Lycra love

Boyle and Waters in Leotard (debase productions)

Metro Arts, New Benner Theatre

December 9 – 18

Anybody who has persevered through sweaty struggle to pull on a leotard will be immediately in awe of the premise at the core of debase productions’ “Boyle and Waters in Leotard” which sees performer/creators Bridget Boyle and Neridah Waters sharing the stories behind a rainbow of vintage leotards of all shapes and sizes. From their entry to the stage, clad in their theatre nudes, the talented duo proceeds to put on a range of sequinned, bedazzled, feathered and often very ‘80s garments, and the result is simply sensational.

The homage to the humble leotard, presented in an encore season by Metro Arts serves not only as a tribute to the skin-tight one-piece garment, but the truth that lies underneath its sometimes absurd layers of over-the-top adornment. And it’s a truth that is apparent in the range of different women presented as part of the ensuing vignettes, from early appearance of Brighton-esque dance mums, Anna and Jo, increasingly hyper-aspirational in the rhythmic banter back and forth in defence of their daughters’ honours. An assortment of stories is seen from there, cresendoing with a duo, presenting their contrasting talents at a Regional New South Wales competition, which gives audience members the glorious juxtaposition between suggestive dance routine to Warrant’s risqué ‘Cherry Pie’ and an amateur recorder performance to perhaps transport us back to our own screechy school experiences.

Punctuating such scenes are interviews with women of all ages sharing stories of what leotards have meant to them, giving insight into the insecurities as much as the joys that that the garment can bring, which works in nice balance to the frivolity of colour and movement otherwise on stage.

This is a highly physical show with, under Lucas Stibbard’s direction, an energy that never wanes. The manner with which both performers change their body language, movement and voice ensures that their characterisation is distinct as they jump between roles. Indeed, both performers show incredible versatility through their often quite nuanced depictions, such as Waters’ straight-faced restraint as a daughter in musical accompaniment to her mother’s overtly flirtatious birthday party performance of Ginuwine’s ‘Pony’. Waters, in particular, is a pocket-rocket of energy from her early body-shaking patter-song share of the realities of life as a cruise ship entertainer to her time as Tracey, giving us a hilariously hyperbolic blow-by-blow recount of how she single-handedly saved every aspect of her dance school’s performance.

The often over-the-top ridiculousness is also platformed in the show’s diverse amalgamation of theatrical styles; from slapstick and exaggerated illustration of commedia dell’arte to undertake of theatre exercises to help with listening and focus, there is a whole lot of metatheatre to layer the funny and, along with its often euphemistic word play, emphasise the cleverness of its script.

With nostalgic mentions like the performances at Expo 88 et al, there is are many moments in which to lovingly rejoice in this joyous razzle dazzle celebration of performance, body positivity and glitter. And while the stories that accompany the leotards bring with them an undeniable hilarity, there is also an essential honesty and an ultimately uplifting message that elevates experience of the show to something truly special, interpretive dance routines and all.

Photos c/o – Jade Ellis

Grand final theatre

The Longest Minute (Queensland Theatre with debase productions and JUTE Theatre Company)

QPAC, Cremorne Theatre

May 26 – June 23

Given their shared drama, theatre and sport are not that different. Yet rarely do the rituals combine. And even more infrequently do they fuse together to produce a work as significant as “The Longest Minute”, Queensland Theatre’s co-production with debase productions and Cairns’ JUTE Theatre Company, which centres around the final golden-point minute of the conclusive and premiership-deciding 2015 all-Queensland NRL Grand Final.

After years of defeat, the seemingly impossible occurs when the North Queensland Cowboys claim their first premiership title in their twentieth year of the competition. This is Townsville, where life runs at a different pace and rugby league is a religion that, in mixed-metaphor, is heralded by King of the North, Johnathan Thurston. Our protagonist Jessica Wright (Chenoa Deemal) is a footy fanatic who wants to be a fullback like Hopevale legend Matty Bowen and play football (not netball or touch football) for the Cowboys and Queensland. It’s all her parents fault; not only are white mum Margaret (Louise Brehmer) and Aboriginal father Frank (Mark Sheppard), unwavering fans, but she was born on the night of the NQ Cowboy’s first Winfield Cup game at the then Stockland Stadium in 1995.

Football is in Jess’ blood; her father is the locally-famous former Foley Shield player Frank ‘The Black Flash’ Wright and her introverted brother Laurie (Jeremy Ambrum) is a talented Academy player, despite having a deep-seeded disinterest in playing professionally. And so Jess dreams of playing in the Jillaroos Australia women’s national rugby league team, even though the rules are that she can only play locally in the mixed team until she turns 13. And so “The Longest Minute” is the simultaneous story of (as its tagline proclaims) one football club, one family and one unforgettable NRL grand final. As such, it is a uniquely Queensland tale but also ultimately a wider one, with automatic appeal to not only sunshine-staters, but all regional Australians who perhaps rarely see themselves accurately represented on stages.

Opening night sees a real sense of comradery, community even amongst the audience (many of whom are wearing Cowboys or Broncos supporter gear) as ‘Eagle Rock’ soundtracks a volunteer’s footy skills on a single-set stage that has been transformed into a grassy league field, with scoreboard to signpost the passing of years and the location of scenes.

