PASTA E LAVA is brought to us as part of the Sydney Fringe Festival and is part of the Global Fringe Gala Week 1.
The company is called My Homeless Lover and combines Hawaiian and Italian influences – the performers are Eddie Bruno Oroyan and . It was filmed in Genova in 2018 by Danny Willems.
It is a strange, unsettling, somewhat uneven combination of tenderness and violence, a blend of food, masks, mime , Butoh, allusions to Pina Bausch’s Café Müller, other contemporary dance and acrobatics fused with haunted memories. Continue reading SYDNEY FRINGE FESTIVAL PASTA E LAVA→
This is the Australian premiere of this work, brought to us from Israel as part of Week 2 of the Sydney Fringe and is presented as part of Global Fringe Gala Week 2 The work won several awards at the Acco Festival in Israel last year, where it was filmed .
Created and performed by Mica Kupfer, with Meshi Olink, Ben Kobi and musician Yaniv Hayoun it examines control and power and questions the blurred boundaries of concrete and abstract, dismantling and construction and asks what is real?
For Australian viewers it has similarities to Tanja Lietdke’s ‘Construct’ – the dancers are at times sculptural, are manipulated and become like pieces of board or wood. Choreographically it also has allusions to Butoh and the circus with the use of stilts.
Short , sharp angular movements are used at times .There is also precise synchronised movement , lots of angular arms and a marching ‘Ministry of Silly Walks ‘ segment as well as twirling a large standing microphone like a baton.
The performers are required to be almost impossibly flexible in some sections. Balance is also important – at one point one of the performers bends over and a board with many tools/blocks of wood is positioned on her back by the other two and teeters precariously.
The set design consists of moveable plinths and boards / boxes that get shifted around giving a very flexible space.
Lighting and sound are very important – breath and heartbeat at times are magnified by the various microphones used by the performers and the contrast between silence or stamping rhythms and the electric guitar is very important.
The wonderful texture of the high brick archway is focused on at one point. There is a large LED clock that runs the whole time and also a TV monitor with a beeping heartbeat measurement line.
The performers mostly wear black casual wear and are barefoot but one strips down and changes to a white floral top with matching socks at one point. The show includes partial nudity.
Visually, two segments in particular are striking – there is the recreation of Michaelangelo’s ‘God with Adam’ from the Sistine Chapel , and the Pieta/Crucifixion scene where one of the performers is nailed to a board after hugging the other two goodbye. This then turns into what could either be an exhibit in a museum , or a crime scene.
‘By Virtue of the Same Movement’ as part of the Sydney Fringe Festival streamed September 10-13
Running time just under an hour
• Creator – Mica Kupfer
• Performers – Meshi Olink, Ben Kobi, Mica Kupfer
• Music and Sound – Yaniv Hayoun
• Construction Planning and Building – Elad æladin Kalai
MAGGOT is funny, silly, full of energy and definitely worth catching.
Performers Angela Fouhy, Elle Wootton and Freya Finch are playing characters that were ostensibly the international pop sensation The Baby Girls. They explain they are moving away from pop and into art, possibly to talk about the stock market but possibly to talk about themselves. MAGGOT is part comedy sketch show, part musical cabaret and part circus. The artists’ clowning background shows in their dance routines, fight scenes and being lost in the desert but surreal dialogue and eclectic music choices has the audience laughing, cheering and clapping. It is such a fun show that the audience eagerly participates when requested. Continue reading MAGGOT AT THE SYDNEY FRINGE FESTIVAL→
GIRLS, GIRLS, GIRLS is a double bill of original works presented by Sydney’s daring new dance company, Bonnie Curtis Projects.
Staged in a heritage church, the show gives audiences a personal and intimate experience, at times blurring the lines between audience and performer.
The title piece Girls Girls Girls is a gutsy new work by choreographer and filmmaker Bonnie Curtis. Exploring the experiences of modern Australian women, their deepest, darkest thoughts and insecurities are paraded on stage.
Hilarious, clichéd, and deeply moving, this performance is an unconventional work sure to provoke discussion.
Kate Garrett’s work When I Was… transports audiences to another time and place, discovering the joyful stories of generations past.
Garrett’s piece features music by British folk band Steeleye Span, and explores the profoundly human experiences of love, misjudgement and loss.
GIRLS, GIRLS, GIRLS represents the first full-length work of Bonnie Curtis Projects.
DATES FOR THE DIARY
September 8, 9, 10 at 7.30 pm at Annandale Creative Arts Centre, 81 Johnson St Annandale 2038
I went to the circus last night, set up in the tiny space that is the Reginald theatre at the Seymour Centre. This was by way of a show called ELIXIR put on by Head First Acrobats and presented as part of this years’ SydneyFringe Festival program.
