#Sydney Fringe Festival

[grahamstoney]

I Put A Show In The Sydney Fringe Comedy Festival. You Won’t Believe What Happened Next

New Post has been published on https://grahamstoney.com/shows/i-put-a-show-in-the-sydney-fringe-comedy-festival-you-wont-believe-what-happened-next

I Put A Show In The Sydney Fringe Comedy Festival. You Won’t Believe What Happened Next

I spent the week before my Difficult First Show at the 2017 Sydney Fringe Comedy Festival curled up in a foetal position on my couch. It was right in the middle of music college holidays and I had been putting off finalising and rehearsing the show until this crucial break when I had no college work to do.

When I first submitted my application to the festival back in May, I figured I had plenty of time to get my act together. Come mid-September with just a week to go, for some bizarre reason I figured taking it easy was the way to go.

I had eleven songs I’d written for the show, mostly about experiences at college this year, which made up about 35-40 minutes of material. All I had to do was spin 20 minutes of stories between them and I should be sweet. How hard can it be?

Well, quite difficult it turns out.

Putting on my own show had brought up some pretty deep insecurities for me, like the old bullying I used to get when I was in the choir at my all-boys high school. After 30 years of therapy that was finally expunged at an Alexander Technique workshop I attended in the lead-up to the show. Surely the principals who run institutions that brutalise young men which we euphemistically call “Boys High Schools” should be hauled in front of some court in Nuremberg for their role in facilitating war crimes.

Nevertheless I had the academic transcript from successfully completing my Certificate 3 in Music Performance to boost my confidence, plus another marking me “Not Competent” due to an administrative error from the Group Choir Singing Intensive I’d taken over summer to tear it back down again.

I had had a traumatic experience playing a parody of American Pie at the now-defunct Laugh Garage opposite Hyde Park in Sydney about 4 years ago, and hadn’t played guitar in a comedy venue since. The first thing to do was get over that trauma, and since I wanted to talk about trauma and how to heal it in my show anyway, that seemed like the natural way to start.

To help take the pressure off I decided to play from my song book, which meant I didn’t have to memorise my own songs and could even remember the sequence of the show just by turning the page and seeing what song was next. All the stories about the songs were true and had been told in parts before, and they were largely just things that amused me. So long as an audience turned up and I focused on inviting them to join me in my own journey of amusement rather than trying to make them laugh or [intlink id=”2170″ type=”post”]make them like me[/intlink], everything should be OK.

I turned up to the first show with plenty of time to spare and spent the hour before my tech rehearsal sitting in the car down the road in sight of The Factory Theatre trying to remember how to breathe. Come rehearsal time I met the sound & lighting guy, gave him my MP3 player with the pre-recorded backing tracks for the show and started to calm the fuck down.

A couple of good friends turned up to see the first show and found me beforehand sitting outside the theatre near the bar. We had a hilarious chat and everyone was laughing even before the show began. That definitely helped put me in the right mood.

Then after years a delicate balance of preparation and procrastination, it was time to hit the stage for my Difficult First (solo) Show.

You won’t believe what happened next…

If you missed it, you’ll love the Difficult First Show I Didn’t Go Unisex T-Shirt.

[samcampbellfans]

Sam Campbell's 2016 show 'Zanzoop'.

"Kind of like Dr. Phil but hosted by a funny naked party-alien."

'Zanzoop' was a comedy show in (April-May) 2016 performed around Australia (Melbourne, Adelaide, Perth, Sydney). Created by Sam Campbell, Aaron Chen and Tom Walker in the collective 'Feeble Minds', Tom Walker directed and won Director's Choice Award at Melbourne International Comedy Festival in 2016.

Sam plays an alien called Zanzoop, a "semi-naked space alien, hosting a sort of chat show in an attempt to fix humanity’s problems and prove himself a worthy heir to the throne of Zymbalnation. And this is one of the more sober premises of the hour." (Steve Bennett, Chortle).

Craig Anderson, Sean Conway and Cameron Whiteford also made appearances on Zanzoop (the latter two appearing in Perth shows).

The show received 4 and 1/2 stars from Herald Sun. Here are some quotes from the Herald Sun article to get a sense of the show:

'Campbell began the show by saying "there’s a lot of reviewer c--ts in tonight. Oh, Steve from Chortle is here, it’s not as funny as a picture I once saw of Stewart Lee’s elbow!!"'

'“Youth culture baby” (Campbell does the Shaka sign)'

'Autism joke, well handled.'

'King Baby (actually played by a sunscreen-smeared Tom Walker who got a Best Newcomer nomination yesterday for his Beep Bop show, 6pm each night at Tuxedo Cat).' See picture below for King Baby on the far right.

'“I didn’t pay my rent because I bought too many props.” - Campbell breaking the fourth wall for the umpteenth time, he’s the John Conway of this year.'

This show also included the dip and vegetables gag, which Sam has done before: you can watch it in this video: Live at Comedy Central's 'A Night of Stand Up' at the 2016 Sydney Morning Herald Spectrum Now Festival and and on this Instagram post via thecomedyloungesydney.

Reviews of the show, I recommend reading if you want to know what the show was like (there's no videos of the show as far as I know):

The Plus Ones

Steve Bennett, Chortle

Herald Sun (4 and 1/2 stars)

Squirrel Comedy

Photo sources:

1) Herald Sun

2) pappy90 on TWT

3) Sean Conway on FaceBook (this one was at Fringe World)

4) guy_mont on TWT

5) Aaron Chen's tattoo of Zanzoop the alien

6) tomwalkerisgood on TWT, promotional poster.

Additional bits:

The strange promotion video Sam, Tom and Aaron did for Feeble Minds (thank you cowboyacaster on TWT)

Below: Aaron Chen reading the Herald Sun 4 and a 1/2 star review of Zanzoop to Sam Campbell (photo via tomwalkerisgood on TWT).

[scotianostra]

Happy 58th Birthday to the multi-talented Scottish actor Alan Cumming born on January 27, 1965 in Aberfeldy.

Alan Cumming has an amazing volume of work under his belt, last year alone he was involved in 8 different projects and TV and Cinema, add to that he appears on stage, writes, produces, directs things, as you'd imagine there is a lot to go through in his bio.........

Born to Mary (Darling), an insurance company secretary, and Alex Cumming. a forester for Atholl Estate, Alanspent his infant years in Dunkeld before the family moved to Fassfern near Fort William, before moving to the east coast of Scotland in 1969, where Alan's father took up the position of Head Forester of Panmure Estate; it was there that Alan grew up. He went to Monikie Primary School and Carnoustie High School, where he began appearing in plays, and soon after that began working with with the Carnoustie Theatre Club and Carnoustie Musical Society, and never looked back.

In 1981, he left high school with some great exam results in several subjects, but because he was too young to enter any university or drama school he worked for just over a year as a sub-editor at D.C. Thomson Publishers in Dundee. There he worked on the launch of a new magazine, “Tops”, and was also the “Young Alan” who answered readers’ letters. 

In September 1982 he began a three-year course at the Royal Scottish Academy of Music and Drama in Glasgow. He graduated in 1985 with a B.A. (Dramatic Studies) and awards for verse speaking and direction. He also had formed a cabaret double act with fellow student Forbes Masson called Victor and Barry, which went on to become hugely successful with tours (including two Perrier Pick of the Fringe seasons in London and a month-long engagement at the Sydney Opera House as part of an Australian tour), records and many TV appearances throughout the British Isles. Before graduating Alan made his professional theatre and film debuts in Macbeth at the Tron Theatre in Glasgow and in Gillies MacKinnon’s Passing Glory. 

