The beats Go-Going on

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Head Over Heels (Ipswich Civic Centre and That Production Company with Mira Ball Productions)

Ipswich Civic Centre

May 31 – June 1

The Renaissance-meets-‘80s pop musical “Head over Heels” is a little like “& Juliet”, with an even thinner plot premise, but just as much fun. Instead of featuring a collection of songs from Swedish pop songwriter Max Martin, however, this jukebox musical comedy is built upon music and lyrics from the catalogue of The Go-Go’s and Belinda Carlisle, appropriately beginning with ‘We’ve Got The Beat”. And what a glorious beat it is, literally thumping through as the heart of its story.

The plot is an adaptation of that of “The Countess of Pembroke’s Arcadia”, the 16-century prose romance by Sir Philip Sideny, with follow, instead of the royal family of the peaceful and prosperous Arcadia on its journey to keep their famous ‘beat’. As King Basilius (Henry Kafoa) and his wife Gynecia (Aurelie Roque) consider the romantic futures of their daughters Philoclea (Ella Jaz Macrokanis), who is in love with her childhood friend Musidorus (Willian Kasper), and the older Pamela (Erika Naddei), the most beautiful and sought-after woman in the land who cannot find a man of her liking, a message arrives from Arcadia’s new non-binary oracle Pythio (Freya Armani) devastatingly warning that the beat of the now too-rigid kingdom will be lost if four prophecies about the family are fulfilled.

There is certainly a lot going on within Jeff Whitty’s original book (then adapted by James Magruder) with literary language of the Shakespeare sort, metatheatre nods and quips about arts funding et al and appearance of a giant snake as part of Nevin Howell’s vision design used to effectively move the narrative through its players’ journey on the road from the kingdom of Arcadia to a beckoning Bohemia, where the beat will be returned, although not necessarily the status quo of the story’s start. In particular, there are many conventions of Elizabethan theatre adding to the layering of what is more than the somewhat superficial storytelling of its initial impression; a band of travelling actors move through the forest as if in “A Midsummer Night’s Dream”, there is a “The Tempest” revelation of the brave new world of the musical’s conclusion, a cross dressing character in disguise, easily-understood innuendo, especially in Princess Pamela’s to self-discovery of her feelings for her handmaiden Mopsa (Nykia O’Keefe), and a feminist-themed ultimate outcome. It’s all a bit bonkers really, yet That Production Company’s Company’s (with Mira Ball Productions) lean into the boisterous storytelling and ensuing audience suspension of belief as the chaos of its plot’s circumstances unfolds, make it an easy experience of laughter, love and (albeit lesser-know) ‘80s hits.

This is a polished production, elevated by some excellent performances from its lead players. Kafoa is strong from the start as the hot-headed King Basilus, delivering a dynamic performance throughout, while Naddei and Macrokanis showcase impressive vocals in each of their numbers. In particular, Naddei and O’Keefe’s duet as an unsure Pamela and Mopsa rejoice in misunderstandingly finding another couple like themselves, stands out due to their powerful vocal competition, in a ‘Take Me or Leave Me’ “Rent” type way.

The script’s slapstick and farcical comedy is easily accessible in its campy pantomime sensibility, often from Kasper as the lovesick young Sheperd who awkwardly attempts to court Philoclea with stop-start declaration of how’s he’s ‘Mad About You’, before later becoming something for everyone is humourous lead-in to Kafoa and Roque’s rich ‘Heaven is a Place on Earth’. And while the characters are all appropriately, farcically two-dimensional, Roque still conveys wisdom and strength through the dry wit of Queen Gyencia’s wisdom.

Jennifer B Ashley’s detailed, fast-paced choreography contributes much to the show’s infectious energy. While there are some lapses in execution of dance numbers, the smaller ensemble numbers featuring Peter Wood, Jaya Fisher-Smith, Sam Carunan and Nathaniel Savy simply sparkle in their precision and the pops of their every punchy move. And their appearance as shepard Musidorus’ back-up flock makes for an Act Two highlight of hilarity.

Costume design keeps the ensemble cohesive while still adding interest, and contributes to thematic undertones through juxtaposition of the sisters’ personalities from the start, Pamela as fearsome and dramatic in comparison to Philoclea’s more grounded spirit and generous sensibility. And the lush aesthetic added to by Wesley Blugg’s lighting ensures a visual feast of opening royal reds and then the midnight silvers of Pytho’s ‘Vision of Nowness’ messaging.

