You’re a Good Man Charlie Brown is a day in the life of Charlie Brown, his sister Sally, friends Schroeder, Lucy and Linus and his adorable beagle Snoopy. Rather than using a traditional narrative, the musical is made up of a series of vignettes and corresponding musical numbers, channeling the unique sense of humour that the original Charles M. Schulz comic strip is known for.

The musical includes all the iconic moments from the strip – Charlie Brown and his quest to be noticed by the Little Red Haired Girl, Snoopy and his efforts to defeat the Red Baron, Lucy and Schroeder’s tête-à-têtes over the piano, Linus and his blanket and poor Sally and her tangled skipping rope.  The six main players are supported by an energetic and lively chorus and a fantastic live band, all wearing matching Charlie Brown tops.

A simple, largely unadorned stage – apart from a red doghouse in the background of course – lets the talent of the main cast shine through. Particular mention must go to those in charge of costume as well, with the cast decked out in cute, colourful and impressively accurate costumes. The group numbers were wonderfully executed, and often brought loud applause from the audience. Keep an eye out for the baseball game number, where the cast play baseball in slow motion while Charlie Brown frets about his pitching ability, and The Book Report, a perfectly executed number involving the whole company and a lot of rabbits.

Watching the young cast perform – Kyle Hall (Charlie Brown), Ben Francis, (Snoopy), Tayla Coad (Sally), Georgia Broomhall (Lucy), Laurence Boxhall (Linus) and Benji Riggs (Schroeder) – you are transported into the world of their unique friendship group, their hopes, their dreams, their fears and their passions. They may not be six years old, but the cast harnesses the spirit and wonder of childhood in their mannerism and in their songs. Hall as Charlie Brown leads the cast capably while Broomhall nails Lucy’s energetic crabbiness, with Riggs and Francis providing some great comic moments. However the standout performances of the night were Coad as Sally and Boxhall as Linus. Their energetic performances and comic timing was spot on, and they totally inhabited the characters.

At 90 minutes, the show’s running time could have been a little shorter, especially as there is no linear storyline. It was also sometimes difficult to hear the leads sing, as the live band tended to overpower their voices. However, these were minor issues in what is overall a fun show.

The best thing about You’re A Good Man Charlie Brown is that it is show is for everyone. As someone who loves the original Peanuts comics, it was great to see some of my favourite moments brought to life with song – but you don’t need to be a fan or know a lot about Peanuts to enjoy the show, and the number of families in the audience attested to the show’s wide appeal.

Have you ever wondered what would happen if you took two of Shakespeare’s tragedies – Romeo and Juliet and Hamlet – and smashed them together? The three gentlemen from Sound & Fury have combined the tales of the star-crossed lovers and the procrastinating prince into a true ‘Fakespearean’ (their word, not mine) masterpiece.

The action takes place on a simple black stage with a balcony. Everyone in Elsinore is getting ready for quite a weekend, with the funeral of the old King of Denmark, and the wedding of the new King, his brother, to the old King’s wife. Not to mention Polonius Capulet is having a party. Hamlet is suspicious about his uncle’s rise to the throne and his father’s timely death, but is momentarily distracted by the appearance of fair Juliet.

The three stars of the production, Ryan Adam Wells, Richard Maritzer and Patrick Hercamp, are outstanding, performing multiple roles and charging through costume changes with plenty of aplomb, laughs and a few marvelous hats. Dressed in their finest Elizabethan-wear, they are equally at home leaping around the stage or projecting sonnets to the back row. Their energy and clear love of performing shines through. They have also managed to combine official Shakespearean text (“Get thee to a nunnery!”) with modern jokes and slapstick comedy, and still have enough breath left to undertake a Q&A session with students who attended the show.

The performance incorporates aspects of vaudeville, with the demolition of the fourth wall and lots of physical comedy. This, and the energy of the performers, gives it a fun and fresh feel, especially during the audience participation segments. Although there are some scenes you can be reasonable sure were written and scripted – such as the fantastic prologue and the musical numbers – you are never 100% sure if what you are seeing is scripted, improvised or a mistake that the cast have decided to run with. In a Q&A session after the show, performers Richard, Ryan and Patrick explained that the show is a mixture of all three, with bits and pieces being added and changed over the course of the two years the show has been running, meaning that each performance is different.