After graduating, Alan worked extensively in Scottish theatre and television, including a stint on the soap opera High Road before moving to London when Conquest of the South Pole, a play by German playwright Manfred Karge, transferred from the Traverse Theatre in, Edinburgh to the the Royal Court in London, earning him his first Olivier award nomination for Most Promising Newcomer of 1988. 

Alan performed with the Royal Shakespeare Company and then the Royal National Theatre, where he starred in Accidental Death of an Anarchist, which he also adapted with director Tim Supple. The production was nominated for Best revival at the 1991 Olivier awards and Alan won for Comedy Performance of the Year. His film career began with Ian Sellar’s Prague , in which he starred with Sandrine Bonnaire and Bruno Ganz. The film premiered at the 1992 Cannes film festival and went on to win him Best Actor award at the Atlantic Film Festival and a Scottish BAFTA Best Actor nomination. In the same year he made two films for the BBC. 

In the 1992 Olivier awards got his second nomination for Comedy Performance of the Year for La Bete. The next year he played Hamlet for the English Touring Theatre to great critical acclaim  going on to play the Emcee in Sam Mendes’ revival of Cabaret. He received a 1994 Olivier award nomination for Best Actor in a Musical for “Cabaret”, and for Hamlet he received the 1994 TMA Best Actor award and a Shakespeare Globe award nomination.

In 1994, he made his first Hollywood film, Circle of Friends then two films released in quick succession Emma and GoldenEye as a talented hacker, Boris Grishenko, these films brought him to be noticed by further American producers, and he appeared in several Hollywood films, such as Romy and Michele’s High School Reunion and Buddy.

Returning home briefly in 1997 to work with Stanley Kubrick and the Spice Girls before reprising his role in Cabaret on Broadway. The show and his portrayal were a sensation, and he received the many plaudits and awards  for his performance including a Tony  for Best Actor in a Musical

Since then he has alternated between theatre and films, and also between smaller independent films and more mainstream fare.His films include Julie Taymor’s Titus, the Spy Kids trilogy, X-Men 2, Son of the Mask and the Showtime movie musical Reefer Madness: The Movie Musical, and Battle of the Sexes. 

Cumming’s TV work includes Taggart, of course!  The short lived Scottish sitcom The High Life,  Travelling Man, Third Rock from the Sun, Sex and the City, Foyles War and Dr Who. He is probably best known for starring in the US  legal and political drama The Good Wife 

Alan lives in Manhattan  with his husband, illustrator Grant Shaffer, he has been nominated and won too many awards to mention here, and has champion causes for the  LGBT community worldwide. He published a novel,, Tommy’s Tale in 2002,  centring on the life of a bisexual guy living in London, and his biography  Not My Father’s Son, Cumming describes the emotional and physical violence his father inflicted on him in his childhood, he became estranged from his father in his early 20′s and it wasn’t until filming   Who Do You Think You Are in 2010 he spoke to him, his father telling him he suspected he wasn’t his biological father, Alan, along with his brother later had DNA tests which  proved they were indeed his biological children.

Alan today went up in my estimations when he announce he was sending back the OBE he was awarded in 2009 due to "the toxicity of empire".

He explained it in full on his Instagram account, posting;

Today is my 58th birthday and I want to tell you about something I recently did for myself. I returned my OBE. Fourteen years ago, I was incredibly grateful to receive it in the 2009 Queen’s birthday honours list, for it was awarded not just for my job as an actor but ‘for activism for equal rights for the gay and lesbian community, USA’. Back then the Defence of Marriage Act ensured that same sex couples couldn’t get married or enjoy the same basic legal rights as straight people, and Don’t Ask, Don’t Tell ensured that openly gay, lesbian or bisexual people were barred from serving in the military. (Incidentally both these policies were instituted by the Clinton administration). This is the statement I made at the time: ‘I am really shocked and delighted to receive this honour. I am especially happy to be honoured for my activism as much as for my work.  The fight for equality for the LGBT community in the US is something I am very passionate about, and I see this honour as encouragement to go on fighting for what I believe is right and for what I take for granted as a UK citizen. Thank you to the Queen and those who make up her Birthday honours list for bringing attention to the inaction of the US government on this issue. It makes me very proud to be British, and galvanised as an American’. The Queen’s death and the ensuing conversations about the role of monarchy and especially the way the British Empire profited at the expense (and death) of indigenous peoples across the world really opened my eyes. Also, thankfully, times and laws in the US have changed, and the great good the award brought to the LGBTQ+ cause back in 2009 is now less potent than the misgivings I have being associated with the toxicity of empire (OBE stands for Officer of the British Empire). So I returned my award, explained my reasons and reiterated my great gratitude for being given it in the first place. I’m now back to being plain old Alan Cumming again. Happy birthday to me!

If you want to see Alan let loose in oor ain land check out Channel 4’s Miriam & Alan: Lost In Scotland where we see the esteemed actor venturing around his native Scotland in a mobile home, with a new friend in tow – fellow thespian, the 80-year-old super Miriam Margolyes. The second series saw then explore the US.

I have to say I hope I look in as good shape as Alan when I reach my 58th birthday........but with just over 4 months left it's not going to happen is it!

[carrentals1]

Top Australian Events & Festivals of 2024 | Eazy Car Rentals’ Guide

Australia is renowned for its vibrant culture and lively events that captivate locals and visitors alike. As we step into 2024, the country’s event calendar is brimming with exciting festivals and celebrations across diverse regions. Whether you’re a music lover, a foodie, or an arts enthusiast, Australia has something to offer. Here’s a guide to some of the top events and festivals you won’t want to miss this year.

1. Sydney Festival (January 6–28, 2024) Kicking off the year, the Sydney Festival is a citywide celebration of arts and culture. With performances spanning music, theater, dance, and visual arts, this festival transforms Sydney into a hub of creativity. Highlights include free outdoor concerts, family-friendly activities, and breathtaking performances at iconic venues.

2. Melbourne Food and Wine Festival (March 1–10, 2024) For food enthusiasts, the Melbourne Food and Wine Festival is a culinary paradise. This event showcases the best of Australian cuisine, with an array of food stalls, cooking demonstrations, and exclusive dining experiences. Enjoy tastings from renowned chefs and local producers while exploring Melbourne’s vibrant food scene.

3. Brisbane Festival (September 1–30, 2024) Brisbane’s month-long festival offers a rich blend of music, theater, and visual arts. Highlights include the Riverfire fireworks display, spectacular street performances, and a diverse lineup of local and international artists. It’s an unmissable event for anyone looking to experience Brisbane’s cultural vibrancy.

4. Adelaide Fringe (February 16 — March 17, 2024) The Adelaide Fringe is one of the largest and most diverse arts festivals in the Southern Hemisphere. Featuring thousands of performances across theater, comedy, music, and dance, this event attracts artists from around the globe. The festival’s eclectic mix of shows and street performances creates a dynamic and exciting atmosphere.

5. Byron Bay Bluesfest (April 18–22, 2024) Set in the picturesque Byron Bay, this festival is a must for music lovers. Bluesfest brings together an impressive lineup of international and local artists across genres like blues, rock, and folk. Enjoy live performances in a beautiful outdoor setting, surrounded by stunning coastal views.

6. Perth International Arts Festival (February 9 — March 3, 2024) The Perth International Arts Festival offers a rich program of performances and visual arts. From world-class theater productions to captivating exhibitions, this festival celebrates creativity and culture in various forms. It’s a great opportunity to explore Perth’s artistic landscape.

7. Hobart’s Dark Mofo (June 7–23, 2024) Dark Mofo is a unique winter festival in Hobart that combines art, music, and dark, atmospheric experiences. Known for its provocative and immersive art installations, music performances, and the iconic Winter Feast, Dark Mofo offers a distinct and memorable festival experience.

