MONTY PYTHON'S SPAMALOT

Cramer Cain (King Arthur) - Rob Johnson, former cast member

Directed by Richard Carroll – Musical Supervision by Conrad Hamill

Choreographed by Cameron Mitchell – Designed by Emma Vine

The Canberra Theatre Centre Playhouse, Feb. 27^th to Mar.1^st

Reviewed by Bill Stephens

You don’t have to be a Monty Python fan to enjoy this hopelessly silly musical rip-off of “Monty Python and the Holy Grail”, but it certainly adds to the fun if you can recognise the many classic Python routines that are woven into the narrative.

Director, Richard Carroll, who was also responsible for the much-admired “Calamity Jane”,  has devised another clever knock-about romp, this time, based on the story of King Arthur’s search for the Holy Grail.  Following its sell-out season at the Hayes Theatre, this production is having its first performances outside Sydney, in Canberra, prior to an extensive regional tour.

Carroll has gathered together a highly skilled ensemble cast, led by Cramer Cain, rather magnificent as the unwavering King Arthur, who accompanied by his loyal person-servant, Patsy (the ever-adorable Amy Hack) leads  his knights of the mini-round table on an epic quest in which they actually do discover the Holy Grail.

Josie Lane - Jane Watt - Blake Appelqvist - former cast member- Marty Alix 

Canberra’s own Blake Appelqvist, in fine voice, is the ever-obliging Sir Galahad. Abe Mitchell is the macho Sir Lancelot who makes a surprising discovery about himself during the epic journey.  Marty Alix steals every scene he’s in, as the mischievous Sir Robin, while Rob Johnson is a delight as the cheeky Prince Albert. Jane Watt is an unlikely Sir Bedevere.  When not necessary for knightly duties, all relish the opportunity to play (over-play?) various serfs, witches, noble-persons or armies, met along the journey.

Then there’s the Lady of the Lake, Josie Lane, drop-dead gorgeous, chewing up the scenery, out-warbling Whitney Houston with the best songs in the show, and not afraid to speak up about being under-utilised as the self-declared star.

You’ll recognise most of the songs, some with clever up-dated lyrics, and be warned, you’ll be humming “Always Look on the Bright Side of Life” for days. Cameron Mitchell is responsible for the clever choreography, which includes an ingenious tap routine.

Emma Vine has designed a deliberately tacky setting, with costumes to match, and lots of built-in surprises. It even allows some of the audience to become part of the show, and keeps the over-worked assistant stage manager, Bronte MacIness, very busy.

It’s all great fun and the perfect cheer-up to commence the Canberra Theatre Centre’s 20/20 season.

                                Photos by John McRae  

 This review first published in the digital edition of CITY NEWS on 28th Feb. 2020 

Monty Python's Spamalot

Monty Python’s Spamalot.  Book and lyrics by Eric Idle.  Music by John du Prez & Eric Idle.  One Eyed Man Productions at Canberra Theatre Playhouse, February 26 – March 1, 2020.

Reviewed by Frank McKone
February 27

The Round Table

Director – Richard Carroll; Musical Supervisor – Conrad Hamill; Choreographer – Cameron Mitchell; Designer – Emma Vine; Lighting Designer – Kate Sfetkidis; Rehearsal Vocal Supervisor – Michael Tyack; Production Manager & Sound Designer – Carl McKinnon

Cast (alphabetical order)
Marty Alix, Blake Appelqvist, Cramer Cain, Amy Hack, Rob Johnson, Josie Lane, Abe Mitchell and Jane Watt

Photos: John McRea

We all sing together

I loved two features of this production – especially in comparison with the original big-stage shows.  It’s awfully grotty; and we all became part of the show, right down to Rob Miller, the peasant seated next to her husband (?) in B15 (ie B-ONE-S) – he was too shy to go on stage – who was awarded with all due ceremony for inadvertently discovering the Holy Grail.

And it was a delight to participate in the standing ovation!  And, of course, all singing “Always Look on the Bright Side of Life”.

King Arthur meets

the knights who say 'Ni!'

Richard Carroll is a board member of In The Pipeline (Arts) Ltd, which runs Sydney’s Hayes Theatre Co, and, like this week’s other production connected to the Hayes Theatre Co, H.M.S. Pinafore at The Q, Queanbeyan, it was a joy to be able to laugh at the absurdity of life in the face of our summer, haec aestas horribilis, this year.  I haven’t yet been to the tiny 100 seat Hayes Theatre itself, but Carroll and his designer Emma Vine have made a highly successful transition onto the larger stage and auditorium of Canberra’s Playhouse which bodes well for the rest of their tour this year.

