Kevin Kropinyeri – Guess Who?

By Colin Flaherty

At the top of his MICF debut, Kevin Kropinyeri explained that he usually plays to predominantly Indigenous audiences and this was his first extended run of playing to mixed crowds. This forced him to add side notes to his regular material so that broader audiences would get the references. He pulled it all off with ease, making this a fascinating and hilarious primer into Aboriginal humour.

Observational material made up the bulk of Kevin’s set which focused on his immediate family and the extended family that comes from being part of a Mob. From his experiences living in various small towns to performing for the Elders, he told tales that could only happen in the Indigenous community. Some silly wordplay was given a nice twist with the various dialects at his disposal. Wonderfully expressive impersonations of various characters from his adventures and exaggerated physical parodies brought the jokes to life. He oozed confidence and cool attitude on stage which was a delight to watch.

The Aboriginal people in the audience howled with the laughter of recognition as they saw characters that they were familiar with and roared with delight at Koori centric concepts. This meant that explanation was often required so that the rest of us could follow the action. Even with the translation delay it was impossible to feel any frustration with not being immediately in on the joke with a performer as charismatic as Kevin.

Kevin makes fun of every Aboriginal stereotype in his act along similar lines to other ethnic humours. This made him susceptible to knee jerk reactions from well meaning Whities about reinforcing those views but he counters it with the argument “we’ve been laughing at ourselves for centuries”. Although he gave us permission to laugh by instructing us to ‘follow the lead of the Blackfellas in the audience’, there is still that small hurdle of guilt to navigate. The light-hearted nature of the show certainly helped us to make the jump.

Those familiar with Kevin’s work would find this the expected hour of solid stand up in the hands of a consummate performer. Everyone else will learn a great deal about another culture to boot. With only one expletive uttered (entirely understandable while tackling a topic that riled him up), it’s a show that anyone can enjoy.

Guess Who? is on at the Backstage Room at the Melbourne Town Hall

Steele Saunders – The Cat’s Meow

By Lisa Clark

Lets get this straight upfront, this is a show for cat people. If you hate cats, this is not the show for you. The title should give you a clue and once you’re in the room a screen showing 50 pics of an orange grumpy looking Persian while Tom Jones croons ‘What’s New Pussycat” should ring some really loud alarm bells. This is not an ‘’ kind of cutesy show, thank god. I mean, really, if cats could use computers they would be able to spell and have good grammar. This is a story about Steele’s relationship with cats and especially his grumpy looking marmalade Persian named Jerry.

The idea for this show was spawned by the fact that Steele included his cat Jerry in his twitter avatar and noticed there was more interest in Jerry than in himself. This led to Jerry getting his own twitter @JerryThePersian which is not at all surprising considering the proven success of cats on the internet. The Cat’s Meow is all about how successful cats are, especially in comparison to ape descendent life forms. Steele has a list of topics stuck to the wall behind him of things that Cats are better at than humans, such as Fitness, Honesty, Happiness and Intelligence. He covers them all, some more successfully than others, with funny anecdotes about cats being smart and people being not so smart.

Steele is an anecdotal comedian, it’s not a grand biographical story show and his experience as a regular in the clubs and pubs of Melbourne is clear from his confidence and ability to get laughs. Some of his stories are crackers and most of them actually stuck to the topic of the show (which isn’t always the case with even the best of comedians) but there was one long personal tale that made me wish the rest of the show had been a bit more of the same, but then I’m a fan of a story show. His account of Chewy the cat and how Jerry came into his life was funny and moving and will stay with you long after seeing the show.

From the get go, Steele reminds us that cat lovers are often teased and looked down upon and I can’t help but be amused that he rarely speaks of his own emotional attachment. He tends to put the blame on his girlfriend for his cat owning, but there is no doubt of his affection. Steele is a warm, friendly comedian and this is the best I’ve ever seen him. This would be a great date show for cat lovers, it is a sweet and funny show.