Conclusion

With so many incredible events and festivals to choose from, 2024 promises to be a year full of memorable experiences across Australia. To make the most of your festival adventures, consider traveling with Eazy Car Rentals. Our wide range of affordable and reliable vehicles ensures you can explore the country’s top events comfortably and conveniently. Whether you’re heading to a bustling city festival or a remote regional celebration, Eazy Car Rentals is here to support your journey. Book with us today and get ready for an unforgettable year of celebrations across Australia!

[qnewsau]

Sydney Fringe Festival begins

New Post has been published on https://qnews.com.au/sydney-fringe-festival-begins/

Sydney Fringe Festival begins

The Sydney Fringe Festival has launched this week with a program of over 400 events and 12 festival hubs taking over the city until September 30.

The Festival kicks off with a program of unforgettable shows at the Spiegeltent Festival Garden and the newly expanded Village Green Festival Garden, plus Sydney Place comes alive on Saturday, September 7 with a one night only exhilarating live concert, featuring South Korean underground sensation MEMI.

Spanning theatre, music, comedy, dance, visual art, circus, and cabaret, Sydney Fringe Festival program highlights include events at the Village Green Festival Garden at Darling Quarter, featuring four weeks of comedy, drag and circus programming.

Highlights include musical comedy duo Otto & Astrid, fresh from Glastonbury, Die Roten Punkte, cabaret romp Leather Lungs: Shut Up & Sing! and the bewitching burlesque Something Wicked, featuring a lineup of international and award-winning artists performing death-defying acts.

The inaugural Queer Hub at Qtopia Sydney, presented by QNews, will amplify the work of LGBTQIA+ storytellers with an exciting line-up of international and local artists.

Highlights include Frankie Fearce’s acclaimed satirical show DAZZA; Melbourne cabaret star Florian Wild’s show MONSTER; and Purple Plastic Maori, singer and comedian Shalom Kaa’s autobiographical show of self-discovery, weaving together comedy, song and storytelling.

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Machine Hall will host a dynamic series of events presented by Maker’s Mark, including Just Desserts on September 27. Guests will be treated to an intimate evening of live music by Ngaiire while enjoying sweet treats by powerhouse pastry chef Anna Polyviou and Maker’s Mark cocktails, surrounded by vibrant floral artistry by ACID FLWRS.

Producer, interviewer and co-creator of multi award-winning ABC show You Can’t Ask That, Kirk Docker is set to host Feed Your Fire at Machine Hall on September 20. Featuring an evening of conversations around what makes Sydney’s cultural scene tick, participants will gather around a communal table and enjoy dishes crafted by the social enterprise Plate it Forward.

Sydney Fringe Sideshow returns every Tuesday to Sunday throughout the festival, with a program of immersive and experiential shows performed in pop-up spaces throughout The Rocks. Highlights include Dancefloor Conversion Therapy, a history of dancefloors and joyful regret by Sydney DJ Jonny Hawkins, Lola’s Piano Bar, the ultimate pop-up musical theatre club, and the Multicultural Comedy Hub at 37 George Street featuring a diverse array of comedic talents.

The Spiegeltent Festival Garden takes over Entertainment Quarter, with the iconic Sydney Spiegeltent hosting two headline shows by triple Grammy award-winning Soweto Gospel Choir.

A collaboration between ARIA-nominated DJ Groove Terminator, History of House is a celebration of dance music through the decades, while the all-new concert Hope, features a rousing program of South African freedom songs, alongside beautiful renditions of protest music from the Civil Rights Movement.

Also at the Spiegeltent Festival Garden is must-see show 27 Club, celebrating the music of Janis Joplin, Amy Winehouse, Kurt Cobain, Jim Morrison and Jimi Hendrix, performed by Australian rock royality, while circus dome The Vault is home to comedy-acrobats Headfirst Acrobatics’s multi-5-Star reviewed show GODZ and All Star Circus.

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Made in Sydney returns from 17 – 28 September at PACT Centre for Emerging Artists, with a lineup featuring two sensational Sydney-made works and six award-winning shows from the 2023 Sydney Fringe Awards.

Highlights include Voices of Joan, a radical retelling of the story of Joan of Arc through a solo performance by actor and theatre-maker Janie Gibson; Hillsong Boy, a queer holy communion musical chronicling weird and wonderful experiences of an ex-Hillsonger, The Ukulele Man, the untold story of wartime comedian and ukulele legend George Formby, and acclaimed one-woman show ENDHOE that uncovers actor and comedian Anna Dooley’s journey of living with endometriosis.

Bringing to Sydney smash-hit shows from the international Fringe circuit, the Touring Hub is back at New Theatre from September17-28. Highlights include Clockfire Theatre Co’s Plenty of Fish in the Sea, Tom Moran’s hilarious solo show Tom Moran is a Big Fat Filthy Disgusting Liar; Sh!t Theatre’s award-winning show Drink Rum with Expats; and rising star of Australian dance, choreographer-director Lewis Major’s show Triptych.

The LIMITLESS hub returns to 107 Redfern from 10 – 21 September, celebrating the work of deaf artists and artists living with a disability, while offering an inclusive and accessible space for audiences and artists to enjoy.

Highlights include stand-up comedian Loz Booth’s show Extra Ordinary, Not Dead Yet! by Crones in Cabaret, and Crips & Creeps Comedy, an inclusive comedy night that celebrates comedians who are marginalised due to sexuality, race, gender or disability.

The Neilson Studio at Sydney Dance Company will host the festival’s Dance Hub from September 26-28. Highlights include contemporary dance work Love Arena by Sydney-based choreographers Remy Rochester and Jasmin Luna; and Move FM, an eclectic assortment of contemporary dance by Sydney’s most exciting emerging artists and makers.

The Cabaret Club finds a new home at Kings Cross Hotel with a month-long program of burlesque, piano sing-alongs, musical satire, and more.

Highlights include the world premiere of Gladys: A Musical Affair, ABBAsolutely Abbey as Abbey Paige Williams explores self-discovery through the beloved music of ABBA; and back by popular demand, the interactive, inclusive, body positive production Church of the Clitori.

Immersive piano concert In the Key of G celebrates the creativity of Sydney’s city centre. Four celebrated composers have crafted unique pieces that will come to life on two pianos in the George Place foyer, with music enthusiasts and piano players from the Sydney community invited to learn segments of the compositions before performing them together on September 25.

On September 28, at the final Saturday night of the festival and official closing party, audiences are invited to join Daft Punked – The Tribute as they don their replica chromed helmets to celebrate and continue the legacy of electronic dance music pioneers.

-Visit the website for full details of all Sydney Fringe Festival events at sydneyfringe.com

For the latest LGBTIQA+ Sister Girl and Brother Boy news, entertainment, community stories in Australia, visit qnews.com.au. Check out our latest magazines or find us on Facebook, Twitter, Instagram and YouTube.

[eventbaba]

Discover the Rich Tapestry of Cultural Events in Australia with Event Baba

Australia, a land known for its stunning landscapes, is equally rich in cultural diversity. From the ancient traditions of its Indigenous peoples to the vibrant influences brought by immigrants, the cultural events in Australia are a testament to the nation's unique and diverse heritage. At Event Baba, we believe in celebrating this diversity by connecting you to the best cultural experiences across the country.

1. Vivid Sydney: A Festival of Light, Music, and Ideas

Vivid Sydney is more than just a festival; it's an immersive experience that transforms the city into a canvas of light and creativity. Held annually in May and June, this event showcases stunning light installations, music performances, and thought-provoking talks. As one of the most iconic cultural events in Australia, it attracts artists, innovators, and visitors from around the world.

