Friday, June 21, 2013

BenitoDiFonzo.com goes live!

Benito Di Fonzo's new website is now live at www.BenitoDiFonzo.com

Whilst Benito will be maintaining this blog be sure to go to BenitoDiFonzo.com to a fuller overview of Benito's latest and greatest schtick.


Monday, October 08, 2012

Benito on Chris Hedges' "War Is A Force That Gives Us Meaning"

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This is one of the most amazing books I have ever read. It may be one of the finest books about war, and mankind’s addiction to it, ever written. I devoured it in two sittings after being handed it by a friend. Immediately after opening it I wanted to sit down and not stop reading. It is addictive, and addiction, as well as the competing passions of Eros (love) and Thanatos (death), are its subject.
            Hedges is a self-confessed war addict who describes the memories that haunt him from his decades as a war correspondent, using them to illustrate his points. Written only a year after 9/11, Hedges boldly strips back the false glamour and the facades of heroism, bravery, patriotism and false nobility that drive politically motivated wars such as the then newly minted War on Terror. He enunciates through his time as both a hostage and reporter on front lines in Sarajevo, El Salvador, Iraq, Israel, and throughout Africa, that there is no personal or social upside to war and yet, like its co-joined opposite love, it is crucial to human experience and as addictive as the heroin and other drugs it drives its participants to partake of. War is a drug that one grows to love, one that drives its users to suicidal exploits both during and after battle. All sane soldiers are emotionally scarred for life, only true psychopaths (such as Milosevic et al) are not altered.
            War correspondents, politicians and historians are all complicit in constantly recreating the myth of war as noble and personally fulfilling. This myth is shattered within the first moments of real warfare. People do not die like actors, but slowly, painfully, crying for their mother's teat. Most of them are civilians – increasingly so. Killing another human being is physically sickening as well as psychologically scarring, soldiers sometimes vomiting and pissing their pants after their first socially sanctioned 'butchering' (as Hedges describes its) of another person. Even those soldiers and correspondents who seem unmoved, who walk casually amongst rows upon rows of dead, eventually erupt in moments of either socialised or internalised violence. Hedges describes his own violent moment of catharsis when he took out his frustrations from Sarajevo upon a hapless airline clerk. Once the myth of war is shattered, a myth we are all unwittingly raised with, the individual can never engage with civilian society the same way again. He has seen past the lie of it.
            War to Hedges is also a form of socially sanctioned necrophilia. Sex and death are immutably entwined in this tome and his writing style is so fluid and forward-driving that you may, like me, find yourself devouring the book in one or two sittings. Hedges' education in Latin, Greek and English allows him to punctuate his work with appropriate musings from Catullus to Philip Larkin, giving those poets renewed relevance and intensity for this reader. 
            If you are interested in war, sex, love, death, politics, or just human psychology in any sense, then you should read this book. The beauty of Hedges' prose and the way he unfolds his story means that it is with both joy and apprehension that I fear his words will be with me forever. However, as dark as his story is, Hedges – as a Harvard scholar of Divinity amongst other things –knows that for sanity’s sake he (and his audience) must find some positive message of hope amongst his decades knee-deep in death and suffering. Hence by the end he increasingly focuses on Eros, as entwined with Thanatos as she always is.
            This is Hedges' first book. He has since written eight more on conflict, class and religion. Hedges is no pacifist, and no atheist. In fact, in another book he apparently argues that atheism is a form of fundamentalism. At present I am reticent to read his other books for fear none could live up to War is a Force That Gives us Meaning. This fear will probably pass. However, war, Hedges argues, will not – at least as long as humanity exists. Strange then that he never quotes Matthew 24:
            "... you shall hear of wars and rumours of wars ... For nation shall rise against nation and kingdom against kingdom..."
            Perhaps then, even for wet, pacifistic armchair agnostics such as myself, all the more reason to read this book.
#
Benito Di Fonzo.
Sydney, October 8th, 2012.

Monday, September 10, 2012

Benito sailing down the Amazon.com

NOVELISATION OF THE CHRONIC ILLS NOW AVAILABLE FOR ONLY $2.99 ON KINDLE, BARGAIN!


Go to

http://www.amazon.com/Chronic-Robert-Zimmerman-Dylan-ebook/dp/B009243DCM/ref=la_B009296KS6_1_1?ie=UTF8&qid=1345942343&sr=1-1

or just search Benito Di Fonzo on Amazon

Saturday, August 04, 2012

STAGES, 2SER-FM SATURDAY AUGUST 4TH. This week Benito Di Fonzo talks to Mitchell from Simon Stone's Ingmar Bergman adaptation "Face to Face" (STC), and Shannon Murphy Director of "Circle Mirror Transformation" (Ensemble). Also reviews of "A Hoax" and "Punk Rock" by Regina and Trisha. Produced by Regina Botros. https://www.facebook.com/stages.twoserfm (http://www.2ser.com/shows/stages)

Monday, April 02, 2012

CLICK HERE TO GO TO BENITO AT 2012 SYDNEY WRITERS' FESTIVAL

YES, THE FATHER OF FONZO JOURNALISM WILL BE WAXING LYRICAL AT THE 2012 SYDNEY WRITERS' FESTIVAL. AND YOU CAN GO! AREN'T YOU LUCKY?

Saturday, November 12, 2011

Benito & Gerri host a roundup of this week in Sydney theatre (with Benito even panelling this time.)

Monday, November 07, 2011

Newtown Cheat Sheet

Ciao Magazine (http://ciaomagazine.com.au/) recently asked me to do a Newtown for dummies type piece in the lead up to the Newtown Festival this Sunday November 13th (where I will be MCing the poetry event in the Writers' Tent at 11am.) If you can't read it my own (unedited) copy is below.



Ciao Magazine’s Cheat Sheet to Newtown.
by Benito Di Fonzo.

“I never knew where I belonged … [but] on King Street I’m a king…”
John Kennedy’s Love Gone Wrong, 1985.

Newtown essentially squeezes Melbourne into a suburb of Sydney’s inner west, sans the climate of course.

Victoria Park Pool, where we will begin our tour, has been referred to by locals as Newtown Beach with it’s musicians, artists and nearby Glebe backpackers sunning themselves amongst the summer ants. Some argue Newtown begins here outside Sydney University, although it is literally Darlington. More correctly Newtown begins at Gould’s Books. Here at what is now pricier North Newtown, Socialist activist extraordinaire Bob Gould spent many a decade eyeing loose-fingered students lost amongst the aisles searching disordered piles for their own cheat sheets, perhaps pocketing some vintage porn in the process.

Now walk on, trying to forget what you said to that dame at the Jeff Duff gig at The Vanguard as you stumble past it, and grabbing one of Sydney’s friendliest falafels from Rowda Ya-Habibi. If you’re pedalling get your bike checked at Cheeky Monkey as you gaze down the majestic Moreton Bay Fig-lined Georgina Street at the once grand homes of Colonial gentry, now trophies for lawyers.

You’re hovering around the 1980s artist’s collective Alpha House, now commercial apartments (Alpha’s residents pushed to South King when it was redeveloped). You may want to grab a quick hair clip at Noddy’s On King whilst here. It won’t matter how it comes out because in Newtown you’ll probably be donning a dead man’s fedora. You can wander to the nearby St. Vinnie’s but your chances are better at C’s Flash Back, next to the neat little vegetarian restaurant lined with Buddhas.

