Grey Gardens is the final 2011 performance by the Production Company and what better way to close the year than with a mother-daughter story starring Pamela Rabe and Nancy Hayes.

Set in Georgica Pond, East Hampton, this American tale captures the demise of youth, talent and, of course, riches. The play is based upon the true story of Edith Bouvier Beale and her daughter Little Edie (respectively Aunt and cousin of Jackie Kennedy Onassis).

The story of the tragic unravelling of the American dream has become a historical phenomenon that has inspired documentaries, stage adaptations, and musicals. Rabe and Hayes are both excellent performers and give the roles charisma and potency.

However, a lack of rehearsal limited what should have been an outstanding performance, particularly in a few key songs. The second half was clearly the better of the two and the outstanding performer of the evening was J.V ‘Major’ Bouvier (John O’May) whose powerful voice laced meaning and emotion into a well-crafted character.

Of the three, Edith’s younger version of ‘Little Edie’, played by Liz Stiles, was the most convincing, albeit some slight pitch wavering and occasional wooden moments. The projection and lighting was brilliant and the concert version with the orchestra upstage worked well for the most part. The ensemble was excellent, though perhaps musical cues were not as prompt as they should be.

Overall, an interesting choice of production to close the year. Much can be expected in 2012.

Australian Artist Brett Whiteley is known for lack of inhibition, vibrant expressionism and fluid style. But Whiteley’s Incredible Blue, so named after the incandescent blue used in a number of his paintings, is only the starting point of the latest production from local Melbourne venue, forty fi ve downstairs.

Written by award-winning playwright and Whiteley biographer, Barry Dickins, this is not an exhibition but a poetic installation that carves the tracts of art’s imagination.

Under the direction of Julian Meyrick,  Whiteley’s Incredible Blue offers its audience a rare glimpse into the mythic world of Brett Whiteley and it’s been a process that has been in development for more than a few years.

“I began working on this play in 2002 and at that time Barry’s son was only four and now he’s thirteen so it certainly has been an extended process,” says Meyrick, “But I also feel that now is the time to showcase Barry’s theatrical realism.”

This one hour poetic monologue featuring Neil Pigot and fused with free jazz  by the Calvert George Fine Trio is, according to Meyrick, “a layered audio experience that captures Brett Whiteley’s imagination. If you want to see a painting then go to a gallery but if you want to see how the artistic mind works, then Barry’s writings hold the key.”

Having  grown  up  as  an Australian in London, Meyrick finds himself in a position of functioning both from an inside and outside perspective whereby he could gauge the grip Whiteley’s paintings had on an Australian audience. “I found it quite interesting that regardless whether people are an expert on Brett Whiteley they felt they had some connection with is paintings and that’s what I’d like to tap into.”

Meyrick doesn’t believe in theatrical tricks and gimmicks and his theatre, while modestly described as ‘straightforward,’ accesses the space behind the hard surface of a painting, “that avenue of inspiration, that state of being before we create, that is what I’m interested in.”

Working with Neil Pigot, an actor whom Meyrick has had a long working relationship with, has allowed the show to continuously push themselves so as not to lose the momentum. Moreover, the space of forty five downstairs is ideal as it’s not a standard theatre space.

“This is a highly charged dense package and using the space to create a sense of Whiteley’s relationship with colour in a relatively short time frame is complemented by all the factors involved; the lighting, music, and of course Barry’s insights.

The Royal Exhibition Building is celebrating its 100^th anniversary this year and what better way to honour this iconic building than to have the RACV Motorclassica transform the space over three wonderful days in October? Event Director Paul Mathers is tremendously excited as the big day looms ahead and he strongly believes that RACV Motorclassica is a gap in the city’s market: “I’ve been running events for about ten years and I do think there is a market for a classic car enthusiast. Now we made a choice not to just put on another expo but create more of an event focused experience culminating in a car show.”

Last year’s inaugural event was the launch of an unprecedented movement in the motoring industry and with a massive audience (and an expected 40% increase this year) the event is certainly shaping up to be one of the most highly anticipated events of the year.

With Australia’s big cities vying for attention Mathers says, “We looked for the right venue and the right city and there was a combination of factors that led us to decide on Melbourne. This is the centre of the classic car movement here in Australia and we’re also the hosts of the Australian Grand Prix, so now with the support of the RACV we really are making Victoria the place to be!”