I would like to make special mention of Amy Hack as Patsy.  Not only were her coconut clip-clops exactly in time, but she stopped our inane laughter as Cramer Cain’s completely obtuse King Arthur sang about how he was “Alone”.  Her feelings, being so ignored, created the one genuinely sad, and serious, moment; giving purpose to the whole play.  Dramatically, her performance was my Holy Grail.

The whole cast, many switching between named roles and playing in the often weird apparitions in the ensemble, kept the show moving beautifully.  Marty Alix executed a great exit to the toilet as Sir Robin; Josie Lane complained wonderfully about not having any lines for most of the musical, despite having the female romantic lead as Lady of the Lake; Cramer Cain had, I thought, a much greater atmosphere of absolute authority (completely undermined by reality like our many recent Australian prime ministers) than the famous Tim Curry (who seemed to smile too much) as King Arthur; Jane Watt’s Sir Belvedere was brilliant in something like chain mail; Sir Galahad, by one-time Canberran, Blake Appelqvist, danced amazingly; Rob Johnson was so often something else that Prince Herbert melted into the crowd (was he the condescending Frenchman fooled by the empty wooden rabbit?); while Abe Mitchell as Sir Lancelot played the male romantic ‘grail’ perfectly.

If this is confusing, don’t worry.  You’ll be on a par with the knights who say ‘Ni!’.

Just enjoy!

What happened to my part?

MONTY PYTHON'S SPAMALOT

Monty Python’s Spamalot. Book and lyrics by Eric Idle. Music by John Du Prez and Eric Idle. Directed by Richard Carroll. Musical supervisor Conrad Hamill.  One Eyed Man Productions.  The Playhouse, Canberra Theatre Centre. Feb 28 –Mar 1.

Fans of Monty Python and the Holy Grail and Monty Python’s Life of Brian will be in their element with this rollicking roughshod production which sits nicely on the Playhouse stage with audience on two sides as well as in the auditorium.

If you are on the stage expect to be dragged into the show. You might be minding a prop or a horse or even turn up in costume as Arthur (an authoritative Cramer Cain), his trusty servant Patsy (Amy Hack) and his knights set out on a quest for the Holy Grail.

Anarchy rules. Well, not altogether, since the plot is roughly that of the film of Monty Python and the Holy Grail with a bit of Life of Brian (Always Look on the Bright Side of Life) thrown in. There’s some resulting structure. The audience will be pretty familiar with the territory. They know the words to that song.

And of course The Lady of the Lake (Josie Lane) turns up, complaining wonderfully all over the place about the size of the role (despite having a lavish wardrobe) and taking every opportunity to sing what turn out to be parodies of quite a few musicals.  This seemingly thankless role is in good hands with Lane.

Most of the favourite scenes are there. The Knights who say Ni! (Blake Appelqvist resplendently dogged in red horned hat), the Holy Hand Grenade, the rude French up in the castle, Tim the Enchanter, the knight who won’t stop fighting despite losing quite a few limbs, brave Sir Robin, politically inclined peasants, the wedding that does not happen because of the massacre that does (blame Abe Mitchell’s noble Sir Lancelot, bent on rescue) and the sappy groom who just wants to sing… Then there’s the rabbit…

A live orchestra or band would ginger the show up considerably but that’s the economics of touring.

Look out for a gorgeous bit of surprise casting as the voice of God; bossy, canny and full of authority.

 

The cast go at it with unstoppable energy. If I had to name a few favourites they would be Bronte MacInnes’ appearances as the dour long suffering assistant stage manager, Jane Watt’s repeatedly dumb Sir Bedevere, Marty Alix as the wimpy Sir Robin (and a range of more assertive parts), Rob Johnson as the wet Prince Herbert and Amy Hack, very touching as Patsy, King Arthur’s taken-for-granted servant who also does the coconut shell bit about the horses.

Go along and sing along if you are a Monty Python fan. If you are not, this production might just win you over.

Alanna Maclean

MONTY PYTHON'S SPAMALOT

 

Monty Python’s Spamalot. Book and lyrics by Eric Idle. Music by John Du Prez and Eric Idle. From the original musical Monty Python and the Holy Grail with original screenplay by Graham Chapman, John Cleese, Terry Gilliam, Eric Idle. Terry Jones and Michael Palin. Directed by Richard Carroll. Choreographer. Cameron Mitchell. Musical supervisor. Conrad Hamill. Designer. Emma Vine. One Eyed Man Productions ThePlayhouse. Canberra Theatre Centre. February 27 – March 1. Bookings 62435711.

