Tag: Reviews

• Meet Me at the Vernissage

  May 13, 2019 1:59 pm Comments Off on Meet Me at the Vernissage

  With Vernissage My Heart, Austrian band Bilderbuch have released their weirdest and most wonderful album yet. Mizzy, pass auf!
  I first heard about Bilderbuch from a stupidly handsome Austrian backpacker in Peru. Mattias, who had two stories he liked to tell on rotation, enjoyed nothing more than to recount the time he went to a Bilderbuch gig and smoked a joint as long as his arm. The second story was about how he once greened out in front of a giant speaker blaring Bilderbuch (quelle surprise) and was woken up by the police a couple hours later. Mega geil, ja? Mattias was a bit of an airhead but he sure had good taste. Bilderbuch have been one of my favourite bands ever since.
  ‘Bilderbuch’ means picture-book in German. It’s a fitting name for a band that makes innocent, effervescent tunes about playing frisbee, drinking soda, tax evasion, and children smoking spliffs.
  But Bilderbuch were not always this ingeniously bizarre. After a few years dabbling in fairly ordinary rock, they rose from relative obscurity in 2015, when they released Schick Schock to the critical acclaim of German-speaking hipsters everywhere. It was time for Bilderbuch’s frontman, Maurice Ernst, to ditch the skinny jeans and kiss his side fringe goodbye. Bilderbuch said auf wiedersehen to their indie origins, and departed into something considerably more interesting.
  With every album since Schick Schock, Bilderbuch have incrementally cranked up the weirdness of their image. I like to imagine that we’re the frog and they’re the pot of increasingly hot water. With Schick Schock came the music video for ‘Maschin’. It features Maurice sitting in a bright yellow 1990 Lamborghini Diabolo, playing with its luxurious features, and stroking its shiny exterior with equally fluro yellow leather gloves. The music video for the single of their following album, ‘Bungalow’ from Magic Life, is intercut with images of Maurice seductively vacuuming, his bare chest smeared with oil. In the video for ‘Frisbeee’ from their latest album Vernissage My Heart, we have the entire band dressed as psychedelic cowboys playing space frisbee. What a treat.

  Musically, Vernissage My Heart is both a continuation and a departure from Bilderbuch’s earlier material. It’s considerably more guitar driven than the previous two albums, but retains their penchant for autotune and strange synthesised noises. It’s got a feel-good, melancholic, trip-of-a-lifetime air about it – a vibe that is only enhanced by the wacky videos and strange costumes. And, it’s funny. Bilderbuch play on phonetics to create what is essentially gibberish, even to those who Deutsch sprechen. As far as I can understand with my Intermediate German, the lyrics are a dadaist ensemble of words that don’t make much narrative sense but play with sound and meaning in a way that contributes richly to their unique image. With each album, Bilderbuch fixate on a few select themes. With Vernissage My Heart it’s frisbee, space, and memory cards. Bilderbuch have no comparison, and without a doubt, Vernissage My Heart will be one of my favourite albums of 2019.
  Despite their genius, Bilderbuch still only tour German-speaking countries. It seems the rest of the world has yet to get up to speed with Austrian pop. But, if we create enough of a following here in Canberra, maybe – just maybe – one day we’ll have the privilege of seeing them live in Australia. Kiffe und höre Bilderbuch! Wir lieben Bilderbuch!

