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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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

Hello My Name Is

“So this is a community centre.” I’m in the same studio space I was in last October, playing table tennis and drinking wine, my thumb on a hand held buzzer that I was to press every time anyone either talked about anything personal or heavy, or made an inappropriate comment. “This is no longer [tapping the tennis table] over there, it’s over here.”

Nicola Gunn is a dazzling theatre maker, relentlessly touring and developing her work here and overseas. Her current project Hello My Name Is is a partly solo work that takes place in a community centre and demands audience interaction on a very particular level. The latest incarnation of the piece happened with her season at the Blue Room in Perth last month.

 

“I really used it as an experiment with audience participation and I really push it and push it to just really make sure that I don’t like it. I don’t want the audience to be left to their own devices. It’s not the kind of show I want to make.”

 

Audience participation is a hard sell, which Gunn knows better than anyone. But rather than forcing the audience into the uncomfortable position of furthering the story, and ‘performing’ the work for her, in many ways they are there to keep her company. “I don’t like audience participation, but I also don’t like solo shows. And the great dilemma is that I am a solo performer. So it’s about using the audience to perform with me, and to acknowledge the fact that I need someone to talk to. And that, unfortunately, will have to be the audience.”

 

Gunn included a slighter level of this audience interaction in her last show At the Sans Hotel, for which she won The Stage’s best solo performer award at last year’s Edinburgh Fringe. Her shows in the past have included lonely characters in vacated buildings, desperate to reach out to a slightly bewildered, yet bewitched audience. These characters, she is slowly discovering, are part of a broader, more autobiographical work in progress. “I’m discovering this autobiographical thread, along with this sort of gothic sensibility. This is the first show where I’m actually being myself, Nicola Gunn, and not having a mask or a character or a funny accent. So I think every show leading up to this has been this gradual unmasking. And this is the final one where it is actually just me. It’s following this performance art tradition of making the artist the art. It sounds really self indulgent to say that well, I am what I’m making, but it is me.”

 

This self-consciousness she is discovering in her own performance, then, might be a reflection of the self-consciousness the audience feels when asked to participate in her show. “In Perth it was really hard because people wanted to act, and pretend they were in a community centre, and I really hated this, the audience acting and breaking the magic, so I had to explain ‘It’s not really a community centre,’ and then we’d have to get into this conversation. So this time there is this narrative of the audience arriving for a workshop called ‘How To Change The World Through Social Transformation,’ so I’m assuming that everyone wants to be here, it’s set up in this very bureaucratic way. Also out of an audience of 50, I only get maybe, 15 people up to do things, so there will always be people watching. So there is still the sense of a show and being watched.”

 

Which at least means the terminally shy have the option of opting out. Although this may also trigger a feeling of regret, or even jealousy that their shyness has inhibited them truly taking part in the piece. “The idea is that if people opt out of doing activities, I want people to leave going, ‘Wow, I wish I did something, I wanted to but I stopped myself,’ and that’s what I want, that’s the feeling that I want.

 

At the Sans Hotel tagged itself as a psychological detective story. The feeling that runs through Nicola Gunn’s work, the feeling that makes it so unlike anything else going on in Melbourne is that her shows, like mysteries, don’t actually have a complete story in them. It’s more that each character has their own fragmentary back-story that the audience investigates. The fragments that are there have a greater resonance.

 

“The show again is playing with that kind of form, because there is no narrative, and people really have to infer their own meaning. I had this eureka moment of actually realising what I was making was a retrospective of Nicola Gunn’s life and work, as if ­– not as if I was dead, but as if I was someone who was really important, because I’m interested in how we value things, and how we value and don’t value people. And that’s kind of when the show started coming together for me. Because I am personally going through a bit of a career crisis of actually just quitting. And so it’s about choices, and why am I doing this? And again, if I were to retire, this is the retrospective of my life and work at the age of 33.”

 

Here’s hoping that that doesn’t happen, because even through Nicola Gunn’s work is never going to be easy to describe, or always participate in, it is always going to be work worth seeing.

See the original article here

Headliners

Headliners showcases the best in up-and-coming talent coming out of the America’s gruelling comedy circuit.  There’s a wide range of comedians on offer, playing on a rotating bill throughout the festival. This all goes down at the Hi-Fi bar with acts including Moshe Kasher, Tom Segura, Sean Patton, Matt Braunger, Hannibal Buress, Marina Franklin and Garfunkel & Oates.


