Emily Blunt, Jason Segel, Rhys Ifans, Chris Pratt. Directed by Nicholas Stoller.

This rom-com from the Judd Apatow stable reteams the director and star of ‘Forgetting Sarah Marshall’ to produce a slightly melancholy but funny flick. Newly engaged couple Tom Solomon (Segel) and Violet Barnes (Blunt) are blissfully in love and excitedly get engaged after one year of dating. However, on the way to finally getting married, they hit a few roadblocks with a cross-country relocation, poor career choices and an inexplicable beard growth all in the mix. The two leads are great together, possessing an easy charm and chemistry and the support cast lead by Ifans, Pratt and Alison Brie (from ‘Community’) add layers and bring the ribald humour. An entertaining ride that drags on at times (it runs for over two hours), but the depth of emotion and its raw and honest look at love make it all worthwhile.

3.5 stars.

Ringmaster Management has gathered together a group of uniquely talented performers to stage a smoky, dark, seductive show which brings the hidden worlds of everyday to life. Answering our questions is Sunday Lucia — ballerina, choreographer, burlesque dancer and model — and one of the key performers in ‘Silhouette Cabaret’.

Q: Describe this show in 5 words?
Mystical, vampish, stylised, human nature.

Q: What role do you play in it and what was that like? I play a woman so in love in her own head yet unattainable, playing one man’s fantasy, but it’s also my own. This production has been so enjoyable to work on because of the scope I have been given. There has been great direction but also a lot of freedom to create and explore.

Q: Tell me about your skills and previous achievements? I graduated from QUT with a Bachelor of Dance, Performance Major. I received my first role in Singapore with Odyssey Dance Theatre and later returned to Australia and joined Expressions Dance Company as a young Emerging Artist. Since then, I’ve been an independent artist in Brisbane, staged my own cabaret show in 2008 as part of the Brisbane Festival and recently performed in Graeme Murphy’s production of ‘Aida’ in Adelaide and Brisbane. Plus I own my own performance company — Sundance Enterprise.

Q: Highlights about being involved in ‘Silhouette Cabaret’? Working with other fantastic performers who continue to inspire me with such creativity and drive.

Q: Any awkward, weird or uncomfortable moments so far? Trying to work out the logistics of my costume which is a small bandage that needs to be unravelled from my body in an elegant and seductive way (these things get tangled you know).

‘Silhouette Cabaret’ is showing at Albert Waterways Community Centre in Broadbeach on Sunday, May 13.

Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth. Directed by Joss Whedon.

Hiring Joss Whedon to direct one of the most anticipated films of all time was a ballsy move.

Sure, he’s a fan favourite, but ‘cult status’ — the sort enjoyed by Whedon projects like ‘Buffy The Vampire Slayer’, ‘Firefly’ and ‘Dollhouse’ — isn’t what you’re shooting for with an investment of this size. Like so many risks, though, it’s paid off in droves.

‘The Avengers’ plays to all of Whedon’s strengths, starting with the film’s ensemble nature. No fan of any of these characters will come away disappointed, or feeling like their favourite deserved more time in the sun. If anything, it’s the characters who haven’t headlined their own movies (or haven’t done so successfully) that steal the show.

The final third of the film alone contains more action and excitement than all of the other Marvel movies combined. Every dollar of the budget is stretched to its absolute limit, and you can see it all up on the screen (this, of course, is the true genius of hiring a director used to working on a shoestring).

Whether or not this leads to infinite sequels, let’s appreciate ‘The Avengers’ for what it is: the greatest action film of its time, and for fans, pure superhero nirvana.

‘The Avengers’ assembles on Wednesday April 25.

Hilarious, whimsical, melancholy, heartbreaking, crude, original, soul-brightening. Is that even a word?

Perhaps not but I feel like it is the most appropriate way to describe the latest production from La Boite (and artistic director David Berthold). Coming all the way from Scotland, this show has toured the world and has left audiences everywhere gobsmacked and giggly, unexpectedly aroused, cringing in embarrassment and swooning with sheer joy.

The show is based around the romantic tangled story of two people, who are both living life through a haze of boredom and cynicism, but who end up having the craziest night of their lives together. And it’s not even corny.

Just see it and know that you will, without question, want to own both a ukulele and a Scottish accent.