Time for your first beer since the Lansdowne, so have one at the Marlborough. This formerly grungy hole for locals is now more for tourists, but it’s close to RPA if you feel the need to get your liver checked. Likewise a little further south the Coopers, formerly The Coopers Arms, formerly The Shakespeare. The ‘Shakey’ was once riddled with local musos (The Whitlams’ Tim Freedman still lives a few doors down if you’d like a refund) with a lobster ($20) grabbing one a ‘foil’ of grass in the back room. The Coopers is now glitzier and more law abiding. However local artist Val Nart’s King Street mural (which legend says he painted over many months for beers) still adorns a wall of the roofless upstairs bistro, old windows giving a fine view of the wildlife.

Some pubs look like they’ve raided Fox Studio’s props department for their outfitting. Kelly’s Irish Pub for example, called by locals The McDonald’s Pub as it is on the site of that rare thing - a McDonalds run out of town. Likewise the ZanziBar (formerly The Oxford) looks constructed from leftovers of a Baz Luhrmann remake of Lawrence of Arabia. The Bank Hotel is more Moulin Rouge upstairs now than the tough Islander bar of past days. However The Town Hall Hotel (AKA The Townie) whilst losing it’s heritage horseshoe bar, still remains largely a locals’ late-night hole of choice, with bands several times a week and a great view of the camel toe of King Street and Enmore Roads. The Sando also, which lost it’s way during the Pokie plague, has under the steerage of Tony Townsend become one of King Street’s best music venues, with headliners playing upstairs and free bands downstairs. Let’s stop and have a cheap Sando Lager and catch Australia’s sloppiest band The Hoo Haas, fronted by dishevelled local painter, reprobate and Newtown cafe addict Phil Ricketson.

Speaking of caffeine you’ll need some by now to soak up the alcohol. You’re nearby Buzzzbar, with it’s regular exhibitions, but why not sit outside Corelli’s across the road, a much loved haunt of those who wile away whole sunny days over frappes.

Speaking of musicians it’s important to note that, like New York cabbies, King Street buskers will be expecting their share of your change - be it locally raised Ilya and his crew scat-hip-hopping over live loops, or Maddox the bearded jazz bassist killing time between gigs. Your change may take them down into the dark centre of South King street, the feral end most tourists avoid. Grab pastizzis at The Maltese Cafe, a show at Newtown or New Theatres, some kitsch at Faster Pussycat, or bands at The Union, behind which hungover artists count change in communal gallery, studio and hovels of the new Alpha House to get them to The Botany View for beer and Rockabilly.

You’re more likely to find affordable ironic 70s body shirts and 50s fedoras down here, as well as the better of Newtown’s ubiquitous Thai restaurants.

You could even grab a guitar from Pete’s Musicians’ Market and some concoction from the Happy Herbs shop and join the buskers!

Newtown ends as it began, in a park, this time the smokestacks of Sydney Park beaconing the deadly Hume and St. Peters.

The alternative route from Newtown Station would take you up Enmore Road for a show at Notes, Enmore Theatre, or The Sly Fox. Perhaps one of Ali’s fine pide at Saray’s, or a classier meal amongst candlelight at Banks Thai or from New York trained local chef Sophie at Pickwick’s.

New mini bars such as The Green Room Lounge sit alongside bizarre op-shops such as The Cat Protection Society’s.

After grabbing a book from Better Read Than Dead, Berkelouw's, Art On King, or Gould’s, best to end your sojourn by veering off King at Newtown Square (dodging Hare Krsnas and ad hoc flea markets) and head up Australia Street. Grab a long-neck at the Courthouse Hotel, then wander through Camperdown Park (where Newtown Festival will be gated) for a traditional drink in St. Stephen’s cemetery. Poets like the late Michael Dransfield scribbled here, reclining under the ancient Moreton Bay, or the grave of Eliza Donnithorne (Dickens’ inspiration for Great Expectations’ Miss Havisham.)

'As night falls you’ll be accompanied by a murder or emos or perhaps resident poltergeist Bathsheba Ghost who has haunted the cemetery since 1848. The former head nurse was once described to Florence Nightingale as a “Sluttenly alcoholic.” She fits right in on King Street.

#


BREAKOUT BOX
Tribes of Newtown (in chronological order)

- The Ancient Greeks
Newtown was reputedly named after a 19th Century tailor on the ZanziBar site called New Town Fashions, but it was the Greek migrants of the 1950s that gave Newtown it’s cosmopolitan feel. The Greeks began moving out in the 80s but wisely kept the leases. Aside from a multitude of houses they still own sites such as The Hub, The Cyprus Club (with it’s backgammon basement) and the tram sheds behind Newtown Station. The sheds and station are being developed into shops and flats so no doubt alleged familial bickering over The Hub will eventually end. There are even still a few, formerly illegal, Greek card clubs.

- The Students.
Newtown’s locality to Sydney University has always drawn students to it, creating the basis for a share-house culture of bars, bookstores, bands, and op-shops. They grow into yuppies, or never grow up and become artists.

- The Artists & Ferals.
With the late 1980s gentrification of Surry Hills artists and their ilk moved west for cheaper rents. Warehouses such as Alpha House and share-houses became their garret-studios. The colour, excitement and vibrancy of these alternative life-stylists combined well with the Mediterranean feel, making Newtown Sydney’s Bohemian epicentre.

- Young Urban Professionals (Yuppies)
Ironically, by the end of the 20th Century the cosmopolitan bohemianism created by decades of poor migrants and artists made Newtown a smart investment. The accompanying rent rise, and Pokie plague, meant that many of those that had given the area it’s unique flavour were driven to Marrickville, Redfern or Melbourne (AKA Mexico or Shelbyville).

Perhaps continuing gentrification will make Newtown unrecognisable in coming decades, but the migrants and bohemians will just be somewhere else by then, waiting for the real estate agents to follow.

Monday, July 18, 2011

Artists, Exhibitionists and Underbelly Rediscover Sydney's Vicious Razor Gangs (CNN Go)







This article was commissioned by CNN Go and originally appeared at
Razorhurst | CNNGo.com http://www.cnngo.com/sydney/life/mums-word-razorhursts-female-gangsters-145199#ixzz1SQHq1gr0 (click blog post headline to go to the CNN original)



Mum's the word on 'Razorhurst's' female gangsters


A play is being staged in secret in former sly-grog shops and brothels around the inner city, as a book, TV series and exhibition see unprecedented interest in Sydney's sleazy days gone-by


By Benito Di Fonzo 3 June, 2011

The stylish East Village Hotel in Darlinghurst has gone up in the world since it opened in 1918 under the name that still adorns its façade, “The Tradesman's Arms.”

It was an underworld criminal capital in a time of partial prohibition. After the introduction of strict anti-gun laws, gangs fought for control of the sex, cocaine and sly-grog trades with cutthroat razors. Inner city Kings Cross, Woolloomooloo, Darlinghurst and Surry Hills were collectively termed “Razorhurst.”

It was a time when female gangsters, Kate Leigh and Tilly Devine, lorded it over their respective bootlegging and brothel empires.

The notorious 1920s and 1930s era is now receiving unprecedented, retrospective attention in Sydney.

A play, "Mum’s In: Stories from Razorhurst," is due to begin in the former sly-grog shops and sex dens around the inner city. True to its underworld content, Sydneysiders have to unravel the secret venue from the Internet and give a password to enter.