Although probably most enjoyed by those who know the original Hamlet and Romeo and Juliet fairly well, added pop culture references, physical comedy, musical numbers and the explosive energy of the performers means that this tale of Hamlet and his slightly masculine Juliet will appeal to those of all ages (not younger than thirteen however, as there are some mature jokes). If you enjoy reinterpreted Shakespeare, or more importantly, if you enjoyed making fun of Shakespeare in high school, this show is for you.

Sound & Fury’s “Hamlet and Juliet” is showing at the Pig Tales Tent in Gluttony, from 27^th February – 1^st March, 6^th – 8^th March and 13^th – 15^th March.

What is this thing called love? is more that just a musical tribute to the legendary composer Cole Porter. This musical portrait weaves narration of Cole’s life, and his relationship with wife Linda Lee Porter, between quotes from letters from their friends and acquaintances in real life and most important of all, with 25 of Cole’s greatest hits.

Starring Deborah Caddy and Adam Goodburn (who alternate between representing Cole and Linda, narrating the story and playing a host of other characters), this show was much more theatrical than I expected. Both Caddy and Goodburn are great singers, and are expertly accompanied on the piano by Matthew Carey, also the musical director of the show. Not only do Caddy and Goodburn act and sing, they have worked out some nifty little dance routines to accompany the songs, and their delivery of comments and quotes from Porter and his real life friends was fast and fun.

Cole Porter has a prolific back catalogue of songs to choose from, and I’m sure there was difficulty in narrowing down  to the 25 chosen for the show. The songs were well matched to the different parts of Cole’s life. There were some great performances, including Night and Day, Brush up Your Shakespeare and Every Time we Say Goodbye. The definite highlights, however, were Let’s Do It (Let’s Fall in Love) and Friendship. These last two songs were actually performed after the performers had taken their final bow, which I felt was a strange move. Although the show was well put together and wonderfully performed, the first half of the show in particular seemed to lack that spark of energy that came through in those final songs.

The show was 80 minutes long, which included an interval around halfway in. Unfortunately, I feel that the performance may have benefited from cutting a song here and there to make a tighter show, as it seemed to drag just that little bit towards the end of the first half. That being said, the second half did seem to pick up the pace, and considering it was the first night the show had been performed, it may have just been a matter of first night nerves.

This is a show that is best to come and see with friends, as although the show is performed up on a proper stage (very fitting, as most of Cole’s music was written for musical theatre), the audience were seated around small tables, in groups of five or six. It really gave the room that feel of a nightclub from days gone by, with rosy lighting and candles on the tables to give it that sense of authenticity. I was probably the youngest person in attendance at the show, which was mainly filled with Cole Porter fans of old. However, there is nothing to stop a young fan familiar with the works of Porter from enjoying this performance, although they may get a few strange looks from the audience. While not a perfect show, What is this thing called love? is an enjoyable tribute to a very talented man and his interesting life.

With a sell-out season at the Melbourne Fringe already under his belt, I was sure that Rob Lloyd’s one man show about his obsession with Doctor Who would be good – I just wasn’t sure what to expect. How exactly does one man investigate  whether his obsession with Doctor Who has rendered him a socially unfit human being, or shaped him into a well-rounded member of society…without the audience being thoroughly bored?

Whatever I was expecting, Who, Me (directed by Scott Gooding) exceeded my expectations. The majority of the show (after a little bit of a time–warp at the beginning) involved a court case playing out in the mind of Rob Lloyd, to determine whether his Doctor Who obsession has been helpful or harmful. Rob played himself, the prosecution and the number of witnesses, as well as occasionally breaking that mystical fourth wall to fill in any gaps for the audience. He took us from the very first time he discovered Doctor Who at the age of 17, told us about his favourite Doctor, and showed us a ridiculous amount of photos of himself dressed up as the 10^th Doctor (David Tennant) at various conventions, before finishing with an interpretive dance, which seems to be the theme of one-man shows at the Fringe this year.

