News, analysis and comment - performing arts |
You would hope for a bit of ‘Frisky’ as part of the Pearl Spiegeltent’s Fringe World season in Perth, sitting under the Belgian mirror tent’s chandelier on a hot summer’s night with masses of other bodies. People chat, wait expectantly and cool off with a cider. The audience, as one person I spoke with commented, was a lot more diverse and older than they expected, but that such an audience has flocked to something new and different is a positive sign, and you can only hope that Perth audiences continue to do so.
We are awaiting the middle, one hour course of the Spiegeltent’s Fringe World program, a performance by UK artists Frisky & Mannish, who, it turns out, are an incredibly polished musical comedy/cabaret duo who worked their first Perth season jokes seamlessly into their comedy patter.
Formed in 2008, Frisky & Mannish are writer/performers Laura Corcoran and Matthew Jones, currently touring Australia with their second show, following on from their critically acclaimed School of Pop, whch they brought to Australia last year.
The main idea underpinning the musical mash-up ‘lesson’ the pair present concerns the attraction of opposites and collision theory. Overall it comes across as a little under-done. I would be keen to see the show later in its season, where the duo’s marvellous mimicry and stunning vocal pyrotechnics – particularly Laura Corcoran with her multiple octave range – may be further embedded in the writing, which tonight doesn’t quite reach the peaks that the rest of their performance attains.
That said there were certainly some ceiling-hitting notes: their unique pairings of opposites included Florence Welch and Peter Andre, which was startlingly original and complex and earned well deserved laughter, both for the excellent portrayal of Florence, and the impression of her pop songs performed as covers when channelled through Peter Andre.
Corcoran & Jones not only parody pop music, as exemplified in one line about “any shit pop song imprinted in your brain till you die”. They also parody interactive learning sessions, with the audience as their students.
As a framework, it certainly gets the audience engaged, and touches on subjects such as self-narcissistic obsession, but as a concept it was never quite fully developed enough throughout the evening to really hit home.
Thanks to the pair’s awesome talent for mimicry, instant recognition of songs and performers – ranging from Lily Allen, Lil’ Kim, and George Michael to Noel Coward (one of the incredible standout moments by Matthew Jones) – made the audience laugh long and hard. The duo’s amazing acting work, with super-expressive faces, also elicited a lot of gasping laughs.
The College Years provides a compact hour of laughter and awe at Frisky & Mannish’s portrayal of the richness of singing styles, as well as references to English literature, history, and academia, but don’t expect to read too much into their pop cultural lecturing.
Fringe World presents Frisky & Mannish: The College Years
February 9 – 16
For more details see the festival’s Arts Hub event profile.
What the Other Critics Said
Chortle UK (2010 Edinburgh Fringe): "Frisky and Mannish’s show is, again, the most fun you can have on the Fringe without chemicals – and I daresay it’s even better with them… "
Mariyon Slany runs her own communications and art consultancy. She has knowledge of diverse sectors from her experience in the arts, dispute resolution to management of NGO’s. Her formal qualifications in Visual Arts, Literature and Communications combine well with her experience in media and her previous work as WA’s Artbank Consultant for her current position as Public Art Consultant.
E: editor@artshub.com.auBelinda Liversedge 29 Jul 2011
THE OLD VIC: Sam Mendes directs Kevin Spacey in this bravura production of Shakespeare’s timeless play.
Wiktoria Kwasniak 18 Nov 2010
CHRIS POTTER: A musical prodigy who had his first professional jazz gig at the age of 13, he was also the youngest recipient ever of the prestigious Danish Jazzpar Prize, which is one of the most respected awards in the jazz ...
Belinda Liversedge 13 Nov 2010
THE TRAIN DRIVER: There’s a shock, or a twist at the end of the play, which I won’t spoil by revealing here. Suffice to say, it sent chills down the spine and was not expected. You cannot help but be shocked reading the ...