Vivid Sydney is more than just a festival; it's an immersive experience that transforms the city into a canvas of light and creativity. Held annually in May and June, this event showcases stunning light installations, music performances, and thought-provoking talks. As one of the most iconic cultural events in Australia, it attracts artists, innovators, and visitors from around the world.

2. Melbourne International Arts Festival

Melbourne is often hailed as Australia’s cultural capital, and the Melbourne International Arts Festival is a shining example of why. Every October, the city comes alive with a dynamic mix of theater, dance, music, and visual arts. Whether you're a local or a visitor, Event Baba can help you navigate this cultural extravaganza and ensure you don’t miss any of the festival’s highlights.

3. Woodford Folk Festival

For those who prefer a more laid-back vibe, the Woodford Folk Festival in Queensland is a must-visit. This annual event, held over six days and nights, is a celebration of folk music, dance, and cultural exchange. It's one of the largest gatherings of its kind in Australia, offering a unique blend of performances, workshops, and discussions. Event Baba can guide you through the festival's extensive program, ensuring you make the most of your experience.

4. Adelaide Fringe Festival

Adelaide Fringe is the largest open-access arts festival in the Southern Hemisphere, offering a diverse range of performances, from circus acts to comedy shows. Spanning 31 days and nights in February and March, this festival turns Adelaide into a playground for artists and audiences alike. Event Baba can provide you with insider tips on the best shows and events to attend, making your Fringe experience unforgettable.

5. Sydney Gay and Lesbian Mardi Gras

A celebration of love, diversity, and acceptance, the Sydney Gay and Lesbian Mardi Gras is one of the most colorful cultural events in Australia. Held annually in February and March, this event features a parade that lights up the streets of Sydney with vibrant costumes and performances. At Event Baba, we believe in celebrating all forms of love and can help you be part of this joyous occasion.

6. NAIDOC Week

NAIDOC Week is a significant event that celebrates the history, culture, and achievements of Aboriginal and Torres Strait Islander peoples. Held every July, it offers a variety of events across Australia, including art exhibitions, cultural performances, and community festivals. Event Baba is here to help you connect with these important cultural events, fostering a deeper understanding and appreciation of Australia’s Indigenous heritage.

Experience Australia’s Cultural Events with Event Baba

No matter where you are in Australia or what kind of cultural experience you’re seeking, Event Baba is your go-to source for discovering and attending the best cultural events in the country. From the vibrant streets of Sydney to the artistic hubs of Melbourne, we’re here to make sure you don’t miss out on the rich cultural tapestry that makes Australia so unique.

Start planning your next cultural adventure with Event Baba today!

[moochilatv]

Mike Rizk presents: Flamenco House: Carpe Diem

From Australia

Combination of EDM and Flamenco/Spanish guitar styles and techniques.

Mike Rizk is a Sydney based musician specialising in Spanish and Flamenco guitar with performances ranging from Festivals, Zoos, Opera House, Town Halls, Corporate Events, Weddings, Product Launches, Private Functions and more, you name it he's most probably played it.

Mike has over 20 years experience in performance including production and holds a Bachelor of Music, he also has an Associate in Music (AMusA). He plays all styles of music (Jazz, Rock. Blues, Contemporary etc.) however over the last few years has specialised in Flamenco/Spanish Guitar and as a result his guitar style of choice has evolved into what he calls ‘Spanish Guitar Fusion’ which is a combination of Spanish Guitar, Flamenco, Jazz, Classical and Contemporary music

Mike has performed and recorded in Australia and overseas with various artists and has taught many people to play all styles of music at different levels. 

Mike is also the founder and master producer at Sydney Backing Tracks  which has thousands of daily streams and is used by other musicians singers, lead instruments, bassists and percussionists for training and other projects

Mikes performing style varies from solo Flamenco/Spanish guitar and Spanish pop (Gypsy Kings) to Flamenco House (flamenco + elecrtronica combined, Mike is only one of a handful on this earth exploring, performing and recording this genre

Until recently all of Mikes Flamenco House work has been made in studios and for the first time Mike has removed the studio and put together a live act consisting of synthesizers, vocals, percussion, samples and loopers to bring this show to the public where the first show will ne opening night at the Adelaide Fringe 2024

[aangussca]

Art Studio 1 Lecture and 24th Biennale Gallery visit (Chau Chak Wing Museum) (22.3.24)

Lecture: Artist-run Spaces (by Alex Gawronski)

Artist-run Spaces (or ARIs - Artist-run Initiatives) are:

Spaces directed and organised by artists (collectives, studios, shows/exhibitions, festivals, workshops, etc.).

Dedicated to showcasing experimental contemporary art.

Usually running on a 'not-for-profit' basis (although art may occasionally be sold).

An international phenomenon (found everywhere)

Below are some examples (Australia):

Firstdraft (Sydney, Australia)

107 Projects (Sydney, Australia)

Airspace Projects (Sydney, Australia)

Gertrude (Melbourne, Australia)

Blindside (Melbourne, Australia)

Outer Space (Brisbane, Australia)

Sawtooth ARI (Launceston, Australia)

FeltSpace (Adelaide, Australia)

Watch This Space Gallery (Alice Springs, Australia)

Below are some examples (international):

Studio 1.1. (London, England) and its other galleries: Studio 1.2. (Haarlem, Netherlands), Studio 1.3. (Poços de Caldas, Brazil) and Studio 1.4. (Susak, Croatia)

PrintSpace (Brooklyn, US)

Transmission Gallery (Glasgow, Scotland)

VideoArt Center Tokyo (Tokyo, Japan)

EST Art Foundation (Leiden, Netherlands)

M1 Singapore Fringe Festival (Singapore)

OpenArt (Örebro, Sweden)

SPAO Photographic Arts Centre (Ottawa, Canada)

Mothermother (Auckland, New Zealand)

Artist-run Spaces run on different models in funding and exhibitions.

Funding:

Government funded (ie. The Australia Council etc. Other State funding bodies).

Self-funding as a co-op (members of the directorship pool their own financial resources to pay for gallery rent and exhibition costs).

Exhibitor funded (gallery is paid for on a not-for-profit basis, by a rental fee paid by exhibiting artists.

Auctions and Fundraisers organized by ARI directors. A combination of the above.

Exhibition models:

Typically Government funded Als must, as a part of their agreement, accept outside proposals. That means the gallery directorship collectively decide which proposals they want to exhibit.

Self-funded co-ops can choose to accept proposals, but the onus will be determined by the co-operative.

Exhibitor-funded ARI models may accept proposals or may curate 'in-house' (ie. The directorship) actively curate the exhibition program without accepting proposals. Some of these are 'spaces for hire. That means they accept outside proposals for the primary purpose of covering the venue rent. They are often expensive and have less credibility within the art world (ALTHOUGH if you can afford it, they can be useful places to experiment if you're starting out).

There are many benefits to founding, directing or being involved in an Artist-run Space - including but not limited to:

Greater creative freedom in both the works you like to exhibit and the artists you'd like to work with

Greater freedom from limitations within institutional/commercial galleries

While another means of income may be needed, you don't have to deal with the pressure of selling your work

Collaboration opportunities, which can help you to form personal and professional connections

Gallery visit: 24th Sydney Biennale (Chau Chak Wing)

Citra Sasmita's Timur Merah Project X: Bedtime Story (2023, acrylic on traditional Kamasan canvas and oak dowels) and Timur Merah Project IV: Tales of Nowhere (2020, acrylic on traditional Kamasan canvas and oak dowels)

Description: "Citra Sasmita began researching patriarchal roots of modern Bali by looking to the literary and artistic canon of Indonesia, which broadly narrates male heroism and depicts women as romantic decorations. Through her Timur Merah Project, Sasmita creates counter-narratives that depict women as powerful and resistant actors who push back against a male gaze informed by colonial ideology. Following the fall of the last Balinese kingdom in 1908, the Dutch administration introduced the policy of Baliseering. A strategy of cultural diplomacy intended to establish an 'authentic' Bali, the policy obliged the Balinese community to carry out their cultural practices under Dutch supervision. Javanese nationalists argued that the policy kept Bali as a living museum' that appealed to colonial aesthetics of the noble and exotic while obliterating any Balinese self-determination. Balinese women, who for centuries were trafficked by the Dutch as particularly beautiful slaves, were often depicted in naturalistic portraits by colonial painters. In Timur Merah Project X: Bedtime Story and Timur Merah Project IV: Tales of Nowhere, Sasmita uses traditional Kamasan painting to reclaim the female figure as an active de-colonial agent challenging the exotic aesthetic heritage of Baliseering."