  Maleika Twisk

• NUTS’ Picnic At Hanging Rock: Review

  May 10, 2019 4:00 pm Comments Off on NUTS’ Picnic At Hanging Rock: Review

  A gothic mystery like no other, ‘Picnic At Hanging Rock’, has hit the ANU Theatre scene. This is the National University Theatre Society’s second production under this year’s theme, “This is Our Youth”, and this Australian classic featuring adolescent characters fits the bill. As directed by Matilda Hatcher, the mystery of the story is enhanced by the movement of the characters against the backdrop of an eversame Australian bush.
  The classic Australian story set in the outskirts of Melbourne at the beginning of the 1900s is about a group of schoolgirls that go missing, and the subsequent questions and self-torture that those who are left behind go through. Not only a mystery, the story also has themes of femininity, belonging, and touches into the colonial experience. In my opinion, it is never not timely to question the validity of colonialism, especially looking into our own history as Australians, so this play is always going to draw me in. What left me in awe was the solid production put into action by Hatcher and her cast and crew.
  The all-female cast did an incredible job at embodying a vast array of characters, at times spontaneously swapping between them while providing both narrative and dialogue. This took a little getting used to, but after a few minutes the hypnotic effect had me hooked. The physical weaving and chant-like delivery of lines, doubled with the fluent changes between characters, was intoxicating – you felt as drawn to the omnipotent Hanging Rock as much as the girls did. This effect is no doubt owing to the direction Hatcher, who also makes her debut in the role.
  The set was artfully decorated, with some impressively sized trees in the background, and, in typical student theatre fashion, an up-cycled three-legged cabinet with a prosthetic leg tacked on. There was perhaps an over-use of blackout between scene transitions. I did overhear some audible sighs where I was seated, although that could have also been due to the fact that the woman behind me was providing fervent commentary in a whisper fit for the stage. The judicious use of sound effects – the whistling of the Australian bush, the ticking of a clock – must be commended for providing the atmosphere of mystery (despite the faint thump of the bass from the Meg Mac concert in the next room). Some surprising comedic moments balanced the slow, inevitable descent into total desperation that was epitomised by Anna Burnard’s portrayal of schoolmistress Appleyard. I almost felt guilty, spying on her as she unravelled, but I was stuck on every word.
  As someone who is well-acquainted with the original Joan Lindsay novel, I felt the centrality of Miranda – as an ethereal, cult-leader-like figure whose hold on the people around her is non-transient – could have been lost on those who were unfamiliar with the story. However, the fact that any of the women on stage could have been Miranda at some point added to the atmosphere of mystery rather than detract from it. Through the movement sequences, I found myself constantly looking for Miranda – in a way reminiscent to how the character Michael Fitzhubert (whose exasperation was superbly captured by Marni Mount) obsessively searches for her.
  A wonderful student theatre production that highlights the Australian voice, as well as those of women (hurrah!), make sure you don’t miss out on seeing it.
   
  ‘Picnic at Hanging Rock’ is at the Kambri Drama Theatre for two more nights (10th & 11th May). See the Facebook event for more details and to buy tickets.

  ‘Picnic At Hanging Rock’, has hit the ANU Theatre scene as part of NUTS’ 2019 annual theme, “This is Our Youth.”

  Lily Iervasi

• ANU ShakeSoc Presents: Much Ado About Nothing: A Review

  May 4, 2019 6:29 pm Comments Off on ANU ShakeSoc Presents: Much Ado About Nothing: A Review

  It wouldn’t be the theatre without death, a wedding, tears of laughter and a few turtlenecks; and that’s exactly how I would describe Much Ado About Nothing. Directed by Kate Garrow, the Shakespeare Society presents the comedic tragedy that follows the life of two couples who couldn’t be more opposite. Hero and Claudio, played by Emma Roberts and Rohan Piliutla share a romance that can only be described as a fantasy: meet, instantly fall in love, get married… almost, die…almost, then actually get married – but under false pretenses of course. Roberts’ wail when Hero is falsely accused of not being ‘pure’ is so powerful it drowns out Piliutla’s aggressive monologue. A perfect tragedy. For the comedy look no further than most every scene with The Watch. They don’t need to rely on laughs to keep the audience alert however – the repeated sounding of an air horn does a great job of that.
  If you’ve ever seen a romantic comedy, you’ll know the story of Beatrice and Benedick (played by Cailtin Baker and Damon Baudin respectively). First they can’t stand to be near each other, then they can’t stand to be apart. The only difference in Much Ado About Nothing is that it takes everyone around them to be in cahoots and create fake letters professing their love for one another to make that happen. Beatrice and Benedick; Baker and Baudin. Though their names belong in the B-team, their acting definitely doesn’t. Baker and Baudin steal the show with their endless banter, wit and intellectual energy.
  From the villain to the friar, each character is dripping with comedic material – some more so than others. But, without the lulls, the highs wouldn’t be as funny or as memorable. With serene guitar solos, a hilarious flute-like-instrument solo, and dance routines comparable only to ‘Mamma Mia’’s ‘Voulez-Vous’, the talent in this play is not limited to acting. Though the accents were questionable at times, they were far better than the average person’s and thus, my hat goes off to everyone involved in bringing this play to the Kambri stage.
  If a night of laughter, sadness, and sexual innuendoes is what you desire, look no further than the Shakespeare Society’s Much Ado About Nothing.  
  The Shakespeare Society’s Much Ado About Nothing is at the Kambri Drama Theatre for final showings on the 4th May.

