Light And Laughter In The Black Cat

Black Cat on Brunswick Street Fitzroy. A Sunday afternoon. The light that day was a bit magical. The place was filled with cool cafe people... a writer quietly broadcasting his intensity, an African guy scrutinising some scripture, travellers with cameras also captivated by the afternoon light. Music kept reminding me of The Egg... gently psychedelic guitar swirls harmonising with light and moods that shifted so subtley, but were mostly good.

This was a sweet afternoon.

Unexpected Weekend Bender

This is what happens when a partner in adventures comes over for cheese and wine in the late afternoon. Stuff happens. Suddenly there is painting and talk and eventually the sun comes up and the talk is still going, so you jump on the bikes at 8am and head over to a park to drink breakfast wine and laugh and fall off the bikes and roll down grassy hills and back up again.

Laughs. So many laughs.

Happy times. I'm grateful for times like these.

Cowgirl by Underworld

Saturday and I'm having a bit of an Underworld fest. Would love to see them live again. They really know how to whip the crowd into a frenzy. I remember a DJ playing this track during the day, maybe Monday, at the last Rainbow Serpent and even that sent the crowd mental. I don't think I stopped grinning for the duration of the track - which on that occasion seemed to go forever. Awesome stuff.

I had to compile a list of 10 tracks that I'm into at the moment for an application to do stuff for a local independent radio station and it was surprisingly difficult. I'll bet everyone doing the same thing became as self-conscious as I was. You start trying to second guess them. You want to include stuff you think they will like. You want to demonstrate your cutting-edge taste. You want to make a unique list. You want to somehow convey that you approve of their playlist. You put in something new and something old. Did my head in.

But if I were making that list today, Cowgirl would definitely be included.

For the hell of it, here's the list I came up with. Self-conscious, perhaps, but honest. Really hard thing to do when your taste in music covers so much ground. Another day there would be another completely different list.

Scandal In New York (Satoshie Tomiie remix) – A kinky proggy number not heard nearly enough on the dancefloor. I opened my debut set with it. DJ friends told me it was ambitious trying to mix it into Wizzy Noise's Sabotage. They were soooo right. Great track though.

Kyio – Deya Dova – From her forthcoming album (can't recall the album's title), this is Deya at her best. Sweet and up-beat, sounds like it was made in Africa. Haven't heard the Luke Chable dance remix yet. It's bound to be good though. This Northern New South Wales performer deserves more airplay. The listeners deserve it too.

The Evangelist – Robert Forster – Came across this again recently and can't get it out of my head. The lyrics make an okay poem, but with the music and Forster's vocals it just crushes you under the weight of its sad beauty.

Only An Expert – Laurie Anderson – From her yet to be released (and possibly mythical) Homeland album, this is political, scathing, ironic Laurie in fine form. Harks back to her earlier Big Science stuff, only it's less cryptic.

Shamanik Concept – Tripy – New one from local psytrance producer Tripy. As melodic and trippy as the title would suggest. Sounds great on the dancefloor, good to listen to while kicking back on Sunday afternoon too.

Faery Spell – Lost Keys – Local to the Byron area, another world class Australian psytrance producer doing pretty things with the psy sound. Tracks like these last two have my non-psy friends asking what kind of music it is. Love new converts.

Paper Plane – MIA – I keep hearing this very infectious track, I keep liking it and I keep thinking about what is really going on under the guise of a catchy, breezy pop song.

15 – 20 – The Phenomenal Handclap Band - Again, heard this catchy, innocent sounding tune in heavy trafic and found it an ideal road rage diversion. I feel kinda soft admitting I like it.

Stagger Lee – Nick Cave – Played this vintage Bad Seeds track again the other day, because sometimes you don't want pretty, tinkly bits in your music, you just wanna be a bad-assed mutha swaggering through the dirty West (whilst singing in the shower). This is a very funnycool song.

Who Has The Marijuana? - Alien Project – A bouncy psy track sampling Southpark. Funny. Fun. Dancey. Perfect way to end a debut DJ set. The punters agreed.

Wordless.

Got no words. No words. May be out of blogjuice.

A Sweet Sadaka Saturday

Stompy & Grumpy's DJ Debut at Ixchel's Sadaka

Played my first DJ set the other night with The Dreaded One. We played as Stompy & Grumpy, and in spite of not doing any really serious practice until this week, and in spite of nerves and technical glitches, the feedback has been pretty damned good.

The day saw us get up and get stuck into the set for a final run through to make sure the time was right. It clocked in almsot to the minute of our 90 minute allocation. Still, one DJ friend had said it's a pretty ambitious first set and there were indeed tweaks to be made. The day sped along. We were running out of time but adjustments had to be made. A couple of times I felt like we just couldn't do it and part of me wanted to call the whole thing off. We were still making changes hours before we were on.

