Tag: Jacob Williams

REVIEW: Live on Stage in Melbourne – KING KONG

You’ve never seen anything like this…

By Kim Edwards

Bold, breath-taking – and BIG.

King Kong

King Kong Live on Stage is a wildly ambitious and theatrically daring production that crashes through musical conventions and scales special-effects heights, but has not yet escaped being a rather lumbering and cumbersome beast of a show. However, this production is still in its infancy and therefore evolving, and meanwhile the world premiere now showing at the Regent already has theatre-goers thrilling, puzzling, and debating its merits furiously.

The famous (and admittedly thin storyline) has been reimagined for the stage in an extraordinary and contrary way. The songs are the collected efforts of contemporary artists such as Sarah McLachlan and 3D from Massive Attack: at its most successful, the music forms an exciting and unusual soundtrack that is a distinct relief after the formulaic and expositional offerings of some other musicals. At other times however, songs are jarring and uneven with their musical anachronisms and bland lyrics. The set and backdrop are primarily a dynamic blur of lighting and video effects: at its best in the scenes emulating grainy film footage, the impact is utterly spectacular, from the dance of the Skull Island locals and the moonrise lullaby, to the final battle atop the Empire State building. At its worse however, the lingering impression is of Atari video games, and b-grade music videos.

Esther Hannaford as heroine Ann Darrow is an impressively feisty and funny leading lady, and visually and vocally beautiful. The film director and plot catalyst Denham (Adam Lyon) is full of pizzazz, but has not quite settled into character or singing style securely yet. Chris Ryan is pleasant as love-interest Jack Driscoll, while Queenie Van de Zandt sings the hell out of the incomprehensible role of Cassandra.

But then there is Harley Durst, Danny Miller and Jacob Williams, and Lincoln Barros, James Brown, Adam David, Josh Feldschuh, Brett Franzi, Nathan Jones, Nathan Kell, Pussell Leonard, Brent Osborne, Troy Phillips, Mike Snow, Maxwell Trengrove and Tayo Wilson. Their collaborative emoting, movement and acting was inexpressibly moving and mesmerising – from their first moment on stage, the audience involuntarily drew breath, and they commanded our rapt attention and unstinting admiration until the very end. No – they are not the (excellent) ensemble in this production. These gentleman are the puppeteers that give life to Kong, and they and he are the unequivocal stars of the show.

King Kong Live on Stage provides just that: the sense of real awe and amazement at  what we see when it comes to the breathing, bellowing believability of Kong himself is worth every cent of the ticket price. He and his creators are a united marvel, and it is simply a bonus that the blockbuster musical is also being unleashed from its primal predictable bonds here, and let loose afresh (albeit still chaotically) into the theatre world.

Go for this – King Kong is wonder-full.


REVIEW: The Lichtenstein Nursing Home Massacre

More puppet blood!

By Christine Moffat

This rollicking Punch-and-Judy-inspired puppet show is an entertaining little murder mystery.  Billed as a 60-minute show, on preview night it clocked in at closer to 90 minutes.

The puppeteers run the entire show in the dark from behind the set, and I think the technicalities involved needed a bit more breaking in.  The show suffered from the delays, as the gaps where the audience faced a quiet, darkened stage strung out the plot, and frequently diminished the suspense that the puppeteers continually worked very hard to create.  In a more serious show this would have been disastrous, but as this show is designed to be a lot of horrible fun, it managed to keep the audience engaged.

The crowd at Lemony S Puppet Theatre are very skilled at creating atmosphere, and the show benefited from many a foggy, suspenseful night scene.  What you see and what you don’t is always a tantalising element of a whodunit, and this was particularly well staged and performed.  I loved the novel way that we were made privy to the view through a character’s binoculars.  The audience is also provided with individual binoculars so that we can enjoy the detailed interactions between characters.  Use these especially for the fabulous mad scientist’s lair, which provides a lot of chuckles, plus a few clues.

Part B movie, part gruesome medieval puppet show; be prepared for a bit of mystery solving and a good laugh. Despite the long running time the show delivered almost everything it promised.  This is a well-written show, with a fabulously tied-in sound and music scheme, and the puppeteers were fantastic.  It appears a little rough around the edges, but I got the sense that this was deliberate.  It’s ripped like a cool kid’s pair of jeans.

The show was full of intrigue, adult content, including plenty of saucy puppet quickies, and lots of murders.  The only thing it did not deliver enough of was blood, “more puppet blood!” I say.  If you have ever watched The Rocky Horror Picture Show and wondered what sort of puppet show Dr Frank-N-Furter would write; book a ticket to The Lichtenstein Nursing Home Massacre and enjoy the ride.

28th September – 7th October for Melbourne Fringe Festival

Thu, Sat, Sun 6:30pm | Wed, Fri 8:30pm (Tue performance 6:30 Oct 2)

La Mama Courthouse, 349 Drummond Street, Carlton

Bookings: www.lamama.com.au

Tickets: $25 Full | $15 Concession

Performed and created by Jacob Williams, Kirstian Bagin and Tim Denton with Sarah Kreigler

Written by Sarah Kreigler and John Paul Fischbach

Sound design by Steph O’Hara