This year’s Underbelly TV series will be based on Larry Writer’s book, "Razor." A photographic exhibition from the era is touring and even an opera is rumoured.

The Six O’clock Swill

The Tradesman’s Arms was once, as Larry Writer records in "Razor": “A bloodhouse with sawdust on the floor to soak up the spit and vomit.” It was populated by “prostitutes, pimps, pickpockets, muggers, con men, SP (starting-price) bookies and drug dealers.”

At sunset, things grew ugly. Temperance movements, unable to achieve full prohibition like their American counterparts, had nonetheless convinced politicians to enforce a six o’clock closing rule -- resulting in the infamous "six o’clock swill."

“You could buy as many beers as you wanted before six o’clock,” explains playwright, performer, singer and songwriter Vashti Hughes, who performs in the upcoming "Mum’s In: Stories from Razorhurst." “At quarter to six you could say I want 10 schooners and they’d sell them to you, and then you’d have to try and skol them because they would kick you out and shut the doors at six.”

Anyone not content to follow church leaders’ suggestions and use early closing to spend more quality time with their families, or for those who didn’t have families, there was a huge hole in the market.

“People wanted someone to kick on to,” says Hughes.

The Female Gangsters


Notorious hooker Nellie Cameron, photographed by police on July 29, 1930.

Kate Leigh escaped to Sydney from her abusive family in Dubbo at the age of 10. Tilly Devine was a London prostitute by the age of 12 before emigrating "Down Under" with a Digger who claimed to own a kangaroo station.

The women became two of the wealthiest, powerful and most ruthless people in Australia.

Kate Leigh operated a score of illegal "sly-grog shops" during the 1920s and 1930s across “Razorhurst.” Tilly Devine became a brothel matriarch.

"Mum’s In." (That’s the password)



Vashti Hughes (and only Vashti Hughes) stars in "Mum's In: Stories from Razorhurst."

Leigh and Devine are two of several characters Hughes will bring back to life in her one-women show "Mum’s In: Stories from Razorhurst."

Hughes will embody in monologues and songs (co-written with partner Ross Johnston) the lives of Sydney criminals. Sly-grog queen Kate Leigh, brothel matriarch Tilly Devine, Sydney’s most sought-after prostitute Nellie Cameron, as well as the equally ruthless Frank Green and leader of the Darlinghurst Push razor gang, Guido Caletti.

Hughes will be staging her show amidst Tilly’s former brothels and Leigh’s sly-grog shops. In keeping with the underground nature of the original venues, audiences will have to find the location via a website (www.mumsin.com.au)

Upon reaching the door they will have to give the traditional password, "Mum’s in" before being allowed entry and sipping their first jam jar of sly-grog.

Hughes won’t be shying away from that violence either.

“It is comedy cabaret,” says Hughes, “but it’s got a lot of grotesque violence in it. Comic grotesque violence, with songs.”

Those who turn up in 1920s and 1930s clothing will receive a discount, which is appropriate given that both Tilly and Kate were seen as exotically glamorous in their time. In fact when Kate Leigh was arrested at the Melbourne Cup, her rich furs and jewels received as much attention as her crimes, and Tilly Devine was reported to wear twice as many rings as she had fingers.

Razor

Hughes is not the only artist pouring life back into the anti-heroes of depression-era Sydney. Australian TV screens will soon be awash with "Underbelly: Razor," the Nine Network’s adaptation of Larry Writer’s non-fiction "Razor," first published in 2001.

“To have two women crime bosses who were so tough and so ruthless ... They clawed their way up to the top in a hard man’s milieu,” says Larry Writer in "Razor," “They had to be tougher, smarter and nastier than the male of the species.”

Writer puts this renewed interest down to the death of the cultural cringe concerning our criminals.

“For so long,” says Writer, “there has been a feeling that our criminals and our heroes could not be as interesting as those overseas. All of a sudden there’s a realisation that in Tilly Divine and Kate Leigh and Guido and Frank we have some really wonderful characters."

"You can walk down Palmer Street, you can walk around Kings Cross, and though a lot of it’s changed, a lot of it hasn’t.”

Femme Fatale: The Female Criminal


Nerida Campbell, curator of the Justice & Police Museum’s nationally touring exhibition, "Femme Fatale: The Female Criminal," feels Kate Leigh and Tilly Devine may be perceived as being crueler because of their sex.

“I think society’s expectations of them were so much higher because they were women. They were expected to be feminine [but] these women were ruthless and violent.”


A journey into Sydney's sleazy foundations


“Mum’s In: Stories from Razorhurst,” 8 p.m., June 8–11 and June 16–18. Contact "Mum" at www.mumsin.com.au for secret Darlinghurst location. $30/$20 for those in 1930s attire –- cash only at the door (just like the old days).

Pan Macmillan will publish the “Underbelly” tie-in rerelease of Larry Writer’s “Razor” in July.

“Underbelly: Razor”
is scheduled to air on Channel 9 in September.

“Femme Fatale: The Female Criminal”
is touring nationally until June 2012. See www.hht.net.au for locations.

Thursday, May 19, 2011

Benito talks with Simon Stone and Thomas M. Wright re "Baal" at the STC for CNN Go


Below is the unedited copy of an article I wrote for www.CNNGo.com
The edited article originally appeared at http://www.cnngo.com/sydney/play/perverted-drunkard-murderous-monster-sydney-theatre-company-brings-baal-back-life-178630

“Baal”
by Benito Di Fonzo.

It’s raining on the stage of The Wharf theatre, literally gallons of water galloping down upon a dirty mattress where five naked women and two men, one in stilettoes, caress and kiss one another. Facing them a sixth girl in dark glasses plays an electric guitar, standing upon an amp somehow unhindered by the storm splashing down. A man named after one of the Old Testament’s seven princes of Hell sings them a dark ballad from the opposing corner, then downs a can of bourbon and coke, before bludgeoning the head of his male lover. Welcome to Baal’s house.

At the tender age of 20 Bertolt Brecht, still a university student in 1918, penned his first play Baal. Baal is a beautifully dark poem chronicling the decadent downward spiral of an almost-famous singer and poet on Munich’s debauched cabaret circuit. Baal is a primitive monster, a fallen god from an earlier time, but of a different order to his Old Testament namesake.

“He’s a social misfit,” says translator and director Simon Stone. “We meet [Baal] at the point that he’s already an outsider and it’s unsure whether he’s ever got along in some socially condoned way with the rest of the world. By the time we meet him he shows no desire, as well as a complete incapacity, to live amongst people in a healthy, social way. He’s an antihero and really anti-social and that’s what a lot of his work as an artist, poet, songwriter derives from. He’s constantly questioning the way things in society are set up in his art, and people find that fascinating.”

35 years before Brecht penned his tale of Bacchanalian decent countryman Friedrich Nietzsche had written of the Übermensch, the Superman, a man beyond societal mores who creates his own life code.

“I have absolutely no doubt Brecht would have been reading Nietzsche,” says Stone, “but people get when they see this show that there is absolutely no condoning whatsoever of Baal’s behaviour. It is a desolate view. People love watching Don Giovanni, going ‘How many women has he slept with now, 3,042?’ And it’s funny, but Brecht had the bravery to paint a picture of someone who actually behaves like that and portray the reality of the consequences for someone who has chosen to opt out of the social contract. I think it’s not a mistake to assume that Brecht was being fairly scathing of the idea that there are certain people who are allowed to behave in certain ways because of a certain kind of socially important output they can give in the form of their creativity.”

