Domestic Bliss (Melbourne)
Mon, 27 Sept 2004, 08:43 amDavid Ryding14 posts in thread
Domestic Bliss (Melbourne)
Mon, 27 Sept 2004, 08:43 amOkay, so its a retyped review from a newspaper here in Melbourne but it's the Melbourne Fringe with over 250 shows. You do whatever you can.
At least we didn't write a our own review.
From an audience point of view, it takes a brave actor to star in a one-man show. In this Melbourne Fringe Festival play, Lockwood portrays hapless haberdashery shop worker Chris Domestic Bliss whose life turns on his head on his 25th Birthday
Proving his comedic gift, Lockwood also plays ChrisÂ’s blokey dad, his Ronn Moss loving horny housewife mum, drug addled girlfriend and rough as guts bets mate, as well as a few cameo characters thrown in.
The fact Lockwood also wrote the script explains why the performance is so tight and fast paced
Domestic Bliss has much more hits than misses, with witty one liners, clever interplay and Kath and Kim-esque comedy about life in the suburbs. There's also a few dark and tender moments so it's not slapstick all the way
The play is performed in a 600-bed backpackerÂ’s hostel so you could make friends in the audience.
Tickets are $10"
Megan Miller
MX
Shameless promotion section
Cinema @ Hotel Bakpak
147 Franklin St Melbourne
all shows at 6:30pm and a cheaper than a service wash $10!
Tickets; 8421 8777 or at the door
Written and performed by Damon Lockwood
Directed by David Ryding
Domestic Bliss urges you to remember families aren't just for Christmas
At least we didn't write a our own review.
From an audience point of view, it takes a brave actor to star in a one-man show. In this Melbourne Fringe Festival play, Lockwood portrays hapless haberdashery shop worker Chris Domestic Bliss whose life turns on his head on his 25th Birthday
Proving his comedic gift, Lockwood also plays ChrisÂ’s blokey dad, his Ronn Moss loving horny housewife mum, drug addled girlfriend and rough as guts bets mate, as well as a few cameo characters thrown in.
The fact Lockwood also wrote the script explains why the performance is so tight and fast paced
Domestic Bliss has much more hits than misses, with witty one liners, clever interplay and Kath and Kim-esque comedy about life in the suburbs. There's also a few dark and tender moments so it's not slapstick all the way
The play is performed in a 600-bed backpackerÂ’s hostel so you could make friends in the audience.
Tickets are $10"
Megan Miller
MX
Shameless promotion section
Cinema @ Hotel Bakpak
147 Franklin St Melbourne
all shows at 6:30pm and a cheaper than a service wash $10!
Tickets; 8421 8777 or at the door
Written and performed by Damon Lockwood
Directed by David Ryding
Domestic Bliss urges you to remember families aren't just for Christmas
David RydingMon, 27 Sept 2004, 08:43 am
Okay, so its a retyped review from a newspaper here in Melbourne but it's the Melbourne Fringe with over 250 shows. You do whatever you can.
At least we didn't write a our own review.
From an audience point of view, it takes a brave actor to star in a one-man show. In this Melbourne Fringe Festival play, Lockwood portrays hapless haberdashery shop worker Chris Domestic Bliss whose life turns on his head on his 25th Birthday
Proving his comedic gift, Lockwood also plays ChrisÂ’s blokey dad, his Ronn Moss loving horny housewife mum, drug addled girlfriend and rough as guts bets mate, as well as a few cameo characters thrown in.
The fact Lockwood also wrote the script explains why the performance is so tight and fast paced
Domestic Bliss has much more hits than misses, with witty one liners, clever interplay and Kath and Kim-esque comedy about life in the suburbs. There's also a few dark and tender moments so it's not slapstick all the way
The play is performed in a 600-bed backpackerÂ’s hostel so you could make friends in the audience.
Tickets are $10"
Megan Miller
MX
Shameless promotion section
Cinema @ Hotel Bakpak
147 Franklin St Melbourne
all shows at 6:30pm and a cheaper than a service wash $10!
