Review: Fu@k! I Killed The Director at Motley Wherehaus
Review by Greg Gorton
One of the more enjoyable types of shows I love to find at Melbourne Fringe is what I like to call “just playing around”. It usually involves improv and audience involvement, but the core aspect to it is the performers worrying less about exact lines or movements, and more about enjoying the very act of “play”. Fu@k! I Killed The Director is one such show, and a very enjoyable one at that.
Cherry and John are two actors about to go on stage for a “brave” adaptation of Romeo & Juliet in which they play all characters. But after one too many director’s notes, murder ensues. The blood on their hands sets them off on a journey (of sorts) to come to terms with the “director within”, that voice of constant criticism.
While this narrative exists, and is revisited a number of times, it is better to call this a show of skits, improv, and audience engagement rather than a narrative theatre experience. By exploring the core themes with such a wide net of devices, the team at Alright? Comedy invite us to take a serious look at our inner fears by being very silly about it.
Cherry and John are played by Alana Louise and Jason Schwab. There is a strong trust and knowledge between these two performers that lead to some very fun moments, including when they play the “You, Me” improvisation exercise. In fact, many of the “scenes” in this show have clearly been developed by exercises and games, which adds that extra emphasis on the “play” in this performance. The two actors also have keen appreciation for each other’s strengths, Louise being a far more physical actor and often comes closer to traditional clowning, while Schwab is able to hit those emotional notes a little harder.
While it may sometimes seem chaotic, there is a sense of thematic structure, and the group should be happy with the journey they take their audience on from insecurity to strength. Scenes that more explicitly present the insecurities of actors detract from the otherwise universality of the piece, but stand alone as character pieces many would enjoy.
There’s a pretty decent soundtrack to this production, which isn’t usually something I mention. It’s less that the songs exist but more that they signpost jokes, highlight absurd situations, and play with our nostalgia in a more considered manner than most Fringe shows do. The lighting is active and energetic without any experience that would give you a headache. Costumes are fun and bright, and changed in such minor ways as to have fun without slowing the pace.
Fu@k! I Killed The Director shouldn’t be thought about too much, or you might get bogged down in questions of character or message. This isn’t that kind of show. But it also isn’t a couple of kids just goofing off. Louise and Schwab are performers I can’t wait to see again, because I’m sure what they have in store is just as fun and heartfelt as ever.