Out of the swathe of
Headliners acts I spoke to Moshe Kasher, the Californian comedian who was named Best New Comic of the Year by iTunes for his album Everyone You Know Is Going To Die And Then You Are. I asked if he had plans for Australia: “I’ve been here before. Both in actuality and in my imagination via the movies Australia and Crocodile Dundee so I knew exactly what Australia was like before I got here. While here I plan on going into the ‘outback’ on ‘walkabout’  and going ‘croc hunting’. Also I will be playing ‘didgeridoo’ whilst eating a ‘vegimite sandwich’. Also I will be snorting ‘cocaine’ off of a ‘stripper’s tits’.” Indeed.


His particular brand of hipster vitriol was named Best Of The Festival at Montreal’s Just For Laughs, Jamie Foxx’s Laffapalooza and the Aspen’s Rooftop Comedy Festival. Asked to describe his comedic background, Kasher replies obliquely: “I am a trained ninja assassin. That’s all I’m willing to say,” but when pressed goes on to add: “I am an angry effeminate Jew who likes girls.” Definitely angry. In fact, when asked about this anger and his propensity towards the offensive in his comedy, he replies simply: “Suck my dick.” This is going well.


On to safer territory, Kasher gives his picks for the festival: “You have so many stand-outs… Arj [Barker] is an old friend but you guys seem to have heard of him already. Marc Maron, Paul F. Tompkins and Maria Bamford are amazing Americans. I mean each one is a unique genius. Greg Proops is a master.”


Moving on to the lineup as part of Headliners, Moshe reels them off: “Of the younger bucks, Tom Segura, Hannibal Burress, Matt Braunger, Garfunkel & Oates, Sean Patton and the impeccable gentleman, Bo Burnham are all unmissable.”


Twee musical comedy-folk duo Garfunkel & Oates have definitely made a splash over the past couple of years, appealing to the indie crowd with their Youtube releases such as Fuck You (featured on US sitcom Scrubs), Sex With Ducks, and a personal favourite, Pregnant Women Are Smug (lyrics include: You’re just giving birth now/You’re not Mother Earth now), showing themselves to have equal stakes in the cutesy folk song and the potty-mouthed ballad.


Kasher isn’t the cleanest comedian either, as he has hinted at before. His tagline is a close indication of this: Comedian. Jew. Jew Comedian. OBGYN.


OBGYN? “Well I never got my official OBGYN paperwork so at this point, I’d say I’m more of an amateur enthusiast.”
And finally the big question, would you rather not wash your towel for three months, or your bedsheets for three months?Trick question, as I use towels as sheets and curtains as underwear. I smoke crack.”

Moshe Kasher, Sean Patton, Hannibal Buress, Tom Segura, Matt Braunger, Marina Franklin and Garfunkel & Oates perform Headliners at The Hi-Fi from March 31 – April 3 and at Melbourne Town Hall from April 5 – April 24. Tickets are $23.50 – $31.50 and available through Ticketmaster online, 1300 660 013 and at the door.

View the original article here: http://www.beat.com.au/comedy-festival/2011/03/30/headliners/america-s-gruelling-comedy-angry-effeminate-jew-aspen-s-rooftop-comedy-comedian-comedy-cen

Paul Foot performs Ash In The Attic

Paul Foot falls in with the past decade’s refreshing crowd of high surrealist comedians which, on this side of the world, is instantly associated with French duke darlings The Mighty Boosh.

In fact, the pedigree isn’t just a vague association, as Boosh-style guru Noel Fielding directed (in the broadest sense of the word) Foot’s current comedy show Ash In The Attic.

Despite being seen as the man who speaks a comic language from a galaxy far, far away (with a heavy dose of Shire horse-based humour on the side), Foot sees things otherwise: “My style of comedy is quite simple, I tell a few jokes, and then go home. Although they’re not really jokes, more like disturbances. I have characters too, such as Skeleton Johnson, Inspector Foot and Penny. Penny likes Australia; Penny is bi; Penny likes to take things to the next level.” Are Foot and Penny going to get up to much when he’s in Melbourne? “I’m going to make an effort to get out a bit more in Australia and maybe go on a rampage smashing beach huts with a golf club. I’ve been offered free surfing lessons but I’m not interested unless they can provide me with waterproof sudokus.” Fair enough.

Skeleton Johnson and co. all come up regularly on Foot’s website, a spidery rambling extension of his brain. “Originally Jemima Lozenge was my web editor, but she was so awful at hosting a website that I had to sack her. She couldn’t even host a small cocktail party in the suburbs of Southhampton. I currently edit my own website; it’s a nice way to relax after a week in the casino. Live by the slots, die by the slots, that was my Great Aunt’s motto before she died.” One section even categorises every joke Foot has ever told in a stand-up show, including how it went with the audience, and whether he is considering reviving it again. Maybe it’s an indication of the inner workings of a mind that completed a mathematics degree in Oxford before moving on to comedy?