Tickets; 8421 8777 or at the door
Written and performed by Damon Lockwood
Directed by David Ryding
Domestic Bliss urges you to remember families aren't just for Christmas
At least we didn't write a our own review.
From an audience point of view, it takes a brave actor to star in a one-man show. In this Melbourne Fringe Festival play, Lockwood portrays hapless haberdashery shop worker Chris Domestic Bliss whose life turns on his head on his 25th Birthday
Proving his comedic gift, Lockwood also plays ChrisÂ’s blokey dad, his Ronn Moss loving horny housewife mum, drug addled girlfriend and rough as guts bets mate, as well as a few cameo characters thrown in.
The fact Lockwood also wrote the script explains why the performance is so tight and fast paced
Domestic Bliss has much more hits than misses, with witty one liners, clever interplay and Kath and Kim-esque comedy about life in the suburbs. There's also a few dark and tender moments so it's not slapstick all the way
The play is performed in a 600-bed backpackerÂ’s hostel so you could make friends in the audience.
Tickets are $10"
Megan Miller
MX
Shameless promotion section
Cinema @ Hotel Bakpak
147 Franklin St Melbourne
all shows at 6:30pm and a cheaper than a service wash $10!
Tickets; 8421 8777 or at the door
Written and performed by Damon Lockwood
Directed by David Ryding
Domestic Bliss urges you to remember families aren't just for Christmas
tomasfordThu, 30 Sept 2004, 12:04 am
Re: Domestic Bliss (Melbourne)
This is a great production in a cosy venue with amazingly comfortable bean bags. If anyone happens to be in Melbourne for the Fringe, Domestic Bliss is well worth the look.
Damon's character changes are flawlessly executed as he plays every character, especially when the play reaches it's farcical climax and he juggles a six character conversational blowout. The piece has a pleasant conversational style that makes it easy to watch and a lot of the inventiveness Damon's shown at The Big Hoo Haa when I've seen him there comes across in this piece as well.
Seriously, go check this out. It's on for the rest of the Melbourne Fringe at Hotel Bakpak's cinema and tickets are very well priced.
[%sig%]
Damon's character changes are flawlessly executed as he plays every character, especially when the play reaches it's farcical climax and he juggles a six character conversational blowout. The piece has a pleasant conversational style that makes it easy to watch and a lot of the inventiveness Damon's shown at The Big Hoo Haa when I've seen him there comes across in this piece as well.
Seriously, go check this out. It's on for the rest of the Melbourne Fringe at Hotel Bakpak's cinema and tickets are very well priced.
[%sig%]
David RydingFri, 8 Oct 2004, 01:00 pm
Re: Domestic Bliss (Melbourne)
Reprinted from the Buzzcuts review by James Frayne
Damon Lockwood's one-man show needs a larger audience. The only real flaw was this performance seemed wasted on nine people. Lockwood could easily entertain a full theatre with this show and is limited by Hotel Bakpak's inadequate tininess. Lockwood must have immersed himself with Paul Jennings' stories evident with the four different characters, Chris, Kerry (dad) Anna (mum) Domestic Bliss (yes that's their surname), and Dion his best 'friend' and next-door neighbour.
The genuine feel of the characters is testament to Lockwood's obvious talent for emulating very different personalities with a consistent theme of repulsiveness. Chris is the main protagonist, a boring loser who uses his vulnerability to invite the audience into an hour-long tale. He is the most normal and accessible character and narrates effectively, with an idiosyncratic geekiness that entertains and doesn't suffocate. The plot progresses briskly with occasional character constructing sojourns that mesh their messy stories together. Chris' girlfriend 'Sweetie' assumes a Marice role ala Frasier, Kerry is the negligent father who adds a few twists of his own to the plot, as does the vain housewife Anna. In fact, by the end Chris becomes a spectator as revelations about their collective past overwhelm, but also resolve the suspenseful question raised by Chris at the beginning.
It would be tempting for the class conscious to accuse Lockwood of playing to working class stereotypes, but performed in such a relentlessly funny manner one doesn't have time to be offended. There is an ironic presentation of these clichés that renders them absurd (so it's okay to laugh). Chris is quite aware there is an audience with a few technical gags that remind us we're seeing an ironic and satirical performance.
