Archive for September, 2010


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When the St Jeromes Laneway festival premiered in Melbourne in 2004, it created headlines throughout the Australian music industry – an amazing mix of musicians playing to a crowded laneway (Caledonian lane); a day people would continue to talk about well beyond its 2nd incarnation. Years later, it’s not so much a laneway festival anymore, but rather a national boutique music festival (read: juggernaut) that even Pitchfork can’t help but praise. New Zealand even got in on the act this year.

But let’s go back to where it all began. That first year, that first stage, that first band. This weekend, for the first time in recent memory, Sydney gave birth to a true laneway festival of it’s own – 2,000 punters cramming into Eliza St in Newtown, giving Melbourne a run for their money and giving Sydney hipster kids a day to tell all their friends about.

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Part of the Sydney Fringe Festival, and in collaboration with FBi Radio, Maps Entertainment put together a truly fantastic Sunday afternoon festival in “Changing Lanes”. Headlined by it-kids Tame Impala, the Perth favourites celebrated the day on the main stage alongside local heroes BridezillaCabinsJinja Safari,Thundamentals, Richard In Your Mind and Ernest Ellis. But that was only the start of the action. The day turned into night at the Bank Hotel with a hip hop and an electro stage, with live performances from artists like Mrs Bishop and Spit Syndicate – plus DJ sets from dozens of talents like Joyride and Mark Murphy. Tonight even heradled the return of Itch-e and Scratch-e (aka Paul Mac and Andy Rantzen).

Sunny Sundays don’t get much better than this.

I spent my day cruising exclusively around the main stage, so it’s here that our coverage will focus. Having regretfully missed amazing talents Ernest Ellis and Richard in Your Mind, I arrived just in time to catch Triple J Splendour Unearthed winners, and local favourites, Jinja Safari. The two piece (who play live as a five piece) were spine chillingly good – the natural reverb of the laneway providing them with a natural, beautiful, developed sound. In fact, acoustically, this space proved perfect for all the artists who called the laneway their home.

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Sydney’s own Cabins (above) were next, and killed it. These guys are getting better and better with every appearance. Despite still not being in possession of their debut album, I’m at a point now where I know every song from live appearances alone – knowing them well enough to realise just how much they’ve developed as a band over the last few months. I’ve said it before and I’ll say it began: these guys are Sydney’s next big thing. Or perhaps they already are?

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Purple Sneakers DJs provided us with their usual impressive mix of tunes, as we awaited forThundamentals (pictured above) to hit the stage. Being the sole voice of Aussie hip hop on a stage full of indie rock bands, really put the respected ensemble out of their comfort zone. I think this was a sentiment shared by much of the crowd, but nonetheless, they put on a good show and seemed to impress the Aussie hip hop fans in the crowd. For the rest of us, it was time to get some $5 Pad Thai from the Bank Hotel. Delicious!

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The always wonderful Bridezilla (pictured above) were next, after Bag Raiders played a rather unimpressive DJ Set – you just couldn’t hear them! So probably no fault of their own. As for Bridezilla, dressed in running tracksuits no doubt in celebration of the city’s running festival (which made it difficult to get to the festival early for some…), they were indeed as impressive as they’ve always been.

The last time I saw them, however, this wasn’t quite the case: it seemed like they weren’t as “into it” as they had been in the past. Enthusiasm seemed to be waning… but now it just seems like it was an off night. Tonight, with a few new tracks up their sleeve, they breathed new life into their set – and I think their creative personas, too. I sense a new record mightn’t be too far away… we’re looking forward to hearing what comes out of it!

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But it wasn’t until Tame Impala (pictured above) hit the stage that the laneway hit it’s capacity, and felt like it was bursting at the seams; friends pushing friends up onto the barriers to get the best possible view. Like those before them, Tame Impala had never sounded better in the laneway. They pushed their set past the 6pm cut off, saying they’d keep playing even if they turned the power off. And with that in mind, they jammed out two crowd favourites – “Remember Me” and “Half Full Glass of Wine” amongst the tracks to round out the day as the sun was setting.

As we made our way out of the venue, I saw the line going into the Bank Hotel (where the festival would continue until midnight) and thought it best to embrace my exhaustion and call it a day. Having poked my head in before, however, I have no doubt the excellent vibes would have continued until the early hours of the morning. But for me, my memories of this short but sweet festival on a sunny Sunday afternoon will last me well until the festival reemerges next year. And I have it on high authority that this is exactly what will happen. Bigger and better? Probably… But at least we can all say we were there when Changing Lanes all began.

