BadGirls? ****1/2

‘BadGirls?’ a new musical devised by Melinda Dunbar as part of the Brainbox Project, is showing at ‘Downstairs at the Maj’ in Perth, each evening at 7.30pm until Saturday 26^th June. This 150-seat venue has cabaret seating with light refreshments available.

Writer and choreographer, Melinda Dunbar, has written a fairly basic story which has been heard before, but has then carefully selected 17 songs (plus one other by musical director Tim Cunniffe) from Broadway shows to fit her story text. Complimented by the choice of three beautiful voices has produced one of the most enjoyable and quality filled musicals that I have seen in Perth for some time.

Felicity (Analisa Bell), a frumpy, naïve girl who has had a strict and loveless upbringing, is sitting in a bar when Narelle (Devon Plumley) a ‘jaded tart’ starts to sing. The two chat and are joined by Monica (Larissa Gallagher – Mozart Faction) a wealthy business executive. They compare life stories.

James Brookes' direction, considering the limitations of the venue’s lights and scenery, has done a wonderful job. There are two acts of 40 minutes each and the time just flew as the songs bounced along. James even had the girls singing in their own characters with raunchy Narelle seducing all in sight and Felicity being the bubbly and bright songstress.

The three performers’ voices were in perfect harmony, clear enunciation and the songs sung with feeling. Devon’s voice was like crystal, she could sing with power or quietly managing at least a couple of octaves comfortably. Unlike her fellow Australian Idol finalists, thankfully she didn’t have that annoying nasal presentation that so many singers have nowadays.

The arrangement of the music for the trio (Pete Jeavons, Haans Drieberg and Tim Cunniffe) was superb, although I thought a touch too loud, and this caused one of the singers - who although hitting the notes perfectly - to struggle to get enough power in the higher range to be heard over the accompaniment.

A wonderful and effervescent night out. Congratulations.

Er... I think you'll find her name is *Belinda* Dunbar. And who would have thought? The general manager of His Majesty's managing to get her own show on in the same theatre... wow, that was unlikely, wasn't it?

Um, your comment would hold more stead if Kaylie Stansfield, whom also works there, wasn't also having her own show this month!

ummm someone sounds a tad bitter?

Peter Mackenzie wrote: >And who would have thought? The general manager of His Majesty's managing to get her own show on in the same theatre... wow, that was unlikely, wasn't it? First, this is theatre. A pretty close-knit community where everyone knows everyone. Second, this is Perth. Overkill on the first statement. You sound upset because you're probably thinking "If I wanted to put on a show, I'd be unlikely to get His Majesties Theatre, whereas Belinda/Kaylie can do it because she works there" If you changed your thinking to "Belinda/Kaylie is putting on a show. She works at His Majesties...I wonder who she'll approach first to use as a venue?" you're describing exactly the same situation, only your thinking has changed. Have you noticed the types of shows being programmed Downstairs at the Maj? Pretty tame cabaret-based shows. No surprises that someone who works there understands what they want to programme, and can come up with the goods. When I produced a show myself, I went to Barking Gecko to promote it into schools. No surprises, I've been working there for 20 years, and I had a product I knew they'd lap up. They did. Others I know have done the same with Deckchair Theatre, the Perth Theatre Company...etc. How else does ANYBODY get a show produced? Everything you've pointed out is true...I just don't understand your point. If you attempting irony, or bitterness, or something clever, I'm afraid I don't get it. You seem to simply be stating the obvious. Cheers, Craig ~<8>-/====\---------

I have noticed, especially on this website where anyone can throw their two cents in (as I am now), a small amount of people who feel they have to discredit other's success as... what should I call it... "cheating"? Congratulations to Belinda Dunbar, I don't know her, but I do know her show is now sold out. I don't think it matters how she got the show on, I think it matters that she is adding to the growing Perth arts community and creating employment oppurtunities. In an industry where most of us will struggle and struggle shouldn't we be supporting each other with positive comments and CONSTRUCTIVE criticism rather than cutting down the tall poppies? Just a thought... but I'm sure some one will have something sarcastic to say to this.