Cho Ka Fai's Exodus (2024, short film (18 mins 52 secs))

Description: "Gathered around the campfire one hot Javanese night in the 1930s, a contingent of Dutch soldiers drunkenly sang and danced while a group of Indonesian farmers watched from afar, mimicking the men's strange, rhythmic movements. And so, Dolalak was born. Something of a cultural constellation, Dolalak performers cosplay in Dutch military regalia for trance-like performances of traditional Javanese dance, melodic Islamic poems and songs of ancestral spirits. Popular among young Indonesian TikTok influencers who dance Dolalak to the tunes of Indonesian pop music (Dangdut Koplo), the ritual sits within a deeply layered history. The same rich source resulted in an Indonesian band being hailed as the greatest live act in mid-century Europe some 20 years after the development of Dolalak. Following the Dutch failure to re-invade Indonesia after the Second World War, a number of Dutch-speaking Indonesian musicians, primarily from the Maluku Islands, were exiled to the Netherlands. In the same way that Dolalak rose from a colonial clash of cultures, Indo-Rock emerged in the 1950s/1960s when these musicians began to meld Western, Indonesian and Kroncong music, a specific genre in Indonesia played on Portuguese-introduced instruments. This fusion gave rise to leading bands like the Tielman Brothers, who reached stardom as icons of Dutch and West German rock 'n' roll. In Exodus, the Dewi Arum Girls (TikTok stars) dance Dolalak to a remix of the Tielman Brothers, meditating on the colonial resonances that linger. They dance like spirits, in the reverberations of Dolalak, Indo-Rock and contemporary digital culture."

Diane Burns' Alphabet City Serenade (1988, short film (1 min 57 secs))

Description: "Chemehuevi and Anishinaabe poet Diane Burns walks the streets of New York's Lower East Side (Loisaida colloquially) reciting her poem Alphabet City Serenade in this powerful footage. An indictment of the gentrification of Loisaida and the treatment of First Nations Americans, Alphabet City Serenade paints the cracked windows and littered streets of Loisaida with a vivid and loving brush. The serenade also threads Burns into the fabric of the cityscape, with its crumbling tenements and narrow stretches of blue sky. A prolific personality and artist, Burns read her work at Bowery Poetry Club, the Nuyorican Poets Cafe, and the Poetry Project at St. Mark's Church as well as joining the likes of writers Allen Ginsberg, Joy Harjo, and Pedro Pietri in Nicaragua for the Ruben Dario Poetry Festival. Yet by the late 1980s, Loisaida, a counter-culture hub for creative, immigrant, and queer circles, was at risk of losing itself to rising rents, drugs, and the HIV epidemic. Before long, the community which had sustained Burns would dissipate, coming together again in 2006 on the event of her death. Over a career defined by an immutable spirit, Alphabet City Serenade captures the writer's sardonic, yet penetrating, insight..."

Mangala Bai Maravi's Baiga Godna Indian Tribe (2024, ink on paper)

Description: "The women of the Baiga community in central India (primarily in the state of Madhya Pradesh) begin receiving tattoos from as young as age nine, starting with their forehead before covering their back, legs and chest. The designs, known as Godna, are a record of life and culture, and are known to hold healing properties when applied correctly. Among some of the earliest communities in South Asia, in recent times the Baiga people have been displaced by deforestation and government policy. In turn, the tradition of Godna is fading because (unlike jewellery or written records) the history that is encapsulated in these tattoos disappears with those who wear them. Mangala Bai Maravi, one of the few remaining Badnin (women tattoo artists) in her community, has committed her life to preserving and sharing this tradition. Documenting the symbols and stories of her people, across not only bodies but also canvas and paper, Maravi's practice can be understood as an act of cultural preservation and healing."

[theupsidenews]

Award-winning improvised murder mystery show comes to Adelaide Fringe

Following critically acclaimed sell-out runs in Melbourne, Brisbane and Sydney, Murder Village: An Improvised Whodunnit is set to visit Adelaide for the first time at the Dom Polski Centre as part of Adelaide Fringe Festival 2024. This hilarious Agatha Christie-style improvised show features some of Australia’s best improvisers, including Jason Geary (Thank God You’re Here), Rik Brown (Magic…

[comedyinsydney]

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[tellthemeerkatsitsfine]

I decided in the last few days to watch a whole bunch of the stand-up specials I downloaded a while ago. Already wrote a couple of posts about ones that really got to me when I saw them, but here are some of the others.

Michael Legge - Jerk (2018)

I didn’t even have that one downloaded before, I only had The Idiot, but I thought that one was so very good that I immediately got this too. Also very good. Very similar to the other one, a lot of angry shouting. A fair bit of politically-flavoured angry shouting, sometimes just general angry shouting. A bit at the end that I think I’d appreciate more if I were more familiar with David Bowie’s work, but I really liked it anyway.

Actually, I liked that in both his shows that I watched. That they both ended with a properly big finale, I enjoyed that in a comedy show. And I know it can be a bit formulaic, to spend the last few minutes doing something big and dramatic that ties in lots of stuff from earlier in the show. But some things become part of an often-used formula for a reason. I’m thinking of when I got to see Dara O’Briain live last summer, his Voice of Reason show, and throughout, he kept talking about how callbacks are really cheap tricks that trick and audience into thinking they’ve seen something better than they really have. And of course, at the end he pulled everything together and ended on about eight callbacks in a row, leaving me feeling like I’d seen something even better than I actually had (though what I actually had seen was pretty damn good with or without the ending). I like that particular cheap trick and they work on me every time.

Anyway, both the Michael Legge shows I watched did that, and it was a lot of fun to watch. I guess he has to go really big at the end, if he wants the finale to be even more memorably dramatic than the rest of the show, given that the energy level is high the entire time. It’s fucking sharp, a lot of the good political points and genuinely visceral anger being almost thrown away into the sea of ranting about everything else, which I like. There were even throughlines and themes, but he didn’t hit you over the head with them, or at least not with them specifically, because he was too busy hitting you over the head with everything else at once. He didn’t need to make an extra big deal out of any one thing, except the endings, full of callbacks and even further heightened drama, and it felt to me like he took all the best parts of the “comedy show formula” and then just did the rest his own way.

…This is probably writing way too much about a guy I knew almost nothing about a few days ago and still know almost nothing about. But it’s what I got from the two shows and I really liked them.

Danny Bhoy - Live at the Sydney Opera House (2007), Live at the Athenaeum (2009), Subject to Change (2010)

I watched these mainly because I’ve decided I want to know about everything that happened at Edinburgh Fringe Festivals in the 00s, and it’s my understanding that Danny Bhoy is quite a bit of what happened at Edinburgh Fringe Festivals in the 00s. I sometimes spend nights just clicking through YouTube clips of stand-up, and if I’m in the realms of 00s British comedy, Danny Bhoy clips always come up as recommendations. So I’d watched a bunch of those clips before, found him mildly amusing, wanted to see if there’s more too him in an hour-long set.

