certainly demonstrate a distinct aesthetic that reflects clarity of perspective. Music by Damien Lane, along with sounds by Jessica Pizzinga, are sensitively rendered, and deeply enchanting, although greater finesse is required for their implementation.

The staging may have its imperfections, but the way it touches the spirit, is quite extraordinary. Henry cannot bear the painful past, and has cultivated a mechanism of only looking ahead, and pretends that history can be discarded, along with all the hurt that he wishes to leave behind. He represents a kind of survival that seems not to be truly fulfilling, as we see a certain contradiction and betrayal, as he goes against his nature, in order to attain something idealistic, rather than something honest. Gay men need to know their histories, so that they can remember to value their advancements, and in turn be able to elevate the positions of those who are still left behind.

www.seymourcentre.com | www.sugaryrumproductions.com

Review: Female Of The Species (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW), Nov 1 – 23, 2024
Playwright: Joanna Murray-Smith
Director: Erica Lovell
Cast: Lib Campbell, Doron Chester, Jade Fuda, Joe Kalou, Mark Lee, Lucy Miller
Images by Noni Carroll

Theatre review
Margot is struggling with her latest book. A star of feminism’s second wave, she seems to have run out of things to say, after publishing a raft of titles over thirty or so years. The 2006 play Female of the Species by Joanna Murray-Smith is itself too, not altogether relevant in today’s climate of progressive politics, but the work is thankfully sound with fundamental principles that continue to prove credible. More important perhaps, is the endurance of its comedy, which we discover to be quite hilarious, while it expounds on the eternally contentious subject of gender inequity.

Intricate direction by Erica Lovell ensures no stone unturned, for a show determined to deliver the laughs. A warm exuberance takes hold from its first moments and never lets up, making it a delightful experience for its entirety. Production design by Paris Burrowes depicts with accuracy the epoch that we slightly revert to, and lighting design by James Wallis is understandably restrained in a production that requires no need for bells and whistles.

It is all about the performances in Female of the Species, and the cast delivers in spades. Lucy Miller provides rich intellectual fodder with her complex portrayal of Margot. Her daughter Tess is relentlessly funny, as depicted by an inventive Lib Campbell. The intruder Molly is imbued thoughtful intensity by Jade Fuda. Male characters appear later in the piece, with Doron Chester, Joe Kalou and Mark Lee all bringing exceptional buoyancy to the presentation.

With each generation of activism, we seem to get closer to a meaningful unravelling, if not dismantlement, of the structures that inhibit and subjugate. With this revisit of Female of the Species, it appears we have discovered a bigger truth in the current fourth wave, demonstrating that an understanding of previous cycles only means that greater discoveries will surely expose further machinations of the patriarchy. It is perhaps unfathomable today that the dual and conflated projects of feminism and decolonisation can ever be completed, but having them as a central purpose for being, or simply as guiding principles, is in itself, a key to fulfilment.

www.oldfitztheatre.com.au | www.rogueprojects.com.au

Review: Six (Theatre Royal)

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Venue: Theatre Royal (Sydney NSW), 25 Oct – 28 Dec, 2024
Creators: Toby Marlow, Lucy Moss
Directors: Jamie Armitage, Lucy Moss
Cast: Chelsea Dawson, Kimberley Hodgson, Loren Hunter, Giorgia Kennedy, Deirdre Khoo, Zelia Rose Kitoko
Images by James D. Morgan

Theatre review
Henry VIII’s wives compete to determine who had suffered the most. Turning them into queens of pop, Toby Marlow and Lucy Moss’s 2017 musical Six configures these historical women into a contemporary girl group, to tell their tragic stories from the 16th century. A thoroughly exuberant work, with a particular youthful appeal, Six may not be able to say as much about feminism as it wishes, but Marlow and Moss’ proficiency at crafting pop perfection is undeniable.

Casting on this occasion is nothing short of exquisite, with each performer bringing colourful idiosyncrasy to the piece, yet introducing flawless chemistry to their efforts as a collective. Chelsea Dawson, Kimberley Hodgson, Loren Hunter, Giorgia Kennedy, Deirdre Khoo, and Zelia Rose Kitoko, are powerful as a team and individually endearing, all effortless at having us mesmerised with each of their moments at centre stage. The choice to deliver their lines in Australian accents proves a charming and memorable feature, for this revival of an enduring crowd-pleaser.

The musicians for this remount are similarly impeccable. Danielle Colligan, Claire Healy, Heidi Maguire, Ann Metry, and Kathryn Stammers are a formidable backup band, bringing unrelenting excitement, to a show determined to make us feel as though immersed in the setting of an arena concert. 

The king’s wives may have been dispensable and objectified, but we can try to remember them in new ways, with their agency intact. Much as conditions all those centuries ago had unquestionably deprived many of their freedoms, we can see in Six that it is possible to find alternate interpretations to narratives, if only to inspire defiance, for a culture that persists with its need to keep women down.

www.sixthemusical.com.au