Review: Gus The Frog Spits Bars at Motley Bauhaus

Review by Greg Gorton

Angus Leighton has, besides incredible stamina, a way of making existential dread seem not that lonely. In a slightly-unhinged Australian rap musical, he introduces us to Gus, Farmer Fred, wizards, aliens, magpies, and a Clare Valley unlike anything reality has ever seen. At the same time he invites us to explore the fear of being a hero, the regret of not chasing dreams, and the oh-so-familiar realisation that we are tiny and magnificent at the very same time.

This is the fastest sixty minutes you can experience at Fringe. Thirteen separate songs are in this piece, each of them a high-paced rap from the out-of-water frog, council of undetermined bush creatures, and robot whose prophesy they listen to. While there is a touching breather in the middle as Leighton sits with a guitar to present a less subtle version of his message, it picks up again immediately after. Audiences can be grateful that all lyrics are given as surtitles, brilliantly animated behind Leighton so that, if we need to give our audio-processing a rest, we can read along for a while too. 

There’s something always pleasant about a performer that relies on a single prop to make a new character: a hat, a staff, a rob, a wild pair of glasses. Leighton doesn’t always nail the voice changes between characters, but his posture and mannerisms more than make up for it. There’s a lot to appreciate, too, but the simple but powerful set dressing - a camp chair and a glass of wine, a cooler, and not much else.

The raps are erratic, both in structure and content. While some contain some great comedic moments, others only survive by the pace they are hammered through. There is enough variation in rhythm to avoid a sense of monotony, but often it is clear that nothing is actually being said about the story or the themes. And while the story is intentionally chaotic, every so often there is a feeling that Leighton wants to discuss a topic in more depth but isn’t entirely sure how.

The fun part is: none of this matters. Only boring reviewers will have noticed any of it.

Because what makes this show enjoyable isn’t so much the original songs, the character work, or the plot. It is Angus Leighton himself. Leighton is charismatic, energetic, and filled with such positive energy that it is impossible to conceive him ever being the villain in his own show. While he appears more comfortable behind the mic than at any other time, the direction he has taken from Erin Perrey has allowed him to more fully populate the world he is offering. He develops a connection with his audience extremely early in the piece, and at no point is there a suggestion of letting go from either end. 

While I didn’t end up caring as much about Gus the Frog as I would have liked, and will likely be unable to remember a single lyric by end of week, I’m full of energy and hope, and this existential dread we all experience is nowhere to be found. I wouldn’t recommend giving up your therapist to see Gus The Frog, but I bet they would prescribe you seeing this very funny, very silly show.

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