Let’s just hope Eliza St isn’t a shopping mall in 6 years time… the fate regretfully suffered by Caledonian lane.

Photos by Mr F Stop. This review originally appeared on the AU review.

Factory Theatre – Combat Fatigue (Review)

Most people have been through the twisted and dark world of a breakup. Once you brush past the facade of normality you can see into the impossibly scarred history of a past that you wish could be saved, as the characters flounder from blow to blow, desparate to repair and return to what once was.

Combat Fatigue exposes this disturbing situation through the world of Pippa and Sam . . and with depth that perhaps exposed the personal experiences of it’s cast and writers. A heady performance that far outweighed the small stage, spartan surroundings and personal investment I had made. (Tickets are $20). This is an opportunity to see a top quality performance in the Inner West.

The story centres on this slowly unravelling relationship . . a facade of contentment and focus on a career and life, stimulated (or is it stabbed) through the escapism of alcohol, arguments, affairs.  All the whilst trying to reach each other . . . before an inevitable barbed comment or change of topic when they finally get close.

The audience is taken into this detailed and dark dialog through the strong perfomances of it’s actors and a script that is brilliant. In many a movie (or soapie) we have seen the cliche of the damaged partner, but not many have moulded the ugly, twisted rawness of a life falling apart and a slow descent into madness.

(How the fuck did they get that down on paper . . . and what did the cast draw on for such emotive and clearly effected performances.)

As this world unravels, we see that all has not been good in the world of Pippa and Sam. The unspoken memory of a child lost, an artist who can no longer paint, a husband who loses himself in his work . . and a retreat into schitzophrenia of it’s lead player as she wrestles with her darkness.

 . . . . painted dark by the overtones of an obsessed killer, who’s appearance further draws the life from the couple as they struggle to survive the blows of another affair.

This will not end pretty . . . .it is clear someone will need to die before this ends.

The performance of the actors was superb, a spartan set and a darkened room put seasoned professionals to the original plot and it’s complex script. The emotion of the lead actors evident in containing the characters they were burning into the audience. There was no cliche, no wooden performances . . and no passengers. Dialog that cant be forgotten. I was left considering my own actions in past loss.

A 9:30 start time on a Wednesday night pulled a respectible audience and there was no one who left untouched. The sinister evil lurking in the mind of it’s characters would readily move to a short film. I was left wondering if that would be attempted.

 . . . . . Walking home I was asked by a friend ”Who hurt the writer . . how did she know”

Combat Fatigue is playing at the Factory Theatre for the remainder of Fringe.

 Further interview with writer, Alison Rooke here.

Bloody Clowns Delight In Violence

The theatre is little more than a tin shed; wooden boards and weighty doors judder open for us into the dark hush. Violent Delights is about to enjoy it’s premiere night at the Sydney Fringe Festival.

The players wear simple tunics, loose cotton pants and no makeup. There are no props, no background scenery. Just their bodies. They’re dotted around the stage and watch us, statuesque and intimidating, as we seat ourselves. Heads bowed and hands clasped, each of them is cradling a small white light that casts an eerie glow beneath their chins.

We settle; a player begins to speak. Then another joins – and on, until a chaotic chorus rabbles forth. Some voices shout, pained and straining and others whisper – a little crushed and afraid. Yet another despairs, yet another is angry.

This chaos is a little concentrated syrup on the tongue of what comes after; two hours of French style bouffon play twisting us into challenges, unexpected laughter and propelling us akimbo into emotional briars. Through some of Shakespeare’s most famous works, and unsettling renditions of old songs, we confront and grapple with the psyches that populate the nexus of passion, violence, humour and play.

Violent Delights picks the viewer up and carries them headlong through the tenebrous depths of the Bard’s fixation with the worst of human behaviour. From the harrowing rape of Lavinia in Titus Andronicus to the tragic ferocity of Romeo and Juliet‘s closing suicides, we are privy to an intense and curious delivery that never drops a beat.