The rapid lines of dialogue were not all Doctor Who references, and the jokes were not all Doctor Who related. My favourite one of the night included describing something as “deader than Sean Bean in every role he’s even been in.” Another hilarious highlight was a David Attenbourgh-style segment where we watched Rob Lloyd act out a day in the life of typical Doctor Who fan, before moving on to describe the dynamics of a nerd party. Lloyd is an energetic and skilled performer, not afraid to make fun of the highs and lows of his Doctor Who obsession, all the while keeping the audience thoroughly entertained.

As a modern, mild Whovian, I enjoyed the show and managed to keep just on top of the in-jokes and references, including one about reading a Gallifreyan newspaper. The crowd was a blend of those who could probably remember watching Doctor Who on TV when it first aired in the 60s, and those who may only have experience with the more recent re-vamp of the show (bow ties are cool). This is the audience that will get the most enjoyment out of the show, although Lloyd’s energy and stellar delivery may be enough to keep those without any Doctor Who knowledge interested as well. Lloyd takes us on what is essentially a personal journey, and audience members will find themselves reflecting on their own life-long obsession, whether it be Whovian in nature or not.

All in all this is a fun, energetic show which fans of Doctor Who should definitely see…and maybe even drag their non-believer friend along as well. It may just bring you closer together.

Who, Me is playing at Jahz, 4 Cinema Pl, until Saturday the 17^th of March.

Status Update is the story of Kylie Howard (Sarah Cullinan), and her struggle to understand her life in this present day and age. While Kylie’s boyfriend Ernie is passionate about the environment, and is even going overseas to attend some sort of conference on climate change, Kylie is much happier to sit on Facebook and play Angry Birds. She can’t see what sort of change Ernie’s activism is really making in the world – how can one small person really change anything? Why even try? So begins Kylie’s journey of discovery, as she attempts to understand a world that is so small yet so large, and how she can make a difference.

This play (from writer/director glen r johns) portrays Kylie’s journey through a mixture of face-to-face interactions, but also a live interpretation of her Facebook newsfeed. Inspiration for these parts of the story were taken from the writer/director’s own newsfeed, and really capture the spirit and essence of how Facebook is used by people. I felt this to be the best part of the play. Three Facebook Clowns (played by Tom Fitzsimons, Amelia McDonell and Elle Szuster, who also doubled up as members of Kylie’s family and some crazy party friends) were the oral versions of the Facebook news feed – from status updates, the numbers of ‘Likes’ on a page, the comments that people make on statuses and photos and links posted.

The show had an interesting concept, and being around the same age as the characters portrayed, I related to their feelings of apathy and helplessness in a world full of problems. There is so much information about problems with the world and those causes that want to help coming at us everyday, even over Facebook, it is hard to know what to do with it all. However, I don’t think the message was carried off as best as it could’ve been. It felt a bit forced and at times felt like a different play to the more light-hearted Facebook parts.

Despite my misgivings about the overall plot and direction of the play, it is great to see writer/director glen r johns understand that connection we all have to it, and portray it in such a creative, unique and amusing way (as opposed to having the cast sit on stage in front of phones and laptops for 50 minutes).

Adults and teens alike will enjoy this play – a high school group was in attendance the night I went, as well as a smattering of adults – although you need to be familiar with Facebook to fully understand all the in-jokes. The Grand Academy of Lagado, where the show was held, is a small space. The seating is stools and cushions moved into the space to allow more people in, so make sure you get there early for a good seat.

Status Update: A Guide to Early 21^st Century Life is playing at The Grand Academy of Lagado at various dates until the 11^th of March.

The moment the lights go down in Gluttony’s LoFi tent, it is no longer 2012. In fact, it is 1947, and you are on the case with Dirk Darrow: Not Completely Serious Supernatural Investigator…or are you? Maybe you’re the one that committed the crime in the first place!

