Laundry Bar hosted the event and what a great venue to tie together the 90s theme, especially with the best of the best in 90s hip hop anthems.

Shio Designs is a Melbourne based label which fuses together trendy urban-street vibes with a bit of Japanese flair. It was very evident in their A/W collection that the notion of Japanese pop art culture played a part in their designs, especially in regards to the digital format in which it was presented.

Fashion shows don’t always necessarily have to be live with a runway and models, and I believe this newfound digital performance was a winner for Shio Designs. Albeit the video was a mere 30 seconds, it was engaging, quirky and fun.

This season’s collection was a collaboration with The Social Studio and explored the idea of Critter vs. Candy, which well and truly got our imaginations and appetites going. The unique digital print they created for their clothing was on trend and had similarities to that of Gorman. The print looked incredibly edible so it was lucky they had Allen’s snakes on tap for us all!

Shio Designs showcased clothing for both men and women and it became evident that the Shio guy and girl is very eclectic, outgoing and love colour. This range will appeal to those wanting to make a fashion statement and add a newfound confidence to their wardrobe.

Shio Designs launched in late 2013 and have a very bright future ahead of them. Their style and attention to detail is noteworthy and will very much be on the fashion radar of Melbourne fashionistas.

Shio A/W15 Basement Launch played as part of the Virgin Australia Melbourne Fashion Festival Cultural Program 2015.

Collingwood is one of Melbourne’s biggest art hubs and at the centre of this community based initiative is The Social Studio. The Social Studio is an organisation that was established in 2009 aiming to provide a place of creativity and purpose to many refugees.

Director of The Social Studio Susan Yengi says that by orchestrating a Block Party allows people from all walks of life to come together and witness the efforts of the incredible designers and artists.

“We want everyone to have a good time and really, the idea is to bring everyone together and make friends but also so they can see all the amazing clothes and emerging locals artists and love it,” she said.

The Party was filled with fashion stalls, art, food and musicians who created the soundtrack to what really marked a special day.

The music on the main stage was a combination of live rappers spitting rhymes as well as DJ sets from the ever talented DJ MzRizk. The vibe of the day was funky, chill and feel-good.

One of the great things about the Block Party was the sense of camaraderie between all cultures and how the experiences of one individual expressed through rap or rhyme resonated with every single person present. An honourable mention must go to one of the most profounds poets I have recently heard. His honesty and vulnerability were a true testament to his character and even though it was a hot sunny day, I still got goosebumps.

This sense of one cultural identity is at the core of The Social Studio’s ethos because through fashion and music they believe change and growth can be made.

“It’s all about community, bringing people together and creating opportunities for people. We use art and fashion as a vehicle to create opportunities for people through employment and education,” Yengi said.

As for the fashion show, well it was entertaining and full of colourful fresh fashion. Five emerging fashion designers displayed their works and as the crowd got hyped, so too did the models as they danced down the catwalk. It was all about prints, ease of wear and street styling for both men and women as well as versatility between day and evening wear.

Any net profits gained from the Block Party go straight to The Social Studio in order to fund education and training costs for their students. The Block Party was a fashionistas hub and a family-friendly, pet-friendly environment which I hope other communities around Melbourne adopt.

The Block Party played as part of Virgin Australia Melbourne Fashion Festival Cultural Program 2015.

The Compound Interest in Collingwood played host to this intimate afternoon affair and was the perfect art deco space to hold the many that attended.

Strangers in a Moment is a short film experience that explores the understanding between Chorus and Blackman’s latest album The Dash. Before the film even began, a runway show of the collection took place but not in a runway as we know it. The open-plan space was square thus the models walked in a box shape, each stopping at an edge of the circumference giving the audience full view of the clothing. 

What ensued was a journey into the creative mind of Chorus as the short film, set to Blackman’s track “Strangers in a Moment” from her latest album The Dash, unravelled itself on the walls of the space.

The film explored the normality of life three strangers have all the while clothed in the latest Chorus collection. The videoclip style film has a very existential feel to it and the sublime editing really captured the awkwardness of the three girls. What worked so well was the dark energy of Blackman’s track which was matched by the grainy mood of the film. Using a combination of close-up and wide shots really enhanced the emotion of the girls and their moments of impulsive contemporary movement were beautifully executed.