But really the mainstay of the website is for it to act as a haven for Paul Foot’s ‘connoisseurs’, the exclusive name he gives to his ever loyal fans, rewarding them with secret gigs and much more: “Every year I hold the Annual Paul Foot Art Competition in which connoisseurs of my comedy draw me and the winner receives a hamper of objects from my house. You can see a video of me judging this year’s on Youtube.”

There really is something admirable about cultivating a following. “My connoisseurs are my lifeblood. Unlike other organisations, such as the Flansham Whist and Chatterbox Society, everybody is equal within the Guild Of Paul Foot Connoisseurs. The members are not fans of me; they are appreciators of my humour. They have no particular interest in me as a person and wouldn’t be bothered if I were run over by a bus, other than the fact that my comedy would end (after some brief laughs about the bus).”

Even so, Foot’s popularity has grown to such an extent that he now needs to hold “secret secret shows” for the old guard cream of his connoisseur crop.

Paul Foot performs Ash In The Attic at Melbourne Town Hall’s Cloak Room from March 31 – April 24. It’s at 9.30pm Tuesday – Saturday and 8.30pm on Sundays. Tickets are $23 – $29.50 and available from Ticketmaster online, 1300 660 013 and at the door.

View the original article here: http://www.beat.com.au/comedy-festival/2011/03/30/paul-foot-performs-ash-attic/julian-barratt-noel-fielding-paul-foot-mighty-boosh

Melbourne Fringe: Girls@Work

Theatreworks in St. Kilda have taken their opportunity at the Fringe festival this year to showcase the wild and wonderful women of Melbourne theatre, covering straight performance to Cabaret, from serious subjects to do with immigration and feminism, to the dissection of the female orgasm. Entitled Girls @ Work, and encompassing five separate performances, as well as two workshop-based events working with women in the business, it’s a large and diverse undertaking for the venue. I spoke to Angela Pamic.

“We’re celebrating our thirtieth anniversary and were going through the archives for the venue. It became apparent that the company itself had a strong female presence right throughout its history. The founding company members had some really strong women amongst them, one woman in particular, Kaz Howard who has since passed away.  She was, by all accounts, an amazingly fiery, energetic, charismatic, woman who kind of pulled the company together and created these amazing works and an ensemble… And so when we realised that we thought it would be nice to celebrate our thirtieth birthday about women and actually to celebrate the artists in the industry today, to give them a platform to show their work.”

 
Of the five works being shown, two are physical/dance pieces (PaPer Man & The 499th Day, The She Sessions), two are straight theatre (I Could Be You, Instability Strip), and one is cabaret (Le Petit Mort – The Orgasm). All of the shows are on most nights, which means that if you go, you might not end up seeing just one type of live theatre.

 
“We wanted a broad cross range of performances, not just theatre or dance.  An audience member could come to the venue and see three different things in one night, broadening their arts experience. This way they get to see things they might not normally see.”
 
GIRLS @ WORK
VENUE: Theatreworks
DATE: Various
TICKETS: See website

See the original article here: http://www.beat.com.au/festivals/2010/09/23/melbourne-fringe-girlswork/arts-australian-comedy-festival-film-fringe-fringe-festival-gig-girlswork-show-t

Tomorrow, In A Year

Ralf Richardt Strøbech is the director of Tomorrow, In a Year , an opera mounted by Hotel Pro Forma and a highlight of this year’s Melbourne Arts Festival. It takes the life of Charles Darwin as a starting point, with music scored by Swedish duo The Knife and choreographed by Hiroaki Umeda.
 
Strøbech’s opinions on the opera are both open and precise, so it’s a good idea to let him do most of the explaining, starting with how much the production has evolved since it was first mounted. “It’s not the same piece as when it opened, which is nice because Darwin also made several changes in his Origin of Species. In the sixth edition it only contained 21% of the original book… so if it was insistently the same way every time it would be non-Darwinian.”
 
But what is the story, really? “It’s only fragments of a narrative… although there definitely is an underlying structure. The big one is about the life of Darwin himself, split into four parts. The Beagle voyage is the first where it’s about youth, then there’s the death of his daughter Annie, so that’s much more about middle age, and making a family, and then the third part is about the publication of his book, and the last part is about how he becomes a recluse and allows the world to exist around him. Then there is of course time itself, all evolutionary time starting from 4.65 Billion years ago.”
 