Levity has a place, and some fluttering gentleness of love appears. This serves to offset the colour of the main shade, and allows us to breathe. Even then, viciousness is not far in the distance, and the mood changes with little warning. Kate and Petruchio from The Taming of The Shrew play up their connection with bawdy deliciousness but in mere moments he has transitioned to a man standing over her, practically growling his marital intentions. She cowers, eyes aflame in affront and fear.

The piece abounds with sexual energy and wit and also neatly holds up to the light Shakespeare’s obsession with female sexuality and purity. Hero’s slut-shaming at the altar is played out in full. The death of Desdemona, which will always be one of the most heartbreaking things I’ll ever see on stage, is played plainly here with an unstinting brutality and relatable desperation. I was impressed that they allowed her character to embody the violence of resistance, such that one can’t but admire her as she fights him with fists and legs and voice until the rattle of her last breath.

Violent Delights is perhaps not as funny as it purports itself to be; indeed, I did not find the majority of the subject matter provoked laughter or entertainment. Instead, I found the piece to be one of great gravitas, and a reminder that the tracks we tread around coercion, passion and that tricky thing we like to palm off as “human nature” are complex ones.

Or perhaps not nearly as complicated as we’d like them to be. Though it doesn’t intend it, Violent Delights is a mixed and provoking morality play that prods at sore places and opens boxes we should look inside more often.

Mobile Screenfest, not a yawn-fest

You have to hand it to Dr Avi Ratnanesan; the man has vision. He had a dream of creating a film festival where the entries are shot only on mobile phones and in spite of setbacks and nay-sayers he persevered in the ‘build it and they will come’ style championed by Kevin Costner in Field of Dreams. While Dr Avi didn’t travel back in time or meet any ghosts that I’m aware of, he did manage to put on a damn good showcase of what can be done with big ideas and a tiny camera. As the first event of its kind in Australia the Screenfest team did really well in getting the entries in and putting the night together, with a celebrity judging panel to boot.

There was a lot of films shown so here’s a brief run down on each category:

Best drama

Probably the best category for overall quality. The short gangster film ispy (cause it’s shot on an iphone, geddit?) took first. The most surprising thing about these films was how watchable they were on the big screen. The mobile phone cameras actually capture a sense of movement really well without making you want to throw up.

Best horror/thriller

Diarmid Heidenreich from Underbelly presented the award and expressed his amazement of how involving and atmospheric mobile phone films can be. Motoko Shimizu was a deserving winner with her downright creepy A Short Music About Killing, for my money the best submission of the night.

Best comedy

In all honestly I thought 15 Gay Terms was robbed not to get up for it’s educational value alone: I, at least, didn’t know what a twink was until I watched it. We Play Hard, set in Video-Ezy, won the award.

Best phone journalism

This category saw some experimental documentary mixed with more traditional types of journalism. Katie Hale’s sad portrait of a man who has decided to pay his daughter’s medical bills through homelessness won this category.

Best sports video

This section included a helpful instructional video about how to ride a bike for those of us who grew up in a basement. Deservedly, Ali Kadhim’s short on some parkour kids doing crazy acrobatic moves was the winner.

Best music video

Jasper Kyle saw off some gritty rap and a pissed-off break-up ballad to secure the award for his video Future Man. In his vision of the future earnest singer-songwriters in patchwork pants are driven to suicide by unrequited love for another man.

Best mobile photograph

There were lots of great photos in this section. I have to say that a significant portion of the crowd let out a confused, disappointed ooowwh? when Chris Starnawski’s ‘ Leading The Nation won. To that section of the crowd I ask: What’s not to like about a picture of the harbour and the Opera House in all their summer glory while a helicopter streams a giant Australian flag overhead? I suppose they would probably reply: Lots.

Best actor/actress

A somewhat deceptive title as all of the three films starred women. A quality monologue dealing with some quite nasty issues sealed it for Kate Buchanan.

Peoples choice award

This section was judged on a crowd clap-o-meter arrangement. The eventual winner, US, starred a bunch of children acting and dressed like early 20th century adults. No one else stood a chance. Even a hardened, cynical reviewer such as myself was caught up in the cherubic glow of their innocent little faces. And one of them had a little suit tailored for him! Also, not enthusiastically clapping for their performance would be like saying all adults are against them. Have you seen children of the corn? I for one didn’t have the courage.

And that was that, a brilliant, entertaining event which I’m sure will only get bigger and better over time.

