The staple of Comedy Festivals worldwide finally made its way to this year’s MELT Festival of Queer Arts and Culture at the Brisbane Powerhouse Theatre - the Comedy Gala. Like a cross between the fresh, and possibly healthy Swedish smörgsabord and the steaming olfactory assault of a Chinese buffet, a Gala can be a bit hit and miss. For MELT’s first attempt at one, it was definitely a hit, combining some very well-known names and a couple of names you should know, and will after the night’s performance.
Hosted by Australia’s queen of the acid drops, Rhys Nicholson, his rapid fire and whip-smart delivery is breathtaking. Prowling the stage like a lithe and lean panther in a fashionably tailored blue suit, Nicholson’s life is laid very bare and he is not afraid to shaft the values of Australian society. He was a welcome return during the set up and pack down for Jude Perl’s gaspingly funny music set (more on that momentarily), and has forever cruelled the temptation to have Skype-sex with someone else via that modern convenience tool - the laptop. Demi Lardner is hyper with a capital H Y P E R. She seems to thrive on the energy the stage gives her and generously gives back to the audience in spades. Her schtick of using pre-recorded sound cues and voice-overs is masterful, and her “Nannas” sequence just cannot be described beyond - too f*cking funny!
Sam Bowden is, by his own blunt admission at the top of his set, not as young or pretty or toned or as “sexy” as the gay male stereotype is apparently supposed to be. It is refreshing to see, and hear, a gay man who is actually the bulk of gay men out there. Not so fit, not that young but, damn, he’s still sexy as, and his, at times droll delivery, make you want to scoop him up in a bear hug. (Or maybe that’s just me?) Where Sam Bowden drops in the occasional droll observance, former Brisbane gal Alex Ward, has built her act on it. It pays to listen and absorb Ward’s story because it is funny in that build, build, build, catch! And you are laughing harder that you thought you might be. Ward trades on the “other” lesbian stereotype - the lipstick lesbian, but she is adept at skewering your perceptions just when you think you’ve got a handle on her.
It would be harsh on the other comics on the bill to say bluntly that Jude Perl was the highlight of the show, so, instead - Jude Perl’s musical interlude was a moment of pure comic genius. Perl identifies with several “labels” (her first song is exactly about that) and her bright, almost parodic style of contemporary Broadway musical styles (c.f. Jason Robert Brown) are the carnival lights that illuminate and frame the witty lyrics. An entire musical of these songs would be a smash!
The name “Cassie Workman” may not be familiar, or it might be naggingly just-off centre familiar. Workman has form as a comic, having performed to great acclaim under another name before her recent transition. Some of the best comics are the ones that aren’t afraid to place their fears, pain and neuroses before an audience. To do that as a transwoman is both tense and liberating, and Workman held the audience close through her set, which was bursting with relatable humour (if you’ve been on a cruise, Workman’s recollections of performing on cruise ships recently is cringeworthy from the recognition factor of those people you know). Australian comedy is lacking in development of differing voices and experiences, Workman is outstanding and it would be hoped that other trans, intersex and non-binary voices are encouraged to place their comic talents in the hands of an audience.
The biggest name of the night was saved until last - Tom Ballard. It seems as if he’s been around “for ever”, but along with Rhys Nicholson and fellow gay comic household name Joel Creasey (and who, unnamed, featured in a very funny recollection of fan worship in his set), they are all hitting only 29 going on 30. Ballard’s recent life as the host of the very left-field (some wowsers would say “loony left wing”) and since cancelled ABC Comedy show Tonightly still forms the basis of his comedy - it’s political, it’s unabashed and it’s pointed in what could only be described as uncomfortable for the heterosexuals in the audience (which was a very diverse crowd). His unpacking of predictive text issues with Grindr and single-gay-man-in-a sauna-environment was lapped up lustily by many! (Just me again? Yeah? Ok.)
In saying earlier that Australian comedy lacks diversity, then this Gala went someway to successfully playing “diversity bingo” with a spread of comics from the major diverse in gender and sexuality “food groups”. What was lacking is the absence of DiGS people of colour, especially First Nations people. That was the only downside to this first effort to bring a Comedy Gala with 100% DiGS talent on the bill. Perhaps next year seeking out those other parts of the “diversity bingo” card will add balance to the bright palette of “queer” comedy.
Sunday 30 June, 2019
Powerhouse Theatre, Brisbane Powerhouse
Blair Martin