Reviewed by Peter Wilkins

Josie Lane, Jane Watt, Blake Appelqvist
and Marty Alix as the Knights of Ni

A slice of spam has only a touch of ham, but Monty Python’s Spamalot has a lot. Fans of Monty Python will have a night of riotous fun and laughter at Python veteran Eric Idle’s musical adaptation of Monty Python and the Holy Grail. Familiarity mixes with devotion and a touch of surprise as Idle mixes in such routines as the fish slapping dance, the Bring out Your Dead sequence, the fearsome white rabbit peril and much much more. In short Spamalot is a night of utter silliness that any audience unfamiliar with the Arthurian legend would find hilarious, ridiculous and frivolous. Well, almost anyone. The man seated next to me was nowhere to be seen after interval. A pity really. Act Two really hit its straps with more numbers, the appearance of the bizarre forest dwelling Knights of Ni and a couple of weddings to celebrate the discovery of the Holy Grail and the lucky audience member who was roundly celebrated with the Arthur Award.



Cramer Cain as King Arthur and
Rob Johnson

Director, Richard Collins, who wowed Canberra audiences with his production of Calamity Jane, once again serves up an interactive treat with some members of the audience seated on either side of the stage and encouraged at times to be drawn into the action or to hold the lead of Arthur’s imaginary horse. The show closes with a standing ovation to reprise the infectious “Always look on the Bright Side”.  Collins with musical supervisor Conrad Hamill and choreographer Cameron Mitchell keep the  night clip clopping along as King Arthur (Cramer Cain) with his faithful  coconut clicking Patsy (Amy Hack) set off in search of his absent knights Sir Bedevire (Jane Watt), Sir Robin (Marty Alix), Sir Galahad (Blake Appleqvist) and brave Sir Lancelot (Abe Mitchell). Josie Lane wows with a powerhouse vocal range as the Lady of the Lake and fair Guinevere and Rob Johnson makes a very fetching Prince Herbert as he leaps from role to role. Carroll has chosen a terrifically versatile and talented cast who sing and dance and act with ridiculous abandonment. Set upon the intimately reduced Playhouse stage within Emma Vine’s colourful painted backdrops, complete with an invoice tag, Spamalot covers its themes with fool hardy flippery in the self-mocking tradition of the Monty Python comedians. Laughing the fear of death to scorn and mocking the age old rivalry of the English and the French are just two of the sacred cows that suffer Idle’s wit.  

Josie Lane, Cramer Cain and Company

It’s all good revue style fun, expertly and tightly directed by Carroll with lyrical, catchy tunes by Eric Idle and John du Prez and with a cast who flamboyantly embrace the spirit of Monty Python humour. After all, with book, lyrics and music by master Python himself, you know that you’re in for the real thing. If the audience had not been cunningly coaxed to stand to salute the Arthur Award winner at the end, the show would have come to a rapturous close with a spontaneous standing ovation. No spam in this inbox of whole-hearted fun.

MONTY PYTHON'S SPAMALOT

Book and lyrics by Eric Idle

Music by John Du Prez and Eric Idle

Directed by Richard Carroll

One Eyed Man Productions

The Playhouse, Canberra Theatre Centre to 1 March

Reviewed by Len Power 27 February 2020

‘Monty Python's Spamalot’ is a musical comedy adapted from the 1975 film, ‘Monty Python and the Holy Grail’, a parody of the Arthurian legend.  The original 2005 Broadway production won the Tony Award for Best Musical and ran for over 1500 performances.

You don’t have to be a Monty Python fan to enjoy this but it helps.  On opening night, the audience clearly knew and loved the set pieces from the original movie very well.

Richard Carroll’s production is a high energy romp with a talented cast of eight playing multiple roles.  The deceptively simple set of colourful painted backdrops designed by Emma Vine works very well and the multitude of colourful period and just crazy costumes are great fun, too.  The nicely atmospheric lighting design is by Katie Sfetkidis.

The music appears to be pre-recorded rather than live.  The sound levels are fine and the cast are all fine singers.  ‘Star Song’ has been given witty localised lyrics by Richard Carroll, Virginia Gay and Rob Johnson.