The final scene in the empty pool is such a powerful image because as it pans to the sky, it is revealed that the sky is in fact water and thus conjures thoughts beyond conceptual reality.

This film event gave audience members the opportunity to see not only the film but the clothing on the body and even have the possibility to purchase limited edition items from the collection. The team of creatives behind the designs and the film have married the two concepts together seamlessly and proven that fashion and film are a medium of art that speaks to so many different people and has so many interpretations.

Strangers in a Moment played as part of the Virgin Australia Melbourne Fashion Festival Cultural Program 2015.

The night was buzzing with excitement and colour as women and men gathered for a night of ground-breaking fashion. Showcasing 14 independent Australian designers with their collections ranging from swimwear, day wear, evening, corporate, lingerie and even pyjamas, it was indeed a mesmerizing sight to behold. But what was so fantastic about these collections is that they perfectly catered for Melbourne’s unpredictable weather and infamous “four seasons in one day” notion.

It was all about colour this year and the way it could be used in fabrics, patterns and accessories. However in saying that, it wouldn’t be a Melbourne fashion show without its signature black looks.

Embracing every curve with confidence and sass, the women of Curvy Couture strutted their stuff down the catwalk and embodied everything that is womanly. The models were a mixture of professional models from Bella Model Management as well as women who have never modelled a day in their life. The inclusion of everyday women on the catwalk allowed audience members to feel represented and be able to relate.

But amongst the glamour and pops of fresh colours, it’s the powerful message behind the fashion that deserves critical acclaim – curves are beautiful and curvy women can be just as stylish, sleek and sexy as anybody else in the fashion world. It was evident that the models were secure in their own skin, loved their curves and felt confident enough to use this platform to inspire the women around them.

The soundtrack to the show was uplifting, empowering and fresh which complimented the overall feel of the night. Men and women alike were in a state of euphoria as they witnessed the fashion industry make a stand and put curves on the map. Everything about this runway show was high-end and professional and the team who put it together should be very proud.

It is so wonderful that the Virgin Australia Melbourne Fashion Festival has included the Curvy Couture Runway show into its cultural program because it reiterates to the world that fashion is for everyone and that women should love the skin they’re in.

For more information about the show, click here. 

As part of this year’s Virgin Australia Melbourne Fashion Festival, Christian and the team at The Rose St. Artists’ Markets orchestrated a day of fashion workshops where we could be the designer. In a society where our creative expression can often become contrived, an afternoon out in the glorious sun at the markets is a fantastic way to reawaken the imagination and let your creative juices flow.

The day was coined Crafted and aimed at unleashing inner creativity at all ages. The seven one-hour workshops were run by stall owners at the Market so they could share not only their knowledge but also their passion of what they do. The relaxed outdoor environment was a great way to make new friends, chat about crafts and even share different art experiences.

The workshops offered were in macrame, crochet, terrarium making, DIY lampshades, jewellery making, traditional South American handwoven necklace making and tapestry weaving. Women, men and children participated throughout the day and proved that arts and crafts transcend gender and age.

The beauty of these workshops was how children between the ages of three and 11 could participate and release their creative energy. Being a young woman leading a very busy lifestyle it was nice to sit back and observe how the younger generation are so free-willed and uninhibited when it comes to creative expression. Their artistic process was simple yet methodical and really pushed the boundaries of ordinary arts and crafts. It was incredible to see parents getting involved with their children too and encouraging tactile experiences, which I believe are far more enriching for their development.

It was quite eye-opening for me personally to take part in these various workshops and be given creative freedom with colour, layout, style and execution. I consider myself a creative individual but at times I found myself overthinking the process. What The Rose St. Artists’ Markets have done is created an outlet for men and women to get in touch with the creative side of their brain and trust in their instinctive abilities.

Engaging in bite-sized arts and craft workshops like these refuel that inner desire to step away from technologically based gadgets and exercise our mind in a way that we may have forgotten. Be sure to get to this workshop next year but in the meantime, try and find a creative outlet that fulfils your soul and your mind.

Show director Jess West is such an inspiring and strong woman who really opened up about the future of fashion for curvy women and how value judgments on women’s bodies are more often than not unjustified.  

