THEATRE: The Lady of the House of Love

July 29, 2013July 29, 2013 / Zenobia Frost / 1 Comment

SANDRO COLARELLI stars in THE LADY OF THE HOUSE OF LOVE, a one-man show adapted by DAN EVANS from Angela Carter’s short story of the same name. Under DAVID FENTON‘s direction, The Lady is a slick, dark restaging of a show that was a Brisbane Festival Under the Radar hit back in 2008. On the day-of-opening-night (26 July), I spoke with the very eloquent Colarelli — a mainstay of Brisbane stage and cabaret — to find out more.

In its early days, [cabaret] always had an element of danger and surprise.

ZF: The Lady of the House of Love arises from cabaret’s “darkest roots”. Tell me, where do those roots lie, for you?
SC: Cabaret in its early years in Europe, was underground, edgy, provocative and subversive, using art and performance in a way that was both entertaining, free and experimental. Almost anything could be said and done and the audience entered the space knowing this underworld of performance was not going to be a night at the opera or ballet. It always had an element of danger and surprise, not least because there was a very real danger in those days that both performers and audience could be arrested by the law and locked up if what was being presented was deemed as morally inappropriate. I’ve tried to use some of those elements to preface the performance of The Lady of the House of Love to signal that I am about to take the audience into a world where anything could happen. It’s an invitation to come on a journey, and this case it happens to be a rather strange one.

ZF: Tell me more about why Angela Carter’s short story so resonated with you.
SC: I discovered the collection of short stories that “The Lady of the House of Love” came from in a book sale when I was 15. I was intrigued by the title, The Bloody Chamber, and soon became enamoured of all the stories in the collection, but particularly of “The Lady of the House of Love”, because of my teenage fascination with vampires. The central character is basically a freak, she knows it, and she has no control over it, but she longs to be something other than what she is. She’s brave enough to even want death than to linger in the world of ‘eternal life’ she is stuck in. Carter’s quite matter-of-fact approach towards the romantic notion of vampirism and those who never die was both intriguing and humorous to me at the same time.

ZF: Angela Carter’s short story translates to the stage in such a way that, you’ve said, it provides an “irresistible theatrical playground to examine the human condition.” In a one-man show, how is the stage set for such an exploration?
SC: The first thing that struck me about the story, and Angela Carter’s writing in general, are the fantastic, mythical worlds she sets her stories in, masterfully balanced with a mundane reality that acts as a touchstone to our world and daily lives. Mixing fantasy with the domestic. The wonderfully descriptive, rich and poetic prose that she uses is irresistible; she conjures up these worlds of her imagination with a wry and dry humour. This balance really hit the spot with me. The setting of the story, which is fairly contained and features two characters, was perfect fodder for a theatrical adaption into a one-man show. The vampire bride’s power of singing her victims to her gave licence for an intrinsic musical element to be woven into the story with relative ease. The theatrical and musical elements are both equal parts of what I specialise in as a performer.

ZF: This production ran to rave reviews back in 2008. Last year you featured in another much-loved play to return to Brisbane after some years: Vikram and the Vampire. How does it feel to revisit works such as these?
SC: I love revisiting works. It provides an opportunity to further explore and develop the work in a more rich and satisfying manner. Your enter the rehearsal room knowing what the work is, and therefore can immediately experiment and take more risks. I am an obsessive perfectionist and am always grateful for an opportunity to perfect and try out different ways of approaching nuances in delivering lines, attitudes in character work, and playing with the music.

ZF: Nat Lynn’s gorgeous image (above) seems to have you coiled, ready to spring from your throne. Is there an element of potential energy coiled in the show as well?
SC: Absolutely — the vampire bride at the centre of the piece gives the illusion of a frail and vulnerable aristocratic girl trapped in her no-man’s land between life and death, sleep and wake. Her terrible hunger for blood manifests itself as a deadly predator ready to jump and kill her prey in a second. The image represents this potent and potential energy.