A murder has occurred, and private detective Dirk Darrow (played by Tim Motley, born in New York, currently residing in Melbourne, meaning that accent is real, folks) needs to solve it before meeting his lady-love on the docks. We, the audience are here to assist him in solving that crime. The stage is minimally set, with only a few props. However the setting only plays a small part in the scheme of things, as once Darrow appears your attention never wavers from him.  He takes us through the Who, What, Where, When, Why and How of the murder. With the assistance of the audience, Darrow uses a mix of his supernatural powers – think cool magic tricks, not ghosts and ghouls – and detective skills to track down the criminal. All the while evoking the spirit of those detectives featured in 1940s noir films, such as Humphrey Bogart’s Philip Marlowe. Thankfully, the plot of this 60-minute show is a lot easier to follow than that of The Big Sleep

You don’t need to be a fan of 1940s noir to fully enjoy the show, although the show does pay tribute. The jokes are frequent, including an obscure mathematical pun and even some references to Adelaide, always a nice touch. For those of you who love a bit of audience interaction, this is definitely a show you need to see. There are multiple chances for audience members to be picked by Darrow to help solve different parts of the crime. When you attend the show, be prepared to help to identify the weapon used in the murder, the time of the murder  or even become one of four suspects yourself!

Tim Motley is hilarious as private detective Dirk Darrow. Motley (who took Dirk to Canada and had a sell-out season at the Edmonton Fringe Festival) utterly commits to the character, and this is the reason the show works so well. His rapport with the crowd is easy-going and fun, he doesn’t loose his cool when things go slightly wrong, and performs some great magic tricks that will leave you desperately curious to discover the secrets behind them.

This is a show that adults and teenagers alike can enjoy. Be ready to laugh with and at Dirk Darrow: NCSSI as you help him solve crime, in this unique mix of comedy, magic, a colourful, energetic interpretive dance (it makes sense in the context of the show, trust me) and a good, old fashioned murder mystery.

Dirk Darrow: Not Completely Serious Supernatural Investigator is on at the LoFi tent in Gluttony (Rymill Park, Cnr East Tce and Rundle Rd) until March 4.

@ Higher Ground, Main Theatre
FRIDAY 24th February (until Mar 18)

Imperial Fizz (penned by American playwright Brian Parks) is described as part Noel Coward, part Oscar Wilde, with a helping of Samuel Beckett to finish off. In the theatre world, such comparisons are not lightly undertaken. This is a big call. Is it really possible to recreate the sparkling, rapid-fire banter of a Wilde or Coward play, or the absurdist turns and twists of Beckett? Parks’ play manages to pay tribute to these masters of the theatre, and his play is delightfully brought to life by director Guy Masterson.

The writing and direction of this play will remind you of those fantastic 1930s black and white screwball comedies, where every sharp, humorous line has a fast and witty comeback. Instead of Katharine Hepburn and Cary Grant, Beth Fitzgerald and David Calvitto play the two leads – the Woman and the Man. They appear onstage, drinking and trading sometimes snide remarks about the past together and, eventually, allusions to a particularly final evening. Strangely, their eveningwear is singed and torn. The conversation flying back and forth between the couple at first seems to be a recount of their lives togethe but slowly gives way to reveal they are waiting for an important guest and life (or what seems to be) is not quite right…

Higher Ground’s intimate theatre space gave an added edge to the performance, bringing the audience right up close to the Man and the Woman, the tale of their lives together and the gradual unfolding narrative of what happened on that fateful night. Praise must go to both of the leading actors, who sing, dance and use a range of American accents. The dialogue of this play is fast and at times you have to really pay attention to catch the lines. Light laughter and giggles punctuated throughout the audience on the night – this is a play that will have you smiling with amusement, rather than rolling on the floor in laughter.

David Calvitto has played this role before in 2010, and his performance is still fresh. However the standout performer on opening night was definitely Beth Fitzgerald. Her performance as the Woman was spot on, and she brilliantly performed the changes from a droll and witty society lady, to a slightly manic woman, fearful of the guest she and her husband are preparing to greet. Both performances were enhanced by the simple, yet effective lighting choices, which created an added element of drama at the crucial moments.

The late start (audience members were kept waiting 20 minutes for doors to open) and a few slight stumbles in the fast paced dialogue (we can surely put this down to opening night nerves) aside, Imperial Fizz is a lot of fun, although the constant banter does get a little tiring towards the end – was everyone expected to speak like this in the 1930s? It must have been exhausting. This is a play that will mainly appeal to older people, if the opening night crowd was anything to go by, most likely because they may be more familiar with the material that has influenced the story.  Yet this should not deter bright young things from checking it out. It is a throwback to times gone by, and a reminder that no matter how light and wonderful things seem on the surface, there is often something dark lurking underneath.