Charles Ross is both these things for an epic hour of madcap retelling of the entirety of The Lord of the Rings. The moment he bursts onto stage, resplendent in black overalls, on a black empty stage and the crowd goes wild, you know you are in for a ridiculously good time. Although your brain may lack space to think this, as you are immediately swept up into the action as Ross rapid-fires Fellowship of the Rings sequences, using only his voice, physical presence and creative lighting to whisk you along at break-neck speed through the story.

As a fan of the books and films, I was initially suspicious this could simply be the world’s longest-running in-joke. As Ross himself pointed out later, it was “truly terrifying to think that I might be your introduction to The Lord of The Rings”. Knowing giggles at brilliantly precise lampooning of the films’ characterisations abounded. Fortunately the performer’s physical humour, exceptional knack for facial expressions and voices, as well as the fantasy world and pop culture references, provided great momentum for the journey. It was heartening for the Melbourne audience to have Gollum admire their ability to keep up! Ross’ personable storytelling between acts rounded out the show well, and was particularly reassuring for all us inner (and outer) geeks.

For those of you who have read or seen The Lord of The Rings, this show will undoubtedly have you in hysterics. This reviewer even admits to a “knee-slapping guffaw” somewhere between the Two Towers, before the Return of the Kings. “Bring some wood … and oil … and cherry tomatoes” and you’ll be bound to have a good time!

If you saw the Easter Monday Short Film Festival screening (plagued by projector issues, disgruntled audience members and rapid exits) you may have been underwhelmed. However, the Awards Night screening was blessed with a sense of pomp and ceremony. Our most convivial host, Brian Nankervis, did a sterling job of warming the crowd up and helping the event flow smoothly (if only he had been at every screening). There was also a sense of Melburnian pride, adding to the receptiveness of the audience, and the backdrop of the Yarra through the stunning BMW Edge ‘walls’ certainly didn’t hurt.

Whilst the 16 films showed very different approaches, here are the reactions in order of screening: giggles, existential titters, raucous laughter, snickers, guffaws, chuckles, concerned amusement, hysteria, sniggers, hoots, cackles, gasps for air, gross out noises, chortles, belly laughs and, finally, awkward silence. The very respectable judging panel certainly had their work cut out for them!

The faux Oscars-style 1980s retrospective of comedic shorts, used in lieu of ‘waiting music’, added a rather amusing touch of class to proceedings.

Congratulations to all the prize winners:
Losing Face: CAE Encouragement Award
Carmichael and Shane: The People’s Choice Award & Nova Cinema’s (Runner Up) Award
Jonathon Livingstone CEO: The COMEDY CHANNEL Best Picture Award.

Let’s hope this fine event continues to support and encourage all film-makers who have the guts to get out there and do their thing to get punters laughing.

Title boards amusingly informed of opera’s foibles, such as lyric repetition and overlapping ‘dialogue’ during quartets, but they eventually became distracting and depressingly self-depreciating. As blatant as the placards was the agenda:

1. ‘Go for laughs… even at genuinely cathartic points. Comic first, opera second.’
Unfortunately, this tone and pacing felt more like a panto or student revue with opera singers accidentally along for the ride. The audience tittered away, but belly laughs were scarce.

2. ‘Educate the punters and reduce opera-phobia – even if the show is an unremitting piss-take of opera itself.’
For the earnest opera lovers in the audience, this seemed like a bit of a slap in the face.

It also seems a shame that non-singer Anne Radvansky stole the show. Roger Howell brought reassuring experience to the title role. Kristy Swift’s performance provided an unconventionally engaging Norina and a deadly serious giant cactus. Hilarious!

This was an approachable package for opera virgins, with fresh creativity, excellent acting and competent vocal performances, but few spine-tingling operatic moments. It appeared that neither the comedy punters nor opera purists left feeling entirely satisfied. However, the menu for Lyric Opera’s 2006 season looks set to sate the fans of more meaty operas.

According to his publicity, Adams is ‘a self-proclaimed visionary…possibly a genius’. He’s actually the creation of Western Australian actor Shane Adamczak, who lends his wide range, comic timing and suitably goofy physicality to Zack for the evening. For less than the price of a movie ticket you get a maudlin tutorial in stand-up, featuring music and partial nudity and touching on reality TV and interpretive dance for good measure. Bar Open’s cosy upstairs lounge allows a readily accessible performance for a receptive audience.

Throughout the show I found myself giggling along with everyone else. The only problem was that Zack is so endearingly clueless that laughing during this emotional rollercoaster occasionally felt like kicking a puppy (or clubbing a baby seal), especially when you know so many other ‘Zacks’ are out there. Schadenfreude aside, this character’s appeal shines through Adamczak’s earnest yet well-controlled performance.

If you’ve ever felt out of your depth (Who hasn’t?), you’ll find this show and its resolution uplifting. Here’s hoping Zack’s next show provides a couple more guilt-free laughs??although with the promise of ‘both ninjas and robots’, who could resist?