Check out the Mobile Screenfest website

Molly: reviewed

My mother used to read Moal a Chliobain to me as a child, so I was keen to see Director, Danielle Harvey’s adaptation of the dark fairytale… what my mother was doing reading such a bloody and violent story to me I don’t know! I imagine it had something to do with a gutsy female lead.

Molly promised blood and guts and giants and weddings. Dress-run photos indicated Fringe-favoured circus skills would play a major part so I went along hoping for a grotesque, physicalised romp through the tale. The physical skill of the performers was undeniable as they tackled tissu, pole, stilts, juggling, acro and dance. However, I found the physical, musical and spoken sections of the piece didn’t blend well and the shift in styles was often jarring and led to actors dropping out of character. A policy of less words, more movement would have been a better employment of skills.

The scaffold-esque set design, movable and practical, worked well in the space. Costumes (or the lack thereof) were tight and sparkly, fun and sexy.

The musical arrangements and sound design by fraternal duo Pat and Tim Hansen were smack bang in the musical theatre genre and should be commended. The ocker, Aussie interpretation of the legend allowed for a sassy rap by Sasha Cody about the age-old rural vs urban dynamic, and with some wicked back up dancing this was a highlight.

The adult-pantomime comedic style wasn’t up my alley and I found some of the “aren’t camp gay dudes funny” humour predictable, but with a laughing and responsive audience, I knew there were many who disagreed. Said theatre-goer Myffanwy Rigby, “Razor-sharp comic timing and a strong sense of play make this acro-tastic fairytale romp a must as part of Sydney Fringe.”

Go and see for yourself…

Molly plays at CarriageWorks 22/Sep, 24/Sep and 25/Sep at 9.45pm

I’ve always been a bit of a magnet for secrets. Ever since I was a teenager, friends and random classmates would tell me who they fancied, why they hated the girl with the bob, why the girl with the bob didn’t know what she’d done wrong, if they were considering breaking up with / asking out their latest partner / crush… A veritable banquet of confessions which my (literally and metaphorically) broad shoulders housed.

Well, most of the time, there was the need to share the load sometimes, a brief mention to a trusted confidant. Just to distill the feeling that bubbles up inside when there is something only you know. The same happened at uni and then at work. Clearly I look trustworthy; I am…until I’ve had a G&T!

So really  after all this history with secrets it’s come as no surprise to me that I find myself in a show like Dirty Laundry where the audience tells us their salacious secrets and we get to make them into sketch on the spot. As I’ve found over the years it’s better to share a secret. You feel better and everyone enjoys a bit of gossip, or finding out some absurd fact or weird little story about someone. Better still if it’s a complete stranger – you can have all the fun and none of the awkward aftermath!

Our troupe, Panda Smackdown asked some friends prior to the show about secrets and found two thirds of people will pass on the secrets they’ve promised to keep. This is great for us, but maybe think twice about who you’re airing your laundry to. In the run up to the show we’ve heard all sorts of titbits. One of my favourites was someone’s ex thought the anamatronic dinosaurs at Universal Studios were real, until told otherwise.

We grab gems like this one and bring them to life in an instant, a splash of the absurd, a dash of comedy and a whole bundle of enjoyment. Our fabulous character host keeps us in check and coaxes a story or several from the audience. Oh, and we throw in a few of our own stories along the way.

So head down to Dirty Laundry at Red Rattler, this Thursday (23/9), Friday (24/9) and Saturday (25/9).