The answer is… not really. Not based on the three I saw, which is probably more than enough. I mean, some of it was funny. And I definitely liked him. He’s very affable even before you factor in that I will automatically like anyone more if they’ve got a Scottish accent. He seemed to be having a good time, as did the audience. It looked like fun.

It reminded me a little of when I listened to that Radio 4 stand-up showcase from 2007-2009, and one season of it was hosted by Michael McIntyre, and that made me say… Oh, I thought all those other comedians were exaggerating when they describe McIntyre’s comedy, but it turns out they were mostly spot on. It was a bit weird to hear McIntyre’s actual routines for the first time, because it was weird to hear something done unironically when I normally only hear this sort of thing if it’s being mocked by another comedian as the quintessential bland conventional comedy.

I don’t think Danny Bhoy sounded similar to Michael McIntyre, but it gave me the same feeling of thinking it’s weird to hear this done in a straightforward way, when normally I only hear comedy like this if it’s being deconstructed. I think Danny Bhoy is what you get if you look up “mainstream observational comedy” in a textbook. And like I said, some of it was funny. I’m genuinely glad everyone was having a good time. I probably didn’t need three entire hours of it, which I sat through just because I’d already downloaded three and the completist in me wouldn’t let me stop until I’d finished them.

Phil Nichol - Nearly Gay (2005), The Naked Racist (2006), Your Wrong (2021)

I downloaded these for about the same reason as Danny Bhoy – when I spend a night clicking through YouTube stand-up clips, and I start from comedians who did Edinburgh shows in the 00s so YouTube starts giving me more comedians who did Edinburgh shows in the 00s – Phil Nichol comes up plenty. Often doing his song about the Only Gay Inuit Person (I refer to it here with the same convention that I use if I ever have to talk about the first song on our sports’ team’s competition road trip playlist, which is Kanye West’s Black People in Paris), so I mainly knew him for that. I downloaded his shows a couple of months ago because I wanted to see more of this other corner of 00s Edinburgh comedy, especially since his 2006 show The Naked Racist won the Perrier Award, and I like the idea of seeing as many Perrier-winning (or whatever other name it’s had in a given year) shows I can, just for the sake of understanding comedy history. The reason I chose now to watch them, however, is I cut out that clip of him calling a radio show and it reminded me that I’ve been meaning to do that.

Well. It turns out this guy’s got bigger problems that having an outdated racial term in one of his songs, and sometimes calling into a radio show after, I’m fairly sure, doing some drugs. By the end of those three shows, those other couple of things were looking quite tame, really.

I did finish the Naked Racist one by saying… I cannot stand people who go on about comedy “couldn’t be made today”, but they did give this a Perrier in 2006, while in 2022, I’m pretty sure Jerry Sadowitz technically got cancelled for less. Though it helps that Phil Nichol wasn’t shouting racial slurs while he did it… though actually, now that I think about it, he did in fact do that a couple of times too. But never in a derogatory way. My personal view of that is I don’t think those words should be used by anyone who isn’t in the groups they describe, but if someone outside that group does use them, context should be considered when judging it. And Phil Nichol’s context was very unambiguous about being furious at actual racism, as opposed to those many comedians who use words like that while knowing full well that any audience member who holds bigoted views could take that as validation, even if the comedian later on claims they were meant ironically (which it’s my understanding is the case with Sadowitz, I don’t mean to suggest those two shows are literally equivalent and obviously I haven’t even seen the show from last year, just read about it, so I can’t really comment, saying “Jerry Sadowitz got cancelled for less” was just my way of saying “Phil Nichol got his dick out, and had it out for longer than I bet Sadowitz did”). No actual racist could go to that show and take Phil Nichol’s comments, even with the most bad-faith interpretation, as agreeing with them.

Watching these shows was rather interesting because stylistically, it feels like a sort of weird fusion of the 00s British comedy done at Edinburgh, and the sort of thing I see in Canada. This guy would not be out place headlining my local comedy club on a Thursday-Saturday night (if it were a week when they were bringing in one of the really successful comedians and charging extra for tickets, that is) in a way that a lot of British comedians would seem out of place. I’m about 85% sure there are reasons for that based on his comedy style, and it’s not just the accent, but I also can’t think of specifics at the moment. So it’s possible that I just feel that way because I’m not used to watching recorded comedy in my own accent. Normally the comedy I’ve seen in that accent is live and in a darkened basement.

Anyway. It turns out I was wrong, in that other post I made, to say Only Gay Inuit Person is from 2005. It’s actually from the 90s, and 2005 is just when he did an Edinburgh show about how that song isn’t homophobic. Which, to be fair to him, it isn’t (jury’s out on anything else). While in 2006 he did a show that was somehow a protest against the Iraq war, and has beaten Desiree Burch’s Unfuckable, Mark Thomas’ Sex Filth and Religion, and all of Frankie Boyle’s DVDs as the least family friendly stand-up comedy show I’ve ever seen.

I’m pretty sure I really liked all three shows. It’s hard to tell, because at no point did he slow down nearly enough for me to work out what was happening. I almost definitely very much enjoyed them, but I think I recommend them to no one. They should never be seen by anyone.

John-Luke Roberts - A World Just Like Our Own, But… (2022)

The Phil Nichol stuff made me decide that might be a sufficiently concentrated shot of mid-00s comedy to be more than enough of that for one day, or possibly for several years. So I thought I’d try to counter my penchant for escapism into what was going on in Scotland in 2006, by watching something from this decade. I opened the John-Luke Roberts show, as he’s notorious for being a reliable vehicle that brings a person back to reality.

Obviously he isn’t that. But I did really, really like this. I’d only seen one of his shows before, which was his All I Wanna Do Is… (and then like 18 more words in the title) show in 2018. I went into that show with some hesitation, because I keep reading about how John-Luke Roberts does this brilliant inventive stuff that nobody else is doing, and I was curious to see it, but also aware that if it’s something not many people do, that might be because it’s something not many people “get”, and that might not bode well for my ability to enjoy it. I’m not one of those people who read Shakespeare comedies in high school English class and actually found them funny. And I didn’t mean to compare John-Luke Roberts to Shakespeare, it was just the first thing to come to mind when I thought of entertainment that you can only enjoy if you have knowledge of the form.

I watched the All I Wanna Do show anyway, and I liked it better than I expected to. It made me say, “Oh, I’d been wondering what ‘absurdist theatre’ actually looks like, and now I know. It’s that. Cool.” And that was exactly the point of it – he said repeatedly throughout the show that it was meant to be a showcase for what absurdist theatre is. So part of my reaction was just appreciating that, and be interested to find out what this thing is. Another part of my reaction was enjoying it, probably less so than someone who’s actually into that sort of thing and really properly understands it. But I could enjoy it as an outsider.

That’s how I felt about his All I Wanna Do show from 2018. Yesterday I watched his 2022 Edinburgh show, A World Just Like Our Own, and that one I properly loved. Not just enjoyed as an outsider, I got fully into it. He had me hooked from the very beginning – from literally the first sentence, as few comedy shows can do – and never lost my interest for a moment. I can’t think of a single bit that felt slow or unnecessary. It tied together like a beautiful puzzle, a somewhat tragically beautiful puzzle but also one that was weird and funny and vibrant, and that’s pretty much my favourite thing that a comedy show can do. Who knew absurdist comedy could come together in a way that makes so much sense?

I liked it so much. It had humour and mystery woven in every single line, ones that seemed disparate but then connections got made a little at a time, and he delivered it so sincerely. Based on my attempts at understanding what sorts of comedy shows win awards, I feel like this one should have won some awards last year. When he finished that run, someone should have given John-Luke Roberts a medal, or at least a hug.