Midsummer (a play with songs) plays at La Boite Theatre until April 28. Book now at laboite.com.au.

Did you know that the Brisbane Arts Theatre has been entertaining crowds since 1936?

This makes 76 years of dynamic, thought-provoking, hilarious live theatre where anyone and everyone is welcome. Notably among the luminaries that have graced their stage are Barry Otto, Carol Burns and Michael Caton. The fun facts keep coming. The park opposite the theatre is named after Vic Hardgrave — one of the two founding members (the other was his wife Jean Trundle). Let’s not forget that they also have absolutely no government funding even though they are the oldest surviving community theatre in Brisbane.

The most important fact however is this; they are about to stage a new show ‘The Boys Next Door’ and Kym Brown the theatre manager described it as “… an emotional rollercoaster with a side of doughnuts!” Surely your interest is now piqued (albeit possibly confused by the description) and you must know what it’s all about. Well, the story is based around “four mentally handicapped men who live in a communal residence under the supervision of Jack, an earnest, but increasingly ‘burned-out’ young social worker,” explains Kym. She adds, “The play is mingled with scenes from the daily lives of Norman, Lucian, Arnold and Barry, where ‘little things’ sometimes become momentous (and often very funny). This creates moments of great poignancy when we are reminded that the handicapped, like the rest of us, want only to love and laugh and find some meaning and purpose.”

Artistic Director John Boyce jumps in and points out, “Frankly, it’s just a good play!” Boyce was keen to include it in the 2012 programme for various reasons as he explains, “It is funny, touching, takes audiences on an emotional journey, and is highly engaging.  We are aiming to showcase some slightly unknown plays, offering audiences something different to the mainstream theatre available in Brisbane.” He laughs and mentions, “We like to do things a little left of centre, and off the beaten track.”

A point that is emphatically supported by director Shaun King as he explains an interesting rehearsal the cast had recently. “One of the cast was unavailable for a rehearsal (a male), and Cindy Nelson (who plays some supporting roles) read in for this actor. Her portrayal of this disabled man was so hilarious and convincing, I seriously considered recasting the play! It just goes to show the calibre of the actors involved in this show.” Remembering that all involved are doing this for the sheer love of theatre (with no pay) so at times it can get difficult juggling all the metaphorical balls. King puts it simply, “You just learn to live with no sleep! But the end is well worth the price. The rewards are working with a high calibre of people (both on and off the stage), who aren’t doing ‘amateur’ theatre because they can’t ‘make it’ professionally — most of them just do it for the love, and are just as talented and dedicated as the professionals.”

The show deals with some heavy issues and awkward, uncomfortable truths but the beauty of this play is the way in which these are handled and expressed. Assistant Director Carrie Buttar agrees wholeheartedly and adds, “You will be on a rollercoaster of emotions!” She laughs then continues seriously, “You have been warned. This show will touch audiences deeply — there will be both laughs and tears.”

‘The Boys Next Door’ plays from March 10 until April 7 at the Brisbane Arts Theatre.

“Even the sheep are having a romance.” In typical La Boite fashion, Trevor Stuart sums up the essence of ‘As You Like It’ from a decidedly offbeat angle.
The internationally acclaimed actor is part of the 18-person troupe performing ‘As You Like It’, the latest production from forward-thinking, fast-moving, eye-opening theatre company La Boite. So enamoured with the Shakespearian play and his fellow performers, Stuart paused after one rapid-fire monologue, asking “I’m not going on too much am I?” before leaping back into the conversation.

Assured that he’s not, he proceeds to wax lyrical about the prose, has moments of palpable rapture at the sexy complexity of the work, even declaring at one point that “… every fifth line is a perfect moment of English language.”  From the ways Stuart speaks about ‘As You Like It’, it is apparent the man is a big big fan but he does admit, “it’s a very difficult play.”

Stopping to correct himself, he adds, “actually it’s an extraordinary play which I didn’t even realise was such an extraordinary play. I had seen it before and thought that it was ok. But now I’m really prepared to put it into the top echelon, the top cannon of the man’s works.

“It is so complex, so brilliant and of course we have the privilege of being able to chop it up and break it down into little bits and analyse every second. So the play which begins looking as though it is going to be a tragedy is set in a typical urban state, one that’s in deep deep division. And then following that, quite quickly on, everyone is thrown out into the Forest of Arden and there it becomes a pastoral comedy where everyone ends up happily ever after and it’s a total delight.”

