Dr Neal Professor Portenza: Catchy Show Title

Dr Professor Neal Portenza (real name Josh Ladgrove) is in the thick of the Adelaide Fringe when I speak to him. His character, a generous creator of laughs behind a multi-title name, is having its fifth outing at the Melbourne International Comedy Festival. The most important thing for Portenza is that the audience is willing to join in on the comedy. “It’s just an extremely interactive show, I mean the way it was described here in Adelaide the other day was ‘collective comedy’, which is really interesting. So it’s character-based, some people say it was a little bit ‘clowny’, I’m not sure I agree with that but I think that it’s character-based, interactive comedy that’s supposed to be fun, and funny.”

The abstract nature of Catchy Show Title means it’s difficult to pin down what the show is actually about. “The show is never really about anything, which is not a pretentious thing to say, but, you come, some stuff happens, then you leave hopefully smiling. There’s no plot, there’s no story, there’s no arc, it’s just an hour of very different, interactive, fun.”

Interactive can sometimes be a bit of a scary word for audiences, but Portenza is reassuring about his definition of audience interaction. “My number one rule is ‘never make people feel like idiots’, that cheap, crass, kind of interaction does feel awful and does cause a lot of anxiety…one of the comments I get from time to time is ‘I really hate audience interaction but this was great I felt really comfortable’. Really, really early on I try and make the audience feel really, really comfortable.”

Portenza leaves his shows open to the possibilities of the night, but he still turns up with a literal bag of tricks to go with the figurative ones. “I started the Adelaide Fringe with not very much of an idea…but at the end of the festival, and by the time the start of the Melbourne International Comedy Festival comes around, there’s really good structure in place, and so whilst I improvise to get from A to B it’s not like organised improv – it’s certainly not the American style of improv, it’s just very specific to that night’s audience, so no two shows are necessarily the same, how I arrive at those points though varies pretty wildly depending on the audience.”

When listing his influences, it’s good to hear they’re mainly Australian. “I think the main influence is someone like Shaun Micallef and Sam Simmons, but then older things like Graham Kennedy, really was the king of looseness, and that sort of style of just being really with the audience, not just grinding through my material hoping that every audience is going to be the same from night to night, working hard to find what is funny about this specific moment.”

Throwing Lano and Woodley in there as well, Portenza gives big props to American comedian Dr Brown. “Dr Brown has been pretty instrumental in kicking my arse actually.” I ask if that’s personally or on a more metaphysical level. “On a more metaphysical level, letting me have the belief in myself to take the show to places where it couldn’t necessarily get if they were just written sketches.”

MICF is a time to take a bit of a gamble on your comedy, and it’s something that inspires Portenza. “When the audience are up for something a bit different, you can go to some really interesting and special places, and it can be an extremely fun night. It’s for someone who wants to see something a bit different, a bit off the beaten track. It’s a pretty good choice I reckon.”

Venue: Melbourne Town Hall – Backstage Room, Cnr Swanston & Collins St, CBD
Dates: March 26 – April 19 (except Mondays)
Times: 9.30pm (Sundays 8.30pm)
Tickets: $18 – $23

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Jekyll X James: Cactus Blastus

Jekyll x James return to Melbourne with their own unique brand of musical storytelling in Cactus Blastus, a riff on the western genre. I asked Cameron James to fill me in a bit more on the flavour of the show. “Jared and I do music, comedy, sketch comedy and clowning all in one. We play live music – live hip hop and punk songs – and then we loop that music and we do sketches and stupid shit on top of it…last year’s show was horror-themed, this year’s show is cowboy and spaghetti western themed.” They’re covering as much of the genre that they can. “Our show is a live action peyote trip – the audience comes on a psychedelic peyote trip with us through the wild west.”

