The Young and Hungry Festival of New Works seeks to present three new plays by Kiwi playwrights, workshopped to perfection, acted and crewed full tilt by hot young wannabes whilst professional directors and production mentors keep a watchful eye. It’s a great concept and one that isn’t always pulled off, except for this year, which I’d say is one of the best Young and Hungry seasons I’ve seen.

Starting off with Zoe Deverick’s The Life Death and Afterlife of Felix Unfortunate, young Felix is thrust into the vacuous teenage world of dating, drinking and spending his Saturday nights down at Shooters. It’s a world he doesn’t want to inhabit and society’s pressure to conform is dramatized as a surreal totalitarian state in which "free thinking chaos must be eliminated". It’s an ambitious play, which tells of many teens’ desire to be different with a refreshing twist. It features some fine performances, particularly Chris Neels as the confused / love struck Felix Unfortunate. However, the "surreal" aspect tends to descend into melodrama (the Matrix style concept of "eliminating all individual thought" is staged with a blue plastic gun), which belies the truthfulness which could be bought to the situation.

Grant Buist’s Fitz Bunny: Lust for Glory (originally based on one of Buist’s comic strips) is a musical roller coaster through the political career of Fitz Bunny – a real life bunny seized by megalomania. The excellent Jessica Mannis is our eye into this crazy world as reporter Alex. Pop star Fitz Bunny decides to take on Parliament, as her family is killed by an outbreak of calicivirus. Jamie Burgess provides stupendous musical direction / accompaniment as the "Rabettes" (slightly more Playboy than furry) sing and dance. The plot line is slightly thin, but this doesn’t matter as Willow Newey (as Fitz Bunny) and the rest of the cast inject so much physical energy into the excellent material that they had the opening night audience in hysterics from start to finish. Especially noted were the hilarious Wellington references and the amazing comic style props.

And just when I thought I’d laughed enough for one night, Dean Hewison’s The Henchman drop rolled its way onto the stage (that was me trying to make a stage combat joke – and failing miserably). Fired from his job and spurned on by the threat of losing the Playboy channel, Adam accepts a job as a henchman. All seems normal, until Travis or "Super Villain Double Cross" appears in purple underpants and Adam’s handed a flamethrower with a MP3 player. The fight scenes (choreographed by Allan Henry) are outstanding and super heroes Limberman (Jack Sergeant-Shadbolt), and Captain Caffeine (Leon Wadham) are deliciously ridiculous. The dialogue is witty and impeccably timed – "You want me to be your henchman?" "I’d be fucking delighted Adam".

The comedy arises from the contrast of the slick fight moves to the ridiculous superheroes, and although it all gets a bit bloody when friends are forced to face friends, overall it’s a hilarious excuse to see some kick ass fighting on stage. 

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Forget the Comedy Festival, you’ll see one of the funniest shows of the year as part of the annual Young and Hungry trilogy at Bats Theatre. Fitz Bunny – Lust for Glory sees cartoonist Grant Buist bring his cartoon heroine to the stage in a musical extravaganza (of sorts).  Accompanied by Flopsy, Bun-Bun and Miffy the Rabettes, Fitz Bunny takes over the country in a rabbit revolt against calici-virus.

Grant Buist not only created the bolshy bunny with a Napoleonic ego, he wrote the music and lyrics, and drew the props (from cups to nuclear warheads).  The man’s a genius.  Give him his own TV show immediately.  And make such James Hadley stays in the director’s chair, because he’s just as perfect as the material he’s given to work with.

Willow Newey is a ballsy Fitz Bunny with a worrying penchant for pyrotechnics and a lust not only for glory but also for revenge.  Her gorgeous Rabettes – Gemma Boyle, Laura Velvin and Mikita Tu Bryant, deserve a record contract.  The politically aware sheep make Jonathon King’s Black Sheep look like pussycats – Elliot Travers as Che Guebaahra is to die for.   Big ups too the rest of the cast in a play with myriad of characters from Helen Clark and John Key to Osama Bin Laden.

Praise indeed from a critic who can’t stand musicals.