Cramer Cain is a handsome, stoic King Arthur.  Josie Lane pulls out all the stops as a Shirley Bassey-like Lady Of The Lake.  Marty Alix is a very funny Sir Robin and Blake Appelqvist is a riot as the aggressive Dennis from the farming collective who becomes Sir Gallahad.  He also excels as the head of the Knights of Nee.

Blake Appelqvist (centre) with the Knights of Nee

Abe Mitchell as Sir Lancelot and Rob Johnson as Prince Herbert and other characters are also excellent.  Amy Hack wins the audience over as the almost invisible servant, Patsy, and Jane Watt as Sir Bedevere is also an inspired comedian.  Bronte MacInnes cleverly makes her presence felt as the harried Assistant Stage Manager.

Josie Lane (The Lady of the Lake) and Cramer Cain (King Arthur) with the company

A limited number of audience members are seated onstage during the show.  You do so at your peril in a show like this.  You’re not exactly safe if seated in the stalls either.

It seems to be a week of theatrical lunacy in Canberra with ‘Monty Python’s Spamalot’ hitting town at the same time as the wacky production of ‘HMS Pinafore’ over at the Q in Queanbeyan.  Both productions originated at the Hayes Theatre in Sydney.

Photos supplied by the production.

 

Len Power’s reviews are also broadcast on the Artsound FM 92.7 ‘In the Foyer’ program on Mondays and Wednesdays at 3.30pm.

‘Theatre of Power’, a regular podcast on Canberra’s performing arts scene with Len Power, can be heard on Spotify, ITunes and other selected platforms or at https://player.whooshkaa.com/shows/theatre-of-power.

H.M.S.PINAFORE - Hayes Theatre Production

Directed by Kate Gaul – Musical Direction by Zara Stanton

Choreography by Ash Bee – Production designed by  Melanie Liertz

Lighting Designed by Fausto Brusamolino – Sound Designed by Nate Edmondson

Presented by Hayes Theatre Co.

The Q , Queanbeyan 25^th – 29^th February 2020.

Reviewed by Bill Stephens

If you can’t get to Sydney for the Mardi gras, then this production of “H.M.S.Pinafore” at the Q in Queanbeyan might be your next best bet. As camp as a row of tent pegs, awash with sequins and glitter make-up, this gender-bending, hyper-theatrical, kinky re-imagining of one Gilbert and Sullivan’s best loved operettas, surprises and delights from the clever overture until the final notes of the riotous finale

.

Kate Gaul’s imaginative concept respects the original, but embraces contemporary sensibilities regarding gender and inclusiveness in a riotously refreshing production stylishly performed by the multi- talented ensemble cast of twelve engaging performers.

Choreographer, Ash Bee, hints at the G. & S. chorus lines with her cleverly contrived semaphore choreography performed with panache and gusto in a spectacular array of outlandish costumes, the work of designer Melanie Liertz, who is also responsible for the delightful nautical setting which pays homage to the Victorian roots of the show while providing a few surprises of its own.

Busy Musical Director, Zara Stanton, who, presumably, is also responsible for the witty orchestrations, not only accompanies the show on piano, mouth organ, piano accordion or, it seems, any instrument that comes to hand, also cleverly incorporates both the instrumental and vocal talents of the whole cast with spectacular results, even joining them herself to add heft to the choral numbers.

“H.M.S. Pinafore” contains many of Arthur Sullivan’s most delightful melodies, among them “Poor Little Buttercup”, “He is an Englishman” and “I am the Monarch of the Sea”, and in this production they are very well sung, unamplified,  with the lyrics clearly articulated to allow full appreciation of the slightly tweaked contemporary references.

Thomas Campbell (Buttercup) - Tobias Cole (Capt Corcoran) 

Although the ensemble cast play multiple roles, Thomas Campbell almost steals the show with a very funny performance, milking every nuance provided by the cross-dressing possibilities, as well as bringing unexpected poignancy to the role of Buttercup. Tobias Cole, also surprised, singing baritone instead of his usual counter-tenor, as the elegant Capt. Corcoran.  He was well matched by Josef Ber as the irresistible “Monarch of the Sea”, Sir Joseph Porter.

Hanna Greenshields sang prettily as Josephine, paired with Billie Palin who managed an attractive baritone voice to play Ralph Rackshaw, which although complicating an already complicated story, fitted perfectly, the ethos of the production.

Sean Hall was suitably obnoxious as Dead Eye Dick, while among the ensemble of talented musicians, Dominic Lui stood out with his superb violin playing.  Bobbie Jean Henning, Elora Ledferm, Gavin Brown and Zachary Selmes all contributed individual delightful moments in a strong ensemble cast.