It’s the perfect excuse to get out the movies that made the genre, to get your teeth into some hardcore research, something that went a little bit awry in Jared and Cameron’s plans. “We’re both movie fans so we’ve seen a whole chunk of westerns in our time. We went to the video shop – I can’t believe they still exist – but we got out 15 westerns, and we started watching one, and then we just sort of stopped watching it and started watching YouTube videos of people being hit in the face or something – we lost interest in the research very quickly, and instead started riffing off the things we already knew, the things we had seen before and whatnot. It’s art.”

The western is a large and varied genre as well, so the pair are trying to stick to the old-school tropes, rather than battle with such groundbreaking films as Wild Wild West. “I’m sure we had a big conversation about [the giant mechanical spider], but we decided that Will Smith already covered it so deftly. We’re more into the spaghetti westerns, the westerns made by Italians and all the westerns made by people who were taking LSD in the ’60s, that’s kind of the stuff that we’re more interested in.”

Jekyll and James circled each other in their own solo stand up careers before finally deciding to join forces, but the process was organic. “Jared would be onstage and I’d be in the audience and I would heckle him, and then it would become a sketch. We’d bomb each other’s sets and hijack each other’s shows from time to time, and then last year we wrote our first actual show…and that’s how we found our actual style…I think, that I haven’t seen anyone else do a combination of music and clowning.”

Although they’ve been compared to The Mighty Boosh and Flight of the Conchords, it’s hard to pin down the pair’s influences, as they prefer to continue working on their style, “It’s really about coming up with the best stupid idea – we put a high premium on stupidity in our writing.”

After Melbourne the pair are continuing to tour, but are also looking to work in another direction. “We haven’t really discussed this in depth, but we’re also thinking of making this the basis of a web series. I see it moving in that direction beyond being a live show, I see it becoming something new online. I haven’t really discussed this much with Jared.”
I point out that if I put it in the article then it will have to become true. “Exactly! There’s no argument with that.”

Venues: Forum Theatre – Carpet Room & Pizza Room, Cnr Flinders & Russell St, CBD
Dates: March 26 – April 19 (except Mondays)
Times: 9.45pm (Sundays 8.45pm)
Tickets: $15 – $18 

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Rebecca De Unamuno: Is Open To Suggestion

Veteran impro performer Rebecca De Unamuno is making her 40th birthday a year-long celebration, and it all begins at the Melbourne International Comedy Festival. “I did Open to Suggestion ten years ago, and it was a Moosehead award-winning show…I turned 30 during that run and in Melbourne on opening night it’s going to be my 40th birthday, so I’ve sort of set up a ‘festival of the 40th’ – for the next 12 months I’m going to do all of the things that I love to do, and I love this show so I’m bringing it back.

Audience suggestions kick off each show, with De Unamuno forming three characters based on offers from the audience. Over the course of the next hour she creates monologues based on her three characters whose lives are somehow intertwined. How that link occurs is different every night. “I never know when that’s going to happen, or when I’m going to think of it or discover it. I had one where one of the characters was a cat owner and the cat had nine lives and had touched all three of their lives. Or somebody was writing a romance novel and then it turns out that one of the male characters that I was playing ended up the lead in the romance novel. It’s just looking for those similar themes or recurring parts of dialogue that end up connecting the characters.”

This way of storytelling relies on a mixture of sources, including her own experiences. “I think audiences can appreciate when a story comes from truth, rather than making it up, and there’s many times in my show when I might be playing a character who has nothing to do with me, but something that’s happened in my day or a song that I’ve heard…might just creep into the show.” This is just one of the ways that De Unamuno’s show differs from those performed by an impro group. “When you’re performing with other people, when you’re improvising, you can rely on them to come up with an offer if you don’t have one, but if you’re on your own you’ve just gotta keep going until something pops up.”

De Unamuno is playing the Adelaide Fringe when I speak to her, and Open for Suggestion is already off to a flying start. “This has been the first chance for me to do the show after ten years and get it back on its feet. You have a love/hate relationship with it until you feel like you’ve hit your stride, I’m loving it again which is great…every show is different, so even if it’s just to prove a point you can come back and see it again. I’ve had a few recurring audience members here in Adelaide, which has been great. I don’t play the same character twice in a run, so that’s the challenge for me as well.”