ELIXIR proved to be a bit of knockabout fun. Just a note to begin with. With its colourful blend of risque humour that runs through the show, ELIXIR does not come under the ambit of a family show, and is not suitable for young kids. Three very enthusiastic performers- Callan Harris, Thomas Gorham and Rowan Thomas– took over the small Reginald stage with their very impressive acrobatic skills, honed from years of training. Continue reading ELIXIR @ REGINALD THEATRE SEYMOUR CENTRE→
One of Shaw’s first commercial successes, “Arms and the Man” was first produced at London’s Avenue Theatre in spring 1894. The title is taken from the opening line of Virgil’s “Aeneid,” Arma virumque cano (Of arms and the man I sing). It tells the tale of a young Bulgarian lady named Raina Petkoff, whose fiance is an officer in the Serbo-Bulgarian War of 1885.
Raina is a romantic young girl who has an overly idealistic view of war. She is engaged to Sergius, a handsome ineffectual young officer with an equally romantic attitude towards war. In the first act an escaping enemy soldier, Bluntschli, breaks into Raina’s bedroom. He is a practical sort and tries to convince her of the realities of war. It makes more sense to carry choclates than ammunition he tells her. She lets him escape; clearly she has become attracted to him. In the second act the soldiers return and bring with them Bluntschli who has helped them in moving their armies, since as a pragmatist, he is willing to fight for whichever side pays. Now he has to deal with the romantic Sergius for the love of Raina.
Arms and the Man is one of Shaw’s most popular plays. Though it was written in 1894, its theme is highly contemporary. A gentle but firm satire, Arms and the Man lampoons romantic notions of love and war.
Directed by Linda Beattie with cast Jodine Muir, Denise Kitching, Angeline Andrews, Amrik Tumber, Nicholas Gledhill, Ross Scott,Will Reilly.
ARMS AND THE MAN is playing the Depot Theatre, 142 Addison Road, Marrickville between September 21 and 24. All shows start at 8 pm.
Set in a remote mountain cabin, Sam Shepard’s RED CROSS dissects the infectious nature of personal fears: Carol is terrified her head might explode; Jim is convinced he is plagued by lice draining his life; and the maid is scared of drowning. Together they push the boundaries of communication and shared experience in this surreal dream play.
Cast- Henry Hulme, Genevieve Muratore, Emma Throssell
Creative Team- Director Victor Kalka, Sound Design- Ryan Devlin, Producer-Tabitha Woo, Stage Manager- Chris Starnawski.
The play is presented by arrangement with ORiGiN THEATRICAL, ON BEHALF OF SAMUEL FRENCH, INC.
14th – 17th September AT 8pm
VENUE- Off Broadway Festival Hub,
Gehrig Lane, Annandale
If you do it properly, life is one big adventure. Or, I suppose, technically, a series of adventures. Like being rowed around Iron Cove with the sunset behind you… and with a bewildered owl in front of you. Jetpack Theatre Collective is an inspired and inspiring group of artists setting out to have some interesting adventure and PEA GREEN BOAT- producer Kenny Murphy, director- Jim Fishwick, cast- Hannah Cox and Alexander Richmond– is their latest foray into immersive, boutique performance. It is nonsense. Pure, breathtaking, exciting nonsense.
THE OWL AND THE PUSSYCAT was written nearly 150 years ago by painter, illustrator and limerick writer Edward Lear and was included in his collection Nonsense Songs (1870). It has been popular with children ever since. An owl and a pussycat set to sea in a beautiful pea green boat and their love develops on the year long journey until they are married by a turkey in the land where the Bong Trees grow. (Not that kind of bong!) Continue reading JET PACK THEATRE COLLECTIVE PRESENTS PEA GREEN BOAT→
Don’t try this at home!Sydney Fringe favourite CIRCAHOLICS ANONYMOUS are a fire based circus company that are spectacular and an audience drawcard, even on the night of cold , windy and miserable weather I attended .
A relatively small space in the courtyard was cordoned off. There was a marquee to one side, puddles of sand and fire blankets around. Led by ‘Thanatos’, CIRCAHOLICS ANONYMOUS is a Western Sydney collective that specialises in fire performing . The cast of six were dressed in red and black . They take conventional circus blended with fire to create unique and spectacular shows. Continue reading CIRCAHOLICS ANONYMOUS→
THE MATILDA WALTZ, written by Deborah Mulhall, spans 100 years of Australian history through the eyes of five generations of Australian women, each the daughter of the woman before.
The play begins in Sydney in 1894 where we meet siblings Vera and Ida Templeton, their lawyer Mr Andrew (Banjo) Paterson and the charming Horrie. From here we follow the Templeton family tree through the First and Second World Wars and onto Vietnam. Sydney, Queensland & outback NSW also feature with clever locations changes made with the turn of a street sign or the addition of a piece of rope or bed linen. Continue reading The Matilda Waltz→
Award-winning cabaret DESPERATELY YOUNG AT HEART is a welcome visitor at the Sydney Fringe Festival. Its crossover between the genres of music and comedy results in an hilarious and rewarding night’s entertainment.
