![]() ![]() ![]() Willow Sizer as Miss Adelaide, Nathan’s long-suffering fiancee of 14 years and a talented showgirl, is a standout with their faultless nasal twang and emotionally rich, nuanced portrayal of a character traditionally portrayed as a ditz.Īngelo Vasilakakos and Bugs Baschera play Nathan’s weaselly sidekicks Benny Southstreet and Nicely-Nicely Johnson with charming impudence and impeccable comic timing. It’s not clear what – if anything – is being parodied in this comic vignette, but it is great fun all the same, with its courtly Elizabethan costumes and athletic brawling. The last of the commissioned works is a low-camp romp created by Harrison Ritchie-Jones, who recently featured in Stephanie Lake’s Manifesto. This promising piece is performed by Jareen Wee and Sarah McCrorie, both on all fours, their bodies buffeted by unseen forces, hips slowly thrusting, hands exploring. The strange voluptuousness of Kayla Douglas’s “Hysteria” suggests horror and ecstasy, pleasure and pain, violence and longing. The smallness of the space and the energy of his performance creates a tension that communicates a powerful feeling of frustration. Luke Currie-Richardson, who recently worked with Marrugeku and Joel Bray, ushers the audience into a dark room to the side of the stage. It’s a work that owes something to Hamilton’s affectless high-precision style, while also mapping new trajectories. Melissa Pham and Jayden Wall, both fresh from performing in Antony Hamilton’s excellent 4/4 last week, present a tight, speedy, almost mechanistic duet called “Sense Now”. This memorable gambit is followed by a gleefully gimmicky line dance routine to Dolly Parton’s PMS Blues. She begins by pushing herself onto the stage while lying on her back costumed as a tampon. Kady Mansour kicks off proceedings with “Menstruation the Musical”. Recently elected prime minister, Edith Aldridge (Sarah Sutherland), wakes in her pink-draped, luxury hotel suite to find Rosie (Julia Hanna), an unfamiliar, young make-up artist, perkily preparing cosmetics to transform Edith into a glamorous, powerful icon for her first speech as leader of the nation. Such is the scenario in Emily Sheehan’s play, Monument. Kilda, until September 3įor some mysterious reason, women disclose their intimate lives to beauty therapists – but when the client has a position of political power, a public profile and high status, the stakes are significantly higher, and indiscreet disclosures are potentially perilous. THEATRE Monument ★★★½ Red Stitch Theatre, St. This wrap of shows around Melbourne includes a show highlighting an intense and at times hilarious power struggle, an energetic showcase of local contemporary dance, a positively queer reimagining Guys and Dolls at Chapel Off Chapel, an unusual evening of music, Melbourne Theatre Company’s Escaped Alone and What If If Only at Southbank Theatre, rock ‘n’ roll stalwarts the Beasts at the Croxton Bandroom, Dvorak’s Serenade by the Australian Chamber Orchestra, and Inventi Ensemble’s performance of Bach’s Art of Fugue.
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