  Sara Gillespie

• ‘Captain Marvel’: The Latest in a String of Great Marvel Movies

  May 1, 2019 5:38 pm Comments Off on ‘Captain Marvel’: The Latest in a String of Great Marvel Movies

  The received wisdom in nerd circles is that is that the Marvel cinematic universe movies are all the same and devoid of originality. And sure, the Marvel movies do tend to follow a formula, because it’s one that works! It meshes well with the three-act structure that most movies are built upon and allows the protagonist to go through their ‘hero journey’, completing their character arc satisfyingly.
  It is the filmmaking within this structure that makes a movie stand out – or not. Brilliant filmmakers such as Ryan Coogler and Taika Waititi have managed to create beautiful works of art in the form of ‘Black Panther’ and ‘Thor: Ragnarok’, while still holding onto enough pieces of the Marvel formula to satisfy the casual moviegoer and rake in around $1 billion each.
  The newest addition to the Marvel cinematic universe is ‘Captain Marvel’, which earns its rightful place among the great Marvel movies (and recently hit $1 billion at the box office). It is the story of Carol Danvers, an alien (Kree) air force pilot stranded on Earth in the 1990s. She wrestles with her identity, and has to cope with figuring out who she really is while being on the run from the Kree’s enemies, the Skrulls, with the help of S.H.I.E.L.D’s Nick Fury and her best friend Maria Rambeau.
  While ‘Captain Marvel’ does not necessarily have the flash and instant recognisability in its filmmaking as recent Marvel fare, its directors Anna Boden and Ryan Fleck do a fantastic job of pulling together a movie that was tasked with seamlessly meshing a space opera aesthetic with the mid-90’s. Both of these sensibilities are wound together in a way that manages not to be jarring, except in those moments designed to be that way, where the two worlds collide (sometimes literally). It was a good call by the filmmakers to set the story in a setting where superheroes are yet to become known. It gives Carol a chance to shine in her own right without having to clutter the story with either the presence of other heroes, or justifications for lack thereof.
  The loveliest thing about this movie is the character relationships. Carol’s main relationships on Earth are almost entirely with folks of colour, which makes for a welcome change. She bonds with Fury relatively early on in the film over their service and mutual sass. The rapport between the actors, Brie Larson and a cgi-ed Samuel L. Jackson, is wonderful and feels very natural. It is a great building block to Carol’s role in the next Avengers adventure, ‘Endgame’, that she has a personal stake in the fight though her connection to Fury. Also, the fact that Nick Fury reacts to cats the way any cat-lover would, complete with cooing and baby talk, is delightful.
  Carol’s strongest connection on Earth, however, is with her air force best friend, Maria Rambeau, and her daughter, Monica, who she adoringly calls Lieutenant Trouble. Carol’s relationship with Maria is her anchor, and the main thing that brings her back when she’s on shaky ground regarding her own identity. Carol’s backstory with little Monica also strongly suggests that she played a co-parenting role in her life(listen internet, if there is not an abundance of fan works depicting Carol and Maria sappily raising a kid together, I will be sorely disappointed).
  The thing I enjoy the most about this most recent string of Marvel movies, even more than their masterful execution, is that the filmmakers were given enough freedom to put forward actual themes and messages behind the special-effects filled action scenes.
  ‘Thor: Ragnarok?’ Surprise, it’s about a colonial empire-building and how a nation built on violence and bones of the oppressed doesn’t deserve to exist! ‘Black Panther’? Surprise, afro-futurist philosophies manifest, along with discussions of pan-africanism and people’s responsibility towards their diasporas when they are marginalised!
  So, does ‘Captain Marvel’ have a covert theme smuggled underneath its super heroic veneer? Not that it necessarily needed one – being the first Marvel movie spearheaded by a solo female character would have been accomplishment enough, But yes, captain Marvel does have something more to say. The surprise theme this time is about challenging colonialist brainwashing and narratives, intertwined with Carol’s journey to reconcile her past, while discovering herself and her powers. The story also touches on the repercussions of colonialist mentalities, and the refugees that result from them. Refreshing, also, is the way that refugees in the movie are explicitly and unquestionably treated as people deserving of help and a home. As much as equating the struggles of marginalised communities to fictional groups is a hard thing to do, in this case I felt that it was handled with a skilful touch.
  The denouement of Carol’s character arc felt very apt for her character. It has been criticised for not being a satisfactory climax for a superhero’s journey, but personally, I adored the fact that the film culminates to Carol recognising that she doesn’t have anything to prove to any (male) authority figures in her life. It feels like a very deliberate choice, a message for both the characters and the audience: ‘Captain Marvel’ is here to stay, and she doesn’t care what you have to say about it.