ZF: I recently re-stumbled across Theatre People‘s review of Zen Zen Zo’s Cabaret. Brent Downes wasn’t the only reviewer to describe you (as the Emcee) as the glue of that show — the performer with the most experience across both physical theatre and musicianship. What are the distinct challenges and delights of collaborating on ensemble work and performing a one-man show?
SC: I love collaborating with other people and being able to work relationships and chemistry with other performers. There is a wonderful camaraderie between colleagues when a performing dynamic is working. Its very satisfying. However, I also love doing a one-man show, because I can let my imagination fully embrace the world as I see it and lose myself completely in the story and characters. Particularly when you are doing a story like The Lady of the House of Love, which is close to your heart. Of course, there really is no such thing as a one-man show because the director, writer, composer, musician, designer, choreographer are all there contributing as well.

ZF: You’re right. And there’s is a seriously cool team involved with Lady of the House of Love: Jake Diefenbach, Neridah Waters, Dan Evans, Josh McIntosh and David Fenton. How have you enjoyed working with these talented folks?
SC: I was very lucky to be able too wrangle this group of monstrous talent together for this project. It’s a dream team and I am very grateful that all of them had the time and will to come and play with me, exploring this story I have loved for so many years.

ZF: How are you feeling about opening night?
SC: Nervous, excited, full of anticipation…

THE LADY OF THE HOUSE OF LOVE runs at METRO ARTS from 26 Jul to 3 Aug. The production’s soundtrack will be available for purchase at Sue Benner Theatre.

INTERVIEW: Short + Sweet Theatre Festival

July 26, 2013July 26, 2013 / Zenobia Frost / Leave a comment

SHORT+SWEET THEATRE FESTIVAL, now a global affair, returns to Brisbane with a program of snappy plays. I caught up with SEAN DENNEHY, festival director, for a short+sweet Q&A.

ZF: S+S Festival brings us 40 different plays from 40 different writers. How short is the shortest?
SD: In real time, about 6 and a half minutes. In your mind,it could be a lifetime or the blink of an eye.

ZF: And, of course, which play is the sweetest?
SD: A play that includes the shadows of life and non-human actors has got to be sweet innovation: Jennifer Bismire’s Doll’s House.

ZF: A short novel is a novella and a short short story is flash fiction — invent a fitting new name for the “short play”, if there isn’t one already.
SD: There isn’t and i’m going to say bite-size.

ZF: Tell me a short, sweet or surprising fact about one of the artists you’ve been working with for the festival.
SD: Caterina Hibberd directed for the mainstage Queensland Theatre Company season in 2012.

ZF: Short+Sweet welcomes a number of independent companies this year. What do they bring to the festival?
SD: Independent theatre companies are the lifeblood of innovation and experimentation in the performing arts. They bring an edge to Short+Sweet as they try new ways to wow their audiences

ZF: From drama to comedy to puppetry, is there one genre that you feel best fits the short form?
SD: Each genre brings its own challenges; to make the audience care about the characters in a 10-minute drama requires total engagement from the writer, director and actors. Comedy can be so subjective — the three creatives involved have to commit to perfect comedic timing. So no there is no one genre.

ZF: What’s the best thing about an evening of short plays?
SD: If you don’t like one play, you only have 10 minutes to wait for the next one. It’s also like having all your senses bombarded at once!

ZF: What’s the biggest challenge in directing a festival of little plays?
SD: The number of artists involved! A community event like this can involve up to 200 artists!

ZF: What about Queensland talent does S+S represent for you?
SD: It represents the wealth and depth of talent in Qld — talent that can be world-class, or talent that is happy to stay and enrich this state from the inside out

ZF: If S+S Festival were a dessert, what would it be?
SD:

SHORT+SWEET FESTIVAL runs at QUT’s The Loft from 18 to 25 Aug. If you live down the coast or want to start your bite-sized theatre feast early, S+S Gold Coast runs at the Arts Centre Gold Coast from 30 Jul to 3 Aug.

REVIEW: Blak

July 22, 2013July 22, 2013 / Zenobia Frost / Leave a comment

Bangarra Dance Theatre: BLAK

Words by Tahnee Robinson

It’s not often that each element of a performance — choreography, lighting, set design, smell — is beautifully executed in its own right. But Bangarra’s latest offering, BLAK, goes beyond that to create a performance both stunning in its attention to detail and deeply confronting as a whole.

Blak is slick and sharp, tightly controlled dance theatre that, despite telling its story through movement and metaphor, completely eschews artifice. There is nothing self-conscious here — and absolutely no apologies as the dancers use their bodies to tell stories of crime, violence, assault and grief. The stage is often dark, but when the dancers look out they’re bold: they’ll look you in the eyes.

