Review: Jordan Nix

The boys from Knock Off have really been knocked around recently, making their debut in Perth quite a spectacular feat. Just two days earlier, performer Chris Carlos was in hospital being treated for burns from a fire-twirling accident. Bandaged up and sporting a few battle scars, he tackles every trick with absolute gusto.

It’s not until the end of the show that the nature of his injuries is revealed. He also assures us that Perth has an outstanding burns unit. If that wasn’t enough for the boys to have to worry about, it was only Jonny Dutaillis’ second-ever show, having recently replaced another member of the Three High Acrobatics team. Along with Sam Aldham, the trio have created a show that’s a whole lot of fun.

Presented as a mock-reality renovation show, the boys’ mission is to create a contemporary circus show. So begins a series of quirky, daring and perplexing acts all carried by their energy and Aussie-bloke charm.

The show takes a moment to find its feet but when it does, it’s a real treat. Adlham excels at his aerial performance and has a ball of fun with the choreographed boy band sequence, however an acoustic rendition of Chris Franklin’s Bloke and its accompanying chair routine felt slightly out of place. A highlight of the show is Carlos’ stunning routine with a two headed broom. In a show filled with blokey humour and high-octane stunts, the sophistication and beauty of the routine is amplified. There’s even a love story between Adlham and Carlos and their innuendo-filled routine hits you at full force, taking good taste to the limit.

It’s unknown how much of the show had to be changed due to Dutaillis’ inclusion, but the “apprentice” is an eager team member who is thrown in the air, hurled at ladders and flips his away across stage.
The teeterboard and finale is impressive, showcasing where the Three High name of the group comes from.

There’s a real spirit to the backyard nature of the show. Coupled with the incredible journey leading up to the performance, Knock Off is a show worth seeing.

Knock Off runs until February 8 and is part of Fringe World 2013.

Review: Jordan Nix

The artists who take their work to fringe festivals must be congratulated for having the guts to take part in what can be a risky adventure with sometimes little financial pay off. This risk also makes it that extra bit more disappointing to see a show miss its mark. Flossy and Me is the lovechild of Greg Marston and Sandra Carr, singers and entertainers who have more than 40 years of experience between them.

Flossy and Me revolves around the relationship between Carr and Martson, who she nicknames Flossy. Gone is the spark between the two and his ability to sweep her off her feet. She’s tired of him and not afraid to let him know. Flossy tries everything to win her back; he cooks for her, tries to serenade her and attempts to make her laugh again.

It’s an uphill battle that the audience shares in and not in the come-along-ride-for-the-ride sort of way. The arrangement of songs is clever, each helping to tell the story. The problem is that Carr and Martson somehow manage to rob the tunes of life and energy. It at times feels like they are going through the paces in their lounge room.

The singing isn’t bad, in fact the opening song Hit the Road Jack showcases Marton’s strong vocals, but they don’t give enough in their performances to do songs like Baby, It’s Cold Outside, That’s Amore and Diamonds Are A Girls Best Friend justice. It often feels bland and pedestrian. It’s a pity because you want to like the duo and there’s potential for this show to capitalise on the sentimentality of these timeless tunes.

The banter between the two is stilted and often misses the mark for humour. Then there is the late inclusion of trying to involve the audience, which by this point in the show is a lost cause.
There’s a moment in the show when Flossy has all but given up on his quest to woo his love back and decides to turn to alcohol. I needed a drink too.

Flossy and Me runs until February 1 and is part of Fringe World 2013.

REVIEW: Jordan Nix

There was a moment in Mechronos when two children bickering in the crowd suddenly stopped with their mouths open, frozen with wonder. Above them, aerial artists are dangling perilously above the Mechronos machine, somersaulting through the air. Their bodies make beautiful silhouettes in the setting sun. Then the machine starts to come to life, spanners clanging, performers chanting in broken-English.

Like an ancient beast awakening, it begins to stir and leaps forward to make its way slowly through the parting crowd at the Cultural Centre. Mechronos is an impressive feat in both scale and imagination. Director Philip Mitchell and the team at Spare Parts Puppet Theatre should be commended on the sheer beauty of this giant, steam-punk machine and its performers, the guardians of time whose purpose is to keep it alive.