Timothy Wynnn’s nuanced direction focusses on every detail in the irreverent show’s gender identity focus on celebration of love in all its forms, resulting in a fun-filled audience experience of this creative new musical’s vibrant Queensland debut. The talent of its performers and the score provided by the live band (musical direction by Nick House), revealed from behind the action as part of a thunderous opening night curtain call, make its full circle journey to a modern paradise found, worth the trip from Brisbane, especially for those of vintage enough to recall the tunes of its initial era of exuberance.

Photos c/o – Brit Creative Studio

Sondheim superlatives

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Merrily We Roll Along (Ad Astra)

Ad Astra

May 16 – Jun 8

I’ve often commented to people that it is much more difficult to write a glowing review than something at the other end of the spectrum. This experience makes putting together a review of Ad Astra’s “Merrily We Roll Along” a daunting task for I fear I may have insufficient superlatives to draw upon in summation of the company’s first musical production.

The fact that this is the 1981 American musical’s Queensland premiere speaks to its complicated history. Despite having music and lyrics by one of the foremost figures in musical theatre, Stephen Sondheim, with book by George Furth, the show’s premiere on Broadway (with a cast almost exclusively of teenagers and young adults) was met with notoriously negative reviews, only to close soon thereafter. Based on the 1934 play of the same name by George S. Kaufman and Moss Hart, the intricate musical, tells the story of how three friends’ lives and friendship change over two decades. It focuses particularly on Franklin Shepard (Stephen Hirst), a talented composer of musicals who, over those 20 years, abandons his friends and songwriting career to become a producer of Hollywood movies.

Like the play on which it is based, the show’s story moves in reverse chronology, beginning in 1976 at the friends’ lowest moment. And so, we open to its titular number provoking contemplation of ‘how did you get to be here?’ In follow of the tried-and-true literary trope, we hear a lot about ‘That Frank’ from his friends and A-list hangers-on, and, still before he opens his mouth, seeing his entry to his own self-described formula movie opening night event, with a tray of white powder party favours.

The party, at miserable Frank’s California home, shared with second wife, Broadway legend Gussie Carnegie (Jordan Twigg) is a world away from his happy beginnings, with devoted and inseparable friends Charles Charley Kringas (an impressive Alex Watson), once lyricist, now a Pulitzer Prize winning, once in a generation playwright and novelist-turned-theatre critic Mary Flynn (Natasha Veselinovic). Unfortunately, long-term collaborators Frank and Charley are now far from being the next Rodgers and Hammerstein as they were once lauded, and soon we find out why as, with a guiding side-of-stage display of polaroid pictures tracing through key moments of their shared lives, we are in-turn taken back from 1976 to 1957 to where things began for Frank, Charley and Mary as the ambitious movers and shapers they are yet to be, meeting for the first time on the roof of an apartment building in New York City… when anything is possible.

Effectively tripping the story periodically back in time is a challenge complicated by the small space of the company’s 40-seat theatre. Under Tim Hill’s tight direction, however, transitions are seamless, with ensemble cast members switching in and out of minor roles without distraction. Stage design, like costumes, especially reflects its initial era of 1970s in its raw and natural warm tones. And Tess Hill’s choreography creates some memorable visuals, such as when a black and white art deco-ed ensemble of elegant 1962 partygoers moves almost as one aesthetic. Indeed, things only really drag in a somewhat superfluous small nightclub revue number ‘Bobby and Jackie and Jack’, celebrating America’s new first family, whose only real function appears to be to share of how Frank met his first, sweat and wholesome (but still strong) wife Beth (an empathetic Heidi Enchelmaier).

Hirst, Watson and Veselinovic work together with an obvious chemistry to easily convey the camaraderie of Frank, Charley and Mary, in a “Singing in the Rain” trio type of way. Hirst provides the requisite layers to the story’s complicated protagonist, weaving charm into the self-centredness at the core of his character, and Veselinovic’s nuanced reactions reveal much about what is going on behind Mary’s caustic wit. Veselinovic’s vocals are also excellent, as showcased in Mary’s ‘Old Friends – Like It Was’ reminder to Charlie of how the trio’s friendship was once the cornerstone of their lives (and hint as to her decades-long unrequited love for Frank). It is Watson, however, who provides the show’s musical highlight with his faultless performance of Charley’s incredibly difficult patter song nervous breakdown reaction during a television interview. His in-song slaughter of Frank upon crushing discovery that he is set to sign a three-picture deal, but also honest reflection of how he misses their friendship, is an absolute showstopper.