David Trennery 5 Nov 2010
MACBETH: Song of the Goat seek to conjure a complete theatrical experience by engulfing Shakespeare’s text into ‘the ceaseless flow of energy of the actors in performance’.
Duncan Robertson 2 Nov 2010
FEAR OF QUEER: It was an ensemble piece where every player performed well and, although this review has only mentioned two for simplicity, everyone involved gave a fantastic performance. It was clear that the play had been ...
Duncan Robertson 29 Oct 2010
BLASTED: has not been performed in London for nearly a decade but with Sean Holmes’ production at the Hammersmith Lyric it seems it has finally found a suitable home with a terrific cast to boot. Let’s just hope that this ...
Caroline Taylor 21 Oct 2010
BLOOD AND GIFTS: The impressive play script is animated magnificently by a stellar cast. The lead is the largely unflappable and shrewd American CIA agent, James Warnock (played by Lloyd Owen), whose Achilles heel is his ...
Duncan Robertson 18 Oct 2010
DEATHTRAP: Rob Howell’s set design is truly terrific. The staggered geometry of the one room in which all the action takes place is incredibly well thought-out and with Bruhl’s festoonery of weapons all menacingly placed ...
Duncan Robertson 14 Oct 2010
KRAPPS LAST TAPE: Beneath its deceptively superficial exterior the play is the most poignant of Beckett’s oeuvre – full of autobiographical allusions – and a complex and cathartic treatise on the relationship of memory to ...
Suresh Patel 14 Oct 2010
BROKEN GLASS: The ‘political’ in Miller, and all good playwrights, is expressed on the stage through the decisions certain people make when faced by certain obstacles in certain environments. It is achieved through human ...
5 Oct 2010
DEPARTURE LOUNGE: Why do we say gay, what really happened that Thursday evening on a pub crawl night out in Malaga and how can a picture book replace a family? Spotlight on a group of young school leaver Brits on tour stuck ...
David Trennery 30 Sep 2010
LES MISERABLES: It’s worth the ticket price just to hear Owen Jones sing ‘Bring Him Home; and if you aren’t, at the very least, blinking furiously by the end then make an appointment at your local hospital to get the stone ...
Duncan Robertson 27 Sep 2010
THE EAR OF A DRUNKEN MAN: The songs are short, melodic but pared-down, bleak but ultimately hopeful. It’s an intense and deeply personal affair, but somehow it’s also very accessible.
David Trennery 30 Aug 2010
OLIVIER THEATRE: Toby Stephens is at his imperious best as the swaggering, eponymous hero while Eliot Levey very nearly steals the whole thing with his complex, compelling portrait of a sociopathic Robespierre.
David Trennery 30 Aug 2010
REGENTS PARK: A musical amalgamation of fairy tale characters in which Red Riding Hood encounters Cinderella, Rapunzel, a witch and a bigger, badder Wolf than most of us will remember from childhood.
David Trennery 5 Aug 2010
OLIVIER THEATRE: Moira Buffini’s Welcome to Thebes re-imagines the disastrous aftermath of the fall of Oedipus in a 21st century environment by replacing Theban King Creon with his wife Eurydice.
David Trennery 27 Jul 2010
FINBOROUGH THEATRE: 'Lingua Franca', Peter Nichols’ play at the Finborough theatre until 7th August, follows the fortunes of Steven Flowers (antihero of 'Privates on Parade') in fifties Florence.
David Trennery 27 Jul 2010
SHAKESPEARE'S GLOBE: The Henry IV plays are not really about the eponymous King. They explore the making of a monarch by following Prince Hal, the future King Henry V, from his wild youth under Falstaff’s wing through ...
David Trennery 2 Jul 2010
Morte d’Arthur tells of the sword in the stone, the consolidation of Arthur’s positon as King of Britain and the establishment of the round table.
David Trennery 1 Jul 2010
SHAKESPEARE: Caught between desire and duty Antony and Cleopatra's affair shook the foundations of the world. Power politics and passion collide in Shakespeare's captivating tragedy.