Tell me about the show. What can audiences expect when they come see the Curvy Couture Runway show?
JW: Curvy Couture Runway is fashion for women who are size 14 plus. So we’ve got 19 designers who are going to be on the runway, 26 models (18 of whom are local Melbourne girls who’ve never modelled before) and we also have professional models joining us from Bella Model Management who are our major sponsor and just wonderful people. They’ve supported us the last two years. This year we’ve gone for more of a salon feel runway with VIP front row seating, we’ve got special guests coming and we’re going to pack into the Lightwell at ACMI for a two hour show.  

Was it a conscious choice to have real-life women model in your show?
JW: Yes, absolutely. We’re all about representation and the best way to see yourself on the runway is to see someone like you. It really brings it home that fashion is for everyone, especially when you can see your friend, sister or mum on the runway.  

How important are shows like Curvy Couture Runway in promoting women of all shapes and sizes because it’s not mainstream, it’s very left of centre but also very topical.
JW: I’m also a designer so it’s very important to me as a designer to see my clothes on women I would see in the street, so the women I want to see in my clothes should be on the catwalk. We really want to stress that we’re not excluding the straight sizes and we’re not promoting obesity – we’re promoting women in the clothes they want to buy and not in a ‘mumsy’ catalogue kind of way. That’s what fashion is about. It’s about being the ‘you’ you want to be wearing clothes, so it’s really important to have shows like ours so women can see themselves and say I can wear that and I can be that. Plus sized women have been marginalised by fashion for so long because we don’t fit the sample size ideal. It’s really frustrating to see that fashion is only this. It’s amazing to be a part of the Fashion Festival Cultural Program because we’re the only plus size in there and it legitimises what we’re doing and it’s great that VAMFF want to have that. They want to be inclusive and it helps.

Do you think the sizing guideline of what’s shown on the international catwalk needs to be reassessed?
JW: Yes. It’s a media thing and a pop culture thing that plus size women need to be that curvy shape, which not all plus sized women are. It’s an ideal and it’s political to want break that ideal and it’s political to show that on the catwalk as well. It’s as if they want to show plus size but only a specific kind of plus size like Kim Kardashian’s hourglass figure let’s say. Don’t get me wrong; I appreciate how well put together she is but let’s remember she has a team helping her.  

There is criticism that plus size modelling is endorsing an unhealthy lifestyle. What comments would you like to make on that?
JW: The first thing that I always say to people is that you don’t know what someone does in their life. I am plus size, I box, I walk everywhere, I eat well and healthily but you don’t know that because people will look at me and think, she’s fat! You’re only seeing a superficial image. We promote healthiness with our models to feel good in their body and you can have health at every size. It’s a big movement and something I believe in because not all bodies are going to fit into that stereotype of what fitness looks like, and it is a stereotype. There needs to be less value judgment on bodies and more on what your body can do.  

Do you think the fashion industry is evolving in terms of women’s health?
JW: I want to say yes, but I think I have to say no. And if it is, I think it’s evolving at the slowest possible rate. The independent fashion scene I feel is really conscious of health. I don’t think the fashion industry itself though is promoting health for any woman and it worries me that we still have models being airbrushed. They’re beautiful women – it doesn’t matter what size they are and we still feel the need to airbrush them.  

What advice are you giving your girls in terms of using this platform in a positive way?
JW: I tell them that people are going to look at you and they’re going to judge you no matter what you do, but the best way to deal with it is to not ignore it, well ignore the negative because it’s not going get you anywhere, but what they say about you is more a judgment on them so if you feel that someone is saying something unjust about you, speak up about it. Don’t be quiet, don’t feel like you have to hide yourself or not be as loud as you can because that diminishes you as a person. I don’t want the women to ever think they have to be smiley and turned on all the time. I want them to have flaws. I want them to talk about it. It doesn’t matter what others think of their bodies. Usually, you’re hardest on yourself. When I look at role models I don’t see their flaws, but I know they have them, and it’s really important to look at someone and idolise them but also know that they’re human.  

What is your hope for all curvy women in the future?
JW: I want them to love themselves and feel loved and not be afraid to be that way. There is lot of pressure for curvy women and plus size women to not love themselves and that we have to fix ourselves to be smaller and prettier. I used to feel very pressured that I couldn’t go out in trackies and a hoodie and messy hair because then I’m on the level of ‘bad fatty’. This is a really big thing in fat activism – we have the ‘good fatty’ and the ‘bad fatty’. If you’re a ‘good fatty’ you dress up everyday, you’re clean and well presented because the ‘bad fatties’ are those who laze on the couch all day eating chips. I don’t want this anymore. I just want to be able to live in a society where there is no value judgments placed on body shape. That’s what I wish for the future. And more available fashion. I think the more that fat activism and fashion come together; the closer we’ll be to this world.

