Something For Kate 24, Stage Guide

STAGE GUIDE Shows to catch in August

Words by Ben Lamb

Laurinda

Hitting the Melbourne Theatre Company stage this August is Laurinda, popular writer Diane Nguyen’s stage adaptation of a best-selling Alice Pung book of the same name. The show centres around Lucy Lam and her journey throughout high school, battling with bullies and trying to find herself and her place in the world. The production will feature the acting talents of Fiona Choi, Gemma Chua-Tran, Ngoc Phan, among many more.

Laurinda will be happening at the Southbank Theatre. It runs from August 6.

Minuscule Musical

Yon from Tripod has a podcast called Minuscule Musical, where guests write and perform a short musical, before dissecting their performance immediately afterward. He’ll be bringing that unique concept to the live stage this August, hitting The Butterfly Club. On August 6, Yon’s guests will include Sammy J and Gillian Cosgriff - there’s almost no question you’ll laugh.

This show is taking place at The Butterfly Club. The first performance is on August 6. We’re all accustomed to stories being told a particular way: hearing them. This stage show turns that on its head. More Than Words Can Say deals with a number of deaf artists, who will be creating stories that will be shared with audiences. There’ll also be a discussion about the importance of deaf theatre, and its future in a rapidly-changing artistic environment.

This show is taking place at the Arts House in North Melbourne from August 26 until August 27.

Chris Rock

Slap or no slap, Chris Rock is arguably the biggest stand-up of the era, and he’ll be hitting our shores this month. Star of the 2022 Oscars, Saturday Night Live, Grown Ups, and a celebrated stand-up career, Rock will be bringing his Ego Death Tour to Margaret Court Arena. The comic isn’t afraid to get heavy in his stand-up, so this isn’t one for the faint of heart.

Chris Rock’s Ego Death Tour will be happening at Margaret Court Arena on August 10 until August 11.

Hairspray

The multiple Tony award-winning musical is one of the most outlandish feel-good Broadway hits over the last few years, and after a bunch of revivals across the biggest stages, it’ll be hitting the Regent Theatre this August. It’s a star-studded affair as well; you’ll be able to catch Rob Mills, Todd McKenney, Rhonda Burchmore, Asabi Goodman and Shane Jacobson, who stars as Tracy Turnblad’s mother, Edna.

Hairspray is performing at the Regent Theatre from August 7. Shane Gillis

He mightn’t be a household name just yet, but the shortest-lived SNL comedian of all time (we think) is definitely worth YouTubing. He’s been on stages across the world and found many fans with his laid-back stand-up approach. Gillis featured on Just For Laughs - named the ‘Up Next’ comedian - an important award in the comedy world, and he’s also a staple of the podcast space, with his own show, and regular appearances on Joe Rogan Experience.

Shane Gillis is performing at the Athenaeum Theatre on August 13.

Come From Away

Come From Away follows the incredible real-life journey of 7,000 air passengers who were grounded in Gander, Newfoundland in Canada in the wake of the September 11 tragedy. It’s one of the most successful musicals of recent years, and after an insanely successful run here pre-lockdown, it’s returning to Australia.

This show is taking place at the Comedy Theatre from August 27.

Amleth: No-Lander Mark

If the name isn’t familiar, Amleth is the name of a legend in Scandinavian folklore, who was the direct inspiration for Shakespeare’s Hamlet. This show is directed and performed by Elnaz Sheshgelani, a talented creative who will provide a highly interesting spin to this classic fable. Amleth: No-Lander Mark only goes for 25 minutes, so we reckon you’ll only be getting the good stuff.

This show is taking place at La Mama. It runs from August 24.

National Theatre Drama School

Est 1936 | Head of Drama Dr Jo Loth

SUNDAYS AT THE NATIONAL

Sundays 7 August to 13 November

The ultimate degustation menu for actors

A multi-faceted workshop series that offers a ‘tasting menu’ of the rich array of classes available at the National Theatre Drama School.

From clowning, screen acting, and audition strategies to advanced acting technique, foundational voice and movement, and Shakespeare, Sundays at the National will inspire, challenge and take your acting to the next level. Choose to join for one workshop or dive into the full six course menu over nine weeks.

Finding Your Clown with Annie Lee

Sundays 7 and 14 August

Beyond the Mid Close-Up with Cazz Bainbridge

Sunday 4 September

Different Every Night with Charlie Cousins

Sundays 16 and 23 October Auditioning for Drama Schools with Charlie Cousins

Sunday 21 August

Dynamic Voice and Movement with Dr Jo Loth

Sunday 2 October

Simply Shakespeare with Rob Meldrum

Sundays 6 and 13 November

Fees – One day workshop $195. Two day workshop $360. Attend all 9 Sundays at The National for only $999 (save 40%)

STRICTLY LIMITED CAPACITY. ACT NOW!