The performance is divided into three sections. Choreographed by Daniel Riley McKinley and the male dancers themselves, “Scar” introduces us to gang of young men dressed in street gear. Clad in dark, hooded clothing, their movements evoke a sense of sublimated violence, stalking the stage with fear and aggression as they navigate the difficulties of being young, male and indigenous in urban Australia. The men fall in and pull back from fighting and self-harm in a series of movements that fall somewhere between breakdancing and ballet. These sequences incorporate traditional elements that eloquently convey the opposing forces of modernity and tradition, and the difficult spaces available for young Aboriginal men to occupy and grow into. Different pools of spotlight flicker between dark scenes of conflict. At one point the grinding, synthy soundtrack whoops into the unmistakable cry of police sirens and the group cease fighting, unified instead to flee.

Part two, “Yearning”, is choreographed in collaboration with the female dancers. It’s a change of pace — the movements are less violent, more sinuous — but the atmosphere is no less fraught, largely due to the music. David Page and Paul Mac have outdone themselves; they create a dark, electronic soundscape that incorporates traditional singing, vocal samples and instruments, with elements of trip hop and trap music. A woman answers a call, illuminated by the sodium-lamp glow of a telephone box in the middle of nowhere in the dark of night. The music throbs and jitters; tension escalates in an eerie way that is reminiscent of some of Cliff Martinez’s recent film scores.

Jacob Nash’s set design is poignant in its minimalism. Single props are perfectly chosen to evoke a sense of place: a row of blue plastic chairs, a swinging spot lamp and a corrugated iron roof, glowing green in the dark. Beneath the eerie glow women sit atop milk crates and learn of a granddaughter’s suicide; a smoking tin can on stage wreathes their grief with incense. Their loss smells sweet and spicy and mournful; it lingers.

This beautiful simplicity continues as a small television — the old kind, a CRT with rabbit-ears — appears on stage. Three women writhe on the ground. From the dark, a figure appears carrying a green spotlight; he’s filming them. As they dance in distress, they appear on the TV. We’re watching the film and reality in real-time, but we cannot focus on the domineering figure behind his lamp. The result is simultaneously deeply affecting and extraordinarily hard to articulate — a powerful, confusing motif.

The performance culminates in part three, “Keepers”, which features the full ensemble. The set is breathtaking: blackness lightens to reveal the gloss of wet rocks and light refracts off a stream of fog to create a waterfall. The dancers come together, with nature, to embrace both tradition and the future. This beautiful piece of work gives the performers room to show us the full range of movement, emotion and eroticism in their repertoire. It’s a tribute to love and community that ends a confronting performance on a note of optimism and possibility.

BLAK runs at the QPAC Playhouse until 27 July, 2013.

TAHNEE ROBINSON is a Brisbane-based writer. She was OffStreet Press’s visual arts, film and fashion editor.

REVIEW: Salõn

June 28, 2013June 28, 2013 / Zenobia Frost / Leave a comment

Salõn tips its fascinator to soirees of a bygone era, wherein powerful hosts welcomed underground artists into their own parlours. The show is choreographer Timothy Brown’s brainchild, developed in collaboration with its cast with the support of the Judith Wright Centre’s Fresh Ground artistic residency. (Read my recent interview with Brown to find out more.)

In terms of aesthetic, Salõn approaches the sublime. The Judy performance space has undergone several striking transformations of late, and this is one of them. Cabaret seating hugs a series of stages stretched over the space. Andrew Meadow’s lighting design evokes a boudoir decked out in indigo and red silks and velvets. Surreal costumes form the basis for haunting tableaux. In short, Salõn looks pretty damn good.

The Oracle and the Serpent: Michelle Xen and Travis Scott (photo by FenLan Chuang)

Michelle Xen and the Neon Wild, as “The Oracle”, provide the soundtrack, but there’s no orchestra pit here; the band is very much a star in its own right. Xen’s neon-electric costume changes alone could almost constitute an entire show.

As for the rest of the cast, Iona Marques ( “Alice”), a dancer trained in Rio de Janeiro, seems to be made of something more malleable than mere human muscle. She’s a charmer as she wanders between our tables; once on stage, she’s something else entirely. Das Unheimlich persists: mesmerising Anthony Trojman (“the Peacock”), perched above The Neon Wild, looks rather like the son of David Bowie in The Man Who Fell to Earth.