The characters would probably become irritating without the suspense and constant plot/character twists which keep things interesting, so it's best not to reveal too much of the plot. There is little room to criticise this performance, as it is tight, quick and disarming both with the intelligent version of adolescent humour and the innate tragedy of Chris' story. Most importantly however, this performance is hilarious and a must see. But hurry as the venue is small (intimate) and there are only a few precious days of the Fringe Festival remaining.
Last night tonight Friday the 8th of October
Damon Lockwood's one-man show needs a larger audience. The only real flaw was this performance seemed wasted on nine people. Lockwood could easily entertain a full theatre with this show and is limited by Hotel Bakpak's inadequate tininess. Lockwood must have immersed himself with Paul Jennings' stories evident with the four different characters, Chris, Kerry (dad) Anna (mum) Domestic Bliss (yes that's their surname), and Dion his best 'friend' and next-door neighbour.
The genuine feel of the characters is testament to Lockwood's obvious talent for emulating very different personalities with a consistent theme of repulsiveness. Chris is the main protagonist, a boring loser who uses his vulnerability to invite the audience into an hour-long tale. He is the most normal and accessible character and narrates effectively, with an idiosyncratic geekiness that entertains and doesn't suffocate. The plot progresses briskly with occasional character constructing sojourns that mesh their messy stories together. Chris' girlfriend 'Sweetie' assumes a Marice role ala Frasier, Kerry is the negligent father who adds a few twists of his own to the plot, as does the vain housewife Anna. In fact, by the end Chris becomes a spectator as revelations about their collective past overwhelm, but also resolve the suspenseful question raised by Chris at the beginning.
It would be tempting for the class conscious to accuse Lockwood of playing to working class stereotypes, but performed in such a relentlessly funny manner one doesn't have time to be offended. There is an ironic presentation of these clichés that renders them absurd (so it's okay to laugh). Chris is quite aware there is an audience with a few technical gags that remind us we're seeing an ironic and satirical performance.
The characters would probably become irritating without the suspense and constant plot/character twists which keep things interesting, so it's best not to reveal too much of the plot. There is little room to criticise this performance, as it is tight, quick and disarming both with the intelligent version of adolescent humour and the innate tragedy of Chris' story. Most importantly however, this performance is hilarious and a must see. But hurry as the venue is small (intimate) and there are only a few precious days of the Fringe Festival remaining.
Last night tonight Friday the 8th of October
crgwllmsFri, 8 Oct 2004, 05:58 pm
Re: Reviewing Bliss (Melbourne)
the Buzzcuts review by James Frayne wrote:
>
> ....so it's best not to reveal too much of the plot.
Unbelievable how sensitive and intelligent the reviewers are in Melbourne!
Or perhaps this is my perspective only because I live in Perth and the single major newspaper continuously employs reviewers who don't know how to review?
A 400 word review in The West last Monday (of a show written by Domestic Bliss director Dave Ryding) contained 7 paragraphs (about 70%) that basically retold the plot. Add to this two opening paragraphs that, while original, were only finding a way to introduce the play's theme. What's left is 3 paragraphs (only 15%) that make any real judgment about the play or the acting. If I want to be picky (and I do), the sentences that actually show anything of the reviewer's opinion consist of only 38 words (9% of the review).
I complained once to the Arts Editor a few years ago of a similar lack of value judgement, and he pointed out in a rather surprised manner a similar number of words which 'proved' that the reviewer was expressing an opinion. And I'm sure the company receiving this 'review' is pretty happy about it, because overall it comes across as quite friendly. We've all become conditioned to expect nothing braver from our arts journalists, and so it's considered a 'good' review if it doesn't slam anybody.
But I consider it merely a 'safe' and therefore kind of boring review. Is it naive of me to expect there to be an art to Arts Journalism?
Congrats on the GOOD reviews for Domestic Bliss.
Cheers,
Craig
>
> ....so it's best not to reveal too much of the plot.