However like so many other artists in the public eye – be it a Sheen, Manson or Cobain – the public disapproval is only equalled by their fascination with such a protagonist. Why is that?

“At a certain point in our upbringing,” says Stone, “we learnt that it’s easier to get on in the world by accepting the rules that adults were teaching us and yet there’s a massive instinctual part of us that wishes we could have just done whatever we wanted for the rest of our lives. So when we come across someone who actually never grew up, who never accepted the rules that were being laid down, who said no, fuck this, this is my way of living, if you don’t like it then move on, then there’s this amazing allure. You go (sighs) maybe there is a version of life where I don’t have accept to do things I don’t want to do?”

Thomas M. Wright who plays Baal adds, “Mike Tyson or Charles Manson or any of these people become like a fractured prism through which you can see a human being, they’re like a million pieces of shattered glass and we’re shining a light through it and watching it dance, these people who are eaten alive and eat back.”

Wright has no doubts about just how dark a monster he is embodying.

“I have people come up to me all the time and say ‘oh I’ve known a few Baals in my time,’ and it’s like this guy wakes up in the morning a rapist and a murderer and goes to bed a rapist and a murderer, he didn’t [just] sleep with your friend after he told you that he liked you!”

However while not condoning the actions of a man who Stone prefers to call omni or poly-sexual rather than bi-sexual –

“I think he wouldn’t necessarily turn down having sex with an animal,” he says.

“Or a tree,” adds Wright, “or the ground. The difficult thing for Baal to accept is why can’t we fuck plants? Literally, why can’t we?”

Brecht seems to be saying that it is perhaps part of the artist’s role in society to explore these dark, wet woods.

“I think what he’s saying about artists,” says Stone, “is that they sign a very dangerous pact with the devil. If you want to be able to bring the brutal truth, if there is such a thing as truth, to the surface, then you need to accept that that truth is going to start weighing on you and will start affecting the way your brain works. If you open yourself to the void the void will eventually swallow you up. And the dangerous thing in being an artist is that you do have to look at the incredibly dark parts of human existence because that’s what good drama is about, and if you do that too often you’ll go mad.”

“By the time we get to Baal,” adds Wright, “he’s so open to that black hole that it’s totally inescapable.”

“Yeah,” says Stone, “you’re watching a man in the last instance before he gets sucked in [to the void.]”

Composer Stefan Gregory has arranged Brecht’s original songs for electric guitar and Baal delivers these dark ballads in a style reminiscent of a meeting between Kurt Cobain, Tex Perkins and Nick Cave as he swings betwixt poet and caveman. Surely playing such a monster night after night must take a toll on Wright’s own psyche?

“No, you know, the show goes for an hour and then I go and have a coffee.”

#

"Baal"

written by Bertolt Brecht.

Directed by Simon Stone.

Sydney Theatre Company, The Wharf, Pier 4 Hickson Road, Walsh Bay.

Now until 11 June, 2011.

$30 - $77

(02) 9250 1777

www.sydneytheatre.com.au

Wednesday, May 04, 2011

Critical Stages take on Chronic Ills for National Touring

Critical Stages are now handling "The Chronic Ills of Robert Zimmerman, AKA Bob Dylan (A Lie): A Theatrical Talking Blues & Glissendorf." Their first production was last years Seymour Centre season, after The Chronic Ills won one of two places in BITE (Best of Independent Theatre.) Info on upcoming productions will be posted here and on Critical Stages Chronic Ills page -

(insert below or click on title of this post)
http://www.criticalstages.com.au/page/the_chronic_ills_of_robert_zimmerman_aka_bob_dylan_a_lie.html



Friday, April 15, 2011

30 Great Short Stories30 Great Short Stories by W. Somerset Maugham

My rating: 5 of 5 stars


As a young man I read Somerset Maugham's novel 'Cakes & Ale' and it did not, from memory, make an outstanding impression upon me. Perhaps I was too young to appreciate it, or perhaps the novel is not Maugham's medium?



I have decided now that the latter is the case since, whilst on holiday in the Southern Highlands at the country home of a generous patron, I started reading Maugham's collected short stories (three volumes of the four volume set occupying the lake-side cottages small library) and was blown away not so much by the stories events as by Maugham's magnificently elegant writing style.



Reading one of Maugham's short stories is like lunching in the tropical sun with a glass of Pims or Pastis de Marseille (both of which were on hand in Burrawang, near my reading-hammock) whereupon you are joined by the most witty, erudite and charming person you're ever likely to meet. And then he tells you a tall tale.



I particularly like the way Maugham switches between long, almost ramblingly convoluted, many paragraphed, sentences. To short tight ones. A literary music of the highest order.



Upon my return to the big smoke I rushed to Gould's Book Arcade, Newtown, and finally, amongst the piles of mouldering tomes and kipping inner-western addicts that occupied the aisles of the last of Sydney's great second-hand book warehouses, I found this old hardcover. Whilst not the Complete I was looking for it is rather a selection of thirty of the best stories from the four-volume set. I will, at some later time read all four volumes, but this is a good start, and a great traveller.



View all my reviews

Thursday, January 20, 2011

A review of Keith Richards' 'Life' in the form of a 2,500 word monologueness spoof, AKA "One Day In The Life of The Human Riff.”

Life: Keith RichardsLife: Keith Richards by Keith Richards

My rating: 4 of 5 stars


A review of Keith Richards' 'Life' in the form of a 2,500 word monologueness spoof, AKA "One Day In The Life of The Human Riff.”



So by lunch time we’re driving through Stangefruit, Mississippi. We’ve got three runaway Mexicans in the boot, each carrying 25 balloons of charlie up their jacksy, and a 15 year old transsexual Moroccan kid Bill Burroughs had left in the back seat with a beaker of smack in shim’s silicon tits. Just another day in the life of the human riff let me tell you.

We were stopped outside town by a couple of cops who looked like they hadn’t slept in weeks. When we explained we were preachers from England - hence the hair, the communion wafers, and the kid - they confiscated the vehicle and threatened to throw us across the pond, till my lawyer turned up with a drunken judge, the senator for Mississippi and a series of Polaroids of a non-descript scene involving a yak, seven acrobats, and a lawn trimmer. So they threw us back the keys and told us never to burrow through their borough no more, but I just spit and nodded, fucken coppers, all queers, and not in a nice way let me tell you. But that’s just the way life is when you’re the greatest rock guitarist of all time. I’m sweating, it must be the humility.

Let me find the 1 and begin at the in then.



I was born at dawn in a scum pit on the outskirts of Dartboard. We were beaten awake by the police and made to cover ourselves in the muck of the pit and make our way to the local school where they would teach us naught but how to be muck gleaners for the land owners thereabouts. With that soot and shit on my face from my early morn I knew in my heart I was a black man, never a proper pale English git.

By the morning tea horn, a sound our landlord created with a cat, a leather strap, and my younger cousin Nathan, I’d decided to do a runner, and by mugging a rich git I met on the tube and stealing his ration card I pretended I was an arts student called Jagger where I fitted right in amongst the reprobates of aspiring bohemia.

