There were glimpses of brilliance in Tim Minchin’s performance at the Foundry Theatre that will appeal to die-hard fans but at times the production overall was a bit dull.
Minchin walked barefoot onto the stage in a tuxedo and sipping from a glass of red wine. The stage was lit with fairy lights and industrial lamps and the simplicity suited the charm and intimacy of the space.
The Foundry Theatre seats up to 360 (630 patrons if standing) and has soaring ceilings, heavy drapes from roof to floor and multiple seating options. It is nestled at the rear of the Lyric Theatre and offers a unique journey as the audience moves through the polished grandeur of The Star into a private sanctuary where they can disconnect from the world.
When Minchin walked on stage the house lights were still on, and he chided the organisers about their lack of etiquette. This was met with laughter from the audience who seemed to comprised of people who were well acquainted with his work and already sold on him.
Minchin indicated that there would be no lack of profanity, expressiveness and playful irreverence during the show as he launched into a clever composition to remind everyone to ‘Turn off your mother f…ing phones’.
During the evening Minchin informed the audience that he had been given the honour to be the first to perform at the Foundry Theatre by the owner, Stephen Found. With that honour came the freedom to do whatever he wanted in the space.
Minchin defined his performance as ‘a series of songs… in a room… with an audience’. Minchin said he did not even know what he was going to perform ahead of time and from night to night.
The overall performance went from 7.50pm to about 10.20pm with an interval of around 20 minutes. An encore was included.
Over this time Minchin engaged in a bit of narration, made a few jokes, played his compositions and spoke about his philosophical belief regarding determinism. He was accompanied by a five-piece band of skilled musicians, including three guitarists and a drummer.
The Foundry Theatre is a small space with loads of opportunity to connect to an audience on a deeper level, but Minchin’s delivery mostly consisted of sitting behind the keyboard and looking directly into the centre mid-section of the audience. His gaze seldom wavered from that position while he belted out whatever song he chose next from his extensive repertoire and spoke randomly about whatever he wanted.
Just when you thought Minchin was being over-indulgent, pretentious and egotistical he would make a self-deprecating comment that would serve as a leveller.
Prior to the interval Minchin stood up and said, ‘As you know I am known for my activism’ and then parodied himself while performing ‘Canvas Bags’. He stripped his shirt open and three female-presenting patrons in the front row squirted his bare chest with a water bottle and directed a handheld fog machine towards him.
Later, Minchin found a lace bra at the front of the stage. It is unclear whether an audience member put it there or if it was a prop.
The only other time Minchin engaged the audience on a physical level was when he demanded everyone “stand” when he sang ‘When I Grow Up’ (from Matilda the Musical) at the end of the night.
There were times when Minchin showed brilliance and there is little doubt about his intelligence and creativity but there were also times when the performance was grey.
At times, the audio wasn’t clear enough to understand his lyrics.
Many compositions were not well known, and some were 20-30 years old. Minchin said some of the works had never been recorded. This meant that Minchin was relying on the audience to know them from past live performances or through his online presence. If they didn’t know them then they had to try and decipher them on the spot, and this was difficult with the challenging audio issues and the pace of Minchin’s delivery.
While he spoke about the band and named the members, it was not possible to clearly hear the names that he articulated. No program was issued and there was nothing to credit them and their work.
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At times people were yawning, including me, and the gentleman next to me dozed off at least twice. When he woke, without knowing what Minchin had been doing, he laughed and applauded. This prompted questions of whether Minchin had become an example of the Emperor’s New Clothes.
A woman sitting next to me confided that she wasn’t that into it and said, ‘You wouldn’t want to be caught with him in a contained environment, it could be a bit mentally intense.’
I found myself wondering if it is possible that the quirky novelty of Minchin, once seen as honest, fresh and groundbreaking, had evolved into a brand and formula that was undermining the authenticity of his artistry.
With that said, others in the audience enjoyed the show, it met their expectations, and they certainly seemed satisfied afterwards.
Tim Minchin – First at the Foundry
Creator and performer: Tim Minchin
Guitar: Jak Housden
Bass: James Haselwood
Drums: Evan Mannell
Trumpet/Keys: Dane Laboyie
Guitar/Keys: Steve Hensby
The Foundry Theatre, at the rear of the Lyric Theatre, Pyrmont
11-15 February 2025
