Archive for July, 2010
RAW: ABBA World – Melbourne – To End Oct
Jul 16th
Elitists may cringe at the thought that such a topic be a major exhibition but given their role in world music in the 1970s and 80s and in various guises since, ABBA makes for a fascinating revisit.
This exhibition in Federation Square, in the old Racehorse Hall of Fame site, covers everything you would want to know and wish to indulge with the Swedish Fab Four (other than perhaps having them over for dinner.) The material from their folk singing days through to the final chapters of their time together is all there – interviews, the recording studios, how they toured, the get-ups etc etc.
Adults and children alike can indulge themselves in remixing, singing and recording their own versions of the hit songs as well as appearing on stage with Benny, Bjorn, Agnetha and Frida and then collect their own DVD of it all to take home at its conclusion. Oh the wonders of modern technology and what it can do for interactivity at exhibitions.
I was surprised to learn what an important role Australia played in their success, adoring the group in the wake of the Eurovision Song Contest triumph with Waterloo when most of Europe was only luke warm. It was this hype from down under (at least allegedly) that reignited interest in the group in the Northern Hemisphere and saw them surge again – another Molly triumph? – I just can’t remember.
But ABBA World also reminds you of what excellent songs Benny and Bjorn produced and how superb the girls were singing them, both vocally and visually. That complexity and competence is often lost in the apparent ease and excess of their performances.
Not cheap at $35 for an adult but one can spend a good two hours wandering the various levels and if all that downloading stuff takes your fancy, then good value abounds. A great visit back in time to timeless popular music but expect to be humming Ring Ring long after you have got home.
RAW: Creation – Film – 4K
Jul 15th
By Lucy Campbell
“You’ve killed God!” exclaims the earnest Thomas Huxley to an ill and burdened Charles Darwin as he enthuses of Darwin’s as-yet-unfinished ‘Origin of the Species.’ Thus begins the first real biopic of Charles Darwin, cleverly crafted in the hands of director Jon Amiel and actor Paul Bettany. Beautifully shot and recreated,
Creation speeds back and forth through time as Darwin comes to grips with the death of his daughter Annie, whilst at the same time struggling to finish his revolutionary theories. With quite a brilliant performance from Bettany, he’s well-supported by Jennifer Connolly as his deeply religious wife and Martha West as the precocious dead daughter Annie. But anyone hoping for an insight into Darwin’s theories, or how those twenty years were spent slowly deconstructing the Christian world’s entire existence will be disappointed.
This is not a film about Darwin’s theories, but about his personal life and his inner struggle between religion and truth. The few scenes of Darwin actually working seem sketchy to say the least: snippets of Darwin jotting down in a notebook, a seemingly brief encounter with a chimp and a bit of unexplained peering into a microscope. The film tends to sag a little in the middle under the considerable weight of Darwin’s family and personal life, and at its weakest when overly emotional, but through it all still keeps its course and satisfies us. Above all, Creation is a film of the power of individual thought, the repercussions of which we still feel today, and the unshakeable human desire for truth and understanding.
RAW: The Runaways – Film – 4K
Jul 15th
Reviewed By Lucy Campbell
For anybody with even the slightest of grasps of The Runaways music can probably guess that this film is a romped up biopic of Joan Jett and Cherie Currie, the infamous duo to front the all-girl rock phenomenon of the 70s. The Runaways centres heavily around the performance of the two leads; teen hype machine Kristen Stewart as Jett and child actor workhorse Dakota Fanning as Cherie Currie. Luckily both actors do a fine job as the superstar teens, with Stewart in particular proving she’s made of stronger stuff than the ‘Twilight’ bamboozle. The best performance goes to Michael Shannon for his acidic, aggressive and egotistical Kim Fowley; manager dash collaborator.
Runaways has all the plot one would expect from such a biopic: the inevitable drug problems, sex, alcohol abuse, relationship meltdowns and eventual breakup, and it suffers from hovering between too sexy, offensive and dark for a teen audience and a little too tame for the real rock n roll romp it should be. Nevertheless the film looks beautiful, and the time and place have been lovingly captured by writer/director Flora Sigismondi, with the relationship between Jett and Currie as believable, tangible and not overplayed. Despite the second half, which goes on far too long and focuses on the least interesting of the two rockers (Currie, whose Dakota Fanning saucer-eyes and drug-fuelled clichés lack the passion and energy of Jett) The Runaways is still an enjoyable if un-subtle glance into the world of 70s rock n roll, and to a lesser extent the role and influence of women in a male dominated industry.