If you are wondering whether the RACV Motorclassica is just about satisfying people who are into classic cars and classic motoring – think again. There are plenty of fun filled activities for all ages, including watching these grand icons roll down the streets of Melbourne in convoy. If you’re looking to take your family it’s a perfect opportunity to ‘picnic with the classics’ and allows everyone a chance to experience these rare and beautiful cars.

“Classic cars are not just functional ‘rolling art’ objects,” explains Mathers, “They are beautifully designed examples of automotive architecture. For some of these cars this may be the First and last time this year they’re on the road but on the other hand we have cars coming from Victoria, from Queensland, Brisbane as well as South Australia and we’ve had interest from all over the world.”

This year’s special features include 60 Years of Porsche, 125 Years of Mercedes Benz as well as Cars of 1961, a year that many will remember as the birth of a number of important cars, especially the Jaguar XKE or E-Type, which celebrates its 50th birthday  this  year.

And don’t forget to check out the International Concourse D’Elegance which is guaranteed to have some real beauties judging by the exceptional standard from last year. And if you want action and excitement, don’t forget Bonham’s Auction where comedian and radio personality Merrick Watts is selling his iconic Aussie muscle car,  a Ford Falcon XAGT.

“Beautiful cars don’t just belong in museums,” says Mathers, “And this is a wonderful chance for people to immerse themselves in a culture where there are plenty of activities, exhibitions, art and memorabilia and have a wonderful time along the way!”

The world has heard no  end of the financial turmoil and hardship in Greece but human nature responds in wonderful ways and this year’s 18^th Greek Festival is ready to prove that even in the midst of a bleak world, the Greeks still have something to say.

Costas Markos, Secretary of the Greek Orthodox Community in Melbourne and Victoria, is one of the founding members of the festival and has witnessed the transformation of a Greek aesthetic over nearly two decades: “At that time the style was more of an underground cinematic cliquish group focusing on the old Greek cinema; but then we saw the emergence of neo-Greek style and today what Greek cinema offers is contemporary truths, whether retrospective or reflective upon the present.”

Audience numbers have also increased and while certainly reflecting a large increase in the Greek population here in Melbourne, it also demonstrates the wide embrace of Greek culture that has happened since the days of the White Australia policy:  “When we first began the festival there were about five or six of us and our first audiences were between 700-800. Now we’re proud to say that numbers have hit up to 800,000.”

But what does this year’s festival offer? “Multiplicities, ethnicity, and the 500 Euro generation question,” laughs Markos, “With a hundred and one things in the background these films give voice to wages, isolation, migrants living in Greece, exploitation, education, marriage, you name it.”

What was once a monolithic culture in Greece has now changed, and has done so quite rapidly.

“People are leaving Greece every day,” says Markos, “But they still face many challenges. To enter Australia it’s often ‘How many degrees do you have’ so as to sit out the unskilled applicants.” And while many are leaving Greece, there are still many other migrants from other parts of Europe and Asia that are relocating to Greece, specifically to Athens which has a number of ghettos. “I believe this is a good thing,” says Markos, “It will give colour to a city that is vibrant and help to recover the economic situation.”

With regards to the question of migration and film, it is interesting to note that all the directors have all studied abroad  and accumulated a wealth of knowledge to produce their films; however there are still elements of Greece that are associated with the larger diaspora.

“Multicultural society in Greece is what provides values to a society – Greeks who have grown up in Australia for example return to Greece and sometimes are also victims of racism. It’s a common subject especially with migrants from Albania, the Balkans and Russia.”

Other important thematic concerns that are highlighted include shortage of work, cheap labour and the growing sense of antagonism present among the various subcultures.  45m2 directed by Stratos Tzitzis is one such film. The narrative is quite simple, a young woman wants to escape the suffocating atmosphere of her overprotective mother and leave the nest. The problem, unfortunately, is that rent is high, there are a few jobs and without a university education, the future is bleak. The most successful aspect of this film is that Tzitzis has mirrored contemporary society without gimmicks or effects. In fact some scenes are almost painfully slow, but life is like that.

There isn’t a way to fast forward past the painful images we just have to endure them and hopefully come out the other end.