Dean Hewison’s play is a different creature again, a superhero spoof from the point of view of the chaps who usually get killed off in any superhero caper – The Henchman.  While their masters inevitably live to fight another day, they’re expendable – though they do get good gear, in this case flame throwing grenade launching gun which double as MP3 players.  Hewison has some nifty ideas and is well served by his cast and director, Rachel More. Patrick Powdrell plays Adam, who ends up in a superhero’s mansion guarding his old friend, the blatantly mad Double Cross (William McElwee).  The super geeks, Captain Caffeine (Leon Wadham) and Limberman (Jack Sergent-Shadbolt) deliver by far the biggest laughs and should have their own spin off series.

The Life, Death and Afterlife of Felix Unfortunate is Zoe Deverick’s contribution to Y& H.  It’s harder to categorise this one, as it slips from the ‘real’ world into the underworld and back again, as the idealistic Felix who is mercilessly pursued by the thought police in the form of The Official.  Whimsical idealism is not allowed, all must be assimilated into the status quo, the mind must be caged.  The Official and his cronies, including the nice-underneath-it-all Delia, have exterminated free thinking in the Underworld, now they turn their attention to up top.  Felix is their first victim.  This is about the pressure to conform, an excellent topic for the age group these plays are targeting.  But it stumbles in places, being a little heavy-handed, and it seems to lose its way about half way through.  It doesn’t, however, fall into the trap of taking itself too seriously.  Though my sympathies to the poor chap in the mudman suit, very possibly the worst and least flatting costume I’ve seen in more than 12 years of reviewing.

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Earnest and searching, The Life, Death and Afterlife of Felix Unfortunate begins this year’s Young and Hungry spread with an Orwellian look at conformity. Next in the line-up, Fitz Bunny, Lust for Glory presents a surprisingly entertaining musical about the corruptive nature of power, and bunnies. And The Henchman is a witty, action-filled boys’ play, the stage equivalent of a superhero spoof film.

The Life, Death and Afterlife of Felix Unfortunate is rich with searching and fittingly youthful ideas about society and meaning. Writer Zoe Deverick’s intentions are admirable, as she seeks to present the pitfalls of ‘normality’ and in so doing provides a story anybody who has suffered through the trials of learning to ‘be yourself’ can relate to. While Deverick’s honesty and idealism are beautiful, a more subtle incorporation of the play’s themes into the body of the text could prevent an oft too overt ‘telling’ of ideas, which risks lecturing the audience. Also, the tendency to draw on stereotypes and clichéd expressions (“Son, I know that growing up is difficult sometimes”/ “There’s been a terrible accident”) means some of the characters ring hollow.

The creative underworld presented in the show’s second half is particularly engaging. It combines a mix of sci-fi, surrealism and Huxley-esque social control, as Felix Unfortunate (Chris Neels) struggles to fight against the brave new world The Official (convincingly performed by Chris Tse) is creating. Agent Delia (an especially well cast Ivana Palezevic) teases out the action with Matrix-like qualities, and good stage presence.

In general, the show crams a little too much into the hour it is allocated. At times the plot relies heavily on straight exposition, due to the need to get across a long story in a short time. The editing back of not strictly necessary scenes could assist with strengthening and deepening the remainder of the play, to provide a fuller experience for viewers. Palezevic and Neels are both comfortable performers, and could further develop their romantic relationship; pivotal as it is to the story’s conclusion. An extended period of realism at the beginning could also serve actors and audience members to better acquaint themselves with the characters who form the basis of the rest of the play. Despite its many promising elements, the show as a whole could benefit from further, thorough workshopping.

Fitz Bunny, Lust for Glory, the next addition to the 2007 season, is the more polished of the three shows on offer. Willow Newey (also currently performing in Friends Forever at Downstage this month) gives a gutsy and unabashed performance as Fitz Bunny, a “two foot tall” pink rabbit. Newey’s total confidence as the singing, feisty and increasingly power-hungry bunny leads viewers to easily suspend their disbelief and enter into the play’s “alternative comic reality,” as director James Hadley describes it.