Unbelievable how sensitive and intelligent the reviewers are in Melbourne!
Or perhaps this is my perspective only because I live in Perth and the single major newspaper continuously employs reviewers who don't know how to review?
A 400 word review in The West last Monday (of a show written by Domestic Bliss director Dave Ryding) contained 7 paragraphs (about 70%) that basically retold the plot. Add to this two opening paragraphs that, while original, were only finding a way to introduce the play's theme. What's left is 3 paragraphs (only 15%) that make any real judgment about the play or the acting. If I want to be picky (and I do), the sentences that actually show anything of the reviewer's opinion consist of only 38 words (9% of the review).
I complained once to the Arts Editor a few years ago of a similar lack of value judgement, and he pointed out in a rather surprised manner a similar number of words which 'proved' that the reviewer was expressing an opinion. And I'm sure the company receiving this 'review' is pretty happy about it, because overall it comes across as quite friendly. We've all become conditioned to expect nothing braver from our arts journalists, and so it's considered a 'good' review if it doesn't slam anybody.
But I consider it merely a 'safe' and therefore kind of boring review. Is it naive of me to expect there to be an art to Arts Journalism?
Congrats on the GOOD reviews for Domestic Bliss.
Cheers,
Craig
Grant MalcolmFri, 8 Oct 2004, 09:04 pm
Re: Blissful ignoramuses
Hi Craig
crgwllms wrote:
> A 400 word review in The West last Monday (of a show written
> by Domestic Bliss director Dave Ryding) contained 7
> paragraphs (about 70%) that basically retold the plot.
This may be market-driven. How many of you, when encouraging Joanne Public to see a show, have been asked "what's it about?"
It may be a sad indictment of the general dumbing down of much of the Australian media and make for dull reading, but perhaps the reviewers are doing us all a service by providing the punters with the information they need/expect in order to decide where to dole out their hard-earned?
Of course, most people frequenting this site when encouraged to see a show would be asking "who's in it? or who's staging/ directing/ lighting/ designing/ etc it?"
And a few would just simply say "yes!"
:-)
> Congrats on the GOOD reviews for Domestic Bliss.
Ditto that!
Cheers
Grant
[%sig%]
crgwllms wrote:
> A 400 word review in The West last Monday (of a show written
> by Domestic Bliss director Dave Ryding) contained 7
> paragraphs (about 70%) that basically retold the plot.
This may be market-driven. How many of you, when encouraging Joanne Public to see a show, have been asked "what's it about?"
It may be a sad indictment of the general dumbing down of much of the Australian media and make for dull reading, but perhaps the reviewers are doing us all a service by providing the punters with the information they need/expect in order to decide where to dole out their hard-earned?
Of course, most people frequenting this site when encouraged to see a show would be asking "who's in it? or who's staging/ directing/ lighting/ designing/ etc it?"
And a few would just simply say "yes!"
:-)
> Congrats on the GOOD reviews for Domestic Bliss.
Ditto that!
Cheers
Grant
[%sig%]
crgwllmsSat, 9 Oct 2004, 01:49 am
Re: review-writing Bliss-ters
> crgwllms wrote:
> > A 400 word review in The West last Monday (of a show written
> > by Domestic Bliss director Dave Ryding) contained 7
> > paragraphs (about 70%) that basically retold the plot.
Grant Malcolm wrote:
>
> This may be market-driven. How many of you, when encouraging
> Joanne Public to see a show, have been asked "what's it about?"
Okay, but I expect to be told in a two- or three- sentence answer, not 300 words that literally provide a TOTAL synopsis..!
> Of course, most people frequenting this site when encouraged
> to see a show would be asking "who's in it? or who's staging/
> directing/ lighting/ designing/ etc it?"
Yes, but I still think you're missing the most important question, the one I reckon most people will ask first: 'Is it any good?'
Surely that's the bottom line if you're trying to convince someone to part with their hard-earned? If it's a well-known play (let's use Hamlet as an example) most people are going to skip the 'what's it about?' question anyway and simply want to know somebody's opinion of whether it's worth paying to see.