Darwin’s daughter Annie died at the age of ten after a series of health complications. The effect of Annie’s death on her parents was devastating, moreso as Darwin’s theory of evolution developed and he wondered if her death was because he had married his cousin. I ask if this interests Strøbech. “It does… The second part of this performance treats that a little bit… [There] is this beautiful story about the letters of Charles Darwin. He’s with his daughter at the hospital and Emma’s actually at home with all the other children… she gets these letters sent by messenger describing how Annie’s state deteriorates while she must keep up her face because she doesn’t want to alarm all the other children. So this to me was extremely interesting: How do you cope with that? And this is a pivotal image in the play, sung by the mezzo soprano, the dilemma between actually having an emotional storm on the inside while having to keep up appearances on the exterior.”
 
He just answered my next question. I was interested in who the Mezzo Soprano was supposed to be representing, because she’s female and it’s the story of Charles Darwin, so I was interested in the choice of gender roles. “In a sense they don’t represent anyone, the three singers; in a sense they just represent themselves, to be very hardcore post-romantic. That being said, there are times obviously the male singer is very much Darwin, you can’t help but read him that way. [The mezzo soprano] has moments when she is an actual person, I would say in Annie’s Box she’s really Annie’s mother, but other times she’s more like time itself, because [her voice is] very grand and has the capability of suggesting something outside the individual’s body… she’s also somewhat distanced from the audience whereas the second lady Lærke [Andersen], who is an actress, is much more a representative of the audience onstage.”
 
And as for live musicians on stage? Turns out there are actually none. “None, exactly none, there are no musicians on the stage or in the pit, it’s all electronically produced,” says Strøbech. “The music was all made by The Knife who are completely incredibly fantastic. They make everything from scratch, so Olaf [Dreijer] went to the Amazon to record sounds, he also went to Iceland and then they were kind of transformed into this electronic score. The singing is live and there also is live voice manipulation and vocal coding so the singers can be in harmony or even in rhythm with themselves.”
 
If that’s not enough for you – the story of the greatest scientist of our time, incredible choreography and the mind-blowing music of The Knife – here’s Strøbech’s advice: “I think the most important thing to say is that we always tend to look for explanations in things but… this performance is really about accepting that the origin of thoughts is from sensing and observing. I think this is Darwin’s method. It’s only because he freed himself of all preconceptions that he was able to find a new path.
 
“And I think this is the most important thing about the opera: that it doesn’t want to bring one specific reading, it’s much more showing something that speaks to the senses more than the brain… and that was very much how we would work, the Knife and Hiroake… It’s a process and that in itself will read its meaning, much as the way a rosebud doesn’t mean anything other than a plant wants to get laid. It’s not symbolic in any way apart from to just be.”
 
Hotel Pro Forma’s Tomorrow, In A Year plays at The Arts Centre from Wednesday October 20 until Saturday October 23 at 7.30pm. Tickets range from $25 to $110.50. You can book through The Arts Centre or Melbourne Festival.

View the original article here: http://www.beat.com.au/content/tomorrow-year-0

Fleur Elise Nobile

 