But the Festival isn’t all about bleak futures, and in fact there are plenty of comedies as well as documentaries that reinvigorate Greek music, theatre and arts. My Sweet Canary, written and directed by Roy Sher,  is the story of the wonderful Roza Eskenazi and, inspired by her legacy, three young musicians from Greece, Turkey and Israel embark on an exciting musical journey to recount the story of Greece’s original and bestloved rebetiko (Greek style folk and blues) from the 1930s.

It is a journey that takes them from Istanbul to hessaloniki and to Athens as they follow the musical trail Roza left behind. Most of all, it’s a journey into a world that has largely vanished, but whose sounds continue to echo throughout the Mediterranean Basin.

“Films such as  45m2, My Sweet Canary and our opening film last night Need for Lies was a theatrical comedy from the early sixties and is comic realism at its best,” says Markos, “Greeks  cinema is changing all the time and being in Melbourne we are witnesses to that change.

South African Director Mark Donford-May’s internationally renowned production of The Magic Flute has toured the world over, including Perth eight years ago, but this is the first time the Isango Ensemble will be performing in Melbourne. “I’m very excited at the opportunity to bring the production over,” says Donford-May, “Melbourne seems to be a very cultural city and we are very proud of being able to share this distinctive South African production as part of the Festival.”

The Magic Flute is a familiar story for Mozart fans but the South African company, who began 12 years ago to create works that would inspire the world to see theatrical performance, have worked long and hard to create a collaborative product.

“The show first opened in Cape Town and since then it has simply exploded across the world,” says Donford-May, “It is a very special experience because it’s not grand opera and it’s not simply musical theatre either, and in fact, it has on more than one occasion been called pantomime. While I’m not unhappy with that label I do believe that its form and shape is a result of a shared vision with the artists, some of whom have been with the company since it began while others have joined us along the way.”

The production is not only enormously successful as a musical phenomena but the story itself invokes numerous cultural references:  “Musically we look at this story through a South African perspective because for us the story is about reconciliation, and the process of struggle to achieve a better end.” This is also elaborated upon in the choice of sets and costumes which “While we have taken a certain amount of dramatic license, our costumes are based on traditional South African dress but they also have elements of the Elizabethan courtier.” For South Africans, ritual is central and here the initiation of the journey of boy to man is the central metaphor and accompanied with the specific nuances of the cultural rite of passage.

There are also four languages involved including English and Xhosa, one of the official languages of South Africa. While The Magic Flute is an internationally acclaimed production, it is laudable to see that Donford-May prioritises uplifting local culture first and foremost rather than catering to an international palate. “We always build our productions for South Africa and in doing so it’s almost impossible to exoticise our work because we’re making them for a local audience – we believe in what we’re doing and if the world embraces it, that is wonderful, it is our people that we serve first.

Ilbijerri Theatre have a reputation for creating inspiring works that have the ability to make you sit up and take notice and this year’s show is certainly no different. Following the tremendous success of Jack Charles vs. the Crown from 2010, this year the company are delighted to be presenting a once in a lifetime opportunity: Foley.

There are few who would need an introduction to Gary Foley, a man at the forefront of promoting Indigenous voices and one the pillars of Indigenous theatre in the 1970s along with Bob Maza. Today Foley is known by many names: an academic, land rights activist, performer, storyteller, but there is a very special story to be told, and for Director Rachel Maza, this is a story that been a long time coming.

“There are very few people positioned to tell these yarns, but by the very nature of his life, and my memory concurs as I remember growing up, Gary was a man who was there at every possible major event championing the Indigenous voice.”

Having extensive experience in theatre, film, television, but also as a lecturer and public speaker, Foley not only has a history to share but as Maza points out, an amazing stage presence: “He is in every way a performer. A good speaker can work from dot form and they know how to carry through the delivery but they allow themselves room within the ad libbing – Gary refuses to work in traditional theatrical form but from the manner in which he speaks, whether publicly to students or politicians he prides himself on knowing how to master the art of storytelling.”

What is the gist of this show? Maza answers with a laugh. “Gary Foley may be a hard core political activist but he’s a massive Bob Dylan fan – and I want to offer audiences a window into the world of this phenomena who was one of the many, who were intricately involved in some of the key moments in Australian political history. And more so, to be able to offer people a chance to hear those yarns by a charismatic and funny narrator as he brings his very own personal perspective to the story. This is the real deal.”

