Art Smitten

Aunty Donna’s new show hits the MICF under the title Big Boys, a show about boys, who are now big. The title is more than just a gag or joke to go with the show. The title incidentally refers to the three boys who are Aunty Donna, who have now become big after years of being together as a group; Mark Bonanno, Broden Kelly and Zachary Ruane. The three are perfect for each other, and after years of performance their blend of slapstick comedy, alternative sketch and surrealism creates a hilarious show which might not be for everyone, but has an incredibly big following.

The trio are most successful for their online content, in which they create web series and musical sketches, which gain up to millions of views. There comedy show, Big Boys, blends what they do on the small screen with stand up comedy as well as a mix of audience interaction. Big Boys shows what each member of the group bring to the table, or stage in this case, and how they can do more than just planned sketches. Some of the funniest parts of the show were actually things which obviously were not planned for. Easily the best moment was when Aunty Donna’s silent DJ finally spoke a word, which the audience slowly applauded too, getting bigger and bigger, until it was a literal standing ovation. Bewildered but running with it, all three members left the stage and returned with Broden yelling for us through tears of laughter to sit down.

Aunty Donna is infectious that way. They’re capable of making you laugh and not minding laughing along with you. Them laughing just makes you laugh more. And then more, and then everyone in the room can’t breath because it’s just a circle of laughter which only ends when one of Aunty Donna breaks the silence with a completely straight faced dance routine. This kind of nonlinear structure to a comedy show breathes another breath of fresh air into modern day comedy. I myself love surrealist comedy, and Aunty Donna is easily some of my favourite examples of such. The characters they make out of themselves are perfectly timed, executed and developed, so that you never know when they’re going to be themselves or something they designed for stage.

Big Boys is a loud show, almost a little too loud for me. It’s also quite a personal show, being underground is a very dark room full of people who all love the same thing you do. Aunty Donna play the crowd well, interacting with them and running with nearly anything they say or do, making the audience feel like they are helping direct the show themselves. Although their comedy might not be for everyone, Aunty Donna has definitely perfected the niche they set out to claim, and even if it might be a bit odd to you, perhaps give it a go even then. You might still find something you like. Aunty Donna’s MICF show, Big Boys, is on until April 23rd.

Written by Hamish Vallance

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Smithers and Christian chat to artist Cameron Moorhouse, one of the finalists from the 2017 VCE Top Arts exhibition, whose work, Extinction, will be on display at the Ian Potter Centre until July 16.

Click here to listen to our interview with Miranda Picton-Warlow, manager of the VCE Season of Excellence and Sia Smyth, the curator of Top Designs 2017.

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Smithers and Christian interview Erin Taylor and Sarah Edwards from Phantasmagoria, a free site-responsive festival produced by the Bogong Centre for Sound Culture, running on weekends until the end of April in the Bogong Alpine Village.

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Christina, Rachela and Katie chat Ginger and Tonic Founder and Music Director Jane Patterson and ensemble member Laura Burzacott, from the A Capella group Ginger and Tonic, about their Melbourne International Comedy Festival show Desperate and Dateless, running from 30 March - 9 April at the Coopers Malthouse on 113 Sturt Street, Southbank.

Image from James Terry Photography

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Adalya, Daniel and Christian from Queeries chat to Gavin Roach about his Melbourne International Comedy Festival Show, All The Songs I Can't Sing.

Click here to listen to Hamish's review.

Photo by Julyan Stephens

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I haven’t been too a lot of shows when the Melbourne International Comedy Festival is on, but this year I’m starting off strong by seeing both big and smaller shows that the festival has to offer. To kick this season off, I checked out the preview show of Gavin Roach’s All The Songs I Can't Sing, a just under 50 minute show that is about just that; all the songs that Gavin Roach cannot sing.

It’s an amusing title which follows through in the show. Roach structures his show well, telling a funny story from his life which follows into a song which has special meaning with that story. This rinse and repeat idea works, but does become a little tiresome after awhile, although the show is quite short. Roach also changes costumes in between stories, which takes a little while meaning there are moments of nothingness on stage, however you can see the costume changes as a mirror on the wall reflects it from behind stage.

It is Roach’s personality which really sells the show, rather than his singing and jokes. Although it isn’t my kind of humour, I know people who would get a good laugh out of the way Roach acts on stage, in a very stylised gay performance which he constantly refers back too. His jokes don’t always land, but his personality does, and I would much rather a good personality with alright jokes to a bad personality with great jokes. Roach has a strong commitment to the stories he tells, and they’re very believable from the focus he puts into telling them, painting a good picture. On a side note, the use of swearing is done extremely well in addition, as only a few swear words are dropped but at opportune moments.

Although Gavin Roach’s performance is not my cup of tea, I can definitely see what he was going for with his performance. If he focuses more on playing up his performance, and adds a little more to the show than just singing and stories, then I think the overall performance would be great. Gavin Roach’s “All The Songs I Can't Sing” is currently on at the Melbourne International Comedy Festival til April 8th, so get in quick if you want to go see Gavin in action!

