Review: Sarah Curro’s Volume 4: Ghostboy and Sir Lady Grantham We Love You

Review by Amanda Anastasi

When I mentioned to a handful of poets that I was off to see Ghostboy and Sir Lady Grantham’s show at the Melbourne Fringe Festival, I was inundated with comments to the effect of ‘Don’t sit in the front row, or in the aisle seat…actually you’re not safe anywhere!’ and ‘Are you ready for the monster?’ I am relieved to report that I was not pestered to the degree that certain other members of the audience were. Well, apart from Ghostboy handing me a packet of tobacco and suggesting I take up smoking, taking my umbrella and nicknaming me a ‘tie-shoed fox’. That’s right, Ghostboy improvised a nickname for each member of the audience upon a brief glance, as he strolled by us. So yes, this show involved a scary amount of spontaneity and audience interaction.

How fortunate for us that Sarah Curro (a musician described by Andrew Ford as ‘the Fairy Godmother of composers’) happened upon David Stavanger’s alter-ego Ghostboy and his musical accomplice Richard Grantham, to present them in this completely engaging double-bill. Sarah Curro’s series of Volume shows showcases new artists/composers, all musical and theatrical aspects of the show financed by her. Sarah opened the show by performing a mesmerizing set of pieces on solo amplified violin, accompanied with much casual banter. It was as though we were sitting with her in her living room.

Sarah began with a truly transporting piece Tourmaline by Richard Grantham, followed by Cat & Mouse by Hugh Crosthwaite. We were asked to decide, upon listening, whether we believed the cat or the mouse won at the end of the piece! Hence the audience involvement began… I rather liked the Philip Glass-esque JFK-LAX by Christian O’Brien, and this was followed by two other beautifully composed pieces by Jane Hammond and Cam Butler. As a prelude to the entry of Ghostboy and Grantham, a music video played on the screen above of Ghostboy with G