Although a highlight of De Unamuno’s ‘festival of the 40th’, she’s got some other big plans for the year. “I want to have a party! I’m 40 and I’m single and I figure I’ve been to so many weddings and so many christenings and birthday parties for young people, that I figure that I would like to have a party.”

Why do they get all the fun?! “Yeah! I want to get some presents! And there’s a few places in the world that I’ve never travelled to – I’d love to have a holiday, and just watch all the films that I really enjoy, and read the books I love, that kind of thing!”

Venues: Victoria Hotel – Vic’s Bar, 215 Lt Collins St, CBD & Melbourne Town Hall – Backstage Room, Cnr Swanston & Collins St, CBD (April 13 only)
Dates: March 26 – April 13 (except Mondays, bar April 13)
Times: 7.15pm (Sundays 6.15pm, April 13 6.30pm)
Tickets: $19 – $25

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Jonestown: Guinea Pigs

Nicholas Johnson is one half of Jonestown (the other half is comedian and ventriloquist Sarah Jones), the Moosehead and Golden Gibbo-awarded duo performing at this year’s MICF. Last year’s Pajama Party was a hit, and Johnson is looking forward to their latest installment.  “Guinea Pigs is a narrative-based sketch comedy show about Sarah and I being locked in a box against our will, and forced to perform a series of cruel and unusual psychological experiments. We call it Saw meets RadioLab.”

Although the world of psychological experiments is relatively new to Jonestown, stories heard in podcasts about the old, less-regulated days of scientific research really captured the pair’s imagination. “I’ve always been interested in that sort of podcast, you know that sort of This American Life: ‘Did you hear about that pop psychology thing they did in the ’70s?’ Like the Stamford Prison Experiment where they locked students up and pretended they were in prison, and then they all went slowly insane. Where the ordinary, mundane scientific experiment suddenly just becomes a weird off-the-rails kind of explosion.”

The most outrageous, and memorable of these experiments was too intense to be completely included in the show. “Harry Harlow did the ‘Wire Mother’ experiments on monkeys, where he asked: ‘I wonder what would happen if we put a monkey in a box with no light and no contact with anyone for months.’ And the monkey would go insane, and he would say, ‘Ah! Interesting.’ But now, rather than do it on a monkey, we do it on a pair of middle class comedians.”

Long-time friends, the pair developed their writing partnership by accident. “We’re both anti-social, so we would enjoy sitting in cafés [working and] not talking to each other, which was a very good writing partnership. We would just shoot ideas back and forth across the table at each other, until we realised that we were writing together, and writing sketches and other bits and pieces, and finally we put together our first show, last year, which was Pajama Party…it was a little like we’d made home brew in our basements and then found out that people actually enjoyed drinking it.”

They’ve also come up with an unusual way to market the show, by turning their Twitter account (@jonestowncomedy) into an story reminiscent of the Choose Your Own Adventure series. “It’s an extension of the show. People can go online and play – they can be locked in a room with us and try to escape.”

The first choice for followers is whether you are going to follow Nicholas or Sarah. Who’s getting more hits? “Definitely Sarah, it’s always something to do with her. We find in our shows if any sort of choice is involved people will choose Sarah.” Which he is totally cool with? “Absolutely! We’re both quite antisocial so the idea of not being chosen is pleasant. It’s been really interesting working with someone else, how audiences interact with different performers and how people feel much safer coming up and talking to us after the show, that sort of stuff. It’s interesting.”

The pair are looking at taking the show to all the major festivals, as well as some regional shows. “I think we prefer to take the path less travelled, and we don’t always do the same thing as other people…at the moment Sarah’s doing shows on cruise ships in the South Pacific somewhere. So we always have things going on that are different from what other comedians might do.”

Venue: Portland Hotel – Gold Room, Cnr Russell & Lt Collins St, CBD
Dates: March 26 – April 19 (except Mondays)
Times: 7.15pm (Sundays 6.15pm)
Tickets: $20 – $25

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Dates: March 26 – April 19 (except Mondays)
Times: 7.15pm (Sundays 6.15pm)
Tickets: $20 – $25

Runner Up – Right Now short story competition

Hello!