So if you do want to meet the man who’s surpassed the statistics (especially by Australian health standards), come and hear the stories Australia needs to hear.

Christmas has certainly changed over the years, but the story of what happened over 2000 years ago hasn’t. The world we live in today is increasingly secular. Debates over whether we should tell children about God (or, for that matter, any divine or creative being) are hotly contested. At this time of the year, perhaps it is time to refresh our memories of the events that actually shaped this day. It is important to make a distinction between the Christmas celebrated by Christians of all denominations across the world and those who literally worship the commercialized version of Christmas.

Let’s start at the beginning.

A long time ago, a woman by the name of Mary and her husband, Joseph, made their way back to the town of Bethlehem. It was winter and the nights were cold and chilly. Mary was pregnant and her husband led her through the town as she rode on a little donkey. Needless to say, all three were weary but there was no rest to be found at the local motels (or the inn, as they used to say). Finally, when they had nearly given up hope, a stable was offered for lodging and there amidst the warmth of the animals and the smell of hay, a little boy was born. But this was no ordinary child; this was the Son of God. The stars shone extra bright that night as shepherds watched over their flocks. Three wise men made their way to this most humble of homesteads carrying with them gifts of myrrh, frankincense and gold. This isn’t simply the Christmas story; this is the start of scores of Christmas stories that revolve around the birth of a child whose kingdom was not of this Earth. He was named Jesus and was later known as the Christ (which means, Messiah, Messenger and the Chosen One).

Christmas Day celebrates the birth of the One who ultimately sacrificed His life for others. Now, irrespective of whether you believe in this powerful story or not, the impact of the message and the importance of giving has remained a constant throughout the ages. Traditionally, exchanging gifts with loved ones was secondary to embracing those who didn’t have anything, whether they were the poor, the lonely or the outcast. The message of Christmas was to share the true spirit and meaning of giving – why would anyone not want their children to understand the history of this story? On a personal note, I do believe that everybody should make a choice to choose what and who they believe in, but surely as parents, it is a duty to inform our children with knowledge of the wonders of the world we live in. And not just Christianity, but all faiths.

If you are a believer and a practicing one at that, raising your faith with your children can be a wonderful thing. Ultimately children will make a choice but shouldn’t they be equipped with the tools to decide so that they can make a conscious and informed choice? It is also vital, I believe, to remember that faith, church and religion are often carelessly entwined with little regard for the fact the latter are manmade institutions.

Wherever a Christian goes, no matter what denomination, he or she will always be able to find a community ready and waiting to receive them. The friendship and support of communities, whether religious or not, is a necessary part of our modern lives.

Every day of our modern lives, independence and individuality are praised, but the value of community and learning from our elders and passing down stories are not often given as much value, especially in so-called developed countries where love is not that often cherished as a respectable currency. But irrespective of religious beliefs, across the world on December the

25th, family, friends and loved ones gather together. Whether preceded by services or not, there is a communal spirit that brings people together to celebrate. So this Christmas, whether you a practicing believer or not, spare a thought for the message of giving at Christmas time, not just of large pressies and expensive gifts, but also of sharing with families and friends and those less fortunate.

The same neighbourhood is now largely black – only the owners of the same house wish to sell. This time to a white couple.

Patrick Brammall, cast as Karl and then later as Steve, relishes the opportunity to play two very different characters who so epitomise the times. “In the 1950s segment, I am the head of a community association and do my best to dissuade this white couple from selling out,” explains Brammall. “But ostensibly while I may appear to be the villain of the piece, at the time people were a product of the system, and if anything Karl is an economic rationalist whose predictions do come to pass.”

Having seen a production of Clybourne Park last year at the Royal Court in the UK, Brammall is tremendously excited at getting to play these roles. “I wanted to play Karl and Steve,” says Brammall. “And when I came back to Melbourne and discovered that MTC were actually putting it on – and that those roles hadn’t been cast – well, it was just meant to be!”

A subject and story relevant to America, as much as Australia, Brammall’s thoughts are insightful as he tackles portraying two very different characters. “I think it’s very easy to look at the first act as a museum piece and then believe that in second half we are witnessing a radical transformation. But the irony is the fact that although Barack Obama has been elected, it is still to the White House.”

Clybourne Park is clearly more than a product of binaries: black and white, us and them. “Everyone belongs to a minority and sometimes what underpins all forms of prejudice, whether racism or sexism, is essentially a fear of the other, the unknown.”

