More Critical praise for the Comedy Knights

Reposted from original story on Times of Malta By Anna Marie Galea Click here to read original

While 2016 hasn’t been a good year for much of the world in general, it’s been a pretty great one for the satirical sphere. After all, with everything from the untimely demise of a perfectly healthy gorilla thanks to human stupidity and the election of one of the most powerful leaders of the ‘free’ world for pretty much the same reason, it’s little wonder that this year was the one which launched thousands of tears (and memes).

If there are a few things which we can be eternally grateful for, I’d like to think that keeping good humour in adversity is one of them. Indeed, with its rip-roaring and sometimes ribald comedy which is always fiercely relevant, it’s little wonder that the tickets for this year’s The Comedy Knights sold like the proverbial hot cakes.

I want to start by saying the obvious, which is that unless your sense of humour is firmly in place and your tongue lodged in cheek, this show really isn’t for you. During the intermission when I was scuttling around looking for my friends, I did happen on one particular sour puss who was x’għarukaż-ing all up and down the length and breadth of the bar and to be honest, I’m not really sure why. After all, going to The Comedy Knights and not expecting political references is a bit like going to Saudi Arabia and expecting to walk around the streets drunk wearing an itsy-bitsy bikini without drawing attention (and stones) to your person. So I suppose if you’re the type to still light candles in front of your politician of choice’s photograph like he were some Stone Age deity, you should give this one a miss and not post your complaints on The Salott.

This inevitably brings me to one of my favourite sketches in the show, the aptly named ‘The Salott Support Group’. While I really enjoyed a lot of the politically themed bits, I felt myself a bit less susceptible to them than usual, possibly because of the barrage of the, frankly, horrific political happenings this past year has brought with it. ‘The Salott Support Group’ was particularly clever in my eyes because it really brought out the different characters that you encounter on this group of almost mythical status. Indeed, it had everything from the typical member deviating from the online discussion to talk about something completely unrelated to that one person that will without fail ask if Lidl is open every blessed Sunday. The script was not only cleverly written, but the characters were portrayed with great gusto.

Further zest, or rather a lack of it, was what Steve Hili portrayed in ‘Maltese Waiter School’ where he gave foreign waitress Chantelle Micallef Grimaud a crash course in how to give silver service à la Maltaise. Not only was his rendition spot-on but it actually succeeded in making my blood boil slightly at the thought of all the positively bad dining experiences I’ve had pretty much once a week this year alone.

Back on the stage was also a new episode of the ‘Sliema Girls’, played by the fabulous Jo Caruana and Pia Zammit. I have a special place in my heart for these sketches, particularly because they bring out the worst, or arguably best, of the stereotypical Sliema girls, but also because Caruana and Zammit are really able to give the part its nuanced depth. I suppose what makes it even funnier is the fact that I’ve actually been thrust into very similar conversations more times than I’m comfortable writing about.

Of course, I cannot and will not talk about Pia Zammit without mentioning her side-splitting portrayal of the Prime Minister’s wife, Michelle Muscat. Not only has Ms Zammit succeeded in perfecting Mrs Muscat’s voice, but the way she has constructed the part she plays, complete with satin dressing gown and debatable henna tattoo, is truly something to behold.

What makes The Comedy Knights so wonderful is the unflinching way the cast look into the sun and tell it how it is through the well-written and sometimes hard-hitting script. What’s more, they do it so eloquently and with so much gusto that even if you do disagree with the subject at hand, you can’t really fault them on the inescapable irony and well, tragi-comedy that the last year has brought.

It’s been an objectively catastrophic year; if we can’t all at least laugh about it together, even if just for a few minutes, then what else is there left to do?

Rock of Ages: don’t stop believing! ()

Reposted from original story on Times of Malta By Michael Bugeja Click here to read original

It says a lot about any musical performance when the audience is still singing (or trying its darnedest to) the closing number as it shuffles out of the venue. That’s exactly what happened as I was making my way down the City Theatre’s narrow staircase after the final performance of Rock of Ages.

Actually that also happened on opening night, and quite possibly, I’m inclined to believe, after every performance of Malta’s longest-ever running musical this summer.

Having already reviewed the show’s opening night – in which review I had written I would be going back to see it because yes, it is that good – I obviously knew what to expect this time around, but that didn’t stop me from enjoying it as much as the first time.

Going to the same musical twice is actually a first for me, an occurrence perhaps more significant because of the simple fact that, while being an avid music fanatic, musicals have never quite rated among my preferred go-to events.