Cohen purists beware…

Review by Andrew Laughlin

What can one expect from a show called “Cohen Koans”? Especially when it is
accompanied by a rather wistful and enigmatic portrait of Ali Hughes, the chanteuse and frontwoman of Ali and the Thieves? The crowd at Notes in Enmore on a cool Sunday evening may have been expecting Leonard Cohen seen through the bluesy, jazz-drenched stylings of the combo’s previous outings. But this was much more. It was Leonard Cohen redux: re-interpreted in utterly surprising ways.
As the band assembled on the stage, and the audience fell hushed. Suddenly, draped in black silk, Hughes descended the staircase from the venue’s mezzanine at stage left, her backing vocalists in her wake. A grand entrance worthy of MGM in its heyday, to a thunderous ovation. As she walked, she intoned the lyrics of The Guests. Entranced, the audience tracked her every move, breathless.The journey began as Hughes segued into Avalanche.
Vignettes, including the explanation of Koans, peppered the set, as Hughes and her Thieves took us through a back-catalogue of Cohen songs including Dance me to the End of Love, Chelsea Hotel, I’m Your Man, and Suzanne. Instead of Cohen’s trademark growl, Hughes voice showed its range and agility as it plumbed gutsy blues notes in Feels So Good, and then soared poignantly through songs like If it be Your Will. The inevitable Hallelujah was touched upon only in passing, Hughes preferring to explore the Cohen Canon more broadly. And broad was the accent with which Hughes played with Everybody Knows – Cohen purists beware!
Daryl Wallis, MD, keyboardist and co-creator/-conspirator and Hughes work
seamlessly together to guide and shape the performance. Their onstage
communication is like a superbly executed pas de deux with each knowing where the other is heading. This is a wonderful creative partnership which delivers the goods!
The other Thieves: Michael Galeazzi on upright bass and David Manuel on drums/ percussion, grounded the performance with their solid playing. This is a group of musicians in complete sync – comfortable, relaxed, yet never complacent. Andy Conaghan and Mitchell Winter provided the perfect vocal accompaniment, and a moment of unexpected choreography which spun Sisters of Mercy on its head.
Those expecting a covers show should look elsewhere: this is a sophisticated re-working of Cohen, cleverly staged and beautifully executed. Hughes is a consummate performer. This reviewer will never look at a strawberry the same way again.

Get your Volcano walking shoes ready . . . take out that bank loan . . .fire up those chequebooks.

Rip Whitening is the greatest motivational and self-development guru ever to walk the planet. Ever

“Attitude, speed, power. Never since “Max Power” have we unleashed such life changing force on Sydney, unleash the fire within and stuff”

After a challenging start to life he found success with Rip Whitening Ink, Inc. and set out to help others find success in their lives. He is best known for his hit Self-Discovery Channel TV show “The Rip Whitening Show”. His best-selling books and notoriously high-energy seminars have inspired millions of people around the globe to dramatically change their lives. His conflict resolution work with the United Nations has turned wars into skirmishes.

Rip is ranked by People of the World magazine as one of the Top 1 People in the World.

Last year, Rip brought his famous 7-minute SynchroDestiny workshop to Australia. In just 7 minutes Rip tore hundreds of lives apart with a combination of positive affirmations, manipulations of the psyche, subliminal images, NLP buzz-words and violent self-promotion. Attendees couldn’t help but be synergised with their SynchroDestiny®.

We caught up with Rip before his debut show for the Sydney Fringe Festival, at the Factory Theatre in Marrickville

The market for motivational speakers has never seemed bigger, every day there is a new armchair expert with the latest techniques. What do you think it driving this?

Simple, Cassandra. Everyone’s getting into motivation because everyone wants to be like Rip Whitening. Because I’m the best. Not just at what I do, but at what everybody else does. Which is, try to be like me. But I’m the best at being like me – because I am me. So they have no chance.

NLP . . really? What are your thoughts?

NLP? Niggaz With Attitude? I’m not into racism. What I am into is programming people’s neuro-linguistic pathways. Let me give you an example. In the next question, I want you to ask me what the audience can expect from the show. Now, concentrate….and….NOW!

What can the audience expect from the the show – will they feel inspired, motivated, READY TO RAMP UP!

You can expect to have a torrent of self-actualising power gushing forth into your mouth – I mean, into your future.

What inspired you to do this great show . .

This will be my 8732nd show in a row, without a break. That’s more shows than you’ve had hot dinners. What inspired you to have that first dinner? I’ll tell you. Hunger. What kind of hunger? A hunger to see RIP WHITENING LIVE. What was the question again?

On the Guthy-Renker Fun Quotient Scale, I give it a 9.47. How much fun will you have watching it? 47598347598798347698035.

Will you have a series of tapes, CD’s, shirts, firewalking days and trips to help your new participants?

Why yes, thanks for asking. My bestselling book, “I Found You In The Closet, What Were You Doing?” will be available in hardcover. My audio guide to financial success, “Rip Dad, Poor Dad”, will be available in softcover. Which is quite an achievement for an audio guide. And my ripped abs will be available in harder-than-diamond touch-and-feel scratch-n-sniff after the show.