Nerida Matthaei, an accomplished dancer and choreographer who has just won a place on the 2013 Australian Korean International Exchange Program, seems uncomfortable in her role as ringmistress “Jean”. Even enthroned atop her “Things” (David Trappes and Alex Weckes-Hucks), Matthaei lacks the confidence to pull off her one-liners with the panache required to elevate them above the level of cheese. Elizabeth Whelan demonstrates the redundancy of dialogue as the silent “Marchesa”, omniscient host and patron, though her talents as a dancer are sadly under-utilised.

The Peacock: Anthony Trojman (photo by FenLan Chuang)

Bridging the divide between circus and dance, Travis Scott (“the Serpent”) ensures we’re awake with a suitably sinuous swinging pole routine. Trappes and Weckes-Huck’s acrobalance and juggling provide just the right relief to lighten the moody epicurean atmosphere.

While the links between acts are tenuous and the pacing occasionally lags, Salõn has a thematic cohesion that helps it to transcend an average variety night. Brown draws on elements of Weimar-era cabaret to create a sense of decaying decadence. His choreography is as slick as his Serpent’s scales. The audience is left with a dreamy impression of colour and movement, light and neon sound.

SALÕN runs at the Judith Wright Centre for only two more nights, till 29 June, 2013.

Reader-in-Residence: David Stavanger

June 24, 2013 / Zenobia Frost / 1 Comment

The human half of the Holy Ghostboy, David Stavanger is Brisbane Square Library’s new Reader-in-Residence. I spoke to David to find out what this spoken word explorer has in store for our central Biblioteca.

ZENOBIA FROST: What was the book your forced your parents/babysitters/fairy godmother to read to you over and over as a child?
DAVID STAVANGER: The Story of Bip by Marcel Marceau. It is only lately I have realised what a subliminal influence it has been on the development of my alter-ego / other-self Ghostboy . . . not just in the look but even more so in the sense of play and absurdity of sadness. I also really loved Where the Wild Things Are and Green Eggs and Ham — again, both poetic, dealing in surreal imagery / other worlds and a sense of the outsider and their abandonment.

ZF: Can you name one book change you’d say changed your life or outlook when you read it?
The Picture of Dorian Gray by Oscar Wilde. I was in my late teens and it is just brimming with sex and the nature of desire, the way we ingest the world and what that does to us. I love its take on vanity and society too, and (later in life) these as a metaphor of self-doubt and the ongoing gratuitous need to be validated, noticed and loved by others. All artists should read it, then keep lying to themselves. [I stole Dorian Gray from the school library before it was remaindered and it had the same effect on me. — Z.]

Also, got to thank Mum for leaving the collected works and Bratsk Station by Yvengy Yevtushenko around at home. “Waiting” and “Colours” are two of my favourite love poems and “Weddings” still resonates as a great war poem for me.

ZF: Which letter in the alphabet is your favourite and why?
DS: I love V. Mainly because it was taken from my surname Stavanger, which had been truncated to Stanger in Australia back when. As Stavanger is a Viking name and that is my lineage, I decide to put it back via deed poll before I attacked any more villages. Also, villainous and vile and voluptuous rent in the same street.

ZF: The residency will deliver free workshops, competitions, events and performances. Tell me more!
DS: I came up with the idea based on a similar project that Edinburgh City Library in Scotland created about four years ago. I became good friends with Ryan Van Winkle, the poet behind the idea (we are bringing Ryan over to do a workshop, reading and installation as part of the project here). I went over and was mentored by Ryan in their program then spent months adapting and extending on it before pitching it to Brisbane Square Library as part of The Lord Mayor’s Writer-in-Residence initiative. And they said yes. The premise is kind of simple and direct — base a writer in a central library and get them to engage all library users with a chosen writing genre: in my case, poetry and spoken word.

I plan to use the Brisbane Square Library residency as a chance to spring poetry, in all its diverse forms, onto people. That includes me being a “live” reading and writing installation every Thursday, programmed and guerilla poetry performances throughout the building, workshops and collaborations with other local poets and artists, and even a poetry speed dating event so people can really get to know the poets in this town. We have some distinct voices and I have always been about poets getting more of their work out to people outside of the traditional poetry settings of the cafe reading or pub slam.