By lunchtime I was bored with the whole bag and teamed up with some likely lads who were playing guitar under a tree in the school’s yard. I beat them silly until they let me join their band and so that rolling bag of bones was born, Brian on sitar, Ian on keys, and me on a guitar I’d stolen off the local vicar. The teachers began saying something about getting back into class so that could get us gigs designing advertisements for Babylonia or some such guff, so we did a runner and moved into the basement of a pub on Dean Street, Soho called The Pirate’s Bitch. They wouldn’t serve me at first as I was naked but for the stain of black muck, so I wandered into the street, threw on whatever rags I found lying around, and went back in and told them firmly that we were the entertainment for the evening. When they asked where was our rig Brian was stumped until a boy named Wyman wandered in and tried to sell the publican a stolen PA system, to which we all plugged in and climbed the charts, wallpaper peeling.

We hung at The Pirate’s Bitch for much of the afternoon, sucking on the leaking pipes of Watney’s Red Barrel and eating the crisps that fell through the grate from the firm of lawyers what lived upstairs from us. One day the lawyers came down and informed us that through the magic of the radiogram what had been perfected during the war our last six jams where a hit in the United States, and they wanted to fly us over the pond. We didn’t have the heart to tell them they weren’t our songs, what with them being rather old negro spirituals and blues what white devils in the US had through some physical peculiarity bestowed on them by Jehovah been unable to hear until they was played by us sons of the dying Empire. An anomaly that still baffles biologists to this day, or so I hear.

The lawyers bunged us all into a plane so swiftly that I still hadn’t had time to wipe the pit muck from my features, so when we did arrive in the States there was still some confusion as to my native hue, and hence we were played on both the coloured and white radio stations, most Americans assuming London was some borough of Boston or some such guff. Charlie the maître d' at the hotel where they bunged us was short of a buck so we let him sit in on drums, and it turned out he had quite a talent for it, even though he admitted he hated the music. Likewise little Mick the bellboy who tagged along beside him, a thick git with a minuscule prick but elephantitis of the bollocks what gave him a unique style of dancing that strangely endeared me to him, god bless the little bugger.

Halfway through the first set I realised I had no more Chuck Berry numbers up my sleeve and all the boys were looking to me. I said, “we’ll be back after this break,” and I ran to the bog only to find the destitute and whistling 300 pound form of Howlin’ Wolf whitewashing the johns in his paint-spattered overalls. As I spattered the rim of the bowl with a little of my own London smokestack I told him my predicament, and he in return taught me how to play the blues.

He said, “Just pick up that guitar Blind Boy Slim left by the water cooler and strum it with that broken bottle neck on the floor. You don’t have to know no chords or nothing, it’s in banjo tuning, open G slide, just wipe off the blood before you start.”

“What about the words Mr Wolf?” I said.

“Damn boy, make a little story over the top about how ragged, sad and horny life can be and you’re with it.”

So I wiped me arse, thanked the Wolf and stumbled back to the stage, grabbing said guitar from beside the water cooler. I grabbed it a little too eagerly, resulting in my breaking the sixth string and smashing the bottle-neck slide, so five string guitar in slide tuning it had to be, I’d just figure out the fingerings as I went along. And so it is and so it will always be.

Later after the gig when John Lennon dosed us on LSD and gave us a lift to the airport in his Bentley he verified that he’d had much the same experience, only with Muddy Waters in a Dole office in Liverpool while he was bashing McCartney for his milk money.



When we got back to Old Blighty we’d gained a few hours and a few thousand quid, but 98 per cent of it would have to go to Her Majesty for the sour milk we’d been given as kids and the new teeth my granpop had got on the National Health, or so Mick informed me, so I banged the poor blighter with a rifle I’d picked up in a Texas drug store and he has never walked the same again. I apologised as I put the dosh in a brown paper bag and we went looking for somewhere to hide it.

We decided on a place in the country, a straw thatched cottage outside Stonehenge, and hung there the rest of the morning having all the drugs and women we could eat. We had a dandy lot round for pink gins and a pet junkie that we milked hourly for heroin, everything a Englishman could need. But of course by the time we were telling Charlie what to cook up for lunch Mr Plod had to turn up and piss on the whole damn scene.

The cops dragged us up into the Old Bailey but it turns out they’d forgotten the pot. All they had was Marianne Faithful’s smack-soiled bathmat and some dead spliffs. The judge sentenced me to life nonetheless, deciding I was the ringleader of the whole shebang, which I was.

Luckily the prison van got a puncture on the way to Wormwood Scrubs and while the boys were changing tires Ronnie Biggs and I did a runner. We decided we better part ways to throw off the beagles so he went to Spain and I holed up in a lovely little hashish palace in Tangiers were Brian’s old bird Anita and I picked up a nasty case of Bill Burroughs for our troubles.

During a game of Missouri Lame Mule Snap I’d won a palace in the South of France from some dispossessed Russian royal, and when Anita and I arrived there we learnt that by providence both Charlie and Mick had gained employment once again as bouncer and busboy, so I pulled out the old Telecaster and we jammed on a few tunes whilst in exile in rooms in the basement.

Things got ugly however. Anita and I had become hooked on hummus whilst in Tangiers and unbeknownst to the rest of us she’d had a container load of the chickpea based junk flown in and transported by the portable studio truck back to our palace where she had had the engineers and photographers, who circumstance demanded we employ now, not to mention her bevy of pet tabouli addicts she kept in a mini-bus outside the East wing, fill the swimming pool with the Levantine Arab spread as an early afternoon surprise. But Brian, who we had left in a veterinary clinic outside Paris during our Moroccan sojourn, had jumped into the pool and drowned in the wheaten coloured sea of chickpeas, tahini, lemon juice, and garlic. He was found by the gardeners who immediately informed the gendarmes, so I decided to split.

I jumped in my speedboat, pointed it due South, and stuck my Telecaster in the steering wheel while I had a siesta. When I woke it was almost din-dins and I was on the filthiest shore I’d seen since that childhood holiday in Bournemouth. I wandered through the faecal sea-water and finding a young lady with a packet of Mandrax and an eye dropper lolling by the Pavilion I was informed I’d discovered St. Kilda Beach. So I claimed it in the name of Her Majesty and went back to this bird’s house on the outskirts of Melbourne suburbia. I must say I adapted nicely to suburban Australian existence that afternoon and within the hour I was signed on to the rock n’ roll and spending my first fortnightly payment on VB and pudding for her sprog what I done sit while she scoured the city for quaaludes and greens. It was a happy dinner indeed and I would have stayed the night if Mick hadn’t turned up suddenly with my suitcases and I realized the silly queer had been trailed the whole way by Anita and the bevy of gendarmes what now followed her, not to mention a horny black-faced Marlon Brando on a bicycle looking to gun down Terry Southern. It would be an ugly scene if they found me so I jumped back into my speedboat and didn’t stop till I reached a Jamaica, where I knew they wouldn’t let Anita in on account of her accent. It was late evening by then and the only light came from the crown of an enormous volcano above the beach from which a pungent odour emitted.

Suddenly I was surrounded in the night and I realized that I had been taken hostage by a band of vicious Rastafari pirates. All looked dire till I pulled out my five string and strummed a little Jimmy Cliff. I explained that I wasn’t really the white Babylonian devil I appeared but rather a brother musician blackened deep in his soul by the muck of working class London. The leader of the band, who called themselves the Legless Angels, pulled a reassuring smirk then passed me a hookah pipe that I observed went into the ground at the mountains feet. The Rastafari pirate king explained that this pipe went straight into the volcano. Jah, he explained, had seen fit to fill the bowl at the volcano’s crown with the most powerful cannabis plants in existence. This hierophant herb was constantly heated by the molten lava stirred by the white devils Jehovah had imprisoned beneath it, all for the medicinal service of the pirates and their kin. If I truly was a brother then Jah would grant me the power to pull the cone, but if I was a Babylonian devil attempting to deceive them Jah would see that I was sucked through the hookah the moment my lips touched it and hence into Satanic service in the volcanic basement.