The Curvy Couture Runway show will take place on Saturday March 7 at The Lightwell at ACMI. Be sure to get your tickets here and get ready for a bootilicious night out.

Set in 16th century Ireland, the Beckett Theatre was transformed into an Irish village led by Lord Brian Na Murtha O Ruairc, played by Tim Carney. It is quite difficult to give an overview of the plot because I just didn’t feel it was clear enough. There was a big issue with the structure of the show, but from what I can make of The Last Torch is this:

There is a shipwreck, Spanish Armada have been washed to shore, Lord Brian shows kindness to one (Captain Francisco de Cuellar played by Ryan Ireland), they become friends, Captain Francisco falls in love with Lord Brian’s niece Erin O Ruairc (played by Georgia Crisfield-Smith), Lord Brian’s wife Eleanor O Ruairc (played by Rachel Alford) is pregnant, there are witches (are we watching Macbeth?), war breaks out between England and Ireland, the Spanish fight for the Irish, they survive, the war is not over, one of Lord Brian’s men Murrough ‘one-eye’ McSweeny (played by David hammond) abuses young Erin O Ruairc, he is arrested, Queen Elizabeth (played by Catherine Emily Langley) will not allow loss of war, she sends soldiers in the night to Lord Brian’s quarters, the young lovers Captain Francisco and Erin O Ruairc get married, Eleanor O Ruairc can hear the witches toiling in the night, she is stabbed at her front door, she sings a dying song (quite well considering she’s been ‘stabbed’), Lord Brian lets out one almighty ‘Nooooooo!’, he is then arrested and hanged… Why? Because his wife died? And so ends the show.

What on Earth just happened?!

Too many storylines is what happened. There was no one main theme or storyline to drive the plot. It was confusing and very segmented. My main concern with this work is the lack of direction and clarity. Written, composed AND directed by Frances O’Neill is such an incredible achievement and you can tell how passionate she is about this period in time, however, to achieve greatness it would have been advisable to hire a director.

In terms of music and orchestrations, O’Neill did a beautiful job and the intricate layerings of Celtic and contrapuntal compositions were of a high standard. However, when I leave a musical like Les Miserables for example, I cannot stop singing the songs from the show. Although The Last Torch has similar qualities to Les Miserables, it has missed one element to memorable show tunes – simplicity. There wasn’t one main musical theme throughout the show – every character, every song was new and different. Yes, they all had the same Celtic style, but it was too much.

Even more boggling to me was why the orchestra was mic’d up and only certain characters in the show were. Why would you add more sound projection to an orchestra in such a small, intimate theatre space and not the cast members on stage? There were plenty of times throughout the show that I couldn’t even hear what some characters were saying, and that’s a real shame. Don’t even get me started on being able to hear the orchestra turning the pages of their sheet music. It was like nails on a chalk board.

As far as vocal prowess in the show, there were a couple standouts. Tim Carney’s mature on-stage presence and vocal technique made for a very strong male lead. You can tell he is a seasoned performer. Georgia Crisfield-Smith was a darling soprano soaring the heights with a full sound and definitely one to watch out for in the near future. My main concern with some of the castings in this show is that some cast members were not suitably cast due to vocal range. One thing that was noticeable was the very complex range in the songs that often called for an alto and soprano sound for females, or a baritone and tenor sound for the men. Consistency is key is musical composition and something that could be re-worked as this show develops.

The choreography of the show was visioned by David Hammond who did a wonderful job. The few moments of Irish jigging and dancing were fun and light-hearted, and true to the Irish culture. He had a cohesive vision for the show in terms of transitions and each cast member had a purpose for their movement.

While the heart of this work is well and truly beating, there is potential to grow and learn from this first viewing. The Melbourne Fringe Festival’s vision is to “play a leading role in the support and presentation of the independent arts by facilitating the development of innovative and diverse arts practices that engage with both artists and audiences.” This ethos is what brings emerging artists, writers or composers to the Fringe Festival and share their work. I am very hopeful that O’Neill will continue to develop The Last Torch and allow all of the elements to settle and find their place.