Designer Sanjiva Margio has done a remarkable job with the machine which doubles as the performer’s stage. Dressed in clothes out of a Mad Max film, they climb, spin and claw their way around it for the duration of the outdoor two hour performance. The performers, Ruth Battle, Jacob McGrath, Sophie McGrath, Dawn Pascoe, Michael Smith and Rachel Wells, each get a chance to shine and show why they are some of Perth’s best. They dance, on the ground, in the air and through the fire.

At two hours, the free performance allows audience members to come and go and the many safety aspects of the performance are cleverly designed as maintenance and part of the job for these time guardians. Staying for the entire shows means you’ll experience the full repertoire but be prepared to weather the repetitiveness of certain aspects. The performance also ends rather abruptly without a grand finale. Perhaps it would have been suited to a condensed running time and performed twice over two hours, allowing audiences members to come and go while still experiencing the full glory.

Spare Puppets should be congratulated for bringing Fringe to families. It’s a spectacle that will amaze both children and parents.

Mechronos runs January 28, February 2 and 16 at the Perth Cultural Centre and February 22 at the Hawker’s Markets, Murray Street Mall. The performances are free.

Review: Jordan Nix

Sometimes the name can say it all.

Testaclese & ye Sack of Rome is all the warning you need to know the show you’re going to see is less about long-winded Shakespeare and more about shaking your long spear. If you need another warning, it comes from the actors themselves who declare pre-show “this isn’t serious theatre”. It’s all about the puns for the boys of Sound and Fury and they certainly don’t shy away from the sexual innuendo. Never before has being stabbed with a knife felt so good.

Apparently there’s also a storyline.

Evil Queen Fallopia sends her popular son Testaclese to Rome on a mission to bring back the Golden Fleece from Queen Hernia. With characters whose names would give the likes of Pussy Galore a run for their money, a wig and voice is about as much you’ll get in the way of character development, yet it manages to hit all the right notes. The real treat is the natural chemistry of Richard Maritzer, Patrick Hercamp and Ryan Adam Wells. These guys obviously enjoy what they do and the fun they have on stage is infectious (the characters they portray are probably infected too). They even managed to turn up the laughs when a misplaced prop disrupted proceedings.

A major element of the show is the involvement of the audience with the traditional panto jeers, cheers and mystical cat noises. Maritzer, Hercamp and Wells had no trouble rousing a response out of the receptive audience. Despite having no real plot or tension, the show somehow comes to a wonderful climax. Literally.

Hercamp’s physical interpretation of a spitting one-eyed Cyclops who shrinks post-battle is ridiculously funny. There’s no shame or embarrassment about Testaclese & ye Sack of Rome and that’s a wonderful thing.

Testaclese & ye Sack of Rome runs until February 3 and is part of Fringe World 2013

The award-winning Three High Acrobatics bring us their show Knock Off, a high-energy, hilarious contemporary circus act following three tradies on an ‘average’ work day. Donning fluro wife-beaters, the three tradies convert a work-site into a place for circus tricks and slap-stick comedy. Hammers are juggled, ladders are dived through and fighting between the blokes turn into a chance to show off their impressive acrobatic tricks and balancing acts. These tradies will show you that a broom is more than just a sweeping device.

The show’s plot loosely parodies The Block and uses the reality show’s structure for scene changes, although a segment on guttering can quickly transcend into a contemporary dance scene – just don’t expect to pick up any renovation tips. But the plot is irrelevant to this contemporary circus extravaganza; it is the vertigo-inducing stunts which had the full-house at The Gasworks Theatre cheering in raptures.

Knock Off is suitable for all ages, with boredom being impossible with the variation in the show choreographed perfectly to the fast-beats of pop and rock tunes constantly demanding the audience’s attention. There is little dialogue but the personalities of the tradies are conveyed through the versatility of their body language and facial expressions; the clear characters of the cocky gym junkie, the reformed hippy and the Japanese ninja bleed through.

The performers are not just incredibly skilled acrobatics but also great mates – they are clearly comfortable in executing complex and dangerous circus tricks and there is a sense of ease in the way they move around one another. I was also happy to see that the hula hoop still has a place in circus acts with Chris Carlos showing off his talents to the moving number ‘Time after Time’.

This not your conventional circus. The open category of ‘contemporary’ allows the Three High Acrobatics to mesh their favourite tricks, dance and skills into a unique show to convey their huge talent. The result is addictive and entertaining – the only disappointment was that the 45-minute show had to end.