The plot sounds slightly wacky, the characters flimsy and the set surely will be difficult to create but from Stuart, there is no argument merely a supremely confident air of invincibility.

He justifies this with explanations about the cast (“Ten professional, eight students - the pick of the crop - and all are hilarious), the director (“David Berthold has such a good rein on things, plus he has a sharp eye and a very good ear”), the set (“Renee Mulder has designed a fantastic set and it is going to be one of the big La Boite moments”) and the lead actors (“Helen Howard has nailed the biggest female part Shakepeare has ever written and Thomas Larkin is a bit of rising star really”).

And within this, the real focus is the script as it moves from urban to pastoral, and from tragedy to comedy with “the most beautiful philosophical tracts being thrown in and some of the greatest lines that have ever existed.” When asked if this production will appeal to everyone, Staurt stops to gather his thoughts and his considered answer sums it all up very nicely. “In that La Boite way, we have made it rather rapid, very accessible and remember it’s about love. Really it’s better than any magazine or modern romance as it’s love across the board. No one is left out - even the sheep are having a romance.”

‘As You Like It’ opens on the La Boite stage February 18.

“Friends, lovers, street-fighting men, canterous jackanapes,” is how Kirk (loudly) describes the theatre company Rude Mechs. He should know; he is one of the members in the group. But what the hell are ‘jackanapes’?

Part of this year’s World Theatre Festival at the Brisbane Powerhouse, Rude Mechs are presenting their show ‘The Method Gun’ which almost defies description. The members of the group don’t fare much better when attempting to explain what the show is about. Kirk panics and shouts, “OH GOD. DON'T EXPECT IT TO BE GOOD. You know how a new album will come out and everybody will say how great it is so that by the time you hear it, its okay-ness or even its goodness is wasted on you because you were told to expect the second coming? We’re performing a theatre piece. It’s good. We stand by it. But it’s not gonna pay your rent.”

Lana ponders then says, “Mmmm, so the play is about a company of actors that lost their guru, Stella Burden, and essentially how they handled that loss.” It sounds like heavy material, should we expect a night of intense soul-searching and is it B.Y.O tissues? Lana laughs at this and adds, “Audiences should expect us to toy with the fourth wall a bit, to laugh a bit. We don't take ourselves very seriously, but we are serious about making sure audiences feel taken care of and that we are taking them with us on the ride.”

Confused about what we’re actually talking about? The show’s blurb goes like this, “Experience physical theatre at its most fun. This show explores the extreme teachings of Stella Burden, actor-training guru of the 60s and 70s, whose method ‘The Approach’ aims to add sex, death and violence into every moment on stage. That is, until she mysteriously disappears into the South American jungle leaving her fervent followers distraught.” So who exactly is this mysterious Stella that this show is all about? Thomas, another member of the troupe pipes up confidently and clarifies nothing, “It’s hard to say.” Lana is even more baffling with her response of “exactly”.

But uncertainty, confusion and exploring the unknown are often what theatre is about and Rude Mechs have become experts are turning audiences expectations upside down and inside out. To do this takes effort, dedication and planning. Lana points out that, “everyone performs, directs, acts, makes costumes, designs and operates light and sound. It's very flat and we like that. We wanted to avoid top-down hierarchy as much as possible and decided to have a minimum of five Co-Producing Artistic Directors at all times, to create our plays collaboratively, and to operate artistically and administratively by consensus decision-making. We are a very process(minded) company. We talk through everything and we do our best to make sure everyone feels heard.”

Kirk explains it from a slightly different angle, “Everyone wants to make the best work. We don’t compromise. We don’t vote. We talk it out. And yet I think if you could drag race decision-making policies, we can come to a strong consensus more efficiently. We stick together because we like each other and we don’t let little things, like hating each other, get in our way of our friendships.” He pauses here and then adds quite seriously, “Also, there is a feeling that we haven’t made our best work yet.”

‘The Method Gun’ by Rude Mechs is part of this year’s World Theatre Festival, Brisbane Powerhouse with shows Feb 22 - 26.

Gold Coast Film Festival

Crimson Bolt - a superhero with only three rules (and even fewer super powers) - you are not supposed to molest children, cut lines or key cars. If you do, prepare to face the wrath of the Crimson Bolt.