Elliot Travers is a charismatic supporting actor in Lust for Glory, filling a variety of roles from Che Guebaahra, the leader of the Bolshevik sheep, to an awkward John Key. Dominic Taffs is also endearing as Enderby the sensitive hedgehog, and Jessica Manins as Alex drives much of the action as the only major human character in the play, with her maligned “opposable thumbs and abstract reasoning”.

Writer Grant Buist has contributed his cartoon skills to the costume and set design. Paula Curry presents vibrant 2D props based on Buist’s Brunswick cartoons, which are integrated seamlessly into the performance and form a mime-like basis for much of the play’s comedy. Indeed, comedy and musical performances are what drive Lust for Glory, and in general these aspects deliver what they promise – light-hearted, cheeky entertainment. The play does rely heavily on one-liners at times however, and the script’s humour comes across as slightly constructed and unnatural.

Lust for Glory’s premise takes some getting used to – Fitz Bunny gets angry about the extermination of rabbits in Aotearoa and starts a political party – but the general wackiness makes a refreshing and welcome change from realism. Buist also deserves credit for devising a play with a majority female cast; in many ways an all too rare phenomenon.

After the first two shows it came almost as a shock to see Patrick Powdrell open The Henchman in a suit and tie. This semblance of normality was short lived however, as ‘Captain Caffeine’ (delightful, young Leon Wadham) soon bounded across the stage in a lycra top, and flatmate Greg (Jack Sergent-Shadbolt) entered semi-nude avec beach towel and leg wax. What followed was a solid hour of men-in-tights, and men-with-guns, big guns, leaping comically about the stage. The Henchman’s plot was revealed with pace and measure, and the resolution of a moral conundrum neatly tied up the action with superhero feel-good factor.

William McElwee shined as the villain Double Cross, making the most of every opportunity to show off his bodysuit and tights. The simple set design of ramp and blocks was an effective aid to much of his prancing. McElwee responded quickly to audience mood and attention and managed to draw out his many moments of slapstick and irony; the scene with the roller scooter a particular hit. Jack Sergent-Shadbolt also provided a genuine and consistently humourous performance as Limberman, the lanky ‘fit’ superhero with acrobatic powers. His continued role in the play, even after he is killed by henchman Gerald (BATS’ own Dan Greer), was received with cheer. Lighting design by Oscar Mulheron worked well to enhance the overall mood; the Cross light at the entrance of superhero Christian Hammer (Jordan van Irsel) epitomising the play’s gaudy insensitivity.

Christianity, women and gay men formed the fodder for much of The Henchman’s humour. Though these themes were poked fun of in clever – or daring – enough ways to be inoffensive, there wasn’t much purpose to their inclusion beyond the basis of a good laugh. To its credit, The Henchman did not aim to be anything more than just that, and the excited opening night crowd lapped up its successfully simple presentation of spoof comedy, fight scenes and, er, “washed up ballerina bastard[s]” with good nature, as was impossible not to.

Originally published in The Lumière Reader.
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This year’s Young and Hungry season at BATS Theatre follows a similar pattern to previous years in that the three plays presented are written and produced independently of each other with little in common except that this year each play ventures into the surreal rather than the real, and humour is a major component of all three.

The Life Death and Afterlife of Felix Unfortunate by Zoe Deverick, directed by L’hibou Hornung, is a rite of passage scenario that begins with Felix, a middle class white boy growing up in suburbia, celebrating his 18th birthday.

Having lived a fairly sheltered life, Felix is encouraged by his mate Manny to experience life in the real world and so they start by going clubbing.  Thus begin Felix’s adventures, taking him through some bizarre situations which it transpires are manipulated by a group of undesirables in the underworld where, after a freak accident, he ends up.  Here he also meets and falls in love with Delia but an item they are not to be, as he is soon transported from the afterlife back to real life. 

A spirited production under L’hibou Hornung’s direction makes this play watchable and brings out the humour although at times the laughter is at the situations rather than with them as they verge on the ludicrous.  The imaginative set is used to great effect and the scenes move swiftly one to the other but as a play much more work is needed on the script to give it focus and direction.