I'm pretty sure I can say that ALL your other questions, 'What's it about', 'Who's in it', 'Who wrote it', etc, are basically asked to help determine the answer to MY question ...Is it worth me getting off my ass and paying to see?, i.e. Is it any good?
Now if that's the most important question, surely our dumbed-down media would realise they should still at least be giving THAT one an answer?
But of course, because it's a subjective question, there isn't just ONE answer...and this is the problem. To answer the question means having to venture an opinion; and because no matter WHAT opinion, some may consider it the WRONG opinion, reviewers are scared to even try.
So they answer all the ones they can do safely...and fill 91% of their review with bland factual statements, mostly telling you what happens, and not satisfying the one thing you WANT to know.
But whether or not I am going to AGREE with a reviewer's opinion (in which case I would also be asking your secondary questions to try to answer my question myself), it's just as important that I RESPECT their opinion and the way they justify it. I'm totally willing to accept that I may have differing taste to that of the reviewer, but if they have constructed a well-written argument I will take their information into some consideration.
A reviewer who takes the bland way out doesn't encourage me to take ANY notice of what they're saying: basically all they're doing is re-wording the theatre company's press release and not demonstrating any thought process of their own.
I'm afraid I'm not going to respect a reviewer's efforts until they EARN it.
HAVE AN OPINION!
Cheers,
Craig
PS Thanks Grant, for venturing a counter-opinion!
> > A 400 word review in The West last Monday (of a show written
> > by Domestic Bliss director Dave Ryding) contained 7
> > paragraphs (about 70%) that basically retold the plot.
Grant Malcolm wrote:
>
> This may be market-driven. How many of you, when encouraging
> Joanne Public to see a show, have been asked "what's it about?"
Okay, but I expect to be told in a two- or three- sentence answer, not 300 words that literally provide a TOTAL synopsis..!
> Of course, most people frequenting this site when encouraged
> to see a show would be asking "who's in it? or who's staging/
> directing/ lighting/ designing/ etc it?"
Yes, but I still think you're missing the most important question, the one I reckon most people will ask first: 'Is it any good?'
Surely that's the bottom line if you're trying to convince someone to part with their hard-earned? If it's a well-known play (let's use Hamlet as an example) most people are going to skip the 'what's it about?' question anyway and simply want to know somebody's opinion of whether it's worth paying to see.
I'm pretty sure I can say that ALL your other questions, 'What's it about', 'Who's in it', 'Who wrote it', etc, are basically asked to help determine the answer to MY question ...Is it worth me getting off my ass and paying to see?, i.e. Is it any good?
Now if that's the most important question, surely our dumbed-down media would realise they should still at least be giving THAT one an answer?
But of course, because it's a subjective question, there isn't just ONE answer...and this is the problem. To answer the question means having to venture an opinion; and because no matter WHAT opinion, some may consider it the WRONG opinion, reviewers are scared to even try.
So they answer all the ones they can do safely...and fill 91% of their review with bland factual statements, mostly telling you what happens, and not satisfying the one thing you WANT to know.
But whether or not I am going to AGREE with a reviewer's opinion (in which case I would also be asking your secondary questions to try to answer my question myself), it's just as important that I RESPECT their opinion and the way they justify it. I'm totally willing to accept that I may have differing taste to that of the reviewer, but if they have constructed a well-written argument I will take their information into some consideration.
A reviewer who takes the bland way out doesn't encourage me to take ANY notice of what they're saying: basically all they're doing is re-wording the theatre company's press release and not demonstrating any thought process of their own.
I'm afraid I'm not going to respect a reviewer's efforts until they EARN it.
HAVE AN OPINION!
Cheers,
Craig
PS Thanks Grant, for venturing a counter-opinion!
Walter PlingeSat, 9 Oct 2004, 07:43 am
Re: review-writing Bliss-ters
Another review. (Again possibly better written than anything in the West)
I don't have much to say about Domestic Bliss other than it was very good. A clever, intimate and absurd family tale, I laughed from start to finish. The only disappointing thing about it was that there weren't more people there to see it.