Combining a handmade suit, a wrench and a crazed sidekick, ‘Super’ is a film that will rock your world. It’s the anti-superhero superhero film, written and directed by James Gunn, is being exclusively screened for the first time in Queensland at the Gold Coast Film Festival 2011. With a stellar cast of comedic talents, the film brings together Kevin Bacon, Rainn Wilson, Liv Tyler and of course the irrepressible Ms Page. The film itself has been described by IFC Films as “combining absurd humour with balls-out violence to create something that is both unashamed and inimitable. But this time, there is a new ingredient, one that is dark, dramatic and subversive to the core.”

The synopsis of the film goes something like this: Frank (Wilson) thought he was happy, appears he is instead a sad-sack loser as his ex-addict of a wife leaves him for a seductive, psychopathic drug dealer (Bacon). Please note that this alone was enough to thoroughly pique my interest for over the years, my ‘Bacon’ obsession has slowly but steadily grown. Enter trusty (yet maniacal) sidekick (Page) and Frank has now completely morphed into Crimson Bolt. Without the necessary finances available for bribery, interviews with Page fell through but luckily, James Gunn was available to answer pressing questions.

As both the writer and director of the film, Gunn was passionate and knowledgable, providing some hilarious anecdotes and insightful information. With the recent glut of superhero and comic book-based films that has flooded the industry, there was pressure of Gunn to create something different that would appeal to both a mainstream audience and geeks alike.

Sounds like a daunting prospect but Gunn was motivated to do it as he explained, “before I directed ‘Slither’, I wanted to show people I could direct, and thought a short film might be the way to do it.  So I started writing ‘Super’ as a short film, but, as I did, it took on a life of its own. There were no initial fireworks and there was no big, grand idea, but as I wrote it the characters took hold of me, and the short film became a feature, and the story became about something far more than what I originally thought it was.” Not everyone agreed and it wasn’t picked up straight away which, for Gunn, was disappointing but he remained undeterred. “When the script didn’t immediately get made, I tried to forget it, to put it down but never quite could. I felt beholden to the story, if that makes any sense. It was a story, for whatever reason, that I needed to tell.”

His inspiration for the film? He ponders then lists, “definitely the comics of Alan Moore, along with the films of Scorsese, Tarantino, and Lukas Moodysson, the comedic and tonal shifts of Asian cinema, and to a smaller degree old ‘60s pop art films like ‘Send Me No Flowers’. I was also greatly influenced by William James’ 1902 book, ‘The Varieties of Religious Experience’.

You could say ‘Super’ is an adaptation of that book, only it’s fictional, comedic, and wearing a superhero costume.”
Being so intrinsically involved in the entire process from conception to creation, Gunn is well placed to talk about the essence of the film and what its characters are about. Talking rapidly, he points out that “for me, the film is about one man’s relationship with God, and his journey to fulfill his side of that relationship, no matter how insane or morally ambiguous that journey may seem to others.”

The inherent appeal of a superhero lies in the ability to do things that mere mortals cannot. When asked what ‘power’ Gunn would want, his answer is surprising (and hilarious). “I think we’re all given superpowers, it’s just whether we choose to use them or not.  For instance, there are a lot of people who have been given the superpower of ‘plumbing’ but who are running around here in L.A. trying to use the superpower of ‘acting’ which they very clearly don’t have. I could be easily satisfied with superpowers for instance, I’d love to have ‘can’t-get-AIDS’ superpower, or ‘not-make-a-baby-at-will’ superpower, or ‘an-extra-fifty-years-of-life’ superpower. Those all sound pretty good to me. If I could have one of the big ones – invisibility, flying, invincibility etc. – I’d be having an orgasm for the rest of my life. Please note I would not want to have the ability to shoot beams out of my eyes. It’s not worth having a superpower if you have to wear sunglasses inside and look like a douche bag for the rest of your life.”

Watch ‘Super’ on the big screen before anyone else at the Gold Coast Film Festival, November 26 at 8.15pm. To book tickets, head to gcfilmfestival.com/event

Poetry In Preview

The best poets are gathering together on Friday October 22 at the State Library of Queensland, not to share tips on how to rhyme but to battle it out for the honour of taking home the state slam title. Sixteen finalists will soon become one winner, taking home cash, prizes and the chance to compete for the national title in Sydney. The competitors get two minutes on the mic to impress judges (who are actually randomly selected from the audience) and two of the local contenders taking this challenge are Darkwing Dubs and Tenda McFly.