Visual, and now performance artist Fleur Elise Noble comes over the line from her hotel room in Korea, and we both know we have a task ahead of us; close to the opening of her multi-disciplinary and conceptually diverse show 2 Dimensional Life of Her, a performance which incorporates projections, live action, visual arts and puppetry all in the one space, where do you begin talking about it? Well, how about starting with the obvious, which was why was she calling from Korea? “I’m here on a two week residency, working with digitised art and music, using traditional Korean culture as a basis.” Sounds excellent, and quite far from her background in Adelaide.
“I studied painting and sculpture in Adelaide and then New York. My main focus until two years ago was in drawing, but then I moved into other mediums like animation, puppetry and performance, and from that exploring different ways to bring it all together in a new show.”
That show is 2 Dimensional Life of Her, running out of the always surprising and dynamic Meat Market in mid August as part of the Mobile States program, which is produced by Performing Lines, a touring contemporary performance initiative that targets small production companies and arts practitioners going solo. The initiative favours the more multi-disciplinary and technically ambitious members of the art world, “they kind of knit together the whole tour through other venues throughout Australia, this particular work will have performances in Brisbane, Perth and Hobart. Usually they do Adelaide as well, but since that’s my home town I’ve actually done this show there before.”
The Mobile States project goes for the highly experimental, which is where Noble’s work comes in. Set in her studio, it is a multi disciplinary show about the artist confronting her own work. “It’s a theatre production that’s ninety five percent made out of projection. The intention came from spending so long working with two dimensional artworks. Drawing for me was always about something emerging from nothing, but often when it was exhibited it became about interpretation of the established text, just a final product, a picture hanging on the wall. This was finding a way of bringing people into the space where something is in the process of being made. It’s about the unexpected things that can take place in the process of creation.” This can be seen in the snows of paper that are both handled by the animated puppets in the performance, as well as being used as a projection surface for those selfsame animations. Searching for another explanation she says, “It’s almost like a pop up book, a three dimensional pop up book. All the surfaces are constantly changing. [The performance is] A book with an inside and an outside, so they can become two dimensional objects as well.”
A lot of the projections in the show utilise puppets in the form of stop animation. This painstaking process involves multiple marionettes each with their own coordinated movements. The use of the puppets seems to be an act of separation, an extra stage entered between the conception of the piece and the artist’s final involvement in it. The artist inhabits the construction of the setting, physically assembling the elements of paper, projection and puppetry, but she still allows these elements their own life in the act of performance, which is the point the audience becomes that little bit more than mere spectators.
The use of these figures also highlights what seems to be an increase in the use of puppetry in performances for both adults and children in recent years. “For me it comes out of doing so much sculpture, and wanting to bring those pieces to life. I animate my sculptures, my puppets, then project them during the performance.” A technically challenging performance, how much preparation went into it? “Two years, with lots of different phases, loads of experiments to work out what was possible. This particular show, making the puppets, took ten months full time to put it all together on very little funding, with all the objects made from nothing. It often involved twenty four hour working sessions in places that I’d hired overnight, so it was pretty epic.”
Have you done the show anywhere else before? “Well I just got back from a European tour of the show. I did it at the International Festival of Live Art in Scotland, as well as the Danish Children’s Festival. I mean those are the polar opposite in terms of audiences. [The show] doesn’t just go across mediums, but also audiences, from little kids to high end Arts people.”
And what happens after your show in the Meat Market? “There’ll be a New Zealand tour, then Europe again. After that I’ll be working for five months doing a creative development grant for a new show that will be premiered at the World Theatre Festival at the Powerhouse in Brisbane in February. For that I’m again going to be working on live performance, working on its visual language.” A visual language that seems to be strongly established in 2 Dimensional Life of Her.

Beat Magazine, Issue August 4th, 2010

Andrew O’Neill: Occult Comedian

Andrew O’Neill, The Occult Comedian, is about to debut his show in Australia. He took some time out to answer some questions.

What number Melbourne Comedy Festival is this for you?

This will be my first. I’ve never been south of the Equator before, although I did once live with an Australian, and I worked in Mambo in Covent Garden for a bit so I reckon I’ve got the country pretty well figured out. The stars are different. That is scary.

Tell us about your show.

It’s called Occult Comedian and it explores my dabblings in black magic, as well as my weirdo lifestyle choices. It’s mad and surreal and fast-paced and it’s the funniest thing I’ve ever written. I’m a transvestite, too, so you’ll see me looking pretty.

How did you end up doing comedy?

I’ve always been a massive comedy fan and it was really just a natural extension of trying to make my mates laugh all the time. I am 100% less annoying in social situations now. Well… 50%…

What thing/person/idea are you most obsessed with at this time?

A Croatian black metal band called Drudkh are making me very happy indeed, and the Jonas Brothers continue to be alive, which makes me very unhappy. Alan Moore continues to be my biggest influence and various entities that I converse with are helping through the first phase of this trip.

Who are you looking forward to seeing at the festival?

Josie Long is sublime, Jason Cook is brilliant… my hot tip is a little show called Eric’s Tales Of The Sea… 100% true stories of a man’s life on Royal Navy submarines. It’s completely hilarious and heartbreaking and real. You have to see it.

Can you tell us about your extracurricular activities?

Aside from sending myself mad doing ritual magick, I’m in a steampunk band called The Men That Will Not Be Blamed For Nothing. We’ve just recorded an album called Now That’s What I Call Steampunk! Volume 1… We dress like Victorian misfits and we sound like early 80s British punk mixed with Victorian music-hall and a dash of death metal.

What about your affair with Jack the Ripper?

I used to work in the Cabinet War Rooms, which is where Winston Churchill fought WW2. I was reading my 20th book on the Ripper and wondered how old Churchill was in 1888. He was 13. Bingo. So I wrote a show called Winston Churchill was Jack The Ripper, which took on a life of its own… I now perform that show round the actual murder sites.

Do you have anything in the works right now?

I’m slowly working on a psychogeography-themed series of shows based on… places that have had most influence on my life. I have a DVD in the pipeline and my band’s album comes out in May.

Would you rather not wash your towel for three months, or your bed sheets for three months?

I’m a metal-head. This happens more than you’d think…

Beat Magazine, Issue #1210, March 24th, 2010