  Al Azmi

• Logic’s Temporary Departure From Rap: A Genre-defying Act

  April 28, 2019 10:43 am Comments Off on Logic’s Temporary Departure From Rap: A Genre-defying Act

  I’m listening to Logic’s soundtrack for his newly released book, titled Supermarket, and I find it’s nothing short of a musical transformation. From a successful rap artist who has produced four studio albums – with a new one on the way as well, called Confessions of a dangerous mind – and six mixtapes, the soundtrack Supermarket represents the literal antithesis of who he is musically.
  Confused much? Let me start again.
  For those of you who don’t know, Logic is a MC rapper from Maryland, USA, possessing one of the sickest flows in the rap industry.
  You probably remember him from the song ‘1-800-273-8255’, in which he sings about suicide, depression and mental health. It’s what gave him the MTA/VMA performance in 2017. He’s a well-balanced rapper with great beats for the rap consumer. He’s got a talented producer (6ixx) as well. Alright, now back to the point.
  Supermarket isn’t a rap album. In fact, I ask anyone who’s never heard Logic to listen to Supermarket. You don’t need to go more than three songs down to realise it’s a warped version of a romantic album. Logic has attempted a very uncomfortable task. Imagine the equivalent of a heavy metal band suddenly prancing around on ponies, blowing bubbles at their mates while the lead singer sings nursery rhymes and one easily understands the parallel.
  How could a rapper who wrote the song ‘Gang-related’ on his first studio album also sing “Pretty young girl” – a lovesick song, five years later, especially when he’s touted as a hardcore rapper? Simple. He’s done it before. Sort of.
  Everybody, Logic’s third studio album, was heavily based upon concepts of freedom, skin colour, racism and America’s political problems. One of the songs, ‘take it back’, had our rapper talking for twice as long as he rapped, recounting his story as an up and coming kid on the block. How his mother was a racist. How his father had a drug addiction. The album also digs into the question of God’s existence, during which Neil Degrasse Tyson does a voiceover of God where he explains purgatory and reincarnation to a dead man named Atom.
  The album pushed Logic into the mainstream, allowing him to engage with an audience that was not heavily into rap. His message of peace, love and prosperity made him an icon as much as an artist. That’s the sort of thinking that’s led him to experiment with his creative vision once again. Some didn’t like it so much this time.
  Rolling Stone has slammed the newly released project, rating it one and a half stars out of five on its review. I don’t want to get into details, but to me this is the sort of review that crushes the soul of experimentation for mainstream artists. When a music star or a movie maker tries to take a new direction in their work, the media is waiting, ever-so patiently, to write an article that signs the art off like worthless junk. I would really prefer if reviews like this didn’t affect your opinion before you hear the damn thing.
  Logic fans don’t have to be disappointed in their star’s actions. This change in genre should excite people, not depress them. Logic isn’t going to be sitting in a barn singing corny country songs forever.  After all, he’s coming out with his fifth studio album, Confessions of a lonely mind, and this one looks like a take on his personal depression. Truth be told, nobody needs to worry about what Logic will rap about. So long as it’s still rap.
   