Written by Hamish Vallance

Photo by Julyan Stephens

Click here to listen to our interview with Gavin Roach

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Smithers chatted with Malaysian comedian Douglas Lim who’ll be performing in Comedy Zone Asia (which Smithers also reviewed) at the Melbourne Town Hall, and in his own solo show, This Is Nice, at the Greek Centre at 7pm on April 18 & 19.

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Christian chatted with the South African comedian about his Melbourne International Comedy Festival show Dude, Where’s My Lion? on at the Melbourne Town Hall until April 23.

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Stellar Project is a premier dance work by Prue Lang, it is an hour long contemporary dance piece, with 5 performers.

It was presented in several parts, first was a dimly lit gentle dance piece, then the lights came up and the dances congratulated each other saying good job etc etc, like they had just finished a improve or something in a dance class, they then took turns performing solo dances and then the other people had to guess what they were doing, whoever guesses correctly got to do a solo dance.

There were several other parts, some of which I have forgotten, because at times I found myself drifting off, it may have been because the show was on quite late at night and it was very hot which in combination made me feel very tired, but overall I did have a nice time, the show was very gentle, soothing and sweet.

My favorite part was when the dancers formed a solar system, one person was in the middle representing a star, the others orbited the star and offered a little dance wiggle thing to the star, if the dance wiggle was correct the dances representing planets got to move closer to the sun and orbit faster, the goal was to become as close to the sun as possible, this section of the show was particular pleasing to watch.

This work as re-occurring images and themes about the cosmos, which was interesting because the aesthetic of the show was nothing like ‘sci-fi’ I really enjoyed the juxtaposition between the two.

The costumes were lovely, mainly block colours and very sporty, and causal. The lighting design and sound design was also very lovely, very simple and sweet.

Stellar Project is part of Dance Massive a bi-annual dance festival, there are multiple works showing in multiple venues across Melbourne, the festival is on now and goes until March 26th. Stella Project is showing at Dance House in Carlton until the 21st of March.

Written by Finley Fletcher

Photo by Gregory Lorenzutti

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Danny Boyle’s Trainspotting is a one of a kind movie; back when it was released it was different, new and explosive, something not many had ever seen before. The same can be said for the stage adaptation, Trainspotting Live, which is literally in your face the entire way through. It takes immersive to a new level. If you’re a fan of the movie then you might be pretty confused when first going into Trainspotting Live, as it strays vastly from the original. I haven’t read the novel, but from what I gather I’m assuming the stage adaption takes more cues from the novel rather than the movie. For instance, Spud’s character doesn’t appear, rather Tommy takes his place as another drug addict instead of being a clean cut athlete as presented in the film.

Major plot points are also missing from the film adaption, such as the robberies, court case and baby head turning. There is a baby scene, however it's presented slightly differently to the film. The main selling point of Trainspotting Live isn’t the story, characters or themes however. Although that is all important, the immersiveness is what the show strides for, and does well at. Presented at fortyfivedownstairs, Trainspotting Live takes place a few floors underground in a fairly large stage room, which resembles more of a club than a theatre room when first entering. Music is pumping, the cast is dancing hard on stage, and seats are just long benches which you crouch on close to the stage. In the twenty minutes before the show starts, actors drag people onto stage to throw down with them, drink soft drink and spray it on you, and collapse in your lap pretending to be drunk off their faces.

It's a bizarre but enthralling experience, and you never know if they’re playing it up or doing it legitimately sometimes. What’s genuinely incredible is that they jump right into the show after doing dancing without missing a beat, or being out of breath. Gavin Ross opens the show as Renton, however I did think he looked like more of a Spud if I’ll be honest. Ross has the perfect persona of Renton, including the accent which adds to the character's explosive Scottish nature. As he stomps around stage other characters enter, all displaying different traits and characteristics. Tommy for instance, played by Greg Esplin constantly topples into the crowd and lays on someone, falling asleep or mumbling in their ears. Michael Lockerbie as Sick Boy doesn’t interact as much, choosing to stay standing wearing a clean white shirt and tie.

I found that the two ensemble females in the show, Erin Marshall and Rachel Anderson played a much bigger part than what I first saw in the film. They are strong, powerful women who for a lot of the play push their male counterparts around. Chris Dennis as Begbie is just as, and maybe more so intimidating than he is in the movie, getting right up in people's faces and screaming abuse at them, whilst Calum Barbour as the other ensemble cast member, manages to create about five different characters on the fly which you can easily tell the difference between.

However what Trainspotting Live tries to do mainly is shock, which only hits home some of the time. You can tell they are trying to cover as much ground as they can in the short 75 minute show, but it does become a bit heavy handed at times. The gross funnier scenes such as the scat blanket and the toilet scene are easily standouts, however the scene in which a character punches Erin Marshall’s character, and she spits fake blood across the stage came across as quite shocking, and I wasn’t sure if the desired response was met. However, Trainspotting Live is truly an experience, one that I’m not sure if I’d take again, but found thoroughly interesting to say the least. The presentation and acting was brilliant, whilst the shocking scenes hit home only some of the time. If you don’t mind getting a bit close and personal with actor and fake poop alike, then this might be the play for you. However, if you prefer to watch your plays from a few metres back, then you might want to sit this one out.

Written by Hamish Vallance

Click here to listen to Hamish and Christian's interview with Gavin Ross

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