Alasdair Beckett-King - The Alasdair Beckett-King Mysteries (2018)

I decided, after the John-Luke Roberts show, that I hadn’t had enough of men with properly long hair (none of this half-assed shaggy or even shoulder-length stuff), being surreal at me from within the last few years. I know ABK from his YouTube videos, which I’d say I find about 40% all right, 40% very funny, and 20% fucking hilarious. His live show did not disappoint.

I think my favourite thing about ABK is his really purposeful delivery, no matter what he’s talking about. With everything he says, it feels like he’s metaphorically looking you in the eye and swearing it makes sense. He’ll go from one thing to the next with so much intention, like whatever weird shit he’s discussing is the most natural thing in the world. And then every once in a while he’ll stop and look around, like he’s just remembered where he is. He said at the beginning that he was going to carve out a little space in this one room for this one hour where reality doesn’t exist and they can make whatever they like in there, and that is how it felt.

I’d read before that he uses a lot of “tech” in his live shows, and I wasn’t sure how much I’d like that, but I thought it was great in this one. Just a few slides, and a cheap smoke machine, nothing overwhelming at all. And it was all set up to be intentionally kind of shitty, low-quality pictures and the smoke machine not functioning properly, which I liked. It didn’t feel like a high-tech show; it somehow felt like a lower-tech show than shows that have none of that stuff at all. It contained several images that he’d printed onto cardboard.

Jessica Fostekew - Hench (2019)

After all these I remembered that women exist, and decided to open this one. I’d seen this show mentioned a lot, by people who discuss the big high-quality smart and hard-hitting shows that win awards and things like that.

I have to admit, I wish I’d heard less about it before I watched it. Because I think I was expecting something a bit different from it – I’m not quite sure what – and that meant I’d didn’t really quite get on board until part of the way through. I ended up re-watching the first half after I’d finished the whole thing, and I liked the first half better on the second watching than I did on the first. I think expectations skewed it – not that it wasn’t good enough to live up to expectations, just that I thought it was going to be about something else.

Anyway. Judging it by what it was and not by what I thought it would be, it was very good. It’s in the classic style in some ways - humour mixed into stories that come together to be about difficult experiences (you know, like the “dead dad” show people make fun of, but in this case it’s “casually sexist mom, also casually sexist society”), some serious bits and some purely funny bits but most a mixture of both, ending on a callback that gets acted out physically for that big finale that I like. A whole classic formula I like, in fact.

I liked Jessica Fostekew’s perspective on a number of things, including things where I often feel a disconnect from a comedian’s perspective. By “disconnect”, I mean comedians who will do a show with all these feminist points but still make a joke on the premise that women who don’t shave their legs are gross or something. This show is very much the opposite of that, so the feminist points felt more consistent. And of course I connected to it as a woman who’s spent much of my life arguing with my mother about whether it’s a bad thing if my body becomes too “masculine” (not even in a gender identity way – that’s a whole other thing – I’m just a cis woman who likes to play sports, and knows from experience that all those transphobes only defend women’s sports in the one specific way that lets them hurt a vulnerable group, they support it a lot less when they realize it involves women having muscles and things like that). Again, I really liked the ending on this one. I liked the way it drew everything together, even the parts of the show that seemed to be about very different topics. I liked everything she built into the show to bring it to that point. I like how I got more out of it on a second watch, because I could see everything she was building. It was great.

Rachel Parris - Best Laid Plans (2018)

I enjoyed Jessica Fostekew’s show because it was great, but also because it spoke to some of my experience that I don’t see represented all that often. This show was... not like that one. It’s about how Rachel Parris always imagined herself getting married to a man and having biological children with him, but it hadn’t happened yet and she was very sad about that. As someone who never dreamed about any of those things, I viewed this show as more of an outsider. Having said that, she hit on universal themes like depression and slow but sure recovery and being annoyed at obnoxious people on trains, so there was still lots to enjoy.

It’s musical comedy, which is immediately a bit divisive. I don’t automatically dislike musical comedy, but it’s not my favourite thing, and a few of the songs I didn’t enjoy too much. But I really liked some other ones. I also loved her stories about teaching piano to kids, which she worked in with her own piano playing. And I thought the final song was very good.

I downloaded this one entirely because I like Rachel Parris on The Mash Report/Late Night Mash, so it was a bit weird to see her in a show that had no explicitly political content (I mean, I could at this point go into a discussion of how it’s a political issue that all people but particularly women are taught to feel like failures if they haven’t gotten married and borne biological children, but I shall refrain). She had a lot of the mannerisms that are so funny on that show, in a completely different type of content. However, those mannerisms are funny anywhere. The exaggerated smile, the talent for sounding so over-the-top in her sarcastic amount of sweetness, the straight face that just starts to break a little near the end of whatever point she’s making, betraying the irony. She’s very, very good at that.

Kiri Pritchard-McLean - Hysterical Woman 2017, Home Truths 2022

I watched her Victim, Complex show before Christmas and thought it was very good, so I rounded that out with these two this week. One show from before that one and one from after it, and you can really see her progression. In her first show, she referred to a lot of views that had clearly evolved by her most recent show - not even that she’d scrapped those views and adopted new ones, just that she’d developed them. It was interesting to watch.

All three shows I’ve seen show off Kiri Pritchard-McLean’s ability to go back and forth so quickly, which I really like. Back and forth between making a smart point and making a purely stupid joke. Back and forth between being intellectually political and filthy sexual humour delivered with a big smile. Back and forth between extreme confidence and self-deprecation. Back and forth between anger at all other people and solidarity with them. I enjoy all sides of those things, and I enjoy the whiplash of transitions between them.

There were a few points that left me with that thing of “Well I don’t know if that moment was funny, but I agreed the hell out of it.” And, somewhat controversially, I think that’s fine. Because all three shows I’ve seen by her also had many, many points - a high percentage of the show - that was funny. I like a show that can do both. I guess there’s some ratio of humour to just “agreed the hell out of it” that you don’t want to drop below, but she came nowhere near dropping below it. She always takes time to be funny.

I also like how she’s willing to criticize and contradict herself on stage. Her self-deprecation isn’t just for the sake of it, and it isn’t cheap shots about stupid things - it’s picking apart her own prejudices. She’ll do a routine, and then she’ll stop and point out of the flaws in it, that come from the limits of her own perspective. I really like any comedian who’s willing to do that, and Kiri Pritchard-McLean does it well.

I also just really like her. All the time, she has this “rough around the edges” energy immediately puts the audience in the mood to be entertained. She’s good sometimes on panel shows, but I like her a lot better in her own stand-up shows, when that energy comes out entirely.

2022 - Guy Montgomery - Guy Montgomery By Name, Guy Montgomery By Nature

For this last one, I decided to step away from all the rest of the things I’ve explored here, and watch a lanky white man in his mid-thirties from New Zealand list weird observations that occurred to him during lockdown, in a relatively understated way. I did this entirely because I really, really liked him on Taskmaster.

This one started a bit slowly, but I didn’t think any of it was bad, and by the end I thought it was very good. The first half or so were ruminations on idioms, particularly the famous Australian one about fucking spiders, with a lot of lines sort of casually thrown away, a list that was probably too long, and stuff about letters and numbers. The second half was more grounded in reality, but with callbacks that explain that actually the weird observations were all part of a plan to use them to explain the significance of other things. Which, as always, I love in a comedy show. I love a good callback, and a callback that reveals extra significance to what first appeared to be a casual observation - that’s just lovely (Jessica Fostekew’s show had a bunch of this too).

I liked his stuff about parenting. I really, really liked his routine about evening news shows. I liked the routine it built into, about professional athletes and role models, even more. Then he told a long surreal story about horse, and it was hilarious. That was pretty much the second half, it was brilliant.