The second production of the season is a deliciously funny and high spirited musical Fitz Bunny: Lust For Glory by Grant Buist, directed by James Hadley, that could stand up on any professional stage around the country. 

Fitz Bunny’s family in Tauranga have been wiped out by the caleci-virus and so Fitz decides to take matters into his own hands. He forms a political party, Bunny Power, and runs for Parliament. Of course Fitz beats Helen Clark and John Key (Donkey) and becomes Prime Minister. 

Although adept at dealing with Internationals relations, the Nuclear issue etc, Fitz doesn’t bank on a coup for power by the sheep of country lead by Che Guebaahra.  But Fitz, although becoming somewhat manic and evil, does win out in the end. 

With some great choreography and strong singing James Hadley and his excellent cast of energised actors act out with style and pizzazz Buist’s marvellously witty and apposite dialogue and lyrics to make this a light, bright and highly entertaining piece of theatre.

Also full of style and energy in the dark manner of James Bond, Batman and Spiderman is Dean Hewison’s The Henchman.  The hero of the piece is Adam who, having just been made redundant, meets an old mate, Travis Cross, who offers him a job which he accepts.  However what Adam doesn’t realise is that Travis is actually Double Cross, the king of the crime world, and the job is being one of his henchman. 

After some brilliantly choreographed action-packed scenes, Adam escapes the Cross compound aided by limp wristed Limberman and camp Captain Caffeine.  A wonderful spoof on many film genres which the all male cast in this production, under Rachel More’s expert direction, play to the hilt. The physicality of the performances adds much to the production’s success.

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To say this is a strong year for Young and Hungry would be to damn it with faint praise:  Y & H 2007 is the best theatre I’ve seen all year.  It’s a must-see!  Well, two of the three shows are at least, and since a season pass is equal to the cost of two shows, you’d be crazy not to make a whole night of it.

The Life, Death and Afterlife of Felix Unfortunate kicks off the programme at 6.30.  It’s the greenest of the three shows on offer, but is by no means unworthy of attention.  The script comes from 18 year old Zoe Deverick and draws heavily on The Matrix in its tale of a young man resisting the powers of conformity.  It’s somewhat convoluted, and short on subtext, but nonetheless contains some striking twists, such as the title character’s father (Suli Moa) who lives a secret life as a party-pill-popping clubber.

The story starts at a dining room birthday party and by the end has become a full-blown fantasy epic with soul-eating zombies and trans-dimensional double agents.  It’s an ambitious scale to bring to the stage, and a lot of potentially interesting material falls through the cracks.  Mr. Hazel the mudman, for example, is a bit of a non-entity, despite a brave performance by John Grant-Mackie in brown unitard.  His entire race has been exterminated by the sinister underworld baddie ‘The Official’ (Chris Tse, playing the villain with relish) but he exhibits little emotion, his dialogue instead lapsing into ideological angst.

Chris Neels, in the title role, has presence onstage but is miscast as soul-searcher Felix, not quite convincing with his metaphysical monologues.  There are some strong supporting performances: George Harach in particular brings a lively energy and endearing openness to the mercurial Manny, and Catherine Peleti plays the vacuous Michelle almost too convincingly.  But aside from a nicely judged sequence where Felix attempts to fake interest in the TV rugby match to win his father’s affection, the onstage chemistry is rather stilted throughout.

Fortunately, the show is not delivered in deadly earnest.  L’hibou Hornung’s direction keeps the action moving and there is plenty of lighthearted entertainment value on offer, intentional or otherwise.  The costumes and staging in the zombie-ridden underworld third act are particularly funny.  In all, despite biting off a little more than it can chew, Felix Unfortunate is an engaging, original work.

Fitz Bunny: Lust for Glory, starting at 8pm, is an absolute rip-snorter.  Penned by long-time Wellington cartoonist Grant Buist, this is a full-scale musical packed with satire and great comedy, and in the hands of director James Hadley it flies from start to finish.  This is the show nobody thought could happen – a parochial comedy that is actually funny, and in fact on opening night had the audience laughing, hooting, cheering and hollering throughout.