Knock Off runs until 6 October at Gasworks Theatre. Tickets are $25 full-price and $20 concession. (Group tickets are $20 per person for 4 people).

Eric doesn’t look like your average comedian, nor is his show an average comedy show, but there’s a very good reason for that.

Eric – first name only – has spent his life onboard Royal Navy nuclear submarines and although he says he hates the way Hollywood portrays submarines, the stories he tells in Eric’s Tales of Sea seem like they have made their way off the page of movie script.

The show sits somewhere between a lecture and a comedy show, something Eric freely admits himself as some of the jokes first need an explanation to the audience who won’t necessary understand the inner workings of the Navy. The set ups end up paying off, as Eric talks you through a number of dramatic near-death experiences and cringe-worthy initiation pranks. A slideshow of pictures accompanies the stories and helps to tell Eric’s story. The photo of Eric when he joined the Navy as a baby-faced 16 year old is quite powerful when watching what experiences and troubles turned that young boy into the man he is today. The stories, which all seem to end in everyone punching everyone, are not side-splitting hilarious, but they are told in a riveting manner that will ensure you are drawn into Eric’s storytelling.

It is his friendship with fellow submariner Dick that steals the show. The admiration that Eric holds for Dick is incredibly apparent and he speaks from the heart about their time together. The closing story is the highlight of the night and even if Eric does try and force emotion on the audience at times, what happens to Dick during a routine training exercise will leave you absolutely stunned.

Despite a riveting final story, it felt like the show ended abruptly. Given that there was particular emphasis on Eric’s beginning in the navy it would have been nice to come full circle and find out how the rest of his career panned out. What does come full circle is his friendship with Dick, which again reinforces that this show, although disguised as being about submarines, is really about the incredible bond of friendship.

Short sleeves, cheeky grin and very good hands are how Simon Coronel rolls in his one-man illusionist show, Manipulations.

There is no doubt that Coronel is world-class; he has won the Australian Society of Magician’s Annual Competition four years in a row and is only the fourth Australian in history to place at the World Championships of Magic and Illusion. With his generosity as a performer and exceptionally smooth routines, it’s easy to see why.

He begins the 60-minute showcase with one of several addresses to the audience, explaining the difference between those who simply want to be amazed and those who want to figure out how the tricks work. After all, what Coronel does is only a trick and he openly admits this. Part of the performance is built on taking the audience through the basic principles of manipulation, dexterity and illusion.

All the tricks performed are incredible to watch even if one theatrically driven piece seems a little odd amongst the fun. Coronel uses everything from a plastic water bottle to gambling chips, string and a five (or should that be a fifty?) dollar note. The tricks look effortless and are done with remarkable precision and skill.

His relationship with the audience is built on respecting their involvement instead of trying to embarrass them which is nice to see. He even uses the entire audience for one manipulation trick.

Clean, mind-boggling fun suitable for the whole family.

Simon Cornonel – Manipulations

Feb 13-18, 7pm

The Perth Town Hall

Tickets $25

Despite first being performed almost a decade ago, the topics explored in Stephen House’s Walk in Dirt still feel current and perhaps even more relevant today.

The show follows an unnamed man as he walks through his rubbish-filled street and into the dark urban underworld, meeting a series of bizarre and fractured characters. It is through the characters that we also meet the central character, a 50-something man struggling to hold onto a solid sense of identity. Sexuality and family is discussed, as well as the suffering and frustration of the sick and lonely.

Stephen House, who recently received acclaim for Appalling Behaviour, is a solid performer who easily transitions through the multiple characters. Two of his more memorable characters include a transgender showgirl whose musical number is loaded with dramatic undertones, and a drunken derelict with a telltale song of her own. Some characters such as a frustrated single dad and a judging housewife don’t quite hit the mark. What all these characters have in common is a loneliness coupled with a strong opinion of others, a self-created illusion that is not usually nice or correct.

The show is performed in a heightened poetic language, which at times is too focused on making sure it rhymes and while it suits some parts, it also disengages the audience in others. There is an interesting pull between difference and similarity with George Kallika’s sound and music playing a central role in creating separate moods for each character while Rick McGill’s purple costumes tie them all together.