  Johann Wilfred

• Kids these days: a review of NUTS’ ‘Peter Pan’

  April 25, 2019 3:55 pm Comments Off on Kids these days: a review of NUTS’ ‘Peter Pan’

  For the first ever student-led production held at the Kambri Drama theatre, the National University Theatre Society (NUTS) has put together a reimagined version of J M Barrie’s classic play Peter Pan. The choice of play is particularly apt—the core themes, exploring the meaning and empowerment of youth and growing up, provide a welcome reprieve from the University’s own disempowerment of students in our shiny new Kambri Precinct.
  NUTS’ production of Peter Pan is an exercise in the absurd. It has the quaint charm of a child’s stick-figure painting that one would find on a fridge and the enthusiasm of a high school debate. The cast and crew clearly had a lot of fun and it came through in their performances.
  Directed by Amy McDonald, Peter Pan is a playful adaptation of the original play, with strong acting and a gorgeous set design revitalising an otherwise dated piece of literature. The choice to set the show in a theatre in the round places students, and the focus of our youth, in the centre of the action. The set is made up of many different and unique pieces made up from toys and other artefacts from one’s youth.
  It has always struck me how J M Barrie’s play explores the ideas of choosing when to grow up, free from the external pressures of our society, yet simultaneously denying that right to self-determination and empowerment for many of the characters inhabiting the fictional land of Neverland, particularly in its depiction of First Nations peoples.
  NUTS’ production of Peter Pan sidesteps this issue, omitting the caricatured Picaninny Tribe from their production. Instead, the play was peppered with scenes of interesting music and dance that served to connect otherwise disparate scenes. This may have been one of the production’s only weaknesses—the scenes did seem rather disjointed and lacking a coherent narrative. The departures from the traditional staging, while refreshing, relied on the audience knowing the thrust of the original Peter Pan in order to fully appreciate them.
  Peter Pan is a fitting beginning to the 2019 NUTS season ‘This is Our Youth’. The focus of the play is the experience of young people as they transition to adulthood. In particular, for a cohort of new ANU students fresh out of high school, Peter Pan revisits the magic of childhood before the relentless tides of assessments and stresses which define studying at Australia’s top university.
  Burgmann law students hailing from Sydney’s North Shore should take note—what do we miss out on in our quest to fill up our schedules and in pretending to be important? Is this growing up or is it a cocoon within which we weave ourselves to stave off our childhood angst and fears as we approach the inevitability of responsibility and adulthood?
  Young people are often subjected to scorn by older generations. We see countless articles claiming that ‘Millennials have killed X’, suggesting that we forgo ‘luxury breakfast items’ in order to afford basic necessities or complaining about so-called traits that we all supposedly share—laziness, self-entitlement, overly-sensitive and arrogance.
  Given the world left to us by older generations, it is no wonder why some children refuse to grow up. Why should they, if their parents and grandparents never did?
  Peter Pan is showing at Kambri Drama Theatre from 24 to 27 April. Times and tickets are available via Facebook.

  Jonathan Tjandra

• “IS IT OKAY TO STILL LIKE WEEZER?”

  April 3, 2019 1:59 pm Comments Off on “IS IT OKAY TO STILL LIKE WEEZER?”

  First impressions on the band’s 13th LP, Weezer (Black Album)
  I’ll forgive you for not jumping on the Weezer bandwagon with me – the band has been really hit-and-miss with their releases since the Green Album (of ‘Island in the Sun’ fame). The most popular critique is of the band’s immaturity in their song content. Rivers Cuomo is almost 50, surely he’s grown up and doesn’t need to be singing about getting high anymore? But there’s something about Cuomo’s simplistic lyrics and rather bleak outlook on the Black Album that differentiate it from other recent releases. Sure, there is no true common story over the course of the album (which the Blue Album and Pinkerton achieved so superbly). If you listen only to the surface lyrics, it does seem juvenile (“Die, die you Zombie Bastards” – poetic). But there are some real gems on Black – ‘Can’t Knock the Hustle’ and ‘Too Many Thoughts’ stand out with their relatable contemporary references (“Overwhelmed by Netflix Options”). The pop veneer coats the whole album with satire, revealing a level of reflexivity and self-awareness for which Cuomo’s critics rarely give him credit. Maybe Weezer could mature – but given their ever-enduring popularity in the more than quarter century they’ve been releasing music, it seems unlikely they will ever make that transition.

  First impressions on the band’s 13th LP, Weezer (Black Album)

  Lily Iervasi

• The Gospel According to Paul: Compulsory viewing for the politically inclined and educational fun for those unenlightened.

  March 27, 2019 6:56 pm Comments Off on The Gospel According to Paul: Compulsory viewing for the politically inclined and educational fun for those unenlightened.

