Whilst Big ‘USU’ would probably like you to believe that Arts Revue (alongside Commerce and Veterinary Revue) did not go ahead this year due to a lack of engagement, my faxed invitation to Arts Revue 2023: ‘Everyone’s a Critic’ begged to differ:
Arts Revue, it seems, has just gone underground.
It should be noted, however, that the same cannot be said for Commerce Revue (which had its assets liquidated into Law Revue) or Veterinary Revue (which was tragically put down).
After making my way through the elaborate mirror maze (a formidable comment on the spectator/performer relationship of theatre — which itself was an excellent precursor for the rich political themes of the show) I finally found myself seated comfortably inside the [REDACTED] Theatre.
Eventually, the vainer guests got bored with the maze and trickled into their seats. Thus, the show began opening with a quote from venerated film critic Roger Ebert:
“I wonder what’s for lunch?”
The stage then sensationally burst alight with a whole cast acapella parody of Alphaville’s Forever Young, “Forever (a) Young (creative)”; Setting the tone for a show that was entirely unafraid to be observed as even remotely quality.
A particularly compelling sketch from the first act was Wheel of Death (featuring Jake Percy), where a hooded Percy spun a giant wheel decorated with each audience member’s full legal name, selecting them for something called the Deep Forever. After which, the chosen audience member was dragged backstage by the entire cast in a hysterical frenzy. A huge shoutout goes to the audience members’ commitment to the bit in this sketch, as I did not see them for the rest of the show — or even after that!
Unfortunately, as with most revues, not all sketches were winners. A particularly awkward moment in the show was during the Adolescents Choice Award Show, (hosted by Falikes Faouvar). The choice to have the audience slimed — right at the end of act 1 too — was particularly uncomfortable, and left my audience more sopping, stinky and insulted than comically satisfied.
To sidetrack briefly, a particular gripe I have with the show — not just with this sketch but in general — was with the performances given by Faouvar. Never in my life have I seen an actor so devoid of talent, charisma, integrity or even a single iota of respect for the profound art form that is (at least what I’m told) the university revue. If the word ‘detest’ were to be inscribed on every nanoangstrom of my body, that would not even begin to approach one millionth of the feeling that I have-
The following section has been cut down due to concerns of relevancy.
To return to the show, whilst it is not entirely uncommon for revues to feature a live band to help fill in the dead air between sketches, it is remarkably more impressive for that weight to be carried by one man: Callum Brickly. Issued with his iconic accordion (the very same from his 3 week run at the Sydney Fringe Festival) Brickly’s striking composition of Bob Dylan’s Knocking on Heaven’s Door fragranced the air of every transition in the first act. Overall, Brickly’s performance imbued the show with an exhilarating, almost fanatical, energy that seemed to only escalate as the night went on.
The second act saw the audience’s (John Saryes, Mary Green, Danial Y, and myself) ascent through the rings of comedy heaven, skyrocket. Brickly had traded his iconic accordion for a 2010 Soccer World Cup branded Vuvuzela. His backing to the show’s act 2 opening number “Walking on a Fart” (A parody of Empire of the Sun’s hit song), was celebrated with a 28 minute standing ovation. Particular highlights from Act Two had to be the following: WWE Slam Poetry Evening, The Paw Patrol respond to an actual crime, and The Real Housewives of the Nuclear Apocalypse.
Walking out of the [REDACTED] Theatre (to the tune of Brickly’s Pan-Flute reimagining of Garfunkel and Oates’ “The Sound of Silence”) I couldn’t help but be overwhelmingly impressed with the directors’ (Frank Schlipo and Sandy Crankleton) ability to make a four hour show feel like a tight three hour and thirty-nine minutes — bravo!
I will not reveal where, or for how much longer Arts Revue 2023 is being put on for a sincere concern for the general safety of the university theatre-going community, but safe to say, what a blast it was.
The Verdict:
Pros | Cons |
Callum Brickly.A moving dissection of the modern-day political zeitgeist.The Pirate Moving Company sketch | Have to set up a fax line for invitationThe person behind me kept talking between sketchesThe Obligatory Chat GPT Sketch |
My Final Score:
★☆☆☆☆
Revues just aren’t really my thing.
P.S: This review is allegedly a work of fiction. Any resemblance to actual events or locales or persons, living or dead, is entirely intentional, and should be followed by a period of intense retrospection on why that might be, which should then be followed up by with a sharp blow to the back of the head.