Walk in Dirt won’t suit everyone’s taste, as it seems so focused on painting a picture of despair and darkness that the attempts to find redemption and hope aren’t enough.

Walk in Dirt

PICA Performance Space

Feb 14-16, Feb 18-19, 9:30pm

Tickets $30

I admit the mention and promise of Dolly Parton had me sold on seeing Hope Is The Saddest before I knew anything more about the play, but I was adamant that my love of country music would not get in the way of my critique. Thankfully, this show is so delightful charming and funny that the presence of Dolly was just icing on the cake.

The story follows three lonely souls whose lives are thrown together following a hit and run accident; Marion (Natalie Holmwood) who has recently inherited a mansion but can’t understand why she has no friends, stoner and aspiring inventor Theo (writer and director Jeffrey Jay Fowler) and optimistic Hope (Michelle Robin Anderson) who sets her sights on the gay Theo and plans to win his love with the help of Dolly Parton. From the accident comes a hilarious and heartfelt story that intelligently interweaves the individual journey of characters together in number of ways.

There is a fantastic quote from Dolly Parton that is used in the play; “storms make trees take deeper roots.” As Hope remains adamant that Theo must return the feelings she has for him, the story shifts from comedy to a touching portrayal of love, complete with its utter relentless and desperation. Anderson is captivating to watch as Hope, especially when she is forced to confront Theo about her attraction and attempts at romance. Holmwood and Fowler are equally as strong in their performances, with Holmwood delivering some fantastic lines with pitch-perfect quality.

This play does have its faults, but it is so charming that you won’t have time to try and pick them out. The characters are so deluded, crazed and downtrodden that you can’t help but fall for them. It was also nice to see Dolly used a major part of the performance instead of a cheap gag, although there is plenty of fun to be had at her expense. Fowler’s direction is focused and keeps the story ticking along nicely with a number of energetic music interludes.

I have no doubt that even Dolly would laugh along to Hope Is The Saddest. A clever and extremely likable play from beginning to end, this play is certain to be a favourite among audiences.

Hope is the Saddest

PICA Performance Space

Feb 8-10, 6:30pm

Tickets $30

The sold-out premiere season of Sleepyhead was critically applauded in Melbourne for its gothic undertones and wicked dark humour, but unfortunately its hometown debut doesn’t get it quite right.

Set in rural Australia, we meet Eleanor (Amy Murray) and Genevieve (Louise Cocks), two very different sisters alone and isolated from the world by their Dad (Alex Jones). When he disappears from the picture, Eleanor and Genevieve’s lives begin to unravel as they confront ghosts from the past, mysterious phone calls and a stranger whose presence divides the household.

Nathaniel Moncrieff’s script holds so much potential in its warped and unsettling storytelling which makes it particularly disappointing to see it held down by the direction. Much needed momentum was lost with a pace that wasn’t creepily slow or wickedly fast. Add to this the long and clunky scene changes which weren’t always needed and there was never much surprise at what came next. It felt like the play had been drained of suspense by the end. Gareth Bradshaw’s direction seemed too heavy handed at times, not embracing the creepiness of subtle sugestion and opting for a harder approach.

But to Moncrieff’s credit, the relationship between Eleanor and wheel-chair bound Genevieve is nicely crafted as a constant battle for love, power and a future. Amy Murray puts in a good effort as Eleanor, delivering a wicked monologue that mixes sex and religion in the most sordid of ways. But it is Louise Cocks’ emotional portrayal of innocent Genevieve that is particularly satisfying to watch. Adam Shuttleworth puts in a strong cameo as a friend of the family, yet his character seemed to undermine the isolation that Moncrieff and Bradshaw created for the girls. The arrival of a bloodied and startled stranger (Kirsty Marillier) felt like the fresh breath that the story needed to keeping moving forward but the way the sisters deal with her arrival falls short of where it could have gone.

There were a few issues with blocking and sightlines that were obvious enough once an audience was introduced into the space. It was also frustrating to see some actors ‘cheating out’ (facing the audience instead of the other actor) so much, that they lost the connection required on stage.

Sleepyhead shouldn’t have been as disappointing as it was, it has a good script and a solid group of committed actors, but it’s heavy-handed delivery leaves a lot of be desired.

It runs at The Blue Room Theatre until Friday 10th February.