Indeed, apart from the local production of Rock of Ages, I’ve only been to a couple other musicals in my entire life. With this show however, I was immediately interested, lured in primarily by the music content… a steady stream of evergreen rock classics from the 1980s that I’m sure reignited some distant memories for a good chunk of the audience (this writer included, of course).

Further to the music selection, having a live band onstage and in full view playing it was certainly a bonus. Its performance not only adding extra punch to the show, but serving as a convenient prop throughout. The thing is, the vibe that Rock of Ages generates starts way before the curtain goes up, or sideways in this case.

The vibe that Rock of Ages generates starts way before the curtain goes up

Many might have taken the music selection playing in the background as people looked for their assigned seats for granted, but it was highly effective, subtly warming everyone up nicely for the actual performance and setting the tone for what was to follow.

With the show getting rave reviews ever since opening night, expectations were probably at their highest on the final night. This may have piled on some extra pressure, I’m guessing, but not one iota of it was visible at any time, with the performers serving up a seamless delivery that effectively en-gaged the audience. They were pretty amazing on opening night too, but for this last show, the cast certainly sounded more confident, more entrenched in their roles without losing any of the natural flair necessary to grab the audience’s undivided attention.

What else can I say about the show that I hadn’t already commented on in my first review? Chris Dingli’s Lonny was flawless and very, very funny; his narrative holding it all together onstage and niftily slipping into the occasional engagement with whoever happened to catch his eye in the audience.

Nadia Vella and Kurt Calleja’s chemistry was clear as crystal, their singing spot on and nailing the primary love storyline to a tee. And speaking of love, I must also mention Lonny and Dennis Dupree’s unlikely romance, unexpectedly sprung later in the show and acted out with a good dash of humour a lot... yes, a lot of dry ice.

Elsewhere, the sub-plots worked a treat too, thanks in no small way to apt performances by the characters involved – Steffan Cheriet Busuttil’s Dennis Dupree, Katherin Brown’s Justice Chartier, Errol Sammut’s Stacee Jaxx, Rachel Fabri’s Regina McKaig and of course, Colin Fitz and James Ryder’s Hertz and Franz Klinemann, the latter eventually turning out to be an unexpected hero of sorts.

One must also not forget the supporting cast, who added much colour, energy, rhythm and sexiness to the proceedings, and the dedication of the creative team in the background, who along with the cast made the success that Rock of Ages has enjoyed these past three months truly a sum of all it parts. Thank you for the music, the fun, the entertainment... and don’t stop believing!

Auditions For Rock Of Ages

Auditions Call:TAC THEATRE is having open auditions for our upcoming production of Rock of Ages on Saturday 12th and 13th March from 10:00 AM to 15:00 PM.

Rock of Ages, by Chris D’Arienzo, takes you back to times of big 80’s bands, with big egos, playing big guitar solos, sporting even bigger hair! This five-time Tony Award nominated Broadway rock-musical features the hits of bands ranging from Pat Benetar to Styx; Twisted Sister to Whitesnake; Journey to Bon Jovi. This show contains adult content.

Rock of Ages is a TAC Theatre production.

Auditions will take place at Teatru Dar Centrali, Herbert Ganado Street, Pieta on Saturday 12th and Sunday 13th March from 10:00 AM to 15:00 PM with callbacks on March 14th, 15th and 16th.

Rehearsals begin in April 2016. The productions runs for 12 weeks June 28th thru September 14th 2016 at The City Theatre in Valletta. The Show will break in Mid-August.

On the site www.rockofagesmalta.com you will be able to find out more info on each of the characters and also download audition sides for the character you wish to audition for.Auditionees are requested to prepare any 80s rock song of their choice, and are requested to email the backing music attached to their audition email.

All auditionees are requested to send an email to auditions@tactheatre.com to request an audition slot with the following information:

• Full Name
• Age
• Gender
• Prefered Audition Day (12th or 13th March)
• Which Characters / Ensemble you wish to audition for
• Which Song you will be performing in MP3, MP4 or aac format

If you have not previously worked with TAC Theatre, kindly also included:

• Theatrical CV
• Headshot
• Full Body Photo

Auditionees will receive an email confirmation of their audition time within 48 hours of receipt of application

Due to the nature of the show TAC Theatre will not see any actors for "ROCK OF AGES" under the age of 17.

VIDEO AUDITIONS

Video Auditions are available to those players who reside outside of Malta as of the audition date. Kindly email your submission to auditions@tactheatre.comand include both your singing and acting audition, as well as any links to any video showing your dancing ability.