Reviews

By transporting this production of Carmen to “somewhere resembling today’s Havanna”, director John Bell and his design team bring the opera into a setting that heightens the heat and spirit of the story, and takes the music of the famous “Habanera” back to its country of origin.

Circus Oz aficionados of all generations were out in force on opening night at Birrarung Marr, so much so that the pre and post-show gatherings resembled a family reunion.

As the show proceeded, we were swung in some kind of moody stupor, slightly unhinged, winging between vignettes of every colour and mood. Spellbinding grace rides a unicycle, undresses while standing on another’s head, and balances innumerable small red balls. Brassy spectacles are in-your-face on all things that bend or swing or stack, and slap-sticky satire brings us back to earth with a chortle.

A 1932 photograph by the Hungarian-French photographer Brassaï  (Gyula Halász)of a bejewelled but scowling elderly woman in the Bar du Tribunal in Paris was the initial inspiration for Chrissie Shaw’s show.  The photographer included the woman, whom he dubbed with cruel irony La Mome Bijou, in his renowned collection Paris du Nuit.  (‘Mome’ can mean ‘kid’ or ‘youngster’ or even ‘chick’.)  The woman apparently showed up at the bar every night, bedecked with all her jewellery.&nbsp

“Queen of the New Burlesque” Dita Von Teese graced the Festival Theatre stage to rapturous applause in her show Strip Strip Hooray! It soon became apparent why this forty-something temptress has become an icon in this genre in recent years.

New York comedian and host extraordinaire Murray Hill was a vibrant and hilarious emcee for the evening. Facilitating as much sexual innuendo and audience participation as possible, he kept everyone engaged between acts. He was pure show business.