It was quite an effort but I pulled the cone cleaner than Haile Selassie’s underdaks and a roar of cheers and drumbeats arose as they carried me to their mountainous kingdom on high where, they explained, no gendarme or Mr Plod of any proportion would dare take arms against them.

And that’s where I remained the night, smoking through till the morning and jamming for Jah with the Legless Angels. At dawn they had me pay for my board and whatnot by making it over to the USA in various guises so as to flog a few of my musical wares and the odd bag of weed. The shit I sold Mick was just parsley.



So that’s just a normal day in the life of a human riff, honestly, no exaggeration.

I’d love to chat but I’ve just dropped a blue, might be time for a kip. Catch you on the next tour, cheers, and if the Shepard’s pie arrives just wake me up.









THE END



by Benito Di Fonzo.



DECEMBER 2010/JANUARY 2011.







View all my reviews

Wednesday, January 19, 2011

From the vaults of Fonzo Journalism, 2004: FBi Radio Play, live from The Sydney Opera House.

Broadcast live from the Studio at The Sydney Opera House, September 19, 2004. Written by Benito Di Fonzo. Starring Brendan Cowell, Kate Mulvany, Damon Herriman and Tug Dumbly as Napoleon Hangover. Directed by Laura Milke. Music by Brett Maverix. Foley (SFX) by Miles Merrill. Produced by 2FBi-FM and The Studio at The Sydney Opera House.

part 1 of 3

part 2 of 3

part 3 of 3

Tuesday, November 02, 2010

super review from some surfing cats...

This reviewer seems to have waxed his intellect beautifully on my show and ridden the strange wave to the unsure impeccably. I should read more surfing mags!
BDF


THE CHRONIC ILLS OF ROBERT ZIMMERMAN AKA BOB DYLAN (A LIE)
Sunday, 31 October 2010

The Chronic Ills of Robert Zimmerman AKA BOB DYLAN (A Lie)
A Critical Stages and Tamarama Rock Surfers Theatre Company Production
The Seymour Centre, Sydney
www.sydney.edu.au/seymour

If you surf, it goes without saying that you must be into Bob Dylan. After all, he wrote all those classic surf songs – Visions of Johanna, Song to Woody, Blowin' in the Wind, Tangled Up In Blue... Plus he directed a couple of underground surf movies in the 70s, invented the wetsuit and was the first guy to surf Teahuúpo switchfoot.

Now some of that is true, and some of it is not – but it all makes for a good story. And that's as good a cue as any for Benito di Fonzo's "The Chronic Ills of Robert Zimmerman AKA Bob Dylan (A Lie)", currently playing at the Seymour Centre in Sydney.

It's billed as "A Theatrical Talking Blues and Glissendorf" ('Glissendorf' is an expression His Bobness invented to describe witty wordplay that enabled the hip to remain aloof from the unhip). And it delivers as a rapid-fire soliloquy on everything that has set Bob Dylan apart as the smartest, sharpest and hippest Song and Dance Man of our time. It has the added advantage of being hilarious.

In "The Chronic Ills...", our man Bob talks us through his life and times, from the iron hills of Minnesota to Greenwich Village and beyond, from spurious beginnings to even more fanciful destinations. The fellow travellers along the way include Joan Baez, John and Yoko, TS Eliot, Ezra Pound, Johnny Cash, Robbie Robertson, and Abe Lincoln as a Jewish huckster from New York. All the great Dylan milestones are referenced – the Woody Guthrie connection, going electric, the motorcycle crash, born-again Bob, the 90s comeback, the Never-Ending Tour – but the devil has got into the detail, making this a very unreliable memoir indeed. Or is it?

You don't have to be a Dylan freak to enjoy this ride. A smattering of rock culture will mean even the most uninitiated will be able to join enough dots to follow the trail and be tickled by its absurdist twists and turns. But if you do happen to be a Dylan tragic – and there are all too many of us about – then"The Chronic Ills..." is the truth transformed into a riot. Sydney playwright di Fonzo seems to have taken every Dylan biography, interview, documentary and film clip ever released, stuffed them into a giant word processor, shaken it around and then let fly. Dylan was invariably sly, enigmatic and right-on when he used these words the first time around; di Fonzo's extended dance mix takes them in new directions without losing any of their potency.

Matt Ralph does a champion job as Dylan, ably supported by Andrew Henry and Lenore Munro and the instrumental backdrop conjured up by Simon Rippingale. It's a Critical Stages/Tamarama Rock Surfers Theatre Company production, reinforcing their credentials as leaders in independent theatre in Australia. The only down side is that the current season ends this Saturday, 6 November. Get onto the Seymour Centre now for tickets – it'll put you in touch with your Bobcat within.

- Ian Cameron

(originally published at http://www.pacificlongboarder.com/news.asp?id=2760&category=2)

Tuesday, October 26, 2010

Australian Stage review

The Chronic Ills of Robert Zimmerman: AKA Bob Dylan (A Lie)
Review by lloyd bradford (brad) syke
Tuesday, 26 October 2010 06:46
http://www.australianstage.com.au/201010253975/reviews/sydney/the-chronic-ills-of-robert-zimmerman-aka-bob-dylan-a-lie.html

Phew! What a mouthful. Oh, not just the title, the whole shebang. I can't even begin to imagine the task of writing down such tracts, in the form of a monologue; albeit one punctuated with songs and a coterie of other characters, from Woody Guthrie, to John & Yoko, Abe Lincoln ( for some reason sounding like you can take the boy outa the Bronx, but you can't take the Bronx outa the boy), Joan Baez, Sara Lownds, Bono, Johnny Cash and a host of others, including Dylan the younger. Of course, writing it down is one thing; memorising it, quite another. Surely there must've been prompts. Either way, both are astonishing feats.

This play, if it can be called that (it's billed as a 'theatrical talking blues and glissendorf'), first saw light of day last year and I was disappointed, at the time, not to have caught it. So I made doubly sure this time. And thank God. Well, Critical Stages, actually; it being a laudable initiative of Darlinghurst Theatre Company, designed to take not just their own but independent productions from small, urban theatres Australia-wide on the road, to remote and regional areas.

Also to be congratulated is TRS, Tamarama Rock Surfers, the unassumingly-named big hitter in indie stagework, resident at the characterful Old Fitz pub, carrying the flag for new Aussie theatre, putting run after run on the boards; at The Stables and Opera House as well.

Writer, Benito Di Fonzo is my new instant, personal superhero. Coming to the work intrigued, but utterly uninformed, I'd surmised it must've been penned by an American. Uh-uh. Much like yours truly, 'the Fonz' is a starving, eccentric 'writer extraordinaire' (to borrow his own, tongue-in-cheek' bigging-up) based right here, in Sydney; the founder of Fonzo journalism. As well, he's a playwright, puppeteer, poet, pauper, pirate, pope, pawn and a king. Well, according to him. I, for one, to not dissent.