Kryztoff Rating 4K
RAW: Bill Bailey Live – Thebarton Theatre
Jul 8th
People will probably know Bill Bailey from his appearances in TV shows such as Black Books, Spaced or Skins, but you can’t understand the depth of this guy’s talents until you have experienced him live. Bailey has one of those delightful minds which makes random associations between the oddest things, and has a charisma and presentation style that can make the mundane eye-wateringly funny.
The Thebarton Theatre was packed with appreciative fans from a wide demographic range; many who have undoubtedly been devotees for years and some who were experiencing him for the first time. Bailey is a quick witted, affable guy, who’s not afraid to engage his audience in banter. Over the course of the evening, we were treated to an enchanting mix of comedy, music and visual presentations.
Bailey is also a talented musician and incorporates music into much of his comedy. He always brings with him an eclectic mix of instruments. This time we got to experience the dulcet tones of the oud, as well as the delightful electronic machinations of a tenori-on, amongst others. His reinterpretation of the Leonard Cohen classic Hallelujah in the style of Kraftwerk, and his variations on the works of the likes of Phil Collins and James Blunt, were highlights.
In between songs, his account of what we can expect from the opening of the 2012 London Olympics was riotously funny and left one slightly concerned that he’d been privy to some IOC planning meetings. Barnacles also provided much merriment, including an auction relating to their penis to body ratio (we weren’t even close – Wikipedia says it’s up to 40).
Bill Bailey has a great reputation as an entertainer and did not disappoint his Adelaide crowd. They will undoubtedly be recounting stories of the evening to friends for years to come.
Kryztoff Rating 4.5K
RAW: Entertaining Mr Sloane – State Theatre Company
Jul 7th
Sloane (Renato Fabretti), is a good-looking young lad who has taken lodgings in the house that Kath (Jacki Weaver) shares with her father, Kemp (Dennis Olsen). Despite their age difference, Kath has designs on Sloane. Her controlling brother Ed (Sean Taylor) is not happy about the arrangement; until he meets Sloan and also finds the boy alluring.
As Kath, Weaver initially presents a vague and simple character that is mildly amusing and decidedly pathetic in her overtures towards the young Sloane. However, as the character develops in the second act it becomes clear that Kath is not just a ditz and that her psychological issues have a truly pathological and disturbing leaning. In these later scenes we see more of the talent for which Weaver is known.
Disappointingly, Fabretti (while undeniably attractive) has neither the appropriate look for Sloane nor manages to inhabit the role in any way that could endear him to the audience. The character was inconsistent and underdeveloped, with many opportunities to give it depth, and illuminate the motivations for his actions, sadly neglected. Taylor is suitably loathsome as Ed and, as the wretched and doddering Kemp, Olsen gives his usual, crowd pleasing, performance.
Overall, the show lacked spark. There were pace issues, particularly in the first act, and much of the dialogue felt like it was being said for no reason other than because it was written on the page. When double meanings were accentuated, they were met with appreciative laughter from the audience but, sadly, the majority of these opportunities were missed due to the lacklustre delivery.
Promoted as a black comedy, the script does have comedic potential but it also touches on some very serious, and unsettling, issues and so a delicate balance needs to be met. Regrettably, this production fails to achieve that happy medium and the result, while not completely devoid of merit, is a rather bland interpretation.
Kryztoff Rating 2.5K
RAW: Bill Viola’s Observance – Samstag Art Museum – To July 14
Jul 1st
A column of people comes, one by one, towards us to observe for themselves and be emotionally affected, absorbed by grief, horror and / or sadness, by a scene playing out below where we stand. We don’t know what it is but by their reactions we too come to be observers of their grief and thus for those immediately involved.
Observance is one of a series of works by Viola comprising The Passions created over three years from 2000 to 2002. His art generally explores themes of human experience, memory and the mystery of existence and he creates compelling, voiceless narratives where their effects are magnified through the slow motion of their movements and expressions.
As much as we too may become infected by the reactions, there is a voyeuristic disposition of these people that is also unsettling for they seem to neither know the players suffering nor, in most instances, those around them as they almost jostle for their chance to gain a clear view. The reassuring touches and anxious glances seem to be mostly towards those who are joined only by this experience. Interestingly, while people of all colours and ages are represented, Viola does not have children in the mix.
This is interesting art that poses questions about how we react when confronted with the grief of others, whether known to us or not, as well as how we can share in the reactions of others. Combined with the Mirror Mirror exhibition, Observance promises that a walk to the West End will again reward you for the effort.
Until 14th July.