Reading a magazine on the tram this morning, I noted that one reviewer bemoaned a particular humorist’s use of material about nagging wives at this year’s Melbourne International Comedy Festival (MICF).
With cavemen still walking the comic earth, it’s positive to come across a production that raises issues to do with the complexities of gender identity, and the ways in which it’s performed.
Alas, “Amelia Jane Hunter is Keith Fipp (The Girl from Belkendowns Flat)” was as confusing and lacking mirth as a textbook written by a queer theorist.
Amelia Jane’s a fine actor and certainly possesses considerable stage presence, while her wardrobe was colourful and interesting, especially since she wants to be a he but he’s pretending to be a she (or something like that).
Without a doubt the anger that was expressed about familial rejection, social exclusion and police brutality in a small town was a welcome retort to drag’s non-threatening and jovial face.
Being “different” can certainly be tough.
Nevertheless, the language was adjective heavy and often said with such aggression that it was hard to empathise with characters such as Fanny Hygiene, a loudmouth with a chip on her shoulder bigger than a forest.
One wonders why an artist who’s raging against discrimination has nothing good to say about anybody else.
If I’d gone to see “Amelia Jane Hunter is Keith Flipp” expecting to see a flawed, but intelligent, dramatic piece about the lot of a (trans) transgendered person, it would’ve grabbed my interest more.
However, this is a comedy festival and having a laugh isn’t too much to ask for.
“Amelia Jane Hunter is Keith Flipp (the Girl from Belkendowns Flat)” is playing at MICF until 29 April. For booking details, check the MICF website