I have come runner up in a human rights short story competition with my piece Short Story Ideas About Violence, After Doris Lessing

The comp was judged by Anna Funder and Tony Birch.

I am linking to the story on the Right Now website, as you should take the time to check out all the other wonderful pieces that were in the shortlist.

The anthology Poetic Justice, where the story will be included, is launching during the Emerging Writers Festival on May 29.

About the piece – it originally started out as a writing exercise that I did to reflect a sequence late in Lessing’s The Golden Notebook, a novel that you can read in full here, where she writes a number of ideas for short stories and novels down that all reflect her burgeoning breakdown. I sent it into this competition because, quite obviously, it is about the myriad ways violence is inflicted on people, and the long term effects that result. I am so glad it made an impact.

It’s only rereading it now that I see maybe, when writing it, I was also influenced by Roberto Bolano’s 2666, and the incredibly disturbing events that are, for want of a better word, reported, in the sequence set in Santa Teresa. It took a good deal of time to understand what Bolano was trying to do in this lengthy sequence. On the face of it it could appear lurid, with an endless string of gruesome deaths described one after the other. It’s only when you’re midway through this section that the deaths begin to compact into each other, and you understand how we make ourselves desensitised to suffering, because in the moment, there is nothing else to be done.

Often when talking about human rights issues I come across people saying things like “At the end of the day” and “I’m just going to play Devil’s Advocate here”. What I want them to think about, and what I hope I know, is when it comes to the complexities of human existence, things cannot be summarised in a tight bow. To borrow a phrase, if things can be explained, then they can be explained away.

Asher Treleaven

 

Asher Treleaven wont tell me about the lobster dance, but then again he’s barely had breakfast. I catch him on the phone in Adelaide on what he promises are his final mouthfuls, and dutifully call back a few minutes later. I tell him not to worry, I’m not going to work the questions too hard. “That’s good because I am an idiot. For a while there I was talking into a brick, instead of my phone when it rang.”

 

The critically acclaimed comedian who is known for his keen blend of smart political satire and ridiculous physical comedy is back for his seventh comedy festival, and this time his show, Smaller Poorer Weaker Cheaper, approaches his subject, fear and the economy, a little differently. “I set out to write a show about how rich people being arseholes is bad for the economy. When I finished writing the show I talked to my wife… she said ‘That sounds like a shit idea, can you please just write a fucking show that is you, rather than pretending to be this kind of activist, left wing intellectual browbeating comedian telling people how the world is when you’re really not like that at all.’ And I said, ‘Tell me more.’ and then she gave me the most serious dressing down have ever had in my life as a comedian, and I have had some savage reviews from some absolute pricks. So I started again.” With the aid of this editorial savagery, Treleavan has transformed the show into something that is “About a man desperately trying to convince an audience, any audience, that you can do a good show while everything falls to shit around you throughout the day.”

 

With Treleaven’s distinctive, energetic style, combining wit and physical comedy, it’s hard to fault an evening spent at his mercy. Although his comedy has always been centred around the physical and the silly, his political force has been a fixed aspect of his work. “Politics are part of me and part of my personality. It’s about picking the political things I talk about, rather than letting the new social media wash over me… You just get bombarded by all this shit to be angry about all the time…. it can be difficult sometimes to not only, I guess, pick the topics, that matter to you, but also to pick topics politically that you are educated enough to approach in a fresh way.”