Written and performed by Damon Lockwood, Domestic Bliss is the warped tale of the 'Domestic-Bliss' family. The multi-talented Damon plays all the characters. So he's a mother, a father, a neighbour and also 'Chris' the bland son whose life falls apart over the weekend we witness. Lockwood switched effortlessly from character to character and each was uniquely funny. The semi-abusive father was my favourite. Almost a caricature he reminded me of bogan suburban dads who come to life at weekend footy matches. None of characters were particularly likeable but it was their nastiness to each other that made them so amusing.
Domestic Bliss was a brilliant vehicle for Lockwood's talent. All the characters were well developed and interesting. Each had their own physical presence as well as voice. The story progressed quickly and the twisted plot held my attention. There was a fantastic moment of dramatic irony which had the whole audience groaning with displeasure and amusement.
I thoroughly enjoyed this show. Lockwood is to be congratulated for creating and performing such a humorous show on his own. My only recommendation to him is to increase publicity which will hopefully result in the larger audience this show deserves.
Go early and grab one of the bean bags at the front.
Nicole Bowden
Buzzcuts
I don't have much to say about Domestic Bliss other than it was very good. A clever, intimate and absurd family tale, I laughed from start to finish. The only disappointing thing about it was that there weren't more people there to see it.
Written and performed by Damon Lockwood, Domestic Bliss is the warped tale of the 'Domestic-Bliss' family. The multi-talented Damon plays all the characters. So he's a mother, a father, a neighbour and also 'Chris' the bland son whose life falls apart over the weekend we witness. Lockwood switched effortlessly from character to character and each was uniquely funny. The semi-abusive father was my favourite. Almost a caricature he reminded me of bogan suburban dads who come to life at weekend footy matches. None of characters were particularly likeable but it was their nastiness to each other that made them so amusing.
Domestic Bliss was a brilliant vehicle for Lockwood's talent. All the characters were well developed and interesting. Each had their own physical presence as well as voice. The story progressed quickly and the twisted plot held my attention. There was a fantastic moment of dramatic irony which had the whole audience groaning with displeasure and amusement.
I thoroughly enjoyed this show. Lockwood is to be congratulated for creating and performing such a humorous show on his own. My only recommendation to him is to increase publicity which will hopefully result in the larger audience this show deserves.
Go early and grab one of the bean bags at the front.
Nicole Bowden
Buzzcuts
crgwllmsSat, 9 Oct 2004, 04:33 pm
a Domestic flight away from reviewing Bliss
Domestic Bliss (Melbourne) wrote:
>
> Another review. (Again possibly better written than anything
> in the West)
Just to follow up my rant from above, the example you just quoted was a 280 word review, which dedicated JUST HALF a paragraph (20%) to telling us what the show's about, and EVERYTHING ELSE (80%) expressed some form of judgement and/or opinion...!
I found it an interesting review, and (having seen Domestic Bliss twice in Perth) a pretty accurate one.
I don't know what sort of publication Buzzcuts is, or how you managed to get two reviews from them? Send one of their reviewers to Perth!
Well done, guys.
Cheers
Craig
>
> Another review. (Again possibly better written than anything
> in the West)
Just to follow up my rant from above, the example you just quoted was a 280 word review, which dedicated JUST HALF a paragraph (20%) to telling us what the show's about, and EVERYTHING ELSE (80%) expressed some form of judgement and/or opinion...!
I found it an interesting review, and (having seen Domestic Bliss twice in Perth) a pretty accurate one.
I don't know what sort of publication Buzzcuts is, or how you managed to get two reviews from them? Send one of their reviewers to Perth!
Well done, guys.
Cheers
Craig
David RydingSun, 10 Oct 2004, 07:27 am
Re: a Domestic flight away from reviewing Bliss
Buzzcuts is a volunteer young reviewers program for the Fringe managed under the auspices of Ex-Press Media, a Melbourne based youth writing program. They publish the magazine Vocie Works, which is sold somewhere in every capital city
Yes i said volunteer and young.