  

As this was the first production presented by Hayes Theatre Co. in the Q - and it’s a beauty -  it’s a shame that no printed programs were provided. This appears to be a growing trend with touring theatre companies, which is regrettable, as it’s disrespectful to the audience to be kept in ignorance of the names of the talented artists whose performances they are enjoying, as well as demeaning to the cast to allow their individual contributions to go unrecognised.


                                      Images provided by the Company.

        This review first published in the digital edition of City News on  16.02.20

HMS PINAFORE

 

H.M.S Pinafore.

Music by Sir Arthur Sullivan. Book and lyrics by Sir William Gilbert. Directed by Kate Gaul.. Musical director. Zara Stanton. Choreographer. Ash Bee. Production Designer Melanie Liertz. Lighting designer Fausto Brusamolino. Sound designer. Nate Edmondson. Siren Theatre Company. A Hayes Theatre Company Production. The Q Theatre. Queanbeyan Performing Arts Centre. February 25 – 29  2020. Bookings: 02 62856290

Reviewed by Peter Wilkins

Oh joy! Oh Rapture. What a glorious romp. What a magical invention. Siren Theatre Company’s psychedelic production of Gilbert and Sullivan’s satirical comic opera, H.M.S Pinafore billows with colour, rollicks with action and buffets its way through the gales of laughter. G and S’s popular tale of unrequited love between Josephine (Hannah Greenshields)  faithful daughter to Captain Corcoran (Tobias Cole) and the lowly sailor Ralph Rachstraw (Bernie Palin) aboard her Majesty’s warship Pinafore is launched with all the panache of a Mardi Gras party by director Kate Gaul.

Bernie Palin as Ralph Rackstraw and  Hannah Greenshields
as Josephine Corcoran in H.M.S. Pinafore.
Photo by Paul Erbacher

I remember a time when every school and every amateur musical company would stage their favourite GandS to the delight of audiences, swayed by Arthur Sullivan’s tuneful melodies and William Gilbert’s witty and satirical jibes at the British establishment. That was before Lloyd Webber or Sondheim and the gradual demise of the traditional Gilbert and Sullivan production. In Kate Gaul’s  feisty, racy and hilariously joyful twist on H.M.S Pinafore, the tuneful melodies are still there. As is the biting wit of Gilbert’s book, with the topical references. What is strikingly new, a shining mirror held up to twenty first century attitudes and relationships, is Gaul’s imaginative gender bending and the casting of the bearded Thomas Campbell  as the not so dainty Buttercup , or Palin’s Ralph Rackstraw.

Gaul’s fantastic re-imaging with choreographer Ash Bee’s comical steps and mock semaphore dance routines, accompanied by the virtuoso rhythms of Zara Stanton’s musical direction whip up a storm of frolic and fun.  On Melanie Liertz’s colourful carnival nightclub set with coloured curtaining  musicians interchange an array of instruments with speedy versatility while Dominic Lui strikes up a musical whirlwind on the violin.

Thomas Campbell as Buttercup with the Ensemble
in H.M.S. Pinafore. Photo by Paul Erbacher

A company’s revelry in this brilliantly funny, quirky and slightly kinky production sweeps an audience along the deck of the H.M.S Pinafore. What is extraordinarily clever is that this version of the Victorian comic opera never loses its inherent sense of era.  The songs retain the character of the walz, the music hall or the recitative. It is the spirit and the imagination that thrusts this production of H.M.S Pinafore into the 21^st century to entertain modern audiences still all too familiar with a society, bound within the strictures of class, wealth and unrequited love. The difference in Siren Theatre Company’s production is that reform and social revolution embodied in the anarchical character of Dick Dead-eye (played with piratical defiance by Sean Hall) can highlight the inequalities that Gilbert and Sullivan satirized. The absurdity of hierarchical ineptitude is finely captured in Josef Ber’s performance of Sir Joseph Porter. the Monarch of the Sea,



Thomas Campbell as Buttercup and Tobias Cole as
Captain Corcoran in IH.M.S. Pinafore. Photo: Paul Erbacher



Siren Theatre’s H.M.S Pinafore is a show full of infectious fun, played with agile slickness, musical versatility and vocal effervescence by a remarkably talented company of musicians, dancers and actors.  Excellent support is offered by ensemble members Bobbie Jean Henning, Elora Ledferm, Gavin Brown and Zachary Selmes.