It's almost impossible to believe he could've written this unrelenting, rhythmic rave, which falls somewhere between beat poetry, spoken word and hip-hop (but tending towards the former), without the benefit of certain stimulants (even if it was just espresso). It has a rollicking cadence that's believable of the Dylan as a young man, if not an older one. It matters not that he mightn't have been like that. It should, perhaps, but, somehow, it doesn't. Nor does it matter if this is more, much more, a work of imagining than reality; fiction, faction, half-truths, or outright lies. It's the cred that's important and makes it work. The man once said, 'chaos is a friend of mine' and, either literally or intuitively, Di Fonzo seems to have embraced this and put it at the very centre of his approach to this work. Mind you, if it remained on paper, it wouldn't be a fraction of the fabulous thing it is, pregnant with broadly cultural, historical, literary, sociopolitical and academic references; shining with wit and wry, dry humour. Much like Bob, I guess.

The production isn't utterly flawless, but it's but a gnat's nut away. It takes a while for Bob (Matt Ralph) to settle into his accent but, hey, Bob is almost a dialect unto himself. From the ground up, producer Luke Cowling and director Lucinda Gleeson have done a sterling job. James Browne's grungy 60s underground music vibe genius set built, ostensibly, of painted speaker stacks, has been constructed brilliantly by Tom Bannerman and lit likewise by Richard Whitehouse. Emma Howell's costume design affords an easy air of authenticity.

The performers are, each, bloody marvels. That virtually all can act, sing and play with such vivacity is jaw-dropping. Ralph almost becomes the charismatic and compelling Dylan. Andrew Henry shows incredible versatility and comic sensibility, as countless characters in Bob's passing parade: Robbie Robertson, Daniel Lanois, you name him. Lenore Munro is hysterical as Yoko, stingingly effective as Baez (including her staggering vocal impression) and the Z man's other women. And Simon Rippingale is a beautiful bassist, uke and harmonica player.

As Woody Guthrie famously stated (to paraphrase), a guitar is a machine that kills fascist. So is a pen, whether in the hands of Bob Dylan, or Benito Di Fonzo. And the roll of a well-chosen string of words, whether off Dylan's tongue, or Ralph's. It might be about an American, but this play, I'm proud to say, is all-Australian. And, with bugger-all shopping days till Christmas (if retail clocks can be believed) and 2011, Zimmerman is vying with, say, August: Osage County and Namatjira as my Curtain Call of the year. Don't think twice. It's alright. Better than alright. Chronic Ills is fully-sick, man. AAA.


The Chronic Ills of Robert Zimmerman: AKA Bob Dylan (A Lie)
by Benito Di Fonzo

Part of the 2010 BITE program (Best of Independent Theatre)

Venue: Downstairs Theatre, Seymour Centre | Corner Cleveland Street and City Road, Chippendale
Dates: Fri 22 Oct - Sat 6 Nov, 2010
Times: Tue 6.30pm, Wed-Thu 8pm, Fri-Sat 6.30pm & 8pm
Tickets: Adult - $28, Concession $24
Bookings: 02 9351 7940 | www.seymourcentre.com

Wednesday, September 29, 2010

ZIMMERMAN PLAYS THE SEYMOUR CENTRE, CLICK HERE TO FIND OUT MORE!




Benito's house busting show continues it's unhinged journey with a season at The Seymour Centre as one of the winners of Best Independent Theatre (BITE) 2010. Click the title above or go to http://sydney.edu.au/seymour/boxoffice/program_chronic_ills.shtml

Monday, July 26, 2010

Benito in conversation with Netta Yashchin re Woyzeck at Belvoir St.


(This article was originally commissioned by, and appeared in, The Sydney Morning Herald, 23rd July, 2010)

“It’s a dark fairytale for adults,” says director Netta Yashchin of her vision for Buchner’s 19th century fable of murder, torture and deceit Woyzeck.

Loosely based on the real-life crime of a Leipzig soldier beheaded for murder in 1821, the play tells the story of Woyzeck (Michael Piggott), a passively loyal soldier tortured by a sadistic doctor (Rebecca Johnston) who constricts him to a diet of peas and conducts experiments in turning soldiers into donkeys. Meanwhile a cruel Colonel (Anthony Hunt) makes Woyzeck double as his barber as he as he belittles him. Woyzeck battles humiliations and hallucinations as his wife Marie (Zahra Newman) publicly cuckolds by carousing with other men till he is driven to an insane act of vengeance.

Woyzeck has been adapted steadily since it’s 1879 debut, including versions scored by Tom waits (Blood Money, 2002) and Nick Cave (2005) as well as the Alban Berg opera (Wozzeck, 1925) and a film by Werner Herzog (1979).

“It’s iconic,” says Yashchin, “directors with a bit of taste want to touch this play at some point in their career.”

Yashchin was an acclaimed actor in her homeland of Israel before falling in love on tour in Adelaide in 1998 where she later formed her own company. Since then she has moved between Tel Aviv and Sydney, studying Direction at NIDA under Egil Kipste.

Yashchin hopes to bring out the dark carnivalesque heart of Woyzeck with the aid of musicians, dancers and actors who will break into songs by artists ranging from Bob Marley to Jacque Brel during the show, creating an unsettlingly macabre comedy.

“I’ve called it a human circus,” says Yashchin. “I’m heightening the reality ... pushing it into grotesque, absurd and magic realism.”

Having served compulsory military service in Israel Yashchin can empathise with Woyzeck’s predicament.

"There’s a great suppression while you’re in the Army that comes out in strange forms in your adult life ... I’ve met soldiers who’ve suffered tremendous trauma.”

Yashchin sees Woyzeck not as a madman but an everyman trapped in an insane world of Kafkaesque proportions.

“He gives so much of himself that eventually the self-sacrifice becomes something repulsive,” says Yashchin.

“How far do you turn the other cheek - till your head turns around?”

“Any human-being put in this situation might execute [Woyzeck’s crime] in a fit of rage.”

“Who knows what the line between sanity and madness is?”

WOYZECK
August 6 – 29, preview August 5, Belvoir St Theatre Downstairs, Surry Hills. 9699 3444, $12 - $32. http://www.belvoir.com.au/320_whatson_downstairs.php?production_id=291

Friday, July 09, 2010

click here to SPONSOR BENITO & The BARDFLYS @ DRY JULY


I'm doing Dry July, which gives me a month off the piss and raises money for cancer research. You can sponsor my team The Bardflys (well, it's only Chris and I at present, but hopefully it will grow - you can join us) by clicking on the title of this blog entry (the title, not the picture). Who knows, the life you save may be a future member of my audience!

Friday, June 11, 2010

Benito V Todd Haynes (In A Friendly Way)

Click the title above or the link below to read an interesting article by Matthew Clayfield in this months Real Time magazine that favourably compares my Dylanesque show "The Chronic Ills..." with Todd Haynes' Dylanesque film "I'm Not There."

http://www.realtimearts.net/article/97/9878


Sunday, April 18, 2010

Click HERE to read my interview with Lee Bemrose re Chronic Ills, a shorter version of which was published in Drum Media magazine.