The striking lighting (Lighting Designer Jason Glenwright) and soundscape (sound design/composition by Kim Busty Beatz Bowers) is used effectively throughout, such as in establishing the thrill of being on the hill in perfect spot to watch your team lose (design by Simona Cosentini and Simone Tesoreri). And when a ‘Queenslander’ chant commences before the siren signal of ‘game on’ for the start of the show proper, the palpable spirit and engery is unlike anything usually experienced in a theatre setting. Then the narrative begins with audio recording of that final minute, almost too tense to watch, which saw the Cowboys turn around 21 years of being a joke’s punchline.

Even though the match in question is regarded as one of the greatest grand finals in rugby league history, it is the off-field drama that occupies the story’s attention. And like sport, the show is full of good times (and abundant hilarity) along with tension, and there is an uncertainty around the direction it takes to its ultimate outcome. Indeed, the craftedness of Rovert Kronk and Nadine McDonald-Dowd’s script is such that it takes audiences from riotous laughter in one moment to the shared silence of absolute shock in the next. These are real and complex characters for whom sorry is said through a stoic attitude as much as actual words of apology. As a North Queenslander, it made me feel so many things over its twists and turns… proud, sad and nostalgic for Phelan’s pies and follow of the quality players to come out of the Foley shield North Queensland league competition.

In its touches on sexism in sport, racism, disparate small town (despite being a city) life and cultural identity, the show offers many moments of light and shade thanks to Bridget Boyle’s considered direction and the affecting performances of all cast members in roller-coasting the audience through the agony and ecstasy of its story. Deemal is fantastic as the feisty Jess, showing equal parts warmth and passion as she journeys from school girl to determined adolescent. Sheppard is especially wonderful in early scenes where he is full of ‘Black Flash’ bravado and as his down-to-earth wife Margaret, Brehmer is initially hilarious and later emboldened as a mother trying to ease family tensions and the aftermath of tragedy.

A largely underused Ambrum brings physical comedy to his initial scenes as a toddler, but this is ultimately not where he leaves his mark. Lafe Charlton is stoical as a laconic Uncle Gordon from Cloncurry and, along with David Terry, he pops into the action with some hilarious moments as a variety of characters in the ensemble.

Like any epic league match, the show’s emotional roller coaster is over in an hour and a half, but it is 90 minutes during which so much happens. In offering a perspective on the world in which we live beyond just a sense of humour, it also holds a mirror to our society whose image we might not necessarily find comforting. Like Rugby League itself, however, “The Longest Minute” will not only break your heart, but fill it with soul (and side-splitting laughs). Most importantly though, it tells one of our stories and widens theatre’s cultural landscape, making it accessible to audiences beyond just traditional theatre fans to those sports-lovers who think theatre is not for them, and for that it must be applauded.

Silver songstresses

Women in Voice #25 (Women in Voice in Association with Brisbane Powerhouse)

Brisbane Powerhouse, Powerhouse Theatre

November 10 – 12

“Women in Voice” is a much-loved feature of the Brisbane music and theatre landscape, which not only goes from strength to strength, but increases in popularity each year, as evidenced by its packed Powerhouse Theatre audience. The local phenomenon is not only well-liked, but unique in many ways, including its allowance for all performers to leave their distinct mark in curation of its program. In its silver anniversary show, this is ever the case with its versatile program ranging from ethereal ‘60s numbers from the stellar Allison St Ledger to Carita Farrer-Spencer’s faded diva delivery of self-lamenting standards and all things French, from Pepe Le Pew to Manu, featuring alongside segments also from a soulful Pearly Black and powerhouse vocalist Ellen Reed.

With such a formidable line-up of superlative songstresses, of course all performers are of excellent voice. Indeed, the immense talent of all the women is undeniable, especially when they join together for a final ‘Good Vibrations’. Ellen Reed, is, however, a standout, especially in stunning delivery of a soaring ‘When A Man Loves a Woman’ from “The Rose”. The song features as part of a unique set in which she sings ‘man’ songs whose narrative changes when sung by a woman.

Offering a different perspective is a key factor of the show’s success as the songstresses ensure audiences appreciate well-known songs and lyrics anew. Pearly Black moves from Carole King’s ‘I Feel the Earth Move’ to a raw and vulnerable ‘Jealous’ yearn by the divine Chrissy Amphlett. And Reed both strips back George Michael’s synth-y ‘90s chart-topper ‘Fast Love’ and shares an intimate rendition of Radiohead’s ‘Creep’ complete with carivalesque musical accompaniment.

Under the musical direction of Stephen Russel, the Women in Voice Brand is versatile in support, but given chance to shine in numbers like Black’s share of Joni Mitchell’s sweet ‘Edith and the Kingpin’. The most memorable moments, however, come from a very funny Bridget Boyle as emcee in role as ‘fine Rockhampton artist Anna Smart’ who entertains with a tambourine/interpretive dance routine, complete with ‘Piano Man’ sing-along. She also provides a hilarious highlight with a ‘needed’ political statement through mashup of Cold Chisel, Midnight Oil and Rage Against the Machine’s ‘Killing in the Name Of’, which serves as contrast to the an earlier ensemble ‘Meet You in the Middle of the Air’ by Paul Kelly in fitting tribute to those of the Women in Voice cannon who have been lost, including pioneering rock chick Carol Lloyd.

Certainly, the “Women in Voice” celebration of individuality of entertainers from different musical backgrounds and generations offers something for everyone in its diversity of musical choices and arrangements. And at well over two hours duration, the immensely entertaining musical experience makes for a marvellous night out. See these ladies once and you will surely be in their audience annually as the institution continues to journey from an intimate concert in an alternative café in West End to the longest constantly running local production in Brisbane’s history.