Arrived at the party with a knot in my stomach and didn't really want to talk to anyone. I felt in a very strange headspace. The party was quite full and filling up fast. By 11pm it was going to be very full.

Oh - the equipment we would be using was nothing like our small set up at home. It was a LOT bigger.

Few drinks to calm the nerves without straying too far from sober. Lots of friends, some of whom knew we were going to play, but as it turns out, there were also a lot who would soon be surprise to see us behind the decks.

Guy before us played a pretty dark, night time set. Pretty hard for 10pm. Danced a bit. Tried to get a look at the mixer. Had accute sphincter spasms.

Maybe quarter to 11, a rush of friends showed to give their support. Truth was in the beginning I hadn't really wanted to be heard or seen by friends in case we sucked. But here they were smiling and reassuring us we'd be all right. A couple even said they just knew we'd be good. How they knew that, I don't know. I wasn't sure of anything. Things took on a slightly surreal edge for me. The room was near capacity by now and nothing felt real. I'm just not a get-up-in-front-of -a-crowd kind of guy.

We moved into the DJ both as DJ Dukie put on his last track. Weird seeing the room from that angle. Everyone looking. I spotted even more friendly faces, but there were also plenty I'd never seen before. Fucking nervous. Fumbled with my headphones. Cord in knots as I pulled it from my bag. Chat with Dukie about the equipment. Stompy - who I later discover was even more nervous than me - tells me to cue my first track immediately instead of talking; only minutes to go. But I'm trying to be cool and calm about this.

Things move fast and too slowly at the same time. I find the headphone jack and this all feels very fucking weird. I am not a DJ. What am I doing behind the decks, in front of an eager crowd?

Couple of minutes to go before the end of Dukie's set ends and ours begins. Our set, a bunch of tracks we've put together over the months because we like them and we think they fit together. But we're punters, not DJs.

I cue the beginning of our first track. A proggy favourite, a remix of Scandal in New York. Things just feel weirder hearing this familiar track alongside Dukie's dark night time menace. I have no idea if this is going to work. I'm kind of on auto pilot now. For now it's detail and movement and paying attention. I cue up where I've decided to come in from, just like I have at home. I'm going to hit the cue button and hold it down twice right when she says her first "Pay attention!" Then I'm going to hit play. A third Pay Attention! and we'll be underway. Oh yeah - I have to pick the pace up by several BPMs before we even start. First two tracks are around the 130 mark and we have to nudge it up to just over 140 quite quickly. But smoothly. The fuck am I doing?

Pay attention!..... Pay Attention!..... Pay Attention!

And we're on. We're going. We're playing one of my favourite tracks to a room full of friends and strangers. I look up briefly to see if anyone is hanging around. Room is still full. People are dancing. Funny. Scary. A friend comes behind the booth to tell me we need more volume. We nudge it up and it's awesome hearing this track coming out so loud and perfect. Not a bad start. Just have to keep going for the next hour and a half.

During the day I've been fucking up the mix into the next track but Stompy nailed it a couple of times, so plan is, I'm going to take the bass out while she hits the cross fader and play and we go into the next track with a bang. This has to happen on the 2.44 (seconds left) mark. 2.25 comes up and I kill the bass, but Stompy does nothing, even though she's poised ready for action.

"Weren't you going to cross at 2.44?"I ask as I ease the bass back up.

"That wasn't 2.44... oh fuck!"

We aim for another similar spot and try our best but it's a train wreck. Our first train wreck in our first set. At the first mix. Not good at all.

But the punters are still dancing, this time to Wizzy Noise's Sabotage. I ease the BPMs up, and it just sounds so fucking good, that Wizzy Noise, big fuzzy beat, almost a glam rock beat. I cue up the next track as quickly as possible. I'm all concentration because I want to get this right so much. Cue'd up, nothing to do for about six minutes now but wait. I look up into the crowd properly then. And I smile because they are really getting into this. There are smiles everywhere. Some are dancing with their eyes closed, still smiling, their heads in a place I know so well. I'm really happy all of a sudden. The track is thundering and wobbling, somehow ominous and joyous at the same time and I can't help it. Smiling like a fool, I start to stomp and dance and really get into it.

Stompy and I take turns at mixing, two or three each at a time. Some of the mixes don't work so well, others are nailed. The crowd doesn't seem to care either way. It's wall to wall now, totally full to capacity and it's jumping. It is totally lapping it all up. We dance behind the decks. I see strangers in the crowd smiling. Big smiles of thanks. Eye contact lingers. It's quite possible they think we are not bad DJs. Hilarious.

