I nearly called this YOOF ARTZ NYOOZ and I’m sorry. Maybe it should have been “They Have It Coming”. Anyway. It’s been a fortnight of arts-work by the young and the restless. This is definitely more of a discussion than a series of reviews. I especially welcome input from others who’ve seen or are involved in these shows.
BRISBANE (A DOING WORD)
Vena Cava has outgrown QUT’s Woodward Theatre; the student theatre company launches its new season in the Judith Wright Centre’s intimate Shopfront space. Here, we meet Matty (Patrick Hayes) and his share-housing frenemies, negotiating their place and purpose as 20-somethings in Brisbane. This coming-of-age story unfolds in pieces, benefiting from writer David Burton’s structural experimentation.
Burton’s characters are painfully relatable but never sterotypes. Claire Christian directs a strong cast; we’ve all lived or studied with these eager, energetic, argumentative people. We’ve probably been them. Overall, a little more polish and restraint will allow Brisbane (a doing word) to deftly handle the sensitive topics it tackles without losing its sense of absurd humour.
BRISBANE (A DOING WORD) ran at the Judith Wright Centre from 20 to 22 March 2014.
Express Media (or its Queensland representative … me) launched Voiceworks #96, the Perspective issue, at Avid Reader. Voiceworks Mag publishes and offers professional development of the work of Australian writers under 25. This was such a great night with superb readers (pictured: Khalid Warsame). Avid put on the ritz for us — what a wonderful venue. Wine all round! We also launched Woolf Pack, a new feminist zine edited by super-cool Brisbane ladies. Good times.
VOICEWORKS and WOOLF PACK launched at Avid Reader on 28 March 2014.
HOMOS IN KIMONOS
James Halloran and Will Hannagan’s double-bill cabaret (Melbourne Festival Comedy) has come under fire this week regarding its title, which some feel appropriates Japanese culture in a way that is racist. I’m hesitant to weigh in personally — as a white person I realise my privilege means I have blind spots — but I felt the creative team gave a measured, respectful public response in which they apologised and clarified their intentions. It was disappointing to see uncritical responses on both sides of the fence (personal attacks on the young performers and, on the flipside, tiresome attacks on “the PC brigade”).
I rarely feel qualified to comment, but I think there’s space right now in Australia for lots of context-based, critical discussion on cultural intersection in art. I hope that the show’s run stimulates more thoughtful, respectful discussion and fewer facebook shitstorms.
HOMOS IN KIMONOS runs at Melbourne Comedy Festival until 13 April 2014.
Oscar Theatre Company presents “a steamy cabaret of musical theatre, contemporary and pop where gender is bent and rules are broken” at Brisbane Powerhouse, after a season at Lightspace. Boy&Girl features 25 talented and diverse cast members with a Broadway/contemporary jazz vibe. Jason Glenwright’s moody lighting sets the right tone for a trip down the Weimar rabbit hole.
Now, I can’t call these thoughts a review, as I did not stay for the full show. For me, the highlight of the first half was a 40s wartime swing rendition of “Call Me Maybe” by three charismatic male performers, followed by an emotive solo covering Rizzo’s “That’s the Worst Thing I Could Do” from Grease. Overall, though, Boy&Girl only flirted with the idea of gender-bending: pronouns were swapped, sure, and the boys (but, curiously, not really the girls) dabbled in drag. The jokes were about as cheap as the lingerie. All up, a pretty conservative affair, with the cast unable to nail the sense of sexy-grotesque integral, in my opinion, to queered cabaret.
But none of this would be a fair reason to walk out. Generally, I think it’s pretty poor form to leave a show’s opening night midway. However, just before the interval, 10 men (plus the male host and four men in the onstage band) performed Chicago’s “Cell Block Tango”. This is a song that deliberately subverts language used against female victims of intimate and sexual violence; its power, humour and sense of the uncanny succeeds because, in the context of the song, women have what is normally masculine power. In Boy&Girl, “Cell Block Tango” becomes a deeply unsettling song about domestic violence. In Australia, where one woman a week is murdered by an intimate partner, loosely “gender-bending” the song puts the power back in the hands of those who already have it. I left because I couldn’t sit with an audience that found that funny.
BOY&GIRL runs at the Visy Theatre at Brisbane Powerhouse until 19 April 2014.