From Sublime To Ridiculous
Sick of serious news? Me too. Time for a large dose of silly.
Stop complaining about being so busy and waste a couple of hours at Nowra Players theatre in Bomaderry over the next two weeks, ideally with your least-dignified and most-foolish family and friends.
The Players' current community production is Eurobeat - The Pride of Europe, a reinvention of the famously flashy and trashy Eurovision Song Contest, minus the uber-earnest pouting.
Not only do you get to watch sublimely talented local thespians being utterly ridiculous, you also vote for your favourite performance.
Leave your inhibitions at home because, with more cliches even than costume changes, this Eurobeat play depends on a playful audience.
by Cat Holloway
If you love the pop-music spectacle of the Eurovision Song Contest, go and see Eurobeat. If you hate the pretentious self-indulgence of Eurovision, go and see Eurobeat. If you haven’t got a bloody clue what Eurovision is, you really need to go and see Eurobeat.
That's the advice from Amber Henry, the musical's director whose goal was 'a loving send-up' of arguably the world's most polarising institution.
Eurobeat -Pride of Europe was written by acclaimed Australian writer and composer, Craig Christie, but set in the obscure territory of Liechtenstein.
One of three Eurovision spoofs, the unashamed campfest won Best Musical at the Edinburgh Festival Fringe in 2007 and enjoyed an acclaimed season in London’s West End in 2008.
This so-groan-it's-good homage to the world’s most beloved song competition, also pokes fun at it as Europe's most electorally corrupt and artistically cringey event.
"It’s interactive, it's a chance for people to let their hair down and it's really what community theatre is all about - no rules, no limits, no judgement. Just make people smile," Amber said.
As we take our seats at the dress rehearsal, spouses and children of the cast are helping hand out ballot slips and pencils. The stage crew are delayed, so actors must set their own props. There's laughter from backstage and crackling over the sound system.
It's exactly as a final rehearsal should be: make mistakes, tweak the terrible accents and iron out technical wrinkles before an opening night full house.
But there's no time for apologies and no place for self-consciousness, because if you're going for hilarious, you can't go halfway – and these performers don't hold back.
The cast features experienced pros, like Jacii Pavitt, who know how to milk the crowd for laughs – and votes.
Make no mistake, combining song, dance and comedic characters is not easy (to do well) and underneath the amateur lampooning is real skill, especially great singing.
As Team Poland pointed out, style beats substance every time in Eurovision, and Eurobeat.
It doesn’t matter what you sing, as long as it’s catchy. It doesn’t matter what you play as long as it’s funky. And it doesn’t matter how you dance, as long as it’s sexy.
The story makes much of the connection many Australians feel with this distinctive European tradition – likely inspired by our adoration for ABBA after the Swedish foursome's triumphant 1974 performance of Waterloo.
But as ludicrous as the Eurobeat lyrics are, the show's tunes are catchy.
I won't reveal the varied cultural caricatures. Go with an open mind and rest assured that no nation escapes the acerbic teasing of the lusciously-frustrated host.
But if you think it’s inappropriate to spoof the Catholic sisters representing Vatican City, wait until you see the second act twist.
Nothing, especially an Australian icon, is sacred.
I could claim that the plot is partly a geo-political lesson for the kiddies, but there isn't much geography or politics in it, nor is there much culture.
It feels more like watching a couple of dozen of your best mates dress up and dance around in a revue, except that they do it extremely well and you'll probably end up wishing you were on stage with them, because they are clearly having a blast.
"The cast have freedom to improvise with this script," Amber explains, a good thing for her as the first-time director of performers who have dozens of plays and musicals to their names.
Several of the seasoned cast were involved with the two previous Nowra Players Eurovision parody shows, so wanted in on this third iteration.
For others, Eurobeat is their first stage experience and Amber has especially loved watching new performers 'grow in skill and confidence as they master choreography and vocals'.
Like most of the cast and crew, Amber juggles her theatre addiction with a full time job and family commitments.
She started performing as a dancer at five years old and has been with Nowra Players for several years, recently playing Detective Harris in Pass The Butler.
Amber's other Nowra Players credits include The Game’s Afoot, Little Shop of Horrors, Mamma Mia, Dinkum Assorted and We Will Rock You plus youth productions.
She’s also been stage crew, front of house and choreographer on other shows.
"I can assure you that wrangling 19 adults is just as challenging as managing a bunch of kids," Amber admitted.
"Directing is a lesson in compromise, picking my battles, and being able to let go of the visions in my head that I couldn’t quite translate into reality.
"For a control freak like me, that's not easy.
"Mainly it’s affirmed for me that creativity – dance, song and story telling – must always have a place in our lives and that finding community is the key to joy."
"In a world and a time that sometimes feels hopeless, overwhelming and exhausting, this show is a chance to forget the drama outside, laugh and cheer and just be silly."
Suddenly, everything is ready to roll. The lighting and sound operator gives Amber the thumbs up and she disappears side of stage.
"Take your places everybody. Shut up in the wings. And, just have fun."