And lastly . . .Inner West or Adelaide? What’cha think for Fringe Festival

I’m more of a Lakers man, but hey, I’m sure Australia will one day get a team into the NFL. See you at the show, Cassandra.

Some participants were lucky enough to walk away with some of Rip’s self-development books: Rip Dad, Poor Dad, The Powergy of Now and The Powergy of Now Hardcover Gift Edition. Others died.

“Rip performs his seminars with the help of a series of visual aids designed to penetrate the back of the back brain through the front of the skull. The results were staggering”.

“Rip taught me how to harness all my rage to fight homelessness in New York City.” – Patrick Bateman

“Without Rip, I would never have made the confidence of speaking.. had the confidence to speak on behalf of the United States of the USA.”
- George W Bush, 43rd President of the USA

Rip Whitening is appearing at The Factory Theatre

Date: 21/09 20:00, 23/09 18:30, 24/09 21:30, 25/09 18:30, 26/09 20:00

VENUE: The Other Room (the Factory Theatre)

TICKETS: Adult: $20.00 Concession: $16.00
(a booking fee of $2 will be applied on ticket purchases)

Mystery Bus: Reviewed

All you have to go off is a pick-up point and a collection of enigmatic clues.
At the specified hour you must board a bus outside the Imperial Hotel in Erskineville. Where you’ll end up is anyone’s guess.
Tonight’s clues are: marsala spice, gypsy rhythms and dancing shoes.
Good enough for me!

When we reach the service station opposite the Imperial, a sizeable crowd has already gathered in anticipation. Some are costumed up – I catch flashes of black velvet and gold braiding, kohl eyeliner and feathers. Others have only just heard about the Mystery Bus and have walked down from a nearby pub to join the growing queue.

The suspense grows as we shuffle from foot to foot in the cold and glance around expectantly for any sign of our chariot for the evening.
Finally the ’000′ Mystery Bus swings into view and we eagerly file onboard. The bus is packed full – brimming with laughter and chatter as the doors ‘tshhh’ shut and we take a collective plunge down the rabbit-hole.

Inner-west streets fly past in the dark, cameras flash as friends document the ride – already there is excitement in the air – and before we know it, we’ve arrived at our destination. A lantern glows invitingly above a red door a little way down the street. Part of the puzzle is now complete – the Red Rattler, the Marrickville-based artist-run performance venue, will be playing host to tonight’s mystery guests.

Inside we grab a drink from the cheery volunteer staff behind the bar and take up residence on the many plush couches and cushions dotted throughout the decidedly red warehouse space. That is until World Music act ‘Marsala’ take to the stage and sitting down quickly becomes far less appealing.

These musicians are just fabulous. Over the next few hours they take us on a dizzying ride through different countries and genres – veering from latin and african rhythms, to french rap to jazz to russian folk and incorporate much more in between. They are great with the audience and have a playful chemistry with each other – clearly enjoying the talents of their fellow-performers as much as the crowd whirling and clapping on the small dancefloor before them.

While no two nights will be the same on the Mystery Bus tour, if this will be the typical standard of the performers involved, I can’t recommend it highly enough! Take the gamble and grab yourself a ticket!

Remaining Performances: Friday 24th of September

WORKING CLASS SHEILAS

Written and performed by Jude Bowler, WORKING CLASS SHEILAS is a show about four women or the four stages of one woman – for women. When a young woman returns home to collect some of her childhood things, her parents have left for the weekend and she spends the time reflecting on her life. This is where the audience is allowed into her world and into the lives and stories of four women.

The stage is centred by a stripper pole, surrounded by boxes. These boxes hold the costumes for each of Bowler’s characters. This is a clever and functional move that allows her to slip between the characters with ease. The lighting is simple and effective allowing the stories to be the focal point.

Bowler’s characters resemble people we already know. The one with the most interesting profession is “Waylene” who has the rare expertise of being a nipple reader. Yes…you read correctly.

Whilst the writing is fluid and Bowler sustains her characters consistently, there was really no great emotion in the writing to draw audience focus or empathy. The piece developed a gentle hum that seemed to wash over the audience.

The show could have had minutes shaved off it without compromising the narrative. Perhaps that’s a better description of this show – a narrative. It wasn’t a story. It’s depth of dialogue was lost in physical translation. Nevertheless, Bowler writes good character material.

Check out Working Class Sheilas at the Cleveland St Theatre this Thursday, 23 September.