The cast is simply stellar, performing both the musical numbers and the pacy comedy with flawless aplomb.  The ensemble is professional to a fault, never once dropping the ball nor stealing the focus from one another, and playing through a kaleidoscope of characters ranging from talking sheep and hedgehogs through to the Prime Minister and leader of the Opposition.

Willow Newey shines in the title role as Fitz, a spunky 2ft-tall pink bunny rabbit with totalitarian tendencies.  She makes the role her own with unwavering confidence and sass and a powerful set of lungs.  Newey is infectious and convincingly punk-rock, and when she sings the climactic solo ‘I’m Awesome’, there’s not a soul in the audience who could disagree.

Playing the journalist Alex, Jessica Manins is an excellent foil to Newey’s raw energy.  It’s the least interesting role, but Manins gives a measured performance that holds the show together.  Dominic Taffs is adorable as bureaucratic hedgehog Enderby, eliciting a huge "Awwwww" from the audience on several occasions.  Elliot Travers juggles roles effortlessly, turning in a winning John Key impersonation and a great comedic turn as an American Army General.

The ‘Rabettes’, played by Gemma Boyle, Laura Velvin and Nikita Tu Bryant are impressive in chorus.  They work beautifully together, understanding very well the dynamic importance of working (not to mention singing) in harmony and supporting the main action on the stage rather than distracting from it.  Their ‘baaaing’ dialogue as idiotic sheep is great vocal work, and they all relish their moments outside the chorus as bit players.

The musical numbers are fun and many, and the cartoon-y design of the set (Paula Curry with help from Buist), props and costume (Fiona Brown) give this production a slick, professional edge that mean it would not look out of place on, say, a Downstage programme.  The finest, funniest, most original show I’ve seen in years.

The Henchman, at 9.30, closes the programme with a punch… actually with a lot of punches, kicks, headbutts, lunges and laser-gun shootings.  Eight characters, all male, take to the stage in a boys’ own comedy of superheroes and supervillains.  It’s a bold, funny script by Dean Hewison that is very skillfully realised on stage by director Rachel More.

From the second the lights come up Henchman is all action, as lead character Adam (Patrick Powdrell) slams into the doorway, swearing loudly into his mobile phone.  The pace of the story is phenomenal, no plodding dialogue to wade through, and within two short scenes Adam has accepted a job as a henchman for an evil supervillian called Double Cross, played by a deliciously deranged William McElwee.

Powdrell is a great choice for the role of Adam.  He’s confident and handsome, strong and supple, and he plays the part without reserve, displaying convincing emotional range despite the comic-book nature of the story.  McElwee’s Double Cross is disarming from the get-go, he barks his deliveries with a manic conviction.  When he sings to himself after disposing of superhero Christian Hammer (Jordan van Irsel), it’s at once convincing, unnerving and very funny.

In fact, the entire cast turn in tight, confident performances that wring out every drop of comic value from the juicy script.  Jack Sergent-Shadbolt is the epitome of droll in the laconic role of Greg the gay flatmate, and shows off some great physical comedy stylings as Greg’s alter-ego Limberman.  Leon Wadham is delightful as the tweaked-up Captain Caffeine, leaping around the stage like a cat on amphetamines. 

The others have slighter roles but bring no less skill to bear on them, even Allan Henry in the tiny bit part of Ollie makes his one or two lines of dialogue worthwhile.  However, he also choreographed the awesome, extended fight sequence that is Adam’s job interview, so he has no reason to feel underutilised.

The set, conceived by Susannah Aitken, is simple and versatile, allowing the focus to remain entirely on the action as it unfolds.  The lighting design of Oscar Mulheron is similarly stark but also very effective.  A laughing supervillain silhouetted on a cross of white light is a graphic image, but here it is done skillfully enough not to be tacky.  And in the costumes Gemma Crouch-Gatehouse has also risked tackiness to come up with simple, iconic designs that suit the characters perfectly.

Like Fitz Bunny, Henchman is unashamedly lowbrow, but consummately performed.  Young and old audiences alike should get along and see how much fun theatre can really be. 

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