  While a one man show about the musings of a former politician may sound uninviting to many, there are few politicians, nay few people, with the wit or humour of Paul Keating. While the man himself made no appearance, his most experienced impersonator, Johnathan Biggins, once again took on the task of embodying Keating’s spirit in this 90 minute production. Biggins, known for his work on The Wharf Revue, brings great charm to the Keating character – while physical resemblance may not be uncanny, his mannerisms and expression certainly are. The script, also written by Biggins, is obviously fictionalised, but carries the acerbic wit that could only be matched by Keating himself. Better known amongst millennials for his quick quips and YouTube insult compilations than any of his policies, Keating’s enduring media presence has ensured his one-liners still make headlines to this day. While the inspiration for the show may be Keating, all credit goes to Biggins for not only his wonderful portrayal, but a sharp script that had the audience beside themselves with laughter. The mood was electric, and the gasps of amused incredulity from the older audience members during particular barbs were also a source of delight. It’s always a sign of a good night of comedy when you have that slight ache in your cheeks from extended periods of smiling.
  I’d be lying if I said every reference was perfectly understood, but there was more than enough modern and topical fodder to engage this late 90’s baby. While many of the events discussed may predate my birth, a good jab at Harold Holt or Bob Hawke can be enjoyed by aspiring pundits of all ages. That being said, the scattered musical numbers fell a little flat. While I appreciate the reference to Keating’s love of music and tendency to break out into song, the renditions didn’t quite work with the flow of the rest of Biggins’ performance. It was the only time in the entire evening that the audience was less responsive, but all in all, they were still enjoyable.
  Whether you’re a Keating die-hard or someone just looking for a laugh, I would definitely recommend The Gospel According to Paul. First and foremost, it’s a hilarious piece of work, but you may even find you learn something along the way.
  The Gospel According to Paul is playing at the Canberra Theatre Centre until Sunday 31st March
   

  Josie Ganko

• Another despot on another wall: an ‘Evita’ review

  February 28, 2019 5:32 pm Comments Off on Another despot on another wall: an ‘Evita’ review

  Very few songs have attained the status of Don’t Cry for Me, Argentina. For many, it’s all they know about Andrew Lloyd Webber’s rock opera ‘Evita’, chronicling the rise to fame of Eva Perón. In Opera Australia’s production of ‘Evita’ at Melbourne’s State Theatre, Tina Arena as Eva Perón galvanises and seduces the audience as she ascends the socio-political ladder of post-war Argentina.
  Don’t Cry for Me, Argentina may seem like a cheesy love ballad, but in reality, it is a chilling masterclass in political manipulation. Arena’s warm tone lulls the assembled crowds into a sense of security, declaring her love for the working class descamisados (the shirtless ones) of Argentina who have just elected her husband, Juan Perón, to the Presidency. Don’t worry, she seems to be saying, I have kept my promises to you and will never leave you. It’s filled with meaningless platitudes.
  And it’s certainly true that the people should not cry for Eva Perón. The truth is they should be crying for themselves and how they allowed Eva to prop up her husband’s corrupt regime.
  The song is a classic example of hortatory, where the nation is addressed directly by a singer to undergo a course of action specified by the singer. Apparently, all you need to capture the heart of a nation is determination, stunning dresses, and ruthlessness.
  ‘Evita’’s stage is sparse, and it marks a return to Hal Prince’s original staging, with a giant screen projecting newsreel-like images and footage of Eva adding a sense of gritty realism to the show. The staging is Brechtian, with props and set pieces being moved in full view of the audience between scenes. Revolving doors, revolving beds, and a game of musical chairs all serve as metaphors for political machinations and manipulation.
  In a way, this choice accentuates the ongoing narrative that fame and fortune rest on an elaborate but tenuous web of manipulation. Just as theatre audiences are manipulated into suspending their disbelief, so does Eva Perón enchant the whole nation with her charm.
  Instead, the focus is on the detailed costumes, accentuated by brilliant lighting. Eva’s costumes evolve as she evolves, from a polyester print dress as a lower-class teenager, ever-increasing complexity as we see her climb the pecking order, to a white ball gown as she stands on the balcony of the Casa Rosada, and finally to simple black dresses. The working class, the upper class and the military are easily distinguished by their uniforms, at least until their clothing is stripped from them and they become indistinguishable from all the other poor unfortunate souls.
  Lighting designer Trudy Dalgeish and sound designer Shelly Lee make excellent use of the State Theatre’s space. The scaffolding, dark lighting, and floor panels work together to create an almost rock concert-like vibe, reflecting across the emptiness of the stage. The use of spotlights draws our attention away from the unsavoury elements of society and focusses it all onto Eva.
  We follow Eva as she tours Europe, winning over much of the public there. In the song Santa Evita, she even takes on the mantle as Mother of all the children, workers, and oppressed of Argentina. In this scene, she transcends the confines of any mortal illusion and becomes deified, projected on the stage as the ultimate idol and worshipped by her followers. By this point, she had probably even convinced herself of this delusion. She starts a foundation dedicated to fulfilling the dreams of the poor voter, but is she also helping herself to the funds as well?
  Kurt Kansley plays Che, the narrator, guiding the audience through Eva’s life story. Modelled off revolutionary Che Guevara, he makes it his mission to dispel Eva Perón’s illusion and to demonstrate she was not worthy of the outpouring of public mourning and hysteria.
  At the end of her life, Eva’s public appearances were short, and her failing body had to be supported by bodyguards, and later on, an intricate wire contraption. Even as she dies, she has to maintain her illusion.
  Even in modern times, the media is a powerful tool used by politicians and celebrities to manipulate the public into voting for them, whether it be through labelling dissenting views as fake news or by silencing their critics. It’s very revealing that Donald Trump loves ‘Evita’. Perhaps he feels a connection with the story of a celebrity-turned-politician engaged populist techniques to mobilise the oppressed masses against the corrupt elite.
  Eva Perón uses her status as a celebrity from radio dramas to manipulate the voters who are angry at the establishment. But even though her husband is elected, she never gains the respect of the upper classes. It is her political overreach and an attempt to run for vice-president that sparks a backlash against her influence over the populace. However, even still, she maintains a vice-like grip as the masses genuinely adore and worship her.
  The end of the musical mirrors Eva’s end – no final martyrdom, no glorious triumph, not even a flashy musical number. Just an embalmed corpse in a coffin, silent mourners, and the lingering afterimage of fame and power. These are the hallmarks of a legacy propped up by extravagant illusions.