 

This sort of talk is definitely refreshing. “You hear so many comedians going ‘blah blah blah gay marriage’ and you’re like, you’re not part of the community, you don’t give a fuck about this, you’re just saying it to get kind of like, a clap… I’m as angry about things as anyone else, but just because I’m angry about the wrongful incarceration about refugees on Manus Island, it doesn’t necessarily mean that I have the intellegence, the research and the comedy chutzpah to go on stage and talk about it as a white middle class vanilla fucking pedestrian guy.” Wise words, but what becomes most apparent about this chat is the special event that is in store for his audiences. He says, “Why don’t you ask me about my big lobster dance finisher?” I’m not one to disappoint. Please, can he tell me about this lobster dance I’ve heard so much about? “Oh come on it’s a secret, I mean you’ve gotta see the show, then you’ll get the lobster dance at the end of the show, I can’t tell you about the lobster dance now.” It’s more something you have to experience for yourself? “It really is.”

 

Venue: Gin Palace – The Swamp. 10 Russell Place, Melbourne

Dates & Times 27 Mar – 20 Apr 9.30pm

Tickets: $28 & $25

Bookings: http://www.comedyfestival.com.au/2014/season/shows/smaller-poorer-weaker-cheaper-asher-treleaven

 

Published as part of the Beat – Melbourne Comedy Festival Lift Out

Marty Putz, The Very Weird and Slightly Dangerous

 

Canadian comedian Marty Putz returns to the Melbourne Comedy Festival after a ten year sortie into producing and writing television. His show, The Very Weird and Slightly Dangerous is an all ages affair, but it still retains its edge, “I think we all like that rush of something that tends to make you feel just a little dangerous, whether it’s the first time we get on a bike, or the first time we ride a skateboard. For me my hero was Evel Knievel growing up, so a lot of the dangerous elements I kind of see myself that way a little bit, and the weird, I’ve always loved weird things, I’ve always loved magic… magic was always weird to me. I loved the sideshow freaks at circuses and quirky inventors and anything that was slightly odd.”

The Comedy Festival loves its family-friendly comedy as a way of getting laughs to as many people as possible. “I like to call the evening shows ‘Simpsons-friendly’… there’s a little bit of edge that would go over the heads of kids, for the adults, there’s a lot actually, and the afternoon show is really geared towards, you know, full-on family and kids.” These afternoon sessions will be concentrated over the school holidays, so that everyone can witness the gadgets and inventions Putz is going to bring to his comedic visual weirdness.

Comedy came to Putz as, literally, an accident. “I loved magic as a kid, and I was a really bad magician… I had things go horribly wrong, like I dropped the rabbit… and people laughed, and rather than be upset about it I kind of just fed off it and proceeded to muck everything else up purposely, and that’s when I heard the laughter, that was it.” These early days have grown into full-blown spectacular, with flying hamsters, exploding suits, weird inventions and huge marshmallow fights making up the show.

“We’re locked away in a secret location where right now I’m working on all the pneumatic fittings to try and get some of this stuff going. I’m excited to go into the Spiegeltent, and I think it lends itself to my show because it’s kind of a new vaudeville vibe to it… and I think there’s this great sense of ‘What happens in the tent stays in the tent’.” His enthusiasm beyond the Spiegeltent, for touring Australia and New Zealand is palpable. “I love this part of the world, everything about it… there’s a nice sense of reckless opportunity here as a performer. I find Australian audiences welcome strange and creative people who are willing to step on the edge to try something different… it’s just fantastic.” And his love of Australian and New Zealand performers is just as enthusiastic.

“I haven’t really sat down to decide what I want to see, but I remember Fleety, Greg Fleet I always enjoy. I pretty much want to see anyone that’s not North American just to get a taste and a flavour of what’s going on in this part of the world. And the Umbilical Brothers are great, and I always loved loved loved Lano and Woodley, and I know each of them has a show going now too so I sure would love to see both of them. They were fantastic.”

 

Venue: The Famous Spiegeltent at Federation Square

Dates: 27 March – 6 April (not Mondays) at 7pm (Sun 6pm), 8 April – 19 April (not Mon, Fri & Sun) at 2.30pm (Sat 5.30pm) Previews 27 Mar – 30 Mar

Tickets: $15 – $28

Bookings:http://www.comedyfestival.com.au

 

 

Published as part of the Beat – Melbourne Comedy Festival Lift Out