MAN ABOUT TOWN

And so 2012 has come to a close, with the stage production of War Horse (which I attended last night) as my final live performance for the year, and show number 122 for the year. That's a pretty good tally, and ranges across most art forms: circus, cabaret, comedy, physical theatre, dance, and both independent and mainstage theatre. (I haven't included live music in that tally for some reason - must remember to correct that this year. Nor did I see any opera; something I should also try and change in 2012.) My tally of shows for 2012 compares well to previous years, too: in 2008 I attended 88 live performances; in 2009, I saw 102 productions; 2010 was a bumper year with 137 shows; and 110 in 2011. Listed below, in chronological order, are my 2012 performance highlights (eagle-eyed readers may not that this list replicates in part an earlier list published in 3RRR's subscriber magazine T he Trip ; this is the expanded version).   The Year of Magical Wanking Sta...

Ten years ago, when I was reviewing films fortnightly on the now defunct 3RRR program Mercury Rising , I saw well in excess of 130 movies at the cinema (at both festivals and in general release) every year. These days, as listeners to my own RRR program SmartArts would know, the performing arts have become my primary focus; consequently the number of films I see each year has declined considerably - which is ironic in a way, as I know far more film critics now, thanks to Twitter , than I did in my film reviewing heyday. This year, I saw a grand/shameful total of only 40 films in cinemas, compared to - at the time of writing - 121 live productions on stages large and small across Melbourne in 2013. I'll blog about my favourite performances of the year tomorrow, once I've seen War Horse tonight, but for now, let's talk film. Normally I'd see at least 20 films alone at MIFF; this year I was struck down by a virus and missed most of the festival, primarily by choice -...

Jennifer Wong - Ouch & Other Words Sydney comedian Jennifer Wong’s first solo show at the Melbourne International Comedy Festival is stand-up for introverts; subtle observational comedy that explores some familiar topics – racism, depression and family dynamics – with no danger of audience harassment or forced participation. Named by the Sydney Morning Herald as one of the Top 10 New Comics to Watch in 2011, Wong’s material is generally strong, though some routines are let down by awkward segues. Similarly, her call backs need work, and the occasional punchline falls flat because of her hesitant delivery. Conversely, Wong’s knowing take on the difficulties of being polite in the modern world are fresh and engaging, as are her jokes about an uncomfortable Australia Post anti-racism campaign. Constructed around the story of why she enrolled in a First Aid course, Ouch & Other Words is a promising hour of stand up from an emerging Australian comedian. Rating: 3 stars ...

John Robertson – Blood & Charm: Disturbing Stories for Disturbing Bedtimes Death camps. Suicide. Sado-masochism. Australian Idol . Dapper Western Australian John Robertson explores the darker side of life with wit and charm in this gleefully macabre hour of stand-up. There’s something of the shark about Robertson’s wide-eyed smile, and his manic intensity wouldn’t go astray in a Tim Burton film. His best routines are mostly autobiographical in nature, though he cheerfully admits to treating the facts “like George Lucas treats his films,” so that it’s never clear where truth ends and fiction begins in his tales of bondage, self-harm, and theatre in education. His material – whether he’s dissecting modern drama or advocating the murder of The Sound of Music ’s Maria Von Trapp – is edgy, intelligent, and smoothly delivered, though the appearance of a ukulele feels like a hangover from an earlier show, and a late moment of sentiment is a touch too contrived. Astute, amoral comedy...

Idiots of Ants open their show with a WWII skit that successfully introduces the UK sketch comedy troupe’s four charismatic members and their fast-paced style, while simultaneously breaking down the fourth wall. It’s a fine start to a clever show which both reinforces and subverts the conventions of sketch comedy; here, the rapid stream of sight gags and jokes are interrupted by a sports-style halftime show analysing the performers’ strengths, skills and weaknesses. Highlights include a unique take on love songs; a delightful live-Foley sketch accompanying an absurd silent film; a dad joke training school; and a hilarious 70’s style key party – though one too many skits are let down by weak punchlines, while another that surely intends to satirise sexism actually skirts dangerously close to it. The quartet’s use of technology is sophisticated without being laborious, and their ability to ad-lib at one another’s expense, without impeding the flow of the show, is commendable. Engagi...