  Jonathan Tjandra

• Arts Revue: The Best Evening You’ll Have

  October 12, 2018 10:20 pm Comments Off on Arts Revue: The Best Evening You’ll Have

  When I met with Arts Revue directors Synan Chohan and Stef Roberts-Thomson a week before the show, they shrouded their show in intrigue. Coming to see the show, I knew I would be in for a good time. How wrong I was. I had a fantastic evening that was a great breather from this stressful time of year at ANU.
  Arts Revue’s strength lies in its creativity and ability to use misdirection and subvert existing tropes. Reflected in the all-black attire of the crew, marketing, and the simple black stage, the show isn’t afraid to use people as props, such as when performers magically transform themselves into machines or spider-alien-monsters from the third dimension. I walked away from Arts Revue knowing that creativity and passion behind the scenes were crucial ingredients to creating a show of this magnitude.
  The central plotline revolves around five Australian heroes trying to save Canberra from a freak flood disaster, but their journey takes them from our own University to the far reaches of the moon. While no actual water is used in the show, it was indeed a wild time.
  In addition, the show’s position as the final theatre production of 2018 allows it act as a reflection of the bizarre narrative we’ve really experienced throughout this year. Arts Revue explores it all, ranging from a character study of Elon Musk’s decline to the sudden reality that hits first years upon entering ANU (using a ‘Matilda’ song reference). Although elements such as making fun of ANU’s Wi-Fi outage are to be expected, everything feels fresh. I could feel the amount of dedication put into this show oozing out through the parodies of ASMR videos or ANU’s student stereotypes.
  The musical direction provided by Patrick Haesler worked superbly with style of the contemporary references in the show. You’re constantly laughing as parodies of ‘Pitch Perfect’’s ‘Flashlight’ and a freeze frame showdown to the tune of Baba O’Riley unfold themselves on stage.
  At the end of the show, I was left craving more and couldn’t believe it ended. We’ll never know what would’ve been in the 15 skits that were cut from the final product, but I’ve still never attended a more beautiful and well-written show that truly appealed to me as a student. I was glad to have brought a friend to the show. Bring everyone you know to this and they’ll love you for it!
  Buy your tickets and don’t miss out on Arts Revue’s last show tonight!

  Brandon Tan