Yes i said volunteer and young.
tomasfordMon, 18 Oct 2004, 08:18 pm
Re: a Domestic flight away from reviewing Bliss
Yeah, Buzzcuts (http://www.buzzcuts.com.au) is the bomb. They gave one of the more interesting reviews of Tomás Ford's Cabaret Of Death that it recieved and kinda nailed what I thought was wrong with it and most of the bits that I disagree with I got a perverse thrill out of seeing cause a negative reaction... muhahahaha... :)
WARNING: OBVIOUS STATEMENT COMING UP
When you perform, you're trying to cause a reaction well written reviews are like hard copy documentation of that. If it's written the way Craig describes with the plot as the focus, it's tedious and pointless to read, but well written reviews not only make for stimulating reading, but also should nurture the arts community through giving honest feedback. Not that this is the primary role of the review, but it makes for a helluva lot more interesting reading.
By the way, since it was mentioned, Voiceworks is a quarterly magazine of youth writing/cartoons/zine action avaliable from New Edition, 78 Records and most uni bookstores and is usually worth shelling out the $8-ish it costs to pick up and check out. It usually has a funky cover that makes it good coffee table book material too :)
[%sig%]
WARNING: OBVIOUS STATEMENT COMING UP
When you perform, you're trying to cause a reaction well written reviews are like hard copy documentation of that. If it's written the way Craig describes with the plot as the focus, it's tedious and pointless to read, but well written reviews not only make for stimulating reading, but also should nurture the arts community through giving honest feedback. Not that this is the primary role of the review, but it makes for a helluva lot more interesting reading.
By the way, since it was mentioned, Voiceworks is a quarterly magazine of youth writing/cartoons/zine action avaliable from New Edition, 78 Records and most uni bookstores and is usually worth shelling out the $8-ish it costs to pick up and check out. It usually has a funky cover that makes it good coffee table book material too :)
[%sig%]
Walter PlingeTue, 1 Mar 2005, 08:34 am
Re: Domestic Bliss (Melbourne)
I did the review for this wonderful production and appreciate any complements, but my name is Paul Frayne not James Frayne.
Regards
Paul Frayne
Regards
Paul Frayne
crgwllmsTue, 1 Mar 2005, 03:46 pm
Re: Complementary Compliments
paul frayne wrote:
>
> I did the review for this wonderful production and appreciate
> any complements, but my name is Paul Frayne not James Frayne.
>
> Regards
>
> Paul Frayne
Perhaps James Frayne is the complement to Paul Frayne?
Paul is the one who deserves the compliments; James is the one who sings so inarticulately no one can understand what's being said, hence the double confusion.
English is such a screwy language.
Cheers
Craig
[%sig%]
>
> I did the review for this wonderful production and appreciate
> any complements, but my name is Paul Frayne not James Frayne.
>
> Regards
>
> Paul Frayne
Perhaps James Frayne is the complement to Paul Frayne?
Paul is the one who deserves the compliments; James is the one who sings so inarticulately no one can understand what's being said, hence the double confusion.
English is such a screwy language.
Cheers
Craig
[%sig%]
Walter PlingeWed, 2 Mar 2005, 02:44 pm
Re: Complementary Compliments
Aren't you thinking of James *Reyne*, not James Frayne?
crgwllmsWed, 2 Mar 2005, 04:00 pm
Re: Whoa, No, Not you again
Tim Smythe wrote:
>
>
> Aren't you thinking of James *Reyne*, not James Frayne?
Yes. That's what I meant by the double confusion....an example of being so inarticulate no one can understand what's being said, a la the reign of Reyne.
Cheers
Craig
PS. I was at the Crawl's final concert...still have all their albums, and most of James' solo stuff. Working out the lyrics was a highschool obsession that helped me fail Chemistry...
>
>
> Aren't you thinking of James *Reyne*, not James Frayne?
Yes. That's what I meant by the double confusion....an example of being so inarticulate no one can understand what's being said, a la the reign of Reyne.
Cheers
Craig
PS. I was at the Crawl's final concert...still have all their albums, and most of James' solo stuff. Working out the lyrics was a highschool obsession that helped me fail Chemistry...