More information and bookings, visit: nationaltheatre.org.au/drama

Image credit: (From top) Dredge. Directed by Katie Cawthorne. Image by Cameron Grant. The Changeling. Directed by Harry Haynes. Image by Cameron Grant. Charlie Cousins in Death of a Salesman. Directed by Christopher Tomkinson. Image by Cameron Grant. 27 Cazz Bainbridge on the set of Go with Grace. Image by Kim Landy.

And what an absolute hoot it is to see Dolly Parton’s iconic visage – all sunshine and positivity – on screen as narrator. Her glowing presence pops up from time to time within the 9 To 5 prop’s ‘o’, which is styled as a giant alarm clock when not required for Dolly transmissions.

During the opening getting-ready-for-work sequence of this cinema-to-stage adaptation, the audience can’t get enough of one male ensemble member’s comically enhanced ‘morning wood’. As theatregoers nudge their neighbours and point out this scene-stealing protuberance, peals of laughter intensify throughout the State Theatre – talk about setting the tone. 9 To 5 The Musical’s minimal stage set features a proscenium arch composed of clunky, old-school computer monitors with their screens illuminating in seemingly endless colour combinations and complementing the overall lighting design. Just like the costuming, this set gradually transforms throughout 9 To 5 The Musical – from rather drab and conservative to later incorporating splashes of bright colour – as the “sexist, egotistical, lying, hypocritical bigot” boss character, Franklin Hart Jnr., loses his foothold and employee morale skyrockets.

Eddie Perfect, as Frank, seems to relish being utterly repugnant, which makes it extra satisfying when the audience gets to watch him [*spoiler alert if you’re unfamiliar with the plot*] squirm after he’s eventually kidnapped, dressed in his own bondage gear and suspended from the ceiling of the S&M den inside his home.

Many audible audience groans are emitted in response to Frank’s dialogue throughout (especially the tiresome ‘it must be that time of the month’ line), which means Perfect’s doing a great job. We’re supposed to hate him. And Perfect’s boy-man looks really work for him in this role, too.

It has to be said that a live orchestra elevates the entire musical experience, but the vocals could definitely have been more prominent in the mix. We often struggle to comprehend lyrics, which – although 9 To 5 The Musical’s plot is easy enough to follow – makes it difficult to fully invest in/detest the characters as desired. In saying that, we experience no such issue during Caroline O’Connor’s numbers and hang off her every syllable. As Frank’s devoted PA, O’Connor delivers the performance her 9 To 5 The Musical castmates should strive to match. Act One’s highlight sees O’Connor performing ‘Heart To Hart’,

9 TO 5

While wandering into the theatre and taking our seats, it’s comforting to know – ‘cause we’ve already seen the hit 1980 movie from which 9 To 5 The Musical was adapted – that justice will prevail at the conclusion of this ‘gold carat fun’ feel-good show.

Words by Bryget Chrisfield

absolutely cutting loose as Roz expresses her unrequited love/lust for Frank. Her characterisation is superb and O’Connor moves like a sprightly nymph. Thanks to many years of intensive dance training, O’Connor has total control of every single muscle in her body and her execution and comedic timing are flawless. Casey Donovan – as office newbie Judy Bernly, a character we can’t help but root for – earns rapturous applause following her convincing rendition of ‘Get Out And Stay Out’, directed towards her ex-husband, which approaches a Whitney Houston ‘I Have Nothing’-level moment.

Choreographer Lisa Stevens cleverly incorporates some ‘80s power moves, such as barrel jumps and classic high kicks throughout 9 To 5 The Musical (the chorey from Solid Gold, an American TV variety show produced in the ‘80s, springs to mind) and the ensemble also double as stage hands, changing sets so fluidly that reveals unfold with David Blaine-level ease.

Towards the end of 9 To 5 The Musical, an exasperated Violet says, “We just wanna be seen and treated as members of the human race,” and it’s hard not to feel exhausted by the constant reminders that we’re still banging on about the same gender disparities outlined here – such as equal pay/access to promotions in the workplace – four decades since this movie first hit cinemas. 9 To 5 The Musical was originally slated to make its Australian premiere in 2020, opening in Sydney and then heading to Melbourne, but was postponed just like everything else due to Covid the fun sponge. Finally witnessing this talented cast gracing the State Theatre stage, doing what they were put on this planet to do, is a privilege and their collective joy is both palpable and infectious. 9 To 5 The Musical is escapism at its finest. Fun fact: You know the clickety-clack that sounds like typing during the hit song ‘9 To 5’? Well, that’s Dolly using her signature acrylic nails as a percussion instrument.

Catch 9 To 5 The Musical at the State Theatre until 11 September.