ZF: Where do you expect/hope to be (as a reader, as a writer, as a human, as a creature) at the end of the 12-month residency?
DS: Lots of things — I tend to start big then go bigger. Better to fall a long way than jump over the same picket fence. I am working on a number of possible legacy projects that are yet to get the green light but will involve a number of local poets; we will have given voice to the everyday poetry of the library via competitions and installations using text created by them; Brisbane Square will hopefully have one of the best poetry and spoken word collections in Australia; and more poets in Brisbane will not only see their work in Brisbane library catalogues but also borrow and read more poetry themselves (if poets aren’t, then why should anyone else?).

ZF: Which body part would you be willing to sell to fund your poetry? (Recently a Columbian poet announced he’d sell his testicles for $20000 to fund his upcoming tour.)
My kidney. I only have one and it is 90% fit, but man can it tell you some stories . . . plus, it would make for a great pie.

The year-long residency launches at Brisbane Square Library on 4 July, 2013, with live music from The Stress of Leisure and poetry from Eleanor Jackson and David Stavanger.

Judith Wright Centre: Salõn

June 20, 2013June 28, 2013 / Zenobia Frost / 2 Comments

Timothy Brown (Queensland Ballet, Expressions Dance Company) promises Judy audiences the exotic, the erotic and the sublime in The Salõn. He curates seven physical performers — with backgrounds in circus and dance — in collaboration with musos Michelle Xen and the Neon Wild. It’s a showcase of local talent with international appeal; don’t miss out.

ZF: Salõn is an ambitious interdisciplinary work. How did you go about getting the balance just right, both in terms of aesthetic and the diverse cast?
TB: It was like creating a lavish yet unpredictable patchwork of acts, styles and artists genres.

ZF: With your dance background in mind, what were you looking for in your seven performers?
TB: The Salon performers are local independent artists who have proven to be outstanding in their fields while also creating their own unique niches within music, circus and dance.

Anthony Trojman — photo by Dylan Evans Photography, design by Blender

Anthony Trojman for Salōn (photo by Dylan Evans Photography, design by Blender)

ZF: Tell me one or two stunning, surprising or strange things about the character or talents of the performers.
TB: Travis Scott is a dancer come pole dancer come swinging pole dancer. This is very unique as there is only a small hand full of swinging pole artists around the world.
Former Expressions contemporary dance artist Anthony Trojman (pictured) is currently completing his honors in physiotherapy, with his last exam a day before we open!

ZF: How was “living work of art” Marchesa Luisa Casati an inspiration for the show?
TB: Marchesa Luisa Casati has always been an icon for me. Although this work is not a biography of the great Marchesa, the concept of icons, divas, and muses being immortalised through art are themes among others the show has drawn inspiration from.

ZF: How important was the Fresh Ground program to the show’s development? (Salõn was part of our JWC’s Space program introduced this year.)
TB: Fresh Ground is a unique program that I think gives the Judy a very important role in the independent arts sector. Artists need to have access to government facilities and support without too much paper work and admin. Just a studio with a speaker can give an artist a chance to create magic for Brisbane audiences and potentially show the world how good we are and what we have to offer.

ZF: If you were to paint a tableau that represented Salōn, what would it look like?
We have quite a few in the show! Very colourful, very diverse with a mix of glamour, grace, rebellion and cheek!

SALŌN plays at the Judith Wright Centre from 22 to 29 June, 2013.

Emma Dean: Beyond the Imaginarium

June 17, 2013June 17, 2013 / Zenobia Frost / 1 Comment

Brisbanite Emma Dean is in her element in New York, where the difficult-to-define performer has flown to chase her dream of making it big in the Big Apple. She hasn’t had to wait long; with the release of her White EP, the first in a trilogy, she’s already turning all the right heads.

ZF: You’ve been in the Big Apple for a few months now. What’s your favourite New York New, York story from your adventures thus far?
EM: My favourite New York story happened when I was opening for the delicious Courtney Act at The Laurie Beechman. You may remember her as being the sexy drag queen with the killer pegs who stole she show during Aussie Idol. Just before our last performance, Cheyenne Jackson tweeted about my new single, “Phoebe (With Her Whole Heart)”. I’m a huge 30 Rock fan so I knew him as the devilishly-good-looking Canadian from the show. He is also a big Broadway star and pop singer. That night we got word that Cheyenne was hopping off a plane and coming straight to see me play! He is just as charming off screen as he is on. Quite surreal.