Steel Saunders is performing The Cat’s Meow upstairs at Spleen

Michael Williams’ Mild Spectacular (in 3D)

By Colin Flaherty

Michael Williams (aka That Guy With The Easel) based his latest show around the loose theme of “mild spectacular” and, much like Michael’s previous work, it revelled in the wackiness associated with the mundane. Add lots of inventive, hand crafted visual aides and you essentially have what Michael is all about; a guy appearing as if he’s making it all up as he goes along, but the hours of work put into it are clearly on display.

There was a faux laziness running through this performance which was contrasted by brief moments of single-minded dedication to a single task. These extremes were the source of the majority of the humour with some self deprecation thrown in for good measure. Plenty of half-arsed pop culture references made the audience feel more knowledgeable than our hero so that we could laugh at his “ineptness”.

Having only seen Michael perform short stand up spots, I was impressed with the inclusion of video work alongside the cards on the easel. Displaying a similar art style to his drawn pieces, we saw animations, drawings, still photos and filmed segments. The screen was also used for the promised 3D content that ran from the gimmicky to the pointless to the impressive.

There were also some audio components which Michael could interactive with as well as a show stopper of a song. This big production number of promised “stupidest thing you will see at the festival” was set up earlier in the show but still came as a surprise when revealed.

This was a rather ramshackle operation with Michael acting as his own tech. It tended to hamper the flow of the performance and leave him on stage in the dark as he provided commentary to the video segments. Was this an attempt at emphasising a reclusive persona by hiding in the shadows, or simply a case of not knowing how to control the lighting? Some may see this as adding to the “low tech” aesthetics of the material while others will view it as poor production values.

If you are able to set your expectations at a reasonably low level and allow yourself to be swept away with Michael’s lo-fi aesthetics you will have a fun time. There is plenty of silliness and absurdity to bring plenty of laughs and smiles.

Michael Williams’ Mild Spectacular (in 3D) is on at Softbelly

Bedroom Philosopher’s, The High School Assembly

By Jayden Edwards

Pull up your socks, straighten that tie and prepare to sit up straight and speak only when spoken to, The Bedroom Philosopher (aka Justin Heazlewood) is taking us back to high school.

Off the back of some big airtime on triple j with his anti-hipster anthem “So Hungover”, a bundle of live touring, comedy festival shows and CD hits, Beddy Phil returns to the festival with his new show “High School Assembly”.

Upon walking into the Forum theatre, the audience is greeted by the musical stylings of school band “Sex on Toast”. The band are kitted out in the Croxton High School uniform and are, well, really bad. Yep, the high school band to the tee. This perfectly cringeworthy cover band sets the tone for the nights performance.

The familiar stiff high school principal leads proceedings from his lectern, introducing the barrage of high school stereotypes. The drama kids, the class clown, participation certificates and Rock Estedford performances all feature. The performances are spot on, so spot on it will have you flashing-back to your own school experience so fast, your mortarboard will spin.

Fan’s expecting to see The Bedroom Philosopher’s own musical comedy will be disappointed, as this is well and truly a ensemble cast play. Beddy Phil does appear as a “special guest of the school” to perform an educational (and unfortunately, not very funny) song but for most of the night, assumes the role of a hand-full of characters, accompanied by his sizeable cast.

There’s a heap of variety in the show, and there are some gems in there, like an perfectly awkward love ode and hilariously inappropriate Rock Estedford entry, but a lot of the acts fell well and truly flat.

The show achieves the feel of a high school assembly remarkably, but that’s just the problem. High School Assembly’s were not fun or entertaining. That’s not to say the show isn’t entertaining, but it could be so much better that it was.

The underlining problem with this show is that it doesn’t go far enough with it’s characters, less subtlety and more depth could have gone a long way.

An A for effort, but needs to apply himself more.

Bedroom Philosopher’s, The High School Assembly plays at the Forum Theatre.