Tenda McFly
What made you enter this competition?
Up until last year's competition I had never really attempted to perform my poetry in front of an audience. I stumbled on to it randomly on google, and I realised that there was actually a scene for it in Brisbane. I entered last year's competition, I surprised myself because I actually did quite well and the crowd responded.

Idols and inspirations?
I want to captivate you like Saul Williams, have the poise of Maya Angelou and make you question things whilst making you laugh like Rives does. Well... ideally.

What do you do directly before going on stage and taking the mic?
I start pacing back and forth but when I get on stage I'm usually in my element. It's just that moment in between my name being mentioned and being up on stage that I usually dread. 

Advice to others who want to do what you're doing?
There is this rewarding feeling that you get from knowing that someone else out there felt what you were saying, and more often than not, people will tell you. The worst thing you could do is not share your material with the world. Frankly, that's quite selfish.

Darkwing Dubs
What made you enter this competition?
Originally it was just something to get me out of my hip hop comfort zone. This year it's because performance poetry has become ingrained in my artistic practice. Plus nothing brings out the beast like a bit of competition and a roaring crowd.

Idols and inspirations?
2pac's fire, B.I.G.'s lyrical prowess, Saul Williams' cosmic rays, Ursula K. Le Guins mastery of language, Andre 3000's colouring outside the lines, Roald Dahl's giants and chocolate factories and peaches, South Park, the Brisbane poetry community, Guillermo Del Toro, West End markets and Blackstar coffee and dumb politicians and sitting in the sun and complaining about life and writing poetry about it because you're a middle class white boy who doesn't realise how goddam privileged you are.

What do you do directly before going on stage and taking the mic?
Get nervous I guess, then remember how much fun it is going to be.

Finish this sentence… If I won the Australian Poetry Slam 2010 competition, I would wander the globe getting in adventures and then ask Frank Miller to make a comic of my adventures before finally contacting The RZA to make the soundtrack for the movie version of my adventures.

Australian Poetry Slam State Final is on October 22 at the State Library of Queensland.

Dance in Preview 

The merging of Latin dancing, Japan and the University of Queensland sounds like a complicated and bizarre plot for a dance production.

Instead, it is actually the true story of Mio Takagi - a young girl from Hiroshima who decides to study abroad, pursuing her dreams and ends up finding happiness in a completely unexpected way. Mio herself resembles the strength of her home city - strong, peaceful and resilient who is determined to overcome whatever obstacles stand in her way. Simone Smith, who is the writer and director of this production, is not only excited about the show but also of the decision to donate the profits to the Queensland Flood Appeal.

What is like being involved in such an emotional show and one based on someone's life?
Being close to Mio and knowing her struggle, it is hard to understand exactly what she would be going through every day as none of us are in the same situation. However, being involved on such a significant level to be able to tell her story via a powerful stage production is rewarding. To have it touch different people and help them see that no matter what happens, dreams can come true, is exciting. 

What can audiences expect when they see the show?
A touching story with spectacular dancing, wonderful music, impressive Latin routines including acrobatics (lifts and tricks). They will be taken on a journey from the beginning through the difficulties, to the ending and Mio's dream coming true. Thus giving each audience member something they can relate to no matter their situation or background. "Sakura - a story that will touch the hearts of many, as it tells the strength of one."

Highlights?
The vast array of dance styles incorporated to tell the story. This includes Latin dancing (Salsa, Zouk, Brazilian Samba and Bachata), acrobatics, contempory, ballet (en pointe) and combines all of these with the scripted story of Mio's timeline from 1999 to 2009.

What makes this different from other dance productions?
A production like this uses the elements of theatre combined with dance to tell the story. It's been referred to as a “dance-ical” - like a musical but where there would be songs to depict the story, there are dance routines. Also, this production was written, developed, created and rehearsed here in Brisbane (Vida Latina studio in Milton), then premiered overseas on tour. It is an international production and therefore totally unique in every way.

‘Latin Fantasy: Sakura’ is staged for one night only Saturday February 5 at the Schonell Theatre UQ. All proceeds will be donated to the Queensland Flood Appeal.