ZF: What’s the biggest difference and most surprising similarity between performing in Brisbane and New York?
EM: The biggest difference is that I have to give a thorough explanation of my song “Tall Poppy” before playing it. The most surprising similarity is that I still stick out like a sore thumb.

ZF: How has the White EP been received thus far?
EM: We’ll see when the royalty cheque comes through in August, won’t we? Ha ha! In all seriousness, I’ve been amazed at the response. I was a little nervous because this EP was so different to my other bodies of work. But I was pleasantly surprised, especially by the live session youtube clips, which collectively have almost 33,000 views in less than two months.

ZF: What’s the plan with White/Red/Black trilogy?
EM: Red will be coming out some time in July then Black will be towards the end of the year. Both EPs will be released digitally and independently and have been recorded and co-produced by the talented man in the bowler hat, Mr Fronz Arp. Red features epic songs about love, lust and heartbreak performed on a grand piano with lush strings and harmonies. Black features rhythmic, jazz-influenced songs from the underground performed on a klunky upright pianaaa, double bass and pots ‘n’ pans! Guest performers on the EPs are Indigo Keane, Fronz Arp, Tony Dean, Janey Mac and my housemates in Ashgrove who became my impromptu clapping ensemble!

ZF: Will you be touring your new work to Australia in the near future, or workin’ on that New York career for a while yet?
EM: I’m creating a new show called “Imaginarium”, which will be an extension of some of my other work. It will be MD’d by James Dobinson and will also feature physical theatre performer and actor, Kate Lee. We will work as a three-piece chamber-pop ensemble incorporating piano, cello, violin, glockenspiel, drum machines, live drums and physical theatre. It would be an absolute dream to come back to Australia with this work. I’ll keep you posted!

ZF: What’s your advice to up-and-coming performers in Brisbane?
EM: If you are an up-and-coming ANYONE in Brisbane, make sure you give yourself an opportunity to get out and see the world, grow as a performer or artist, support your brothers and sisters and begin to create a community. There is often enough to go around. And when there’s not . . . think outside the box.

EMMA DEAN’s White EP is now available as a digital download from iTunes, Amazon Music or direct from Candyrat Records.

REVIEW: Delicacy

June 1, 2013June 1, 2013 / fiercebeasty / Leave a comment

Director Lucas Stibbard warns audiences that Delicacy is not a nice play — a wonderfully delicate phrase to use. This two-person, one-hour play, inspired by the life of German cannibal Armin Meiwes and his lover/meal, will make you squirm and cringe for what feels like hours. Although the show turns on the question of “will they or won’t they consummate their cannibalistic plan?” — a morbid twist on the old romantic trope — the characters’ domestic exchanges generate some of the most keenly felt discomfort.

Neil (Cameron Hurry), the character to be eaten, flits between psychotic bursts of aggression and agitated silence. Even when utterly still, as when he watches porn at the dining-room table, he vibrates with explosive unpredictability. Denny (Gregory Scurr) is a picture of passivity, absorbing Neil’s physical and verbal abuse to respond with praise and apologies, attending to Neil’s every whim. A review of an earlier production of Delicacy compares Denny to a manservant. In contrast, Stibbard and Scurr’s Denny, though servile, also achieves a fine layer of menace. If he feeds, praises and dotes on Neil, he does so in the manner of a attendant to a human sacrifice.

Costume designer Rachel Cherry transforms the mostly vegetarian Denny into a butcher figure with a simple transparent plastic apron. Their monochromatic clothes — Denny in pink, Neil in red — continually remind us of the blood, its flow and its release, that is at the heart of this play. Elongated silences punctuate Neil’s outbursts; in these silences Denny’s mask slips. Deep shadows in his eyes, created at these precise moments by Cameron Parish’s clever lighting, reveal a brooding and impenetrable core. These indirect touches sustain a brilliantly tense and uneasy mood in a play that is quite coy about the cannibalism that forms its gothic centre. Early on, our only clues are cryptic references in otherwise domestic dialogue.