Delighted to be working with the renowned Peter Evans, Bramall has found the past five weeks exhilarating. “Peter is a wonderfully creative and collaborative director. He has a strong vision but he doesn’t hesitate in allowing our own voices to be heard. We’re very lucky to have him captain this ship.”

Having spent the last ten years involved in the industry in various capacities, predominantly as a producer and event organiser, he has a plethora of experiences to bring to his new role. Currently, Harvey is anticipating this year’s festival, which features 326 shows, involving over 4,000 performers and playing across more than 120 venues.

The Fringe involves multiple genres of music, comedy, drama, cabaret, dance, poetry and more. A variety of different artistic media will transform the city of Melbourne into an inspirational engine of creativity.

Under the stewardship of the Fringe Festival team, with Harvey at its helm, the Festival promises to offer some of the most challenging and inspirational work of the year.

But behind the mask of the Creative Producer, who is Neal Harvey? What many people don’t know about this dynamic young man, apart from the fact that he is a self-confessed ‘sports tragic’ committed to defending his Tigers, is that he has a passion and interest in contextual understandings of space. “Few people are aware of my passion for exploring how social spaces translate into virtual spaces. Through my PhD I’ve been introduced to a wide range of readings and expertise that have been very helpful – and certainly many of the skills I’ve learnt along the way have been especially useful in putting together something as diverse as the Fringe Festival.”

After 29 years of producing one of Melbourne’s most loved festivals is there any chance that the mood of Melburnians will wane? “Not at all,” says Harvey. “There is a sense of ownership where people feel that this is their festival. Melbourne demands superior artistic quality and the standard of work that is elicited from the artists is consistently very high. The city and its people respond with affection and loyalty, and I can see that trend continuing.”

While Harvey won’t give away his favourite shows, claiming each one is a top pick for him, he does encourage audiences to venture into different venues. “Whether you’re at the Fringe Hub, Red Bennies, Revolt in Kensington, La Mamma in Carlton or the Dog Theatre in Footscray, each of these venues have plenty to offer – and there are also plenty of opportunities to be involved in free events.”

Julius Caesar is one of the most familiar of Shake­spearean productions, with sweeping themes of friendship, love, betrayal, power and poli­tics. But can two-and-a-half hours of drama still captivate audiences today? Daniel Fred­eriksen, playing the enviable role of Marc Anthony certainly seems to think so: “Julius Cae­sar is first and foremost a play that is very relevant to us today. We live in a world of political instability, power hierarchies, corruption and people – and right here in Australia we can see how individuals are vying to be at the top of the chain.”

A modern adaptation that is located at the epicentre of politics, the drama is swift and unnerving but also very excit­ing, especially for Frederiksen who is thrilled to be playing one of the Bard’s most compelling characters: “Part of me is excited but the other part of me is quite terrified”, he admits, “this is the role that many of us remember Marlon Brando executing and his energy is unforgettable.”

And while the traditional dashing figure of Marc An­thony is normally played by an actor who embodies the strong masculine type, Frederiksen is chuffed to be bringing “a truck­load of brains” to the character. “I’m a skinny, feminine looking fella” admits Frederiksen, “But watch out Brando!”

The production under the direction of Peter Evans, As­sociate Director of Bell Shake­speare, is set in the present; and while the dress code may have shifted from the toga to the suit, the dynamics of power play certainly haven’t changed. Using a number of stylistic devices, including complex choreography and movement (remember the original cast had 40 male and 2 female char­acters) and the choice to cast a woman to play the role of Cassius (Kate Mulvany), it cer­tainly will be interesting to see how Evans’ direction translates into a modern production with Alex Menglet as Caesar at the helm. Will this be a produc­tion that lifts the veil on one of Shakespeare’s most renowned historical plays?

With numerous shows booked across the country and almost five months of touring, Frederiksen has plenty to look forward to, but what he really relishes (apart from the vocifer­ous applause that has followed the company’s production) is the wonderful opportunity of­fered to him:

“This is an exceptionally well written and well portrayed work and while the language is more modern than the original Elizabethan, we still pay atten­tion to meter and rhythm and other dramatic devices. Ulti­mately, what an audience re­ceive is virtually the ‘heart’ of Shakespeare’s Julius Caesar.