A little bit cheeky.

I’m not quite sure where to start with my thoughts on How to Kill Your Husband… should I first mention the story, the talent, the orchestra or the general naughtiness of the show?

Maybe I’ll just start by marvelling at the fact that I have made it to two events in under a week. Now that’s a record. Much thanks to @fionak for making an offer I couldn’t refuse.

Photo: Uni of Melb Alumni

But enough self congratulations, it’s time to move on to the show itself. As I mentioned yesterday, I’ve never been to an opera before, and How to Kill Your Husband did not disappoint as a suitable introduction.  Victorian Opera have bravely taken on a popular, modern source (Kathy Lette’s best-selling novel of the same name, published in 2007) and transformed it into a irreverent, yet slightly earnest operatic tale of two women in marital crisis.  From the outset the show has Jazz and Cass struggling to regain control of their unsatisfying, house-wifey lives, helped in no small part by Angel’s handy hints and cheeky intervention. Their husbands are unlikable in the most part, which of course is the point, although it is nice to see that Rory is somewhat redeemed by the end of the performance.

The talents in How to Kill Your Husband were most impressive.  I’m no expert in this style (not by a very long shot) but I did think that the casual operatic styling, quite heavily peppered with cabaret worked a treat.  Angel, played by Melissa Langton was outstanding, her cabaret voice the star of the show.  The casting of counter-tenor, Tobias Cole in the role of Studz (a particularly despicable character) was quite transfixing.  His incredibly high voice created a rather obvious contrast to the mysoginest, matcho role, adding a real sense of irony to his story. This was quite an intriguing element to the preformance.  A further, extra-special treat was the appearance of Christa Hughes as Bianca the sex therapist.  Her bawdiness made me both giggle and cringe, and her casting in this role made perfect sense.

As a little aside, I really enjoyed the fact that the Victorian Opera Chamber Orchestra, conducted by Richard Gill was positioned centre stage. It gave a kind of ‘big band’ feel to the performance, fitting as they were fronted by the huge voice of Langton.

I’d recommend How to Kill Your Husband as a great girls night out, although I’m sure the boys out there would enjoy it too providing they don’t take themselves or the show too seriously.  Similarly, I’d recommend this show as a really suitable introduction to opera…Victorian Opera should be commended.

The show is on at the Malthouse Theatre, Melbourne until 29 May 2011, and for an extra affordable evening out Rushcrowds have half-price tickets for this Thursday, 19 May 2011.  Click here for details and go along for the ride.

Does this make me a grown up?

I’m posting this nice and early today, as I won’t have time to post anything tonight and I want to brag about what I’ve got coming up this evening. I’d also like to tempt you a little.

I’ve got a day in the office, putting a little time into the day job after a pretty long break away. It’ll be nice to catch up with the crew, and to have some uninterrupted time to get some web work done.

But that’s not the highlight.

Tonight, I’m going to my very first proper opera and I’m pretty sure that makes me a grown-up. At the very least I must be proper cultured, yeah?!

My friend @fionak and I are having a gals night out at the Malthouse Theatre, to see How to Kill Your Husband. The show is based on Kathy Lette’s novel of the same name and is presented by Victorian Opera. It is said to be full of wit and irreverence.

Photo: http://www.malthousetheatre.com.au

If you’re keen for a last minute night out, Rushcrowds has half-price tickets available here… This makes for a very affordable evening out, a chance to enjoy both culture and giggles.

My ears are ringing (in a good way)

Sometimes, just every now and then you get to go to a show that feels a little bit dangerous. Not dangerous to my well being, I’ll admit, but dangerous in the sense that you’ve got NO IDEA what’s coming your way.  No clue what to expect, over and above the fact that it’s bound to be in your face.

Amplification, by Phillip Adams’ company BalletLab was one such show.  I had a sense before walking in that I should be prepared for just about anything, and it did not disappoint.  It seemed to me to be more performance art than contemporary dance, but I’m by no means an expert in either, so I was quite happy to go along for the ride. It most certainly seemed to be largely about movement, and an appreciation of movement most deliberate.

From the outset, it packed a punch. The DJ (on stage throughout the performance) was the first on stage. His introduction was industrial, grinding, shrill.  The dancers commenced to grind along, with frightening, fluid violence.  They actually looked at times as though they might hurt each other.  I shouldn’t have worried though, they were at all times perfectly in control.

The show itself had no obvious linear narrative, but it most certainly made reference to many dark, starkly important themes – power, imprisonment, abuse and gender.

About halfway through the performance the music stopped, leaving a slight ringing in our ears, and the lead dancer continued to dance.  I’ve got to say, this was strange and seemed a little on the silly side, but then I noticed the sounds that her dancing was making.  I was quite thrilled to listen to dancing, the slap of feet on the wooden floor, the light but strong thump as she came into contact with the ground, the slightest rustle of her clothing.

As the performance moved through warehouse industrial, to sitar burial tunes, to a little West-Side Story style dance-fighting, I became aware that this was the first time watching a DJ that I actually got a real sense that they were playing a musical instrument.  His intensity and skill was exactly as you would see from any professional musician. I was impressed to say the least.

The show concluded nakedly. Dancers bodies, lying incredibly, frighteningly still and then moving, intertwined Inferno-esque.  An act not for the faint-hearted, but perfectly in context.

Getting to see this show was a wonderful opportunity, as was meeting @joidesign, and spending an evening with @fionak (my wonderful host).  Thanks for a great Rushcrowds event.