Silence My Ladyhead
Calendar, Fringe World, Performing arts, Theatre

Theatre: Silence My Ladyhead

12 – 16 February @ The Blue Room Theatre ·
Presented by The Blue Room Theatre Summer Nights & FUGUE ·

Disco Nightclub Exorcism
Ladyhead is in rebellion, scrambling to stay in the spotlight. Her unpredictable one-woman show is falling apart; a catastrophic, electric, freak-pop explosion of female sexuality and sexual liberation.

A slave to rhythm, hallowed Ladyhead weaves together 80s hits, distorted pop covers and a dark wave, post-punk inspired original score. Witness a high stakes game play out between character and performer with moments of raw, trembling vulnerability as Ladyhead scrambles to stay in the spotlight.

Bursting with sex, death, violence and liberation, Silence My Ladyhead is a new and daring collaboration between FUGUE (Court My Crotch) and Melbourne-based artists Indigo Keane and Nicole Harvey.

“Keane is a pneumatic, diaphanous gobsmack” – The West Australian

Presented by FUGUE
★ ★ ★ ★ 1/2 – Theatrepeople
★ ★ ★ ★ 1/2 – OutInPerth

Performer & Co-Creator: Indigo Keane
Director & Co-Creator: Nicole Harvey
Composition & Sound Design: James Halloran
Lighting Design & Operation: Phoebe Pilcher
Producer: Kayla MacGillivray
Publicity & Marketing: James McMillan

More info
W: www.fringeworld.com.au/whats_on/silence-my-ladyhead-fw2019
E:  kayla.macgillivray@gmail.com

Pictured: Silence My Ladyhead, credit: James McMillan

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tennis court with three "players"
News, Performing arts, Reviews, Theatre

Game, set and match

Review: Fugue, Court My Crotch ·
Blue Room Theatre ·
Review by David Zampatti ·

The young – and I suspect fast rising – writer and director James McMillan’s Court My Crotch is wild, savage, and will take some beating as the most memorable production of the Blue Room’s 2018 seasons.

The court of the title is of the tennis variety, the crotches are unambiguous, and the action, appropriately enough, is staged inside a green-floored, marked-up chain-link box. (Sadly, no set designer is credited, but its impressive construction was undertaken by the well-known dinosaur actor and T-shirt deviser Paul Grabovac.)

The action is as fast, furious, sweaty and grunty as any Grand Slam final, and what emerges from it is a wide-ranging look at sport, society and sexuality of surprising accuracy and topicality.

Woman striking a pose in white top and wide legged pants, on a tennis court
Morgan Owen is outstandingly arch… and she can hold a tune. Photo: Marshall Stay.

There’s lots of reasons why Court My Crotch might fail; it’s quite long (at 85 minutes, with no interval, it’s a marathon by Blue Room standards) and looks and plays like a skit, so the danger of it running out of narrative puff is very real.

But, while it’s fair to say that it doesn’t all work (how could it?), the show moves so fast and so far that its flaws are trampled underfoot.

Part of its charm is that, for all its Twenty-Teens gloss, Court My Crotch often feels surprisingly old-fashioned, very like a 1970’s uni revue in its uninhibited energy and earnest allegorism. Not, I hasten to add, that there’s anything wrong with that.

There’s great strength in its staging. McMillan does a fine job keeping its pace and intensity in lockstep with the narrative, and George Ashforth’s lighting and, especially, Alex + Yell’s (Aleksandra and Jelena Rnjak’s) sound design is high impact and high quality.

It’s a great platform for the cast, and they are outstanding. David Mitchell (not the David Mitchell) is lithe, athletic and distinct as the sportsman in this battle of sex and love.

His lover and opponent, the drag queen Ash Straylia, is a powerful presence, whether she is upbraiding audience members (including a suitable chastened reviewer) or showing off her moves and moods.

Mitchell and Straylia work impeccably together and against each other, verbally and physically (much credit to “Assistant” Movement Director Nicole Harvey).

Between them, on the umpire’s chair, Morgan Owen is outstandingly arch, cajoling her players and delivering judgement on their performance. Owen is blessed with a geometric mouth she can shape into rectangles, oblongs and circles and a voice to match. She’s hard to ignore, and a lot of laughs

She can also hold a tune. Her take on Patti Smith’s magnum opus “Birdland” (abridged but, happily, not truncated) stops this runaway train of a show dead in its tracks for a good six minutes.

And that’s an impressive achievement, in a production that has many of them.

Court my Crotch plays the Blue Room Theatre until October 6.

Pictured top: David Mitchell, Ash Straylia and Morgan Owen, the outstanding cast of “Court my Crotch”. Photo: Marshall Stay.

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Court my Crotch
Calendar, Musical theatre, October 18, Performing arts, September 18

Musical Theatre: Court My Crotch

18 Sep – 6 Oct @ The Blue Room Theatre ·
Presented by The Blue Room Theatre & FUGUE ·

Two elite bodies compete under the strict gaze of an umpire. Each presents a facade, each pushes against prejudice. Pick a side and see who can flaunt their way to victory first.

Tennis meets drag in this high-octane, high-spectacle performance investigating the toxicity of sporting and drag culture.

From the company that brought you Arteries by Ancestry comes a new competition of fierce backhands and ferocious song and dance. Born directly from Australian stories and interviews, Court My Crotch is an uncompromising look at our society’s current relationship with gender and sexuality.

Producer: Ellen-Hope Thomson
Writer/Director: James McMillan
Assistant Movement Director: Nicole Harvey
Performers: Ash Traylia, David Mitchell, Morgan Owen
Dramaturg: Geordie Crawley
Sound Designer: Alex & Yell
Set Construction: Paul Grabovac
Lighting Designer: George Ashforth
Stage Manager: Sally Davies
Publicity & Marketing: Alexandre’ Egloff

More info:
W: www.blueroom.org.au/events/court-my-crotch/
E:  info@blueroom.org.au

Photo by Marshall Stay

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