Sydney City Hub CHRONIC ILLS review





Author:
Alex Britton
Posted:
Monday, 12 April 2010

“Good poets borrow. Great singers steal.” Thus speaks Bob Dylan (Matt Ralph) in The Chronic Ills of Robert Zimmerman: AKA Bob Dylan (A Lie) – a theatrical talking blues and glissendorf. Sydney playwright Benito Di Fonzo does a little of both in his surrealo-absurdist re-imagining of the life and times of cultural legend Bob Dylan, combining quotes, lyrics, myths and his own special brand of writing to create a memorable piece of theatre. The play follows (roughly) Dylan’s life, moving beyond his own self mythologising and teaming him up along the way with, among others, Jesus, John Lennon, Yoko Ono, a hipster-Yiddish speaking Abe Lincoln and the ghost of Baudelaire hiding under a leaky faucet. If you think the title is a mouthful, spare a thought for the actors from The Tamarama Rock Surfers who manage to triumphantly tame Di Fonzo’s version of Dylan’s glissendorfing. The action is interspersed with creative arrangements of Dylan classics, artfully tweaked by Ralph and musical director Simon Rippingale to avoid licensing infringements. The overall result is a fantastically engaging hour of off-the-wall theatrical comedy. Wash it all down with a beer and laksa and you’ve got yourself a winning evening.



Until Apr 24, The Old Fitzroy Theatre, 129 Dowling St, Woolloomooloo, $17-25, 1300 GETTIX, www.rocksurfers.org

http://www.altmedia.net.au/theatre-the-chronic-ills-of-robert-zimmerman/18468

Rabbit Hole Urban Music (RHUM.org.au) review of Chronic Ills,

Written by Julie Lawless

The Chronic Ills of Robert Zimmerman is a neological journey through the life of Bob Dylan and his search for his Holy Grail (embodied in Woody Guthrie’s mythical basement stash of unrecorded songs). A beautiful montage of the nonsensical answers Dylan delights in giving journalists, and with outstanding performances from all the players, writer Benito Di Fonzo’s work is just wonderful - Chronic Ills is a celebration of the roguish wordsmithery of a true artisan and mischief-maker.
From the second he steps on the stage, Matt Ralph is Dylan. This would have gone horribly wrong if the actor playing Bob had chosen to parody or mimic him in the manner of a cover-band but Ralph plays him to perfection. His Hedburg-esque delivery adds to the fun. I’ve never particularly been a fan of Joan Baez, so I found Lenore Munro’s portrayal of her far more palatable than the real thing. With a powerful voice more than capable of pulling of Baez’s “three octave scale with a vibrato you could wash dishes with”, Munro’s various cameos throughout were all terrific, in particular her scene-stealing Yoko Ono.

The show was peppered with hilarious visitations from the likes of Lennon and Ono, a hipster-Yiddish speaking Abe Lincoln, Allen Ginsberg, Johnny Cash, Jesus and of course the keeper of the Grail, Guthrie himself. Most of the afore-mentioned parts were played by Andrew Henry, with a terrific grasp of accents and impeccable comic timing. Although the play is essentially about Dylan and love of language, this was truly an ensemble piece.

Di Fonzo’s stream-of-consciousness scripting was so fast-paced and kinetic that it could almost be hard to follow- but such is the essence of a Dylan interview and it would have been trite to have played it any other way. Interestingly when I left the theatre I had not Dylan songs in my head but Bowie’s Song For Bob Dylan - in itself a tribute to the man that to me captures the spirit of Di Fonzo’s masterpiece.

Clever, witty, sharp and surreal, I was already planning on coming back to watch it again within the first twenty minutes of the show.

The Chronic Ills of Robert Zimmerman is playing every night but Mondays at The Old Fitroy Hotel in Woolloomoolloo until April 24, 2010. Every performance so far have sold out so I strongly urge anyone who loves music, words and fun to get in and book NOW!

9.5/10

http://www.rhum.org.au/index.php?option=com_content&view=article&id=898:the-chronic-ills-of-robert-zimmerman-aka-bob-dylan-a-lie-a-theatrical-talking-blues-and-glissendorf&catid=38:gr&Itemid=110

Thursday, March 25, 2010

Fonzo Journalism from The Village Idiot #2

(from the March Issue of The Newtonian - http://issuu.com/thenewtonian/docs/www.thenewtonian.net?mode=embed&layout=http%3A%2F%2Fskin.issuu.com%2Fv%2Flight%2Flayout.xml&showFlipBtn=true

Fonzo Journalism from The Village Idiot #2.
(This month a special report on Reclaim The Lanes.)

It’s strange when Reclaim The Streets (RTS) goes down a gear and becomes Reclaim The Lanes. Nonetheless the whole concept had been so sorely missed we were happy to welcome anything – Reclaim The Neighbour’s Driveway would have been an exciting venture back into Newtown’s bolder past. So we turned up, many a bit more jaded and world-wearing than we were at that original RTS over a decade ago when no-one had really known what to expect, just to meet in Camperdown Park. By day’s done we’d annexed Newtown’s arterial hub - the groin where King Street and Enmore Road jut out like hairy legs and the torso moves up towards City Road. We’d taken it all from the Dendy down and turned it into a street party, throwing in Wilson Street for good measure. At later RTS’ we’d taken everything from the street outside Villawood Detention Centre on one occasion to the whole of George Street on another, outside the Sydney Town Hall and Woolworths – turning the CBD into a little piece of freak culture. Sure a few times things got ugly with the cops, like when we took over the freeway below the Art Gallery of NSW, and said CBD endeavours. They’d manage to find some breach relating to rubber lesbian vampire nurse, nun or most dangerously police-drag, outfits.

While police-party relations were all cool this time a kind of reverse police drag is what I couldn’t help but notice as we stood in the Enmore back lane, a band competing with DJs in garbage bins and people of all hues dancing in day-glo Reg-Grundies. I spotted the strange occurrence of the feral cop. Later as I took a breather at the Queens Hotel so my enviro-photographer friend could review his work I got to examine pictures of this urban Sasquatch more closely. These were young, tall, lanky guys in dirty dungarees and Blunnies or Volleys, and raggedy worn-out t-shirts, like the civilians dancing around them, except that these cats had official NSW Police baseball caps and a utility belt, Batman style, with a radio and a large, black handgun hanging from it.

The sight was so odd that for a second I wondered if they were cops or just very militant ferals. I decided on the former. But where, I began to wonder, do they get these guys? Are some nice, clean-cut kids at Goulburn Police Academy trained up to pass as inner-city freaks?

“OK gentleman,” says the dreaded trainer, “now Smith has smoked some Lebanese Blonde and mixed it with the GBH. You’ll notice that suddenly the music of Squarepusher begins to make sense to him. While Johnson over here’s on hash-oil and MDA and is being really affected by his mother’s old Carpenters LPs. Now you kids, Digby and Wiggim, are taking a walk in the Anna Woods, so brace yourselves.”

Either that or the opposite occurs and they recruit students and hippies. Imagine an ominous knock at a share-house door.

“Hi we’re from the NSW Police and we’ve got a special offer for you kid. How would you like to protect young people. We’ll give you a walkie talkie, a baseball cap, and a big black gun with bullets in it.”

“Wow, intense. Can you get my Austudy renewed?”

“Done and done kid. We can even talk to that tutor you been having trouble with, catch him with a little Lebanese blonde thing in the teachers’ lounge if you like. Now what’s your Blundstone size?”

Either way it seems to be working. The only thing that wasn’t working in Reclaim The Lanes favour was Sydney’s new and greenhouse-gas improved monsoon season. By the time my friend and I dragged ourselves from happy hour we ended up losing them somewhere between the rain and the Bedford Street tunnel. But I’m sure they wetly ended up somewhere, perhaps reclaiming someone’s kiddie pool.

“It ain’t Reclaim The Streets,” my friend said, “but it’s a start.”

“As long as they were enjoying themselves,” I said, “and got some dancing in.”

“The kids?”

“No, the feral cops of course.”