Dr Brown – Befrdfgth

By Cathy Culliver

You may have heard of Dr Brown. You may have even had one or two friends recommend his show to you. But nothing will prepare you for actually witnessing this madcap genius in person for the first time.

Without wanting to give too much away and spoil the delightful spontaneity of Brown’s show, be prepared for physical contact and keep your personal items close to you. Apart from that, just sit back and enjoy the bizarre, hilarious ride.

Brown’s show Befrdfgth is as entertaining as it is unpronounceable, which is probably apt as Brown doesn’t utter a single word during the entire performance. For 60 minutes, Brown silently and unapologetically drags the audience, willing or not, through his warped, brilliant mind and the result is utterly hysterical.

Silliness abounds from the second Brown enters the stage, an act which in itself makes for one of the most memorable of the show. Who else could make the simple task of just coming onto a stage so drawn out and so damn funny? Who else would even have the thought to do so?

Again, to explain the show in too much detail would spoil the fun, but many parts are just too weird to even attempt to explain anyway. What is so brilliant about Brown is that no matter how strange things get, he takes away any desire to ask why. The audience becomes so engrossed in his strange little world of nonsense that soon enough they feel like they’ve become honorary citizens, desperate to stick around for as long as this crazy, hairy man will let them.

Brown brings his latest show to Melbourne following sold out seasons across the globe, and seeing him in action it’s easy to see why this silent master of mime has developed such a cult following. As surreal as The Mighty Boosh and as loveable as Frank Woodley, Dr Brown is certain to stick around for a long time. He’s clever, brave and utterly original.

This show is an absolute must-see during the festival, but just don’t forget about the physical contact. Don’t say you haven’t been warned.

Dr Brown – Befrdfgth is showing at Tuxedo Cat.

Felicity Ward – The Hedgehog Dilemma

By Lisa Clark

Hearing the strains of Billy Bragg’s melancholy A New England there was a sense that this was going to be something a bit different from Felicity. Listening to the song now I realise how poignant, (especially the Kirsty MacColl version of it) is to Felicity’s show. In contrast to the soulful song though, Felicity bounds out in a gorgeous if appropriately crushed white dress and after some friendly banter with the audience and a cute slide show, tells us cheerfully what we’ve already guessed ‘This is the dress I should have got married in’.

Felicity explains the hedgehog dilemma meaning up front, it’s basically about a fear of intimacy, but this show is about so much more. This is about Felicity’s journey to the stage via heartbreak, loneliness, psychoanalysis and surviving alcoholism. Her ability to keep the audience in stitches throughout all of this is a testament to her stunning talent.

Early on in the show she gets the audience in the right frame of mind for her dark comedy with her hilarious and brilliant alcoholic shenanigans song, where she outlines many of the embarrassing incidents that happened while she was drunk to a jaunty tune. The incidents are appalling, the tune is upbeat and the audience is in tears of laughter.

The wedding gown is quickly doffed, as she sheds an unhealthy relationship and an unhealthy addiction, she finds herself alone and starting over. Her vulnerability is palpable as she stands in her underthings describing the move back to her family and it’s the closest I’ve seen to a comedian breaking down on stage. She bravely fights back the tears, while the audience reaches for their tissues, and moves on.

The Hedgehog Dilemma is obviously the most personal of Felicity’s festival shows and her comedy acting skills that shone out of the recent Working Dog film ‘Any Questions for Ben’ are beaming here. This is evident in her ability to create skilfully drawn and hilarious characters such as her slightly disturbing therapist. She treads the fine line between comedy and pathos masterfully, like an agile highwire act, ironically contrasting with the awkward and clumsy image she has of herself.

Her warm down to earth personality keeps the story relatable and a pleasure to experience. Felicity gets better each time I see her and I recommend that you might like to take some tissues with you, for the sad tears and the comedy tears that flow in abundance.

Felicity Ward performs The Hedgehog Dilemma at the Vic Bar of the Victoria Hotel