Skip to main content

REVIEW: Apocalypse Meow – Crisis Is Born




Meow Meow is trying to find somewhere to birth her new Christmas show. There’s no room at the Royal Albert Hall or the Sydney Opera House, so the old brick building on the Southbank in Melbourne will have to do. Apocalypse Meow: Crisis Is Born is Meow Meow’s holiday show that was original commissioned by the Southbank Centre in London in 2014. Now it has finally found its way to Melbourne and it’s not even Christmas. It is an early Christmas present, though.

Meow Meow is such a singular presence on stage, she will outshine everyone when appearing in shows not of her own making, but when it is her own show and you’ve seen her before, you know what you’re getting yourself into. A self-described gargantuan performance artist, her singing is sultry and smooth – she will have you laughing one moment and moved to tears soon after.

If you think this all sounds a bit heavy for a Christmas show, you’re right, but you’re probably forgetting you’ve been disappointed by Christmas before. Sometimes the best laid plans go awry, crisis is born and you just have to make do. You can trim a tree, invite carollers into your home, sing songs of the season and get snow in your hair – but sometimes that’s not enough.

It’s always hard to describe a Meow Meow show, but this one in particular is playing on the idea of surprise – one of the key elements of the Christmas tradition. I don’t want you to know what’s under the tree, wrapped perfectly, with a bow on top. Just know that you’ll have a good time but sometimes, occasionally, Christmas dinner isn’t all it’s cracked up to be. Especially if you’re an orphaned Dickensian caroller.


Apocalypse Meow: Crisis Is Born
Photos: Pia Johnson

Comments

Popular posts from this blog

My Favourite Theatre of 2018

It’s that time of year again, when I look back over everything I saw on stage and put together a list of my favourite shows. I saw over 100 shows this year, mostly in Melbourne and a small number on one visit to Sydney.

I will link to reviews if I wrote one.
TOP TEN (alphabetical order)
The Almighty Sometimes – Griffin Theatre, Sydney
Kendall Feaver’s extraordinary debut play is about Anna, dealing with mood disorders and medication and the complicated relationship she has with the treatments and her mother. Superb cast and beautifully directed by Lee Lewis
Blackie Blackie Brown – Malthouse Theatre
Nakkiah Lui’s work is always amazing but this production, directed by Declan Green, was another step up for her – the satire sharper and bleaker and more hilarious than ever before.
Blasted – Malthouse Theatre
Sarah Kane’s debut play from 1990s London is a tricky beast tackling difficult subjects but Anne-Louise Sarks nailed it with a superb production.
The Bleeding Tree – Arts Centre Melbourne

A Thing Isn’t Beautiful Because It Lasts: Avengers in the AGE OF ULTRON

The latest film in the Marvel Universe series feels like nothing so much as a season finale. And since Joss Whedon was once the master of creating season finales that were both emotionally satisfying and thematically resonant, it’s good to have him in charge for the second Avengers movie, Age of Ultron.
I’d like to compare it to the epic scope of Buffy’s “The Gift” but it feels more like Angel, if anything. Things change, the world moves on – and the best you can do is keep fighting. And embrace change.
Tony Stark has always been flawed, but by the third film in his own trilogy, he seemed to have found an emotional peace. But with that peace comes the idea that he can use his technology – his faith in machines being his tragic flaw – to create a replacement for the Avengers. He births an army of robots to calm the populace and fight alien foes.
Robert Downey Jnr’s Stark is such a towering figure in the Marvel Universe films – and to make him partly the villain of this new film is a s…

You are far away: Agent Cooper and his troubling return to Twin Peaks

“What year is this?” Dale Cooper asks in the final scene of Twin Peaks: The Return, the last of many unanswered questions left as the 18-part feature film concluded a week ago.
It’s far from the first time we’ve seen someone who looks like Dale Cooper lost for answers over recent months. But it might be the first time we have definitive proof that he’s in over his head.
Mr C, Dale Cooper’s doppelganger, who was first seen in the original series’ finale back in 1991, returned to the town of Twin Peaks with a goal in mind. Mr C was flexible, though. He had to be; he’d set so many things in motion over twenty-five years, if he’d remained fixated, he would never have come as far as he did.
Dougie, Dale Cooper’s tulpa – created by and from Mr C, wandered aimlessly through life, but slowly made every life he touched better. Plans change and Dougie changed with them. Slowly but surely, Dougie pieced together Cooper’s past life and became richer for it.
Agent Cooper, the third part of this T…