I agree with you Craig. The first show I put on was at my school- because I go there yes, because there are facilities open to me yes, because I have people that know the scene better than me yes, to cut down costs of renting another venue yes! My current show is being put on at my primary school- because I know the people there, I want to use their venue and see how well it works, because they know I am reliable etc...that has also cut down our costs. And don't forget the whole theory 'It's who you know not what you know!' If you know people that own a theatre, if you work for a theatre, of course you'd put a show on there! I work in a lolly shop- I get a 10% discount on goods- I don't buy lollies elsewhere. Are you saying her show has no credibility because she's putting it on in a venue that she works for random commentor? Because that's just silly. ____________________________________________________________ Currently working on: "Boy Banned" a fusion of live acting, video footage, corny songs, syncronised dancing boys and egos! JULY 2007, ticket information coming soon!!!

I am putting on my own show later in the year at a venue where I occasionally work, I got a good deal because the owner trusts me. Many of my plays have first been produced either by theatre's where I knew people or by me at theatres where I have contacts. It's the way the world works. If your material is not up to standard it will be found out. Is that all there is? Well if that's all there is my friend, then let's keep dancing. www.tonymoore.id.au

Commentators on this have also missed a very important point. Someone who works at a venue will more than likely know how much it costs it produce a show at that venue; and no doubt have some idea of where to find the funds to hire it. Knowing local venue managers in Melbourne means that I have had the ability and knowledge to reasonably ask (and expect) for lower rates in hiring, because the managers know that I have little budget. Is it unfair to companies that have a smaller budget? Yes. But that's why God invented smaller venues. And it's why it pays to learn as much as possible about a venue before submitting an application or hiring it out. Sticky Apple Legs www.freewebs.com/stickyapplelegs Puppets in Melbourne www.thepromptcopy.com/pip

I find it so sad - the sheer number of bitter nay-sayers on this site. No production, actor or member of a production team is safe. Surely we should be supporting eachother instead? Almost makes me not want to use this site anymore... and while once I would have loved to see a review of one of my performances up here, now I dread the day!! :)

I agree with you Susannah, I'm not using this site as much as I used to. It wouldn't be so bad if the critisism was helpful, but alot of it is just bitterness

And a lot of it is people immediately on the defensive. Sometimes the truth hurts.

Mmm the truth can hurt, but the effective use of constructive criticism will always assist someone to better what they did wrong rather than hurt them or turn them away from the arts. Maybe plain 'you suck' comments need to be removed or moderated if they are not constructive, make people think twice before slagging someone's performance off. Audience reviewing can assist a play dramatically (I know from my recent drama ensemble which used two seperate audiences plus teacher feedback to correct faults and make it a much better play.) If an audience member had just told us 'we sucked' we would have no way to improve. So keep it constructive people if you thought a performance could be improved. And if you don't have something nice to say, maybe don't say it at all. ____________________________________________________________ Currently working on: "Boy Banned" a fusion of live acting, video footage, corny songs, syncronised dancing boys and egos! JULY 2007, ticket information coming soon!!!

To make the picture a little clearer, Belinda is responsible for the programming of DownStairs at the Maj and I am responsible for the marketing. We work together very closely and have been tweaking the formula for that space for six years. At long last, we believe we have got the formula right - for that target audience. The bosses are happy, the very generous sponsors are happy and we are happy that we can assist local talent with achieving sold out performances. For the record, I auditioned for DownStairs at the Maj cabarets about five years ago. I sucked. But someone there that day saw that I had the potential for comedy and helped me develop my cabaret/comedy skills. My recent season "Memphis to Vegas" DownStairs at the Maj, incorporated both of these skills in what was the most challenging performance project I have ever undertaken. I learned and performed 30 songs, trained (vocally) for two hours a day in the month leading up to the show, and I wrote the script. Oh, I also went to work at the Maj everyday. (In case you think I'm a newcomer, feel free to read my biog on my website: www.kaylie.com.au) Apart from the fact that the season sold out, the real pay off was the genuine accolades I received from industry colleagues who came to the show. Given my marketing background, it was also nice to read the review in The Sunday Times which stated, "She knows how to sell a song." Thank god eh? Belinda and I are ALWAYS happy to help new professionals(and old pros!) in the industry, as our mentors have helped us get to where we are today. Just pick up the phone. I'd like to offer newcomers a word of advice from a marketing perspective: don't even think about pitching a show as 'ready to go' unless you can support it with professional quality production/promotion photos, a well constructed and current biography, and a detailed synopis for your show. The more good stuff you can provide, the more good stuff you're going to get out of it. You know what they say about silk purses. It has been so refreshing to read the positive and supportive comments on this page. After Belinda and I both read the rather sour intro, we too asked what's the point unless we're all in this together? Chookas for your next productions folks. And remember to use your networks to get where you want to go. How do you think they got to where they are? Kaylie Stansfield