[kevinklehr]

Organising an author reading event

Eight months ago I began this process. Sydney WorldPride was asking for submissions for what seemed like their fringe festival component known as Pride Amplified. To be featured in the print edition of their festival guide, I had to submit the many things they asked for by mid year. So, recovering from Covid, I began the exhausting process. Originally we were going to use a different venue. Only…

[carrentals1]

Top Events and Festivals You Can't Miss: A Guide to Australia’s Must-See Celebrations

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If you’re a fan of laughter and live performances, the Melbourne International Comedy Festival is a must-visit. Held annually in Melbourne, this festival attracts top comedians from around the world. With performances ranging from stand-up to improv, it’s a great way to enjoy a night of humor. Melbourne International Comedy Festival

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For those who love arts and creativity, the Adelaide Fringe Festival is the largest arts festival in the Southern Hemisphere. Featuring theatre, music, comedy, and visual arts, it transforms Adelaide into a vibrant hub of artistic expression every February and March.

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Music lovers will appreciate the Byron Bay Bluesfest, an annual event celebrating blues and roots music. Set in the picturesque Byron Bay, this festival brings together an impressive lineup of international and local artists, creating a fantastic atmosphere for music enthusiasts. Byron Bay Bluesfest

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Foodies should not miss the Taste of Tasmania, a festival celebrating the best of Tasmanian food and drink. Held in Hobart, this event features local produce, gourmet treats, and culinary delights, all set against the backdrop of beautiful Hobart waterfront.

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Conclusion

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[qnewsau]

Jason Om and Catherine Alcorn to host NSW's Honour Awards

New Post has been published on https://qnews.com.au/jason-om-and-catherine-alcorn-to-host-nsws-honour-awards/

Jason Om and Catherine Alcorn to host NSW's Honour Awards

ABC journalist Jason Om and cabaret superstar Catherine Alcorn have been named as the hosts of this year’s Honour Awards, celebrating dedication and achievement within the LGBTQIA+ community in NSW.

“I’m flattered and excited to be called into action again,” the Walkley-winning reporter with the ABC’s 730 program said.

“Hosting last year was a blast, and I always have a fun time at the Awards, so I couldn’t say no. It’s a nice feeling to be welcomed back.”

 Om said the Honour Awards provides the LGBTQIA+ community in NSW an opportunity to come together in the face of increasing hostility from wider society.

“I think this year has been tough for our community, we all felt it, so events like the Honour Awards are a chance for us to look back and reflect but also to pull together and find joy in what we have managed to achieve despite the odds,” Om said.

“Most of all it’s a celebration of who we are, and of those in our community who have made a difference.”

Headlining the awards is showbiz extraordinaire Catherine Alcorn.

A renowned entertainer, starring in shows including The Divine Miss Bette, Ladies Who Lunch, and The Summer of Judy, she will soon grace the Sydney Fringe Festival stage alongside iOTA and Verushka Darling in Bangers & Mash at the Emerald Room.   

“As always, I am so excited to be performing at the Honour Awards and to be part of this fabulous celebration of diversity and community,” Alcorn said.

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A post shared by CATHERINE ALCORN (@misscatherinealcorn)

Also on the line-up is DJ Kate Monroe, and Sydney drag star Charisma Belle, who will be hosting the Red Carpet.

The pair will also be joined a host of presenters comprising leading lights from within the community.

ACON CEO Nicolas Parkhill expressed his thanks to all the performers and artists taking part in the 2024 Honour Awards. 

“We are so grateful for the support of the many artists and performers that light up Honour each year, and this year’s line-up is full of fabulous and talented ACON friends and allies,” Parkhill said.

“Thank you to Jason, Catherine, Kate and Charisma and all the other entertainers for bringing so much joy, pizazz and flair to this year’s Honour Awards.

“Honour is all about celebrating our communities and raising much-needed funds for vital health initiatives to improve LGBTQ health. I look forward to see you at the 2024 Honour Awards.”

First held in 2007, the Honour Awards celebrate outstanding service and achievements within the LGBTQIA+ community in NSW. It’s also a fundraising event with a charity auction for ACON, NSW’s leading HIV and LGBTQ health organisation.

Over 400 guests will descend at Doltone House Hyde Park in Sydney on Wednesday 18 September to recognise the efforts of over 30 finalists across 10 categories.

Tickets are on sale now and early bird pricing closes on 31 August. Tickets are available at honourawards.com.au

Click here for the full list of finalists in this year’s Honour Awards

For the latest LGBTIQA+ Sister Girl and Brother Boy news, entertainment, community stories in Australia, visit qnews.com.au. Check out our latest magazines or find us on Facebook, Twitter, Instagram and YouTube.

[yesrandyandy42]

INSPIRATION - It doesn’t come easily. I realised months ago I wasn’t being inspired by what was around me or what others were doing. You know what I mean? Everything was a bit, “oh, hum!” So I thought it was time to go in search for a little inspiration. Strangely, it has led me to booking airline flights to the Adelaide Fringe Festival (I’ve book to see 4 shows already) and World Pride in Sydney. As an added bonus, Mardi Gras has been moved forward this year (I didn’t know this at the time) and I’m accidentally in Sydney for it. It is funny how when you finally identify what’s missing in your day to day life (“inspiration” in case you forgot) the world suddenly opens up doors in an effort to help. Believe it or not, I happened to mention at a drunken Christmas party late 2022, I was thinking of heading to Adelaide and Sydney looking for inspiration and I was then given an email and a name of someone in Sydney, and now find myself in the Mardi Gras Parade (which I’ve seen a trillion times but never marched in) What then is the point I’m making? Well, my point is … We must always be on the lookout for inspiration and people that inspire us. And if we’re not feeling satisfied, we need to kick start a journey to bloody somewhere! Preferably towards the things you love (usually what you did as a kid or teenager 😊) Apart from all that stuff, sometimes you just need to stop and enjoy life …without all the small stuff! Now, it’s my turn to wish you luck with with your search 🔍 https://linktr.ee/noelanderson #sydney #adelaide #worldpride2023 #mardigras2023 #adelaidefringefestival #adelaidefringe2023 #inspiration #inspirationalquotes #worldpride2023 https://www.instagram.com/p/CnY6NfAS6bO/?igshid=NGJjMDIxMWI=

[flazedahub]

I love the Fabulous Fan Dancers @fabulousfandancers !! ✨✨✨ This troupe formed in 2015 and after all those years, it's still going so strong and is truly the most beautiful and loving dance family anyone could ask for! ✨✨✨ We have toured across Australia and performed in Canberra, Adelaide, Batemans Bay, Wellington, Sydney, Melbourne… ✨✨✨ And in a few months we'll make our traditional pilgrimage back to the Adelaide Fringe Festival to perform at Decadence and Debauchery at @nineteentenadl @adlfringe ✨✨✨ THEN later in the year, we're making our INTERNATIONAL DEBUT and travelling together to AMERICA! Yes!!! ✨✨✨ Not only do we perform together as a professional troupe… but we are also indepdant soloists in our own right… and you can come see us together AND apart at our incredible US-travel-fundraising extravaganza "Haus of Fabulous" happening on 15 April at the @harmoniegermanclub ✨✨✨ #fabulousfandancers #hausoffabulous #canberra #canberradance #dancecanberra #belconnen #emubank #flazeda #cbr #hercanberra #whatsonincanberra #canbertadancers #canberraperformer #featherfans #fandance #burlesquefans #fandancing #ostrichfeathers #fandancer #fandancing #feathers https://www.instagram.com/p/CmcmtQwyupX/?igshid=NGJjMDIxMWI=