There are no weak links within the polished performances from a cast (also including Chris Kellett, Chelsea Burton, Liam O’Byrne and Edward Hill) that could easily take its place on stage at QPAC. Twigg is wonderful as the hyperbolic, insincere and really quite horrible Gussie, playing the red-lipped vixen prima donna with relish and, in early scenes, in a manner that by proxy endears us even more to Mary. And her Act Two opener, where, a 1964 Gussie is performing onstage during the opening night of Frank and Charley’s first Broadway show “Musical Husbands”, showcases her strong vocal presence.  

A rich volume from all singers enlivens Sondheim’s robust score, providing a uniquely powerful, but still intimate, musical experience. Although it contains no memorable big hits, Sondheim’s complex, cohesive score is full of splendid orchestrations, delightful delivered by on-stage musicians, Musical Director Ben Murry and Lucas D. Lynch on keys and Peter Lavrencic on drums. And though the sounds of keys feature most obviously, providing rhythm to numbers like ‘Old Friend’, there are still opportunities for the drums to shine, building the anticipation of the ‘It’s A Hit’ moment of assessment that all artists live for.

For one of Sondheim’s most seemingly unassuming works, “Merrily We Roll Along” represents a satisfying tick of all the musical boxes in its reflection on the passing of time. Furth’s book is well-crafted, full of foreshadowing in throw away pleasantries and alike dialogue that mean so much more given the reverse chronological structure’s provision of immediate shared hindsight. And its combination with Sondheim’s songs results in a sweetly melancholic celebration of art and artists, but also friendship and loyalty, especially through male characters refreshingly opening expressions of the platonic love and affection felt for each other and their association. Ad Astra have put together a flawless production of local cast and creatives that leans into the musical’s poignancy and nostalgia not for an era so much as longing back to more youthful days before long term friendships became complicated by life. And all of these factors make it a must see show for musical lovers.

Bard blend

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Sh!t-Faced Shakespeare Macbeth (Sh!t-Faced Shakespeare)

Brisbane Powerhouse, Powerhouse Theatre

April 30 – May 5

There is a definite danger to sitting in the front row of a comedy festival show. This is elevated even more when it comes to “Sh!t-Faced Shakespeare”, whose unpredictability due to concept alone, is elevated for some up-close ‘vom-zone’ audience members chosen to hold the bucket and alike props that contribute to the chaos of its unfolding.

The hilarious, smash-hit, internationally acclaimed, phenomenon, returns to Australia with the iconic Scottish play … with a twist, beyond its abridgement down to a fast and furious 60-minute duration. The concept pretty much does what it says on the tin as the serious Shakespeare play is presented by a troupe that includes one genuinely inebriated cast member each night. The gimmick means that no two shows are ever the same, especially given that it is never the same actor on consecutive nights who drinks to excess in the leadup to the show.

The loss of inhibition in the performance of the drunken actor ensures that the already condensed script is presented only in the loosest of manners. Wisely, the drunken actor doesn’t feature as the titular tyrant, but rather, on the night of our attendance, in a range of minor roles, as a frisky King Duncan, Irish (?) Macduff and pronoun-confused witch hailing brave Macbeth with a ‘howdy’.

There is lots of humour in his ‘you’re not even in the scene’ character breaks, tell-it-as-it is swearing, modern slang, outdated exclamations and over explanation through repeated metaphors. There is also “what he said” avoidance of scripted dialogue delivery, questioning of his character’s family members, singular focuses (such as of the dead king’s endowment and banquet scene pizza feast) and remain in moments of his own humorous making, meaning that the laughs never stop, especially for those with in-depth knowledge of the original text.

Surprisingly, perhaps, a lot of the comedy comes from the rotating cast of professional, classically trained actors. There is certainly considerable quick-witted improvisational skill on display as the other, hardworking actors attempt to fill the gaps and carry on with the newly-added layers to the story. Indeed, their improvisation in Shakespearean tone and language, brings a lot of the comedy, especially in their weave of callbacks into later dialogue, even in rhyming couplet.

There is a clear camaraderie on stage, even as the wheels start to come off. Even so, not having the drunken actor appearing in every scene works well as it allows for the primary plotline to be moved along, still with inclusion of key narrative moments. The happy-drunk tipsiness of the chosen actor provides frivolity that works particularly well in juxtaposition to the rich, dense language of Shakespeare’s script, especially when he feels compelled to spell out the innuendo from within other characters’ lines. It’s not just the juxtaposition of his dialogue contributions that bring humour though, but physical moments such as unscripted scene and new character appearance, way too much knocking at the castle gate and his unrestrained fishing line bouncing and voicing of the false creation dagger of Macbeth’s heat-oppressed brain.

