[Review] Nosferatutu or Bleeding at the Ballet


Tommy Bradson as the vampire Kevin

Griffin Theatre Company
Until 21st January

“Oh, go on! Play something sad! Play! We need music!”

A ballet dancer, clad in elaborate costume, takes the stage while the three-person orchestra starts in on the first haunting strains of Swan Lake. For a moment all is silently-amused peace while the cavalier dances his melodramatic way through the palace gardens, exaggeratedly miming out the scene. Then, the lights flash red – and the vampire strikes!

“Shit! Shit, shit, shit, shit, shit. Why does this always happen when you go to the theatre, Kevin?”

Nosferatutu is part stand-up comedy routine, part performance dance routine, and part musical drama. Tommy Bradson plays the anxious, impulsive vampire Kevin, a poor soul who wishes he could just once enjoy a performance without jumping the performers and sucking their blood. The show isn’t over as the jam-splattered dancer topples, though, because Kevin is determined for the show to go on – even if he has to do it himself. Luckily for him, he manages to prevent the musicians and the tech crew from fleeing, and enlists Sheridan Harbridge – the usher who saw the audience in – as his reluctant co-performer.

This show is packed with energy and talent. Bradson’s Kevin never lets up for a moment, flitting from despairing, self-pitying lamentations to dizzying musical numbers to vaudeville-like comedy in the space of seconds. The audience is left in a state of perpetual laughter and excitement, because it is truly impossible to predict where he’ll take the show next. Even amidst the chaos, Bradson ensures we never lose sight of the core idea of Swan Lake as a comedy of errors performed by a very sad and lonely man (sorry, vampire) and a coerced usher.

What deserves particular mention are the vocal talents of both Bradson and Harbridge. Their voices are beautiful, both spanning the full range from deep thrumming bass to stunning soprano. Nosferatutu is packed full of spontaneous little numbers that, quite frankly, could form an impressive piece of musical theatre on their own.

So if an eternally-dying physical prop of a ballet dancer, a half-assed Swan Lake with some truly quality headgear (from jewel-encrusted swans to shaggy demon horns) and a nervous, wise-cracking vampire who just can’t stop tearing down the fourth wall sound like a recipe for a great night out, do not miss Nosferatutu. It’s bloody good!


[Review] Romeo + Juliet (Sydney Shakespeare Company)


PACT Theatre, Erskineville
Until 9th October

The bard’s tale of star-crossed lovers, Romeo & Juliet, is not a new one. It’s old in the sense that you’ve read it before in high school English class, seen at least one amateur stage production of it, and the play itself was written some few hundred years ago. Yes, it’s a classic – but probably one you’ve filed away in the “cultured but stale” drawer to pull out at opportune moments.

It’s promising then that the Sydney Shakespeare Company’s production of Romeo & Juliet keeps the audience’s interest throughout. No, these aren’t the glitzy gun-toting Montagues and Capulets of Baz Luhrmann’s 1996 film of the same name, just an honest, no-frills production of the original, faithful to the core. The stage is simple but pleasing, and the characters sport the familiar half-capes and stockings characteristic of Shakespeare’s works set in medieval Italy.

Where the production shines through is in the honesty and humour of the characters. It’s clear the actors are having the fun Shakespeare intended when Steven Hopley parades around as the irredeemable pun-dropping Mercutio, or Jack Mitchell’s clueless yet sassy Peter. The Montague and Capulet parents are regal and commanding – though their behaviour really brings home certain facts about the horrible medieval treatment of women that still persists, in many ways, today. Emily Weare does an outstanding job as the slightly irresponsible and long-suffering nurse, dominating the stage whenever she appears.

But cliched as it may feel, it’s the interaction between Romeo and Juliet that bring this production to life. Benjamin Winckle portrays the confused, love-smitten Romeo well, but it’s Emilia Stubb-Grigoriou’s Juliet that sweeps it away. Gone are the wistful, sighing, middle-distance-gazing mannerisms of many classic Shakespeare performances, to be replaced with pouts, carefree enthusiasm and the manic distractedness of a twelve-year-old. Emilia reminds us with her absurdly expressive face that Juliet is nothing more than an early teenager, helping bring perspective a great deal of reality into the old classic.

If you’re not beyond the power of the bard’s words to recall, the Sydney Shakespeare Company’s Romeo & Juliet is an excellent reacquaintance with the cleverness and power of his work.

[Review] The Red Turtle

Fusion x64 TIFF File

Characters are the essence of a story, and The Red Turtle understands that. This latest offering made in partnership with wonderful Japanese animators Studio Ghibli – creators of Totoro, Spirited Away, and any number of emotional animated classics – understands this so well, in fact, that it decided to dispense with the dialogue and adhere to the principle that actions speak louder than words.

That’s right: The Red Turtle features no dialogue at all. There are no touching, heartfelt conversations; no fierce repudiations of a sneering villain’s nefarious machinations; no heated arguments or meandering spoken-aloud thought trains. Nor is there any narration. Save for the rare scattered “hey” or voiceless cry, this is a story told wholly without words.

Unsurprisingly, this places The Red Turtle into a very special category with only a few, select neighbors. Oh, sure, we’ve seen our fair share of Pixar shorts using purely physical interaction and whimsical soundtracks to weave a narrative, but those are what their name implies – short. How well can this possibly be sustained for the 80 minute running time of The Red Turtle?