Similarly, Bec Woods’ set is ever so slightly unnerving: recognisably domestic — a dining room and a kitchen — but exaggerated, distorted. The kitchen bench extends too far and ends up looking industrial. When Denny cooks, the kitchen dwarfs him. The dining room table seems huge with Denny and Neil crowded together in one corner. In stark contrast, a single, preposterously strong light above the dining table occasionally constricts the stage to illuminate just the table, creating a claustrophobic mood where before the space had seemed unmanageably large.

My one problem with the play involves its script. The story diverges quite significantly from the events that inspire it, which is not in itself a problem. The problem is that these divergences strip the original story of its interesting nuances. To recap the headlines, two otherwise likeable and normal-looking men, who shared affection, consensually agreed that one should eat the other. The men were well-regarded in their neighbourhoods — likable, relatable cannibals. It’s a true story that raises compelling questions.

On the other hand, Julian Hobba’s script turns both of these people into eminently unlikeable characters — selfish, childish, and violent — which immediately throws up a wall between them and the audience, letting viewers off the hook. There’s no chance that they will empathise with either Denny or Neil, short-circuiting the original story’s moral quandary.

Ultimately this play is not so much about cannibalism as it is a play that involves cannibalism. This story doesn’t plumb the depths of what it might mean to perform the act of eating another human, but it is a well-told gothic tale — tense, suspenseful, and shocking.

Delicacy runs at the Brisbane Arts Theatre until Jun 15. http://www.artstheatre.com.au

JEREMY THOMPSON was assistant arts editor at OffStreet Press. His work has been published in Small Packages, Rave Magazine, Voiceworks, and Notes From The Gean.

REVIEW: Briefs (Theatre People)

May 27, 2013 / Zenobia Frost / Leave a comment

Brisbane is very proud of our Briefs boys, who are off to Melbourne and the UK next with their Second Coming. Follow the links to read my five-star Theatre People review:

It’s been a long time coming. Two years have passed since Brisbane’s own cabaret burlesque boys played on a home stage — not that they’ve abandoned us. The Briefs troupe has been all over Europe and Australia, getting the good word out: Brisbane is not — never was — the “cultural black hole of Australia.” We’re the circus capital.

Briefs founders Fez “Shivannah” Faanana and Mark “Captain Kidd” Winmill return to the Powerhouse with a fresh posse: Tom Flanagan, Dallas Dellaforce, Louis Biggs and Ben Lewis. Their chemistry… Read more.

Briefs: The Second Coming (photo by Sean Young)

REVIEW: Live on Air (Anywhere Fest)

May 21, 2013May 21, 2013 / Zenobia Frost / Leave a comment

Live on Air is the only Anywhere Fest show this year to truly go anywhere. Comedy-poet Telia Nevile’s pirate radio show streams from her lounge room into yours, wherever you are.

Logging into Live on Air feels like checking in to Skype with a friend. Nevile turns on her webcam and broadcasts live from a homely couch in a Melbourne living room. Black-and-white posters of writer-rockstars plaster the rear wall; Oscar Wilde features, along with his epigram: “I have nothing to declare but my genius.” Nevile wears a homemade shirt that says, “Rimbaud Built My Hotrod”. From the get-go, we know this is erudite comedy. Bring it on.

Live on Air takes the format of a radio variety show, interspersed with power ballads, pop and even a bit of grammar grindcore (“Apostrophe Apocalypse”). Nevile’s poems form the heart of the show. Each follows an extended metaphor (e.g. “‘Eros’ is Just ‘Sore’ Spelled Backwards”) via one-liner witticisms. To the tune of Satie on piano, Nevile explains that she’s “deep (in thought)” but you’re deepest “when you’re six foot under.” As well as poems, there’s fiction — both flash and slash (West Wing fan fiction, to be precise).

Nevile is a strong performer and the setting (from her couch to yours) makes for an intimate performance. Rather than feeling tucked away in the privacy of home, I keep forgetting that the video is only one-way. It feels rude not to respond with, at the very least, applause. Perhaps we need a talkback line.

Comedy is an incredibly subjective beast. Nevile’s poetic brand of funny doesn’t quite tickle my funny bone, but I do appreciate her commitment to satirising form. The “poetry cabaret” variety show, delivered here via webcam in the manner of radio plays, is a fantastic format. Live on Air also proves that performance can be just as intimate online as on stage.

LIVE ON AIR ran from 8 to 16 May, 2013. Anywhere Festival.