In its blend of Bard and booze, “Sh!t-Faced Shakespeare” is built around a simple but simply hilarious concept, for comedy and Shakespeare lovers alike. And, with no two performances ever the same, there is never a reason not to embark upon its raucous, riotous, rampage through Shakespeare’s otherwise most serious of works.

Huge humour

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Dawn French is a Huge Twat (Dawn French)

Brisbane Convention Centre

May 16 – 17

British comedy queen Dawn French is, by her own admission, a huge twat. She has been for most of her life, which means that she has lots of stories to share in her sardonic one-woman stand-up show, her first to tour Australia since 2016. And so, “Dawn French is a Huge Twat” sees her taking the stage for a couple of hours of huge humour and top-notch storytelling.

In somewhat chronological order, French’s anecdotes take the audience from her early twatness in seek of boys’ attention inspired by American television through to later ‘lifechanging’ “Sex and Chocolate” type tv roles herself, via her earlier professional The Comic Script days of arthouse indie filmmaking with other well-known British comedians who came to prominence in the 1980s, including her partner-in-crime, long-time collaborator Jennifer Fatty Saunders.

The glimpses behind the scenes of French’s work life also include tell of her time with Saunders filming the big Hollywood blockbuster Agatha Christie mystery “Death on the Nile” and recall of her desperation to be cast as on-stage actress, even if not actually part of the production or through appearance in a ‘pity play’. Indeed, her love of the theatre (despite her inability to do accents and ‘appalling’ singing voice), features as a through-line of the show, culminating in a showstopping, comic “Oliver” number, which appears along with Norah Jones fire-pit fantasy in Act Two, (the latter being the only time things drag in terms of momentum).

There is no need for novelties (or warm-up act) in this show. Dawn French knows how to tell a good story, taking time to establish the specifics of each scene and its players and easily jumping between perspectives in structured retell of how conversations have played out. Rather than rushing to the punchline, her play-by-play and played-up style of scripted storytelling (with accompanying clips, photos and music) allows us to revel its slow build, which is ultimately more satisfying. And her retelling of experience with then husband Lenny Henry at a lavish Elton John fancy dress party is like a masterclass in build of comic momentum, before leaving the packed Convention Centre audience to delight in its visual accompaniment over interval.

Self-effacing as ever, French genuinely weaves in talk of her always grimacing smile, now aging body parts and effects of an injury from recreating her most famous ‘The Vicar of Dibley” scene… all as part of proving her ‘twatness’. The result is lots of laughs and easy entertainment from a non-confrontational comedian whose comedy is not aggressive or at the expense of others… except maybe Dustin Hofman.

Seeing Dawn French on stage is like returning to a warm, familiar place. Experiencing her storytelling is easy entertainment. And, the fact that its messaging is about embrace of your failures makes it quite relatable at its core… celebrity mentions aside.

City sides showdown

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Theatresports Grand Championships: River City Rivals (Improv Queensland)

Brisbane Powerhouse, Underground Theatre

May 18

The last time I made it along to a Brisbane Comedy Festival Theatresports event, was 2022, when the Powerhouse Theatre stage was set for a state vs state showdown of fast-paced, action-packed competition. This time the stakes are even higher than Queensland vs New South Wales, with River City Rivals teams (representing Brisbane’s south and north sides) battling for bragging rights in the ‘showdown of the century’ in Brisbane Powerhouse’s Underground Theatre.

With no script, the directions of the impromptu performances are often at the mercy at the boisterous audience’s ‘should have said’ (for example) shoutouts to reconsider character statements or en-masse sound effect contribution to, in this instance, a skydiving story. The more intimate venue works well from an audience perspective, making our suggestions of scenarios more manageable and, at times, the enthusiastic performers (Wade Robinson, Liz Talbot and Natalie Bochenski representing the northside and Luke Rimmelzwaan, Fiona Bergstrum, Carla Haynes for the southside), are spoiled for choice from the suggestions, such when a neutral scene is replayed in different audience-instigated historical periods including the Roman Empire, Wild West and Jurassic era (because who hasn’t wondered how a T-Rex might wash the dishes, let alone open doors). They are all incredibly talented in terms of their improvisation, imagination, characterisation and teamwork. Not only are they able to find the humour in anything at a moment’s notice, but insert cultural references and call backs while moving their respective scenarios forward plot-wise. Bergstrum, in particular, plays well in response to others to up-the-anti of the funny, even in song.