And I see other smiles. From friends who are maybe thinking this is all a bit of a cack too: what the hell are they doing up there? Other friends seem to be smiling with happiness, knowing that this was all a bit of a laugh that appears to be coming together quite well. I think I see pride in a couple of smiles. One smile, all the way from The Windy City, shines brighter than the others and just makes me feel ridiculously happy. I jump about just like I would on the dancefloor until it is my turn to concentrate and mix.

There is a lot of equipment failure. At one random point the cross fader starts working in reverse so that you mix to the right deck by crossing to the left. Confusing but we have to just work around it. There are other problems to with the monitors and headphones, but we somehow get through it and minimise the damage. At no point does the crowd thin. It just seems to swell and it doesn't stop dancing once.

Such relief when the end is in sight. We've relaxed into this and managed to have fun. I feel comfortable up there. People have approached the decks throughout to say things like awesome set and Hello my friend - I did not know you DJ'd. First time, I reply through the smile I cannot get off my face.

The following DJ is Haig, a friend and a good DJ from way back. He is smiling as he comes into the booth to set up. "Enjoy that?"he asks, knowing the answer.

When our last track dies out, there is applause and cheering, a whistle here and there. It was not the smoothest mix ever played but overall the crowd enjoyed it and we made it through to the end.

Friends congratulate us with hugs and smiles. They say things like I knew you could do it and I knew you'd be good. One guy we've rarely talked to is all smiles as he tells us that he was so surprised to see us up there because he's only ever seen us on the dancefloor. All through the rest of the night I have complete strangers approach me, slap me on the back, say things like awesome set brother. One really got into the theme we had going, and I guess that means the tracks did go together. One guy was suripsed when we told him we had played downstairs and he said he was down there then, couldn't see who was playing from the back of the room but was really getting into it.

One of the promoters said she wanted us to play at their next party. Same promoter that about a year ago asked if we wanted to play at a party and I had drunkenly said hell yeah, maybe thinking it was never going to happen.

But it hapened. Stompy & Grumpy DJ'd, and the people, they danced and smiled. It was a pretty special night.

Meow To The World: A Crisis Is Born

I don't normally post reviews until they come out in the mag first, but given that the magazine review won't be out until this very short season is over, I thought I'd break that rule. If any of you are in Sydney this weekend and you want to see some great theatre, see Meow Meow at The Studio, Sydney opera House.

You could also see The Promise at Belvoir Street. Very different theatre but well worth seeing. Here's this review, which I agree with. Will post mine when the magazine is out... although there's probably little point given that Diana Simmonds' is more detailed than my little 300 worder.

For now, here's my 300 word review of last night's Meow Meow performance. I went along with three freinds who had no idea what to expect other than a cabaret performer I like a lot. All three had a great time and came away raving, instant fans. You probably can't get a better endorsement than that.


Meow To The World: A Crisis Is Born

The premise of this show was a Christmas in July deal, but on a budget. So the planned Christmas extravaganza the crazed cabaret Queen had in mind doesn't go quite according to plan. Then again, this is Meow Meow, so you pretty well expect mayhem and chaos to sashay into the rooom at any moment.

A short time into the show, after the audience is brow-beaten into adulation and flower-throwing (uncouth lot we were, Miss Meow supplied her own flowers), a props guy arived to take delivery of a couple of props that had been rented by the hour and not for the entire show. Meow Meow reluctantly took off her cocktail gown, glove and earrings and handed them over, then quite reasonably made her male band members also undress to their underwear while unleashing some hilarious invective on the Opera House's budget.

There were cabaret classics in various languages, some Christmas classics, a bit of fund raising by bare-kneed orphans, a chorus line of dolls, a dreamy dream sequence and of course a lot of crowd surfing. As with all Meow Meow performances, the mood swung from sophisticated to silly in seconds.

Musical highlights? For this besotted fan, Nick Cave's Red Right Hand and Laurie Anderson's The Dream Before. This last one was sublime, with Meow Meow imbuing what is a really poignant song with unexpected humour with the merest hint of inflection or subtle physical gesture, yet retaining the overall sentiment of the song. I truly didn't want any more after this. I wanted the performance to end on this note of perfection.

But perfection will never do with Meow Meow, and she brought her undies-clad band back for Surabaya Johnny. Touching, stirring, unpredictable... the night ended on a different kind of perfection.

Season ends July 26
LEE BEMROSE

Introducing DJs Stompy & Grumpy

Over the course of my silly little life I've accidentally managed to get my name on a poster