After walking down a dark and cobbled alleyway, we entered an open space filled with light to find white hands hanging from the ceiling. A very eery atmosphere permeated the air, and sensing by the awkward silence of the audience members, tensions visibly lifted.

Artistic Director of youth contemporary dance company Yellow Wheel, Adam Wheeler, encouraged his guests to fill the space however they felt comfortable, which was a very refreshing perspective of performance art; to see what we wanted and how we wanted. The lights dimmed and so began the scratchings of what would be one of the best soundtracks to a dance show I have had the pleasure of hearing, thanks to the musical mastery of Duane Morrison.

I Came Here To Dance Once is a series of four works projecting the future generation of contemporary dancers. The cast of 35 were mentored by Jo Lloyd, Joshua Lowe, Amber McCartney and Arabella Frahn-Starkie, who collectively have a wealth of knowledge and performance experience that spans over three decades. These incredible choreographers developed not only the understanding of body movement, but how it moves and how it can move as one.

A stampede of dancers burst through the darkness in a work titled Hunger. This was a great way to start, as it allowed the dancers to work on impulse and find unity amidst the masses. The heavy trap bass beats of the music was matched perfectly with the directional marching of collective on a mission. It seemed that each dancer had their own intention for their path and at individual moments had the freedom to step away from the group and express that intention however they saw fit. This work, developed by Joshue Lowe, then transitioned into a melancholic ceremonial baptism of one dancer, who in my opinion, represented the fragility of our human existence. The hunger for more in life is something we, as a society, fight for each day, and this moment of baptism showed the cleansing of our spirit.

Changing location in the space each time for a new work allowed a new scope and a new dynamic, especially for Air-Reef, a work extra-terrestrial in nature. The cast donned clinically white apparel with a helmet, which seemed to have connotations of a human skull. With the suspended white hands from the ceiling, there was definitely an air of otherworldliness. This work was a defining moment in I Came Here To Dance Once. The attention to detail of choreography by Amber McCartney was sublime and the musicality was on point. The overall essence of the soundtrack for I Came Here To Dance Once was electronic dance music fused with varying sound effects. What was so brilliant about Air-Reef is how McCartney used every beat, every effect and every scratch of the soundtrack to mirror the movement on her dancers. This is also a credit to the dancers, as their synchronicity was well-executed and strong.

The third work of the night was titled Choose Your Own Adventure and choreographed by first year VCA student, Arabella Frahn-Starkie. Opening quite differently to the others, Choose Your Own Adventure began with the classic love ballad, “If You Leave Me Now” by Chicago. The bright string chords allowed Yellow Wheel to show a softer side to the company and allowed individual expression of thought. This piece had an added element of dialogue, which doesn’t always work, but for this it did. As well as dancing in combinations of duos, trios or solos, the small cast recounted their own adventures, like swimming at the Olympics or seeing Kanye West live. While this was endearing, it became very hypnotic and a bit repetitive. There is no taking away from the dancers mastering intricate choreography as well as dialogue, but this piece could have been shorted ever so slightly. It was however, a nice change to have the silence of the space filled only with words.

To close the night, the full company of Yellow Wheel came together to create It’s This, under the choreographic guidance of Chunky Move alumni Jo Lloyd. From the outset, it was obvious this piece was a reflection of individuality as each dancer wore a plain white t-shirt with a photo of themselves on the front. In a sense, this is the moment they had been working towards, and the phrase “It’s This” had its own meaning for each dancer.

Expanding on that idea, around the perimeter of the space, each in their own time would write a thought that was representative of them at that moment. It was quite a powerful stance for the youth, with some writing, ‘I really like this part’ and ‘This is where I came to dance once’. This is also the piece where the soundtrack peaked and it was as if witnessing young kids at a rave. While the juxtaposition is apparent, it was glorious to watch, because the dancers exuded such freedom in their movement and expression.

Dance, at its most basic form, is about trust. Trusting in yourself, in your teachers, and your colleagues. What Yellow Wheel does is remarkable, as they are teach their dancers the fundamentals of contemporary dance technique and how to trust in one’s own evolution of dance. The growth of these young and talented individuals within the space of an hour show was evident, and every challenge was met. To be a part of Yellow Wheel or to see any future works, head to their website for more information.