The brave players are all quick witted in response to audience suggestions, and also the contributions of their teammates. And effective teamwork is, of course, essential, especially in a final quick round of ‘Oracle’ which sees the three northside team members uniting to interact in unison, speaking as one (shallow) being in answer to audience questions and offer of mystic advice around how to get a girlfriend et al. Kudos also to Kris Anderson who improvs musical accompaniment according to the needs of each scene, particularly when ‘Sing About It’ audience interjections add to the contrasting considerations of a couple on their first date.

At less than 50 minutes, the run time is a little under what has been advertised, and things could easily have continued with a few more scenes, on way to grand champion victory by the streetwise Southsiders (as ‘judged’ by emcee ‘techs’ Amy Driscoll and Scott Driscoll’s assessment of the audience’s reaction). Still, there is lots of topical, locational laughter to be had in the short, sharp contest of this year’s North vs South Brisbane battle, or, if you will, the Bee Gees vs Savage Garden (if Redcliffe and Logan were actually a part of Brisbane).

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Fruity follies

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44 Sex Acts in One Week (Club House Productions)

Brisbane Powerhouse, Underground Theatre

May 16 – 26

Forget the “Kama Sutra” or “The Joy of Sex” … because it’s really all about “The 44 Sex Acts that will Change Your Life”, the coffee table book at the centre of David Finnigan’s “44 Sex Acts in One Week”. The collection of role play and BDSM type suggestions across the full spectrum of kink is the work of former real estate agent, now ‘problematic sex genius’, Malaine Gutierrez (Rebecca Massey aka Beverly from HR in ABC’s “Utopia”), the high-energy sex coach, educator and influencer currently on a promotional tour. It is not Malaine at the centre of the Brisbane Comedy Festival show’s story, however, but social conscience princess and Shesquad writer Celina (Amber McMahon), who agrees to pen a feature article on the book as part of her desperate plan to come up with some much-needed rent money in order to avoid eviction.

With her chronicle of the book’s promises sure to generate the clicks needed for revenue, Celina is soon forced into seeking the assistance of awkward office mailboy and animal activist Alab (Aaron Tsindos) to complete the project. It’s a tale as old as time… girl meets boy. Girl hates boy. Girl f**ks boy 44 times. World collapses. And along the way, the slippery, subversive take on your classic radio play that is “44 Sex Acts in One Week” delivers lots of naughty hilarity.

Massey is a standout as ‘goddess’ Malaine Gutierrez and also, more so, ice-cold SheSquad blog editor Irene Gamerman, hard core in her constant state of hyperbole and cuttingly funny in her comically well-timed insults to and about others. McMahon, too, uses comic timing to great effect, with much humour coming from a pace and/or volume of delivery that sets her lines above the unfold of action around her. Nancy Dennis, meanwhile, jumps in and out of distinct support roles with ease in ready showcase of her versatility, especially within a singular multiple partner sex act scene.

Meanwhile, Tsindos gives Alab some wise commentary for our consideration as the couple’s detailed discussion of their real likes and turn-ons, moves beyond contemplation of where the real power may lie in submission and surrender, to how this may also be apparent in real-life relationships. His contemplative narration about how the fragmented memory of a hookup can resonate in world-changing ways, hints at the farcical nature of the story’s ultimate world-collapse through an almost voice-of-reason-veneer, making his character as intriguing as he is enigmatic.

While radio-play-like sound effects add another dimension to the creativity of the experience, these can serve as more of a distraction at times, given the dynamism of the performances on show. Similarly, there’s a lot more going on than their needs to be plot wise as the sex act cataloguing storyline moves the audience towards the apocalyptic transition of its ending. In amongst the cresendoing urgency of its chaos, however, there is some empowering messaging about switching on to our primal selves and demanding what we want in real show of power.

As the title suggests, things do get primitive as the show’s hilarious actors go down on their microphones and melons. It’s quite naughty and very funny in its folly, not only through the fruit (and its associated sonic possibilities), but also the combined efforts of Composer and Music Director Steve Toulmin and Lighting and Set Designer Trent Suidgeest in creating an increasingly hyperreal aesthetic as the audience in montaged through the couple’s completion of many of the 44 acts.

While it might be as human as breathing (in all of its guises), the sex at the centre of the four hander’s premise makes the show a provocative undertaking. It may be witty in its commentaries on contemporary dating culture, but it is also very forthright in its detail, and even with no nudity and only simulated fruit sex, it is certainly not for the easily offended… or for Michael Bolton fans! For those willing to give themselves over to the pleasure of its sex positive surrender, however, there is much laughter to be had in its 80-minute duration.