- Chris Ryan kicks off proceedings with a great stand-up comedic set. She has a confident and likable presence, drawing us into her world and telling stories of family, friendships, and what she would like to do when she grows up. She may be ageing gracefully - she admits to being 'openly gray' - but she doesn't consider herself to be an 'adult' yet. Her riff on all the expectations levelled at women - from appearance to empathy; from exercise to social conscience; from sexual experimentation to professional development - is clever, cutting and concise. Imagine an ironic female version of Renton's 'Choose Life' speech from Trainspotting and you're halfway there.
- Ruth and Friends - Ruth Oettle is the Ruth in question, and she presents a genre-challenging rap about science which manages to be informative as well as entertaining. She's good at including her audience and adapting her material, introducing verses specific to the venue. Her casual laconic style masks the artifice behind the art, and she makes everything look effortless. She invites her friends to the stage and sits with them to sing an original love song, I Love You to Launceston and Back, which is utterly charming. Her smile is infectious and the trio make you want to sing along even though you don't know the words yet. It's like woke folk music, but without the wankery that implies.
- Liz St Clair Long performs a piece by local playwright Harriet Elvin, Shopping for Underwear. It’s an age-old story where a retired schoolteacher from England makes a profound discovery about herself when she goes into an Adelaide department store. Liz is a consummate actor and she lights up every stage she graces in a variety of roles. She flexes her acting muscles displaying a range of expression, and seeing her own the space with confidence and comedy is an absolute treat.
- Ali Clinch presents 'Mothering Father', a one-woman show that she has written about extremely personal experiences. Using a sparse soundscape and projected images, she shares the story of her particular circle of life, celebrating birth while dealing with palliative care and grief. It is a familiar female story, as women bear the weight of caring for the young and elderly family members, often at the same time. Her honesty and candour make the scene powerfully touching and the fact that it doesn't seem self-indulgent is due entirely to her generosity of performance.
- Virginia's Wolf are a trio who met while studying at the Canberra School of Music. Caley Callahan (vocals), Monica Lindemann (drums) and Tammy Pinto (guitar) seem to have disparate presentation styles, but they clearly all love music and they are keen to share this passion. Their energy is friendly rather than furious, and their timing is tight. It's enjoyable to hear them run through a series of covers, including the perennial favourite, Creep, which brings appreciative cheers from the audience when Callahan hits all the right notes of anguish and frustration. They do belong here.
- Helen Way is different, as in original. She stands out from a crowd with her almost interrogatory approach and informative content. She's also a confident piano player, and her demonstration of why Beethoven's 'Fur Elise' is a terrible piece of music is brilliant. Her combination of musical and comedy talent is in a similar vein to Tim Minchin or Bill Bailey. I will never hear this piece in quite the same light again, but I will probably laugh whenever I hear it cranking out of an ice-cream van.
 |
| Strong Female Leads - photo by Lightbulb Improv |