Click here for more information and to purchase tickets to the show. 

On Friday night, Impromptunes opened with their audience-suggested, appropriately named musical, Friday Night. With a new format structure, this Fringe Festival run has a similar vibe to the hilarious American Comedy Channel show, Whose Line Is It Anyway.

It follows the actors in a rehearsal for their new musical, as the director dictates what scene or musical number is to be run through. Throughout the show, the director remarks that we, the audience, have re-written parts of the show and that the actors know exactly what that is. This is where the comedy within lies. While the director gives her actors a vague point of reference, the rest is left up to them to decide how they will develop the story.

Through various improvised musical numbers – “Friday Night”, “Glitter in my Purse”, “There’s a Jail-Break”, “We’re a Listening Community”, and “Me is Changing Me” – the actors created many magical moments that were enhanced by really deep and profound lyrics. Their ability to think on their feet as quickly as they do, as well as find a melody, is so impressive. As far as vocal ability, each actor is obviously professionally trained, and much to their credit, and to the credit of pianist Rainer Pollard, many musical genres were explored. The layered harmonies were beautiful all the while allowing each actor to have their moment to shine. The director strategically orchestrated combinations of duos and trios but what led on from there was at the discretion of the cast members.

It’s difficult to take anything seriously with this type of comedy show, but if we are going to take away anything from Friday Night, it would have to be the issue of gender and how it was brought to the forefront by a pair of callottes. Yes, you read correctly. Callottes. For those of you playing at home, callottes are a type of loose fitting pant that looks like you’re wearing a skirt but in fact, you’re not. These pants represented the masculine and feminine struggle of identity in Friday Night as men and women soon became known as ‘mn’ and all lived genderless. The exploration of gender was rather refreshing and very creative and what is quite typically constricted by definition, found a whole new meaning. It is safe to safe that even though all cast members tried to be mn’s, there was no fighting human nature. Order was eventually restored and of course, through song and dance, Friday Night came to an end.

An improvised show such as this only works when the actors are actively listening to each other on stage and respecting each other creatively. This strong cast of seven consisting of Amanda Buckley, Hollie James, George Gayler, Morgan Phillips, Stuart Packham, Emmet Nichols, Charlie Sturgeon and Emily Taylor, allowed each other’s ideas to flow no matter how bizarre they were. At times, it was a little clunky and you could see when they were thinking intensely about what to say. It even became a little bit obvious that certain actors were instigators. But having said all of this, it is no easy task what they achieved and I would encourage everyone to see this show.

Impromptunes have various performances throughout the year so be sure to check out their website for further information.

Click here for more information and to purchase tickets to the show.

Valeri takes us back to the early days of his life – from his pre-pubescent days to his more formative years, he describes his weight loss journey through laughter and song.

Obesity, binge eating, bullying and lack of self worth are just a sample of some of the dark themes explored by Valeri. While always remaining upbeat and seeing the positive in every situation, it was beautiful to witness the vulnerability and fragility of a man searching for his truest self.

With a well-structured show that was superbly written, Valeri made no effort to hide anything from the audience. This was a tell-all tale about honesty and the harsh reality of being overweight captured by endearing moments, as well as absolute hilarity. To further enhance the wit of Valeri’s weight loss journey, show tunes and pop songs were re-worked to develop the story. Accompanied by Peter on the keyboard, Valeri made very smart song choices that showcased his vocal technique, incredible falsetto and fantastic soul in his riffs.

Apart from Valeri’s microphone battery dying, the show followed a very simple method of technical elements. What added to the warmth of the show was the slideshow of photos projected onto a frame on the wall – not only did it add comic relief to see Valeri at his various stages of being fat, but it also showed us the emotional pain that he endured growing up.

This is a cabaret that a lot of people can relate to in more ways than one. With numerous references to fast food chains, weight loss programs, and a particular fondness for Michelle Bridges, Valeri caters to all the health and fitness fanatics, as well as those wanting to make a change in their life. Valeri was successful in creating a comfortable environment for the audience where he could share the triumphs and tribulations of his weight loss journey.

Be sure to catch this hysterical cabaret with your friends at The Noble Experiment on Smith Street in Collingwood. Even though it has fat jokes galore, this show will generate open discussions and teach you to find your inner strength to make a personal change.

Click here for more information and to purchase tickets to the show.