Meme Girls - Review

Malthouse Theatre presents

Meme Girls

Created by Ash Flanders, Stephen Nicolazzo & Marion Potts

based on an original idea by Ash Flanders.

Direction – Stephen Nicolazzo

Set & Costume Design – Eugyeene Teh

Lighting Design – Katie Sfetkidis

Sound Design &Composition – THE SWEATS

Cast – Ash Flanders and Art Simone

Stage Manager – Lisa Osborn

Beckett Theatre

8 April to 2 May 2015

Art Flanders and Stephen Nicolazzo have a significant following in Melbourne.  They are, together and individually, unique voices in the contemporary Melbourne theatre scene.  I think it is fair to say their refined yet bright and bold, very visual approach to theatre, flair and irreverence has garnered significant respect from audiences.  

Art Simone and Ash Flanders - Photo Pia Johnston

Meme Girls is beautifully crafted/Directed - with set, lighting and sound exquisitely coordinated.  It looks fabulous and is lit by Katie Sfetkidis.  Designer Eugyeene Teh has woven her considerable magic to provide a set that infers numerous environments including the probing of a camera lens and perhaps the more relevant circle that is the Looney Tunes iconic signature image.  Over all Meme Girls offers a glorious loud, high camp opportunity to sit back and marvel at what can be achieved. 

However, as representations/imitations of You Tube posts, it often seems flat and without dimension.   Loud, brash, relentless, and generally without the use of the reflective relief of irony, the whole seems to be about narcissism and ultimately feels indulgent and narcissistic. 

Art Simone and Ash Flanders - Photo Pia Johnston

Assisted cleverly, with exquisite timing, by Art Simone who is dressed in stunning drag, Ash Flanders goes through transformations on stage to portray various fragile characters.  But most of the women vaguely realized by Flanders tend to morph and fade into each other.   They are not adequately integrated as individuals and there is starkness in their portrayal that borders on bland stereotype.  Perhaps it was the result of first night nerves and as Flanders relaxes into the show he will access the feminine with more veneration, joy, enjoyment and definition.

Art Simone and Ash Flanders - Photo Pia Johnston

There are at least two opportunities for sensitive and poignant explorations of women finding themselves in difficult and baffling circumstances.  However when rendered as unadorned imitation in a matter of fact way both, intimate revelations, lack dimension and soul.  Perhaps a clearer definition between performer and character or more thorough characterization would add texture and liberate meaning.

The whole is micro-phoned with enough amps to reach into the corners of a noisy nigh club and certainly supports Flanders ultimately rich and agreeable singing voice. 

Sadly I am left with little idea of what the creators are trying to communicate with this slick but lightweight work except perhaps a capacity to bring all elements of Theatre together to create a visceral event that does not require interrogation.

Suzanne Sandow

(For Stage Whispers)

Review - Triangle

Triangle by Glyn Roberts

Presented by MKA (Winter Season)

Director – Tanya Dickson, Dramaturg – Jane E. Thompson, Set Designer Eugyeene Teh, Costume Designer – Chloe Greaves, Lighting Designer - Rob Sowinski, Sound Designer – Russell Goldsmith, Co-Sound Designer – Chris Wenn, Stage Manager/Operator – Hayley Ricketson, Voice Coach  - Leslie Cartwright, Movement Consultant – Janine Watson 

Cast: Elizabeth Nabben and Janine Watson

Sutton Street North Melbourne - Season July 25 to August 4

Like an old haunting fairytale Triangle seduces with the familiar, then commences a journey traversing the realms of passion, violence and the supernatural in a in a perfectly unexpected yet strangely anticipated manner.   

It is set in and around a supermarket like Tuesday another terrific work presented by MKA in June.  However unlike its predecessor Triangle veers into fanciful, lyrical subliminal territory.

It commences with the student (Elizabeth Nabbin) addressing the audience about her response to and experiences at Piedemonte’s supermarket in Fitzroy. Then disconcertingly and without warning realities start to shift from the mention of eating unprepared couscous.  Similarly the situation of a young wife and mother (Janine Watson), presented in a rational - factual manner, slightly slips a cog and becomes hilariously and outrageously funny from the suggestion of the affects of caffeine on a toddler.

Triangle has been refined through input from an inspired and inspiring team.  There is hardly a hair out of place.  Sound (Russell Goldsmith and Chris Wenn) underpins the atmosphere and light (Rob Sowinski) mostly elucidates but some times endows the whole with a sense of question.  Set by Eugyeene Teh and costumes by Chloe Greaves define and enhance from a ‘less is more’ perspective.

Both actors are exemplary in their roles.  Their work, although subtle, is clear, forthright and strong.  Some actions, sudden changes and dialogue, that appear to be wholly embraced by the actors, make no immediate sense, and yet, are oddly just so right. 

The direction by Tanya Dickson displays foresight and immaculate attention to detail.

Engrossed by the hilarious weirdness of it all I looked at my watch, craving more – not wanting it to end knowing the short fifty minutes must almost be up.  How often can one say that about theatre? 

I wanted to be wowed by Triangle and, so was. 

Go and see this innovative yet grounded production from fascinating pen of writer Glyn Roberts, but not, if you prefer the unshakable comfort of the literal. 

It is the type of art that highlights and questions through collapsing preconceptions.

For Stage Whispers