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[Review] The Nice Guys

the nice guys 1.jpg

On the outside of the cereal packet, The Nice Guys follows one of the most well-worn formulas in Hollywood: two private eyes, just out to make a difference in the world in their own way, are thrown together by circumstance and forced to co-operate on that one big case.

In this comedic iteration of the reluctant buddy cop film, the morally-conflicted tough-guy do-gooder Jackson Healy is played by Russell Crowe, while ambiguously talented yet charming incompetent Holland March is brought to us courtesy of Ryan Gosling. As scripture dictates in this style of film, both detectives have grim and probably tragic pasts which they have no desire to share, but emerge gradually as they learn what haunts the others’ footsteps. While The Nice Guys wallows freely in the conventions of its genre, it is mercifully free of a few of the more groan-worthy excesses buddy cop films are prone to.

Like Starsky & Hutch, Gosling and Crowe drag us back into the smoky, strange world of 1970s California, this time to the City of Angels, Los Angeles. It’s a different world, one where the internet’s not a thing, projectionists named Chet roam the streets, and the cars of naked porn stars crash downhill through your house at night, leaving their occupants sprawled picturesquely upon a rock. People contact each other by corded home phones and drive flashy sports cars past billboard advertisements for Jaws 2.

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[Review] Victoria


Strobe lights and the muted thump of dance music. Bodies move and shake upon the dance floor of a nightclub. A girl detaches herself from the crowd, and exits through to the bar outside. The camera doesn’t leave her for an instant as she enters the bathroom, leaves the bar, and goes onto the street outside. In fact, the camera does not leave her for the entire film.

Victoria is a film shot in one, continuous take. There are no cuts and no edits, no resets or fade-outs. Every moment of the unfolding narrative is captured on camera, until you become the cameraman walking along behind the characters.

It follows the eponymous Victoria, a Spanish girl in Berlin out on her own for a good time. On her way out of a night club, she runs into a group of four East Berlin natives who invite her along to join in the celebration of their friend, Fuss’, birthday. Though initially reluctant, Victoria agrees, and joins them on a night out that develops into a very surprising and quite different adventure than what you would expect.

One striking feature of this film is the level of realism and intimacy achieved with its single-take nature. The dialogue in the film is almost completely improvised, which, while clumsy at points — most notably towards the end — lends Victoria a particular charm, and really brings it into the realm of the credible.

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[Review] Firewatch (PS4)


Do you like running through national parks, parkouring your way over fallen trees and scaling rocky outcrops?

Do you seek to reconnect with nature and find solace in its gentle embrace? Are you running away from something, something you can’t leave behind no matter how you try? Welcome to the outback of Wyoming! Here’s your hat and outpost, and we’ll see you in three months.

Campo Santo’s Firewatch follows the exploits of Haunted Hiking Henry, Wyoming park ranger extraordinaire. Following a short text introduction where things go sour with your wife due to an illness, you (Henry, voiced by Rich Sommer) wake up somewhere in the wilderness following a two-day hike to your new home, Two Forks lookout. Here you expect to spend an uneventful summer staring out of windows and cleansing yourself in nature, mulling over all those heavy thoughts in your head in the unrelenting peace of the Shoshone National Forest.

In no time at all, you are introduced via a squawking radio to your invisible friend and constant companion for the rest of your stay, your supervisor Delilah, who inhabits a distant lookout in the next section over. Delilah — voiced by Cissy Jones — is a delightfully acerbic alcoholic who has been stationed out here for far too long and has seen any number of rangers come and go from your position. You repay her guiding comments by reporting pretty much every single, insignificant object you see or pointless thought that enters your head. You better get used to it, because out here it’s just you and your radio and a whole heck of a lot of rocks.

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[Review] Hail, Caesar!

Hail Caesar 1

I can’t remember this many insane things taking place in such a short time since the unchecked train wreck of the Dude’s life in The Big Lebowski.

Hail, Caesar! is weird. It’s weird in that glorious, triumphant and stomach-twisting way which leaves me laughing hard enough that my voice cracks embarrassingly and I start gasping with a high-pitched whine. Hail, Caesar!, in short, is exactly the kind of weird I appreciate most in comedy. Who wants tired one-liners delivered by goofy actors at twenty misunderstandings a minute? Bring on Tilda Swinton playing two characters at once and surprise Soviet submarines!

I would say that Joel and Ethan Coen are up to their old tricks once more, but actually Hail, Caesar! is a departure from their usual flick. This in itself is a dangerous statement, because the brothers Coen have made a ridiculous variety of films from the bizarre Nicolas Cage-infused baby-heist Raising Arizona to the Depression-era musical Odyssey O Brother Where Art Thou?

Despite this wild variance, though, a common element of their collection is scenes of stylized, brutal violence that wouldn’t be out of place in a Tarantino film. These are often introduced without warning and can transfix the watcher, open-mouthed, with their sheer bloody gratuity. In the opening scene of No Country for Old Men, for example, the film’s psychopath drives a steel bolt into someone’s head with a blast from an oxygen tank. In Fargo, of course, there is an iconic scene where dismembered body parts are fed messily into a wood-chipper.

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