Innuendo and skilfully crafted lyrics fly about as quickly as the necessary costume changes. Male and female characters parody singing students, vocal teachers, community singers and religion in the setting of a conference for mid-career vocal teachers. Robert Hofmann brings us each guest speaker or singer to share their individual tensions and desperate personal natures. Continue reading Desperately Young at Heart→
With no program available to linger over a glass of wine with before the show, one is not quite sure what to expect of JURASSIC! THAT IS ONE BIG PILE OF MUSICAL. But there is truth in the titling. Dinosaurs? Yep. All sorts too. Raptors, T Rex and a sweet, sad Triceratops who manages to steal her scene. “There won’t be any babies because I only made ladies” sings the scientist but nature finds a way. And in the tradition of the Cambridge Footlights, this show is a breeding ground for both dinosaurs and young talent. Continue reading JURASSIC: THE MUSICAL→
In THE EXPLORER’S CLUB: ANTARCTICA. SONGS, STORIES AND IMAGES FROM THE HEROIC AGE, visiting Auckland duo Bond Street Bridge are presenting their own unique brand of history lesson as part of the Sydney Fringe Festival. Storyteller Sam Prebble on vocals, guitar and violin is supported by Brendan Turner on electric upright bass and close vocal harmonies.
Original songs in a unique modern folk style with lyrics inspired by or quoting the writings of polar explorers follow spoken interludes. The performers gently guide us through the tragic tales of various expeditions such as the Terra Nova expedition led by Robert F. Scott and Ernest Shackleton’s imperial Trans-Antarctica Expedition. Continue reading Bond Street Bridge→
American playwright John Patrick Shanley’s play FOUR DOGS AND A BONE (1993) is theatrical take on a filmic confection. There are only four scenes in the play, four characters and the bone of the title is the unnamed film in which they are all involved.
We are introduced to an evidently West Coast airhead actress, Brenda (Melinda Dransfield) discussing her current film with the producer, Bradley (Sonny Vrebac). Brenda’s famous step brother is one of the main topics of conversation. What he and his friends can do for the film. Brenda name drops a famous family friend with whom she has script consulted and she has copious notes on how to fix the movie. Brenda and Bradley agree that the best solution is to reduce the role played by Collette (Amanda Collins). Collette meanwhile has engineered a drunken meeting with Victor, (Paul Gerrard) the writer. He has just lost his mother and is depressed, loveless and verklempt. Collette and Victor agree that the best solution is to reduce the role played by Brenda. Continue reading Four Dogs And A Bone→
THE SHEDS, which is part of the Sydney Fringe festival, originated as part of the Melbourne Fringe, and is travelling to the Adelaide Fringe in February. The play is a niche piece and the gay community will probably take it to their heart as the community has done elsewhere. The 3 male actors have travelled with the show and they are beautiful boys who look sporty and at home in the locker room setting. Continue reading The Sheds→
As part of the huge Sydney Fringe Festival on at the moment we were lucky to see an impressive mixed bill by the Melbourne City Ballet in their first visit to Sydney. The company was founded in 2013 under the direction of Michael Pappalardo and has already had several seasons in Melboune to great acclaim. The three works were Quantam, Acceptance (part of a larger work called ‘Grief’) and Consumption.
The Hive Bar in Erskinville is a lounge room type venue with a lounge, bench seats and chairs with cushions and delivered pizza from the kitchen downstairs. Just the type of room one would want for some intimate comic entertainment. With back to the window, warm up comedian, CJ Delling and main act, Sean Morahan stand behind a microphone that is a metre away from many of the audience. Given Sean’s impressive height, one could easily be intimidated, but the down the front seats were the best. Some chose to hang further back, but were warned that playing the video game during the routine would be considered a “heckle”. Continue reading Sean Morahan in 1 LINER→
There’s a new comedy venue in town. It’s called The Den, it’s in the Chippendale Hotel, and after seeing THE REALITY BANDIT WITH C.J. Delling there last night, I’d say it’s well worth a visit.
When you rock up to the venue the first thing you notice is a sign saying Under New Management. The food is good, generous, and very reasonable and there’s a good atmosphere. Then you descend stairs reminiscent of the Fitz Theatre and you discover a neat, comfortable little live venue. Then, right on time, (not always the case), the show starts. All good so far, but is this going to be another comedienne who thinks shock and poor taste equate to comedy or will there be something clever as well as funny? Yes, yes, YES! Continue reading C.J.Delling in Reality Bandit→
Everyone makes fun of politicians. It’s a national pastime, and deservedly so. But to do this really well, and in a sustained manner–that takes talent.
Proof of this is YEAR OF THE ABBOTT, a wickedly funny, political satire playing, as part of the Sydney Fringe Festival, at the Chippendale Hotel.
This irreverent revue is built around Timothy Hugh Govers and Shane Addison who, playing two political observers, subject the last twelve months of the Abbott government to rib-tickling scrutiny, in which both sides of politics come off second best.
OUT OF FEAR is the first full length play by Dominic Witcop and explores the motivations and circumstances leading to violent and tragic acts of vengeance.
The play throws love, divorce and isolation into the spotlight as what seemingly could have been a simple divorce and separation has violent ends. It is a psychological exposition of a man trapped by his own guilt and delusion. Continue reading Out Of Fear→
Part of the Sydney Fringe, SLUTTERATI by Michael Gottsche has been developed with the assistance of the New Theatre where it is currently being performed. Under Louise Fischer’s sure direction, the excellent cast bring to life the biting, satirical script (which – warning – has lots of strong language) .The narrative is told clearly and the plot structure is quite strong.
SLUTTERATI lampoons the narcissistic obsessiveness of the age of ‘celebrity’ and with a dark twist reveals a delicate personal story hidden underneath the superficial world of vanity and ambition. Who (if anyone) can you really trust? It is about the continual rise of gossip as ‘news’ and its insidious omnipresence in today’s society, how ‘news’ is not simple reportage of major events but in synch with commercial sponsorship.
The set is quite sparse, – a sofa, several TVs, a desk and chairs. The scene changes, and there are lots of quick scene changes, are handled very smoothly, and in a quite cinematic way.
Very handsome Matt Charleston gives a strong performance as Dan Paul Newman, a TV presenter who is caught in a world of rather inane TV programs, B Grade celebrity colleagues and boring parties. In the lead up to the Olympics, Newman wants to remind people he once was a top Olympic swimmer. But in a wave of a series of embarrassing scandals he discovers how quickly and easily his reputation can be smashed and his career crashes badly.
It is all about ‘face’ and manipulation of the media as organised through Clark, his manager. Can the situation be saved? There is a sharp, almost Brechtian ‘nightmare’ scene, very well presented, where everything in Newman’s world comes crashing down.
Stephen Wilkinson as Clark, Newman’s likable yet seedy, quite shady manager with a criminal background, gives the play some of its tensest moments. He brings a feeling of urgency to the story and makes us believe that the stakes are very high.
Others in the cast include Rebecca Clay who plays Talia-Jayne, an early-evening commercial television presenter colleague of Newman’s, who regards herself as a serious journalist. With a toothy smile she certainly confidently looks the part, yet underneath is constantly aware of her superficiality .Her elegant, blow-waved, narcissistic self importance is underlined with a hint of caring phoniness.
As Angela, his harassed first agent, Jorjia Gillis was terrific. The cleaner, Lily, who gets to know Dan Paul quite intimately, yet at the same time not at all, was well played by Kate Skinner. The theoretical division between Personal and Professional lives and confidentiality was stressed .And Amy Fisher was terrific as Amy Dunn, whose kiss and tell TV interview, sparks a crisis.
A timely, very cutting analysis and critique of current media issues. Running time 75 minutes straight through.
Michel Gottsche’s SLUTTERATI ran at the New Theatre, King Street, Newtown between September 19 and 23, 2013.
Rachel Collis is an excellent pianist and has a powerful voice. Her playing and singer cover a variety of styles and Rachel has been compared to Tim Minchin, Regina Spektor, Blossom Dearie and Ben Folds. One can also hear hints of Bette Midler and Casey Chambers. This diversity of comparisons indicates that she is not to be pigeon holed. Her songs are funny and her self-deprecating banter introducing the songs adds to the evening’s enjoyment.
The venue for singer and songwriter Rachel Collis’ 2013 Sydney Fringe Festival show was the delightful Cafe Church Space Glebe. A mixture of lounges and tables and chairs, high ceilings, black drapes and quirky lamp shades create an enigmatic space to complement this very talented performer.
Rachel was accompanied by Hugh Fraser’s smooth and understated bass and Michael Quigley’s precise and subtle drumming. Rachel also gave us one song in which she played ukulele – a nice variation.
Her material covered diverse subjects such as her cooking spaghetti bolognese a little too often, an ode to Pablo her Brazilian waxer, and what it would be like if Germany had won the war (a few less books to read). Occasionally she let her powerful voice overwhelm the storytelling. It adds to the musicality of the show but some of the lyrics were difficult to follow.
Rachel Collis last show for the festival was Saturday 21st September. You can listen to a few songs and look for future performances on her website: http://www.rachelcollis.com/
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