Kate Gaul’s direction offers hope of a revival of the Gilbert and Sullivan canon, which even today bears relevance. If this production of H.M.S Pinafore is anything to go by, then what might Siren Theatre Company achieve with fresh takes on old themes in The Mikado, Iolanthe, Ruddigore and more. Siren Theatre Company’s production of Gilbert and Sullivan’s highly popular comic opera is proof enough that you can teach an old dog new tricks.

  

 

 

HELL SHIP

Hell Ship. Written and performed by Michael Veitch. Directed and co-written by Peter Houghton. Chester Creative. The Q Theatre.  Feb 21-22.

Hell Ship is a sliver of a story out of the histories of boat people and voyages to Australia. In 1852 the Ticonderoga sailed for Australia full of would-be migrants. However, the voyage became a nightmare for those on board and for the young ship’s surgeon James William Henry Veitch when typhus broke out. Shades of the coronavirus situation.

Michael Veitch turns in a compassionate and good humoured performance as the older James, attending an overnight vigil with a sick boy and lightening the battle to bring down his fever with the story of that voyage.

It’s a very likable piece, despite the sadness of its subject. James talks of the migrants, mostly Highland Scots, some of who had never even seen the sea before, and describes the lively life on board before the illness strikes. In the worst of it it’s Annie Morrison who becomes a steadfast helper and eventually, after the ship goes through many deaths and a lengthy quarantine in Melbourne, his wife.

The ship is suggested by a towering sail, the lighting is selective and there’s some use of ghostly projections, including one of those grim nineteenth century portraits that suggests no one laughed until the twentieth century.  But it’s a moving moment when the sepia photo of James and Annie appears, showing them as they were in later life.

These long voyages changed this continent and not necessarily for the better.  But the stories need to be remembered and this excellent piece does so.

Another example of the strong programming at the Q.

Alanna Maclean

ROXANE

Written and directed by Mélanie Auffret

Coming to 2020 Alliance French Film Festival

12 March to 8 April

Palace Cinemas

Previewed by Len Power 19 February 2020

Writer/director Mélanie Auffret’s movie ‘Roxane’ tells the story of a Brittany chicken farmer, Raymond Leroux, who likes to read excerpts from Rostand’s play, ‘Cyrano de Bergerac’, to his flock with his gorgeous pet hen, Roxane, by his side.  When the all-controlling egg co-op cancels the contracts with the small chicken farmers of the district, Raymond enlists Roxane’s help with a scheme using social media to solve their predicament.

We’ve seen ‘little guy against the big guys’ stories before, of course, but it’s the quirky nature of this one that makes it a real winner.  Roxane in ‘Cyrano de Bergerac’ was the hero’s love interest and so it’s no surprise that in the movie, the hero’s much-loved companion is a hen named Roxane.

The characters of this farming community are finely drawn and well-played by the cast members.  Their eccentricities are real and not caricatured.  Guillaume de Tonquédec as Raymond Leroux wins us over with the warmth and genuineness of his character.  His love for Roxane and his other chooks makes him irresistible.

There are excellent comedy performances from Léa Drucker as Raymond’s wife, Anne-Marie, Lionel Abelanski as a farming neighbour, Poupou, and Kate Duchêne as Wendy, an initially critical Englishwoman and literature professor who is won over to help with Raymond’s unusual scheme.

Mélanie Auffret directs the movie at a deliberate pace with under-stated performances, keeping it all on a believable level.  The slightly supernatural responses from the hens and especially, Roxane, are very funny.  There is some computer-generated imagery involving the birds but it’s mostly achieved through clever editing and sound.

The film is reminiscent of those great Ealing comedies of the 1950s such as ‘The Titfield Thunderbolt’ and ‘Passport To Pimlico’ – gentle satirical comedies involving recognizably human characters and situations.

‘Roxane’ is a delight from start to finish.  You’ll want to have a pet like Roxane by the time it’s over, too.

‘Roxane’ will be showing in the 2020 Alliance Francais French Film Festival at the Palace Cinemas from 12 March to 8 April.

Len Power’s reviews are also broadcast on the Artsound FM 92.7 ‘In the Foyer’ program on Mondays and Wednesdays at 3.30pm.

‘Theatre of Power’, a regular podcast on Canberra’s performing arts scene with Len Power, can be heard on Spotify, ITunes and other selected platforms or at https://player.whooshkaa.com/shows/theatre-of-power.