Menu Sian Prior

Writer, Broadcaster, Singer, MC & Teacher

Culture Club reviews, 774 ABC Melbourne, 1st November [November 2]

In the last couple of weeks I’ve been to see two theatre shows that could both be described as spoofs. Which got me wondering about the role of spoofs in culture: what is the point of a spoof? What should the balance be between critiquing or mocking the original cultural product or genre, and doing a fond piss-take? When does something become worthy of a spoof? And when does the spoof itself become spoof-able?

There are a couple of different definitions of spoof: it can be a hoax, but more often it’s ‘a humorous imitation of something; a gentle satire, a light parody.’ There have been a bazillion movie spoofs – practically every genre of movie has spawned its own – for example the Carry On films, many of the Monty Python films, the Austin Powers movies, the Scary Movie movies, are all spoofs.

Then there are the mockumentaries like ‘This is Spinal Tap’, ‘Best in Show’ and ‘A Mighty Wind’. But no target is immune – Gilbert and Sullivan operettas could be seen as spoofs of grand operas. People have also done spoofs of Shakespeare plays, for example the cut-down versions, and of course the internet is overflowing with spoofs. The South Korean ‘Gangnam Style’ song which recently became the most watched video in YouTube was a parody of life in the self-consciously trendy Gangnam district, and it has spawned its own swag of spoof versions of the PSY video. There’ve also been spoof videos in response to the outrageous success of the Gotye song ‘Somebody That I Used To Know’.

In some ways a spoof can be seen as a compliment – if you’re famous and successful enough to inspire a spoof, you’ve hit the big-time. I see spoofs as a type of egalitarian impulse in culture, mocking the things that have perhaps become too powerful and threaten to overwhelm or stifle other cultural products. Some would argue they’re also mechanisms for refreshing culture; when something has become so successful or ubiquitous that it has ossified, the generators of spoofs come along to create something entirely new from the old cultural product.

So the first show I reviewed on 774’s Culture Club this week was the Stephen Sondheim musical ‘A Funny Thing Happened On The Way To The Forum’ at Her Majesty’s Theatre in Exhibition Street. The advertising material is not serving this show well. There are billboards all round town featuring goofy toga shots of the show’s star, Geoffrey Rush, which seem kind of dated. But in fact it’s a hilarious night at the theatre. This is what you might call a farce musical and I suspect the advertising campaign is like a parody of the kind of advertising campaign the show might have had when it was first performed fifty years ago.

Sondheim wrote this Tony Award-winning musical in 1962 and it was based on the plays of Titus Maccius Plautus (even that name sounds like it’s a spoof, or stolen from one – ‘Life of Brian’ perhaps?). The plot involves a slave, Pseudolus (played by Geoffrey Rush), who promises to procure the beautiful girl his master is in love with, in exchange for his freedom. All the characters names are puns – Pseudolus is a pseudo, a liar, who says whatever he needs to in order to get the outcome he’s after, leading to all sorts of crossed wires (see below * ).

The show is full of caricatures, including: the greedy slave-trading pimp who owns the girl in question; the dirty old man who wants to sleep with her; Domina, the bossy wife of the dirty old man; and Philia, the beautiful ‘dumb blonde’. In the light of the national debate about misogyny at the moment, these two female characters at times stray dangerously close to Benny Hill territory. Somehow, though, you forgive the show these stereotypes because every character is a stereotype and everyone’s being mocked – men as much as women – and in fact the stereotypes themselves are being mocked. The whole thing is so absurd and self-knowing that you’re never in danger of thinking you should take any of it seriously.

Geoffrey Rush is simply brilliant in this production. He is the centrifugal force around which the whole thing whirls, a natural clown with perfect comic timing, and he never loses energy for an instant. He even sings well and it would be worth seeing this show just to see him in full thespian flight. But Rush is also surrounded by a bunch of really good Australian comedians including Magda Szubanski, Shane Bourne, Gerry Connolly and Mitchell Butel. You’d think there might be a risk that these performers might try to steal the show but they keep themselves in check, partly as a result of the breathlessly slick direction by Simon Phillips, the outgoing director of the Melbourne Theatre Company.

There is an ingenious cartoon-like set and the band sits way up on top of it at the back of the stage. Everyone looks like they’re having a really good time which communicates itself to the audience. Highly recommended.

‘A Funny Thing Happened on the Way to the Forum’ is on at Her Majesty’s Theatre in Exhibition Street until the end of January.

(By the way, Mr Sondheim is coming to town – the composer and lyricist will be in conversation with ABC Classic FM presenter Christopher Lawrence on Friday 23rd November at 2 pm at Her Majesty’s Theatre. Tickets are available from Ticketek and there’ll be some musical performances too.)

The second show I reviewed on 774’s Culture Club this week was ‘Bond-a-rama’ at Chapel off Chapel, another spoof but this time a local product. This is an original musical about the James Bond movie franchise which has been written by Melbourne actors Michael Ward and Stephen Hall, who also perform in it, and directed by theatre-sports whiz Russell Fletcher. It’s a much more modest show than the Sondheim musical but also really enjoyable.

In case you’ve been living on Mars for the last half a century, a quick reminder that the James Bond movies have been an outrageously successful cinematic franchise, based on Ian Fleming novels about the spy code-named ‘007’ who works for British spy agency M16. The films have starred actors including Roger Moore, Sean Connery, George Lazenby and Pierce Brosnan, and a new one, ‘Sky Fall’, opens in our cinemas any minute now.

So the conceit of this ‘Bond-a-rama’ show is that the cast of four (three men and one woman) has been given a mission – to reference every single Bond movie ever made in the space of an hour and fifteen minutes. It’s a neat way to spoof the ubiquitous ‘mission’ plot of the Bond movies themselves.

And there are lots of classic spoof pleasures in this show, including the ‘spot-which- movie’ game – for example, which Bond movie begins with James Bond skiing down a mountain with two bad guys on his tail? This is the opening scene of ‘Bond-a-rama’ and I don’t want to give away how they simulate three guys skiing down a mountain in the small theatre space of Chapel off Chapel but it’s hilarious. Then we have a Bond spoof theme song, which manages to combine about five Bond movie songs in one, called ‘Die Tomorrow’s Death Yesterday Again’, sung by the very talented Emily Taheny who plays almost all the female characters in this show. There are sub-spoofs too, including a parody of TV dance shows like ‘Dancing with the Stars’.

One of the highlights of this show is Stephen Hall’s impersonations of various Bond actors. He does a perfect vocal imitation of Sean Connery’s gentle Scottish accent, but he also sneaks in a bunch of other impressions just for the hell of it including comedians Nick Gianopoulos, Shane Bourne and Julian Clary.

Some of the songs are funnier than others and it’s a complicated show technically so occasionally the timing of lighting or video images or music wasn’t quite spot on.
And one question I had was whether this show sometimes tipped a little too far into insulting the originals, rather than being fond parodies of them. There were quite a few moments where characters stepped out of character and literally talked about how ‘crappy’ some of the Bond films were, which sort of stopped the fun for a minute and didn’t make any interesting satirical point about the originals.

But ‘Bond-a-rama’ is a good night’s entertainment from a talented bunch of local writers and performers – also highly recommended.

‘Bond-a-rama’ is on at Chapel off Chapel until November 9th

( * Speaking of Crossed Wires, that’s the name of an Opera Sessions show i’ll be performing in on the afternoons of November 10th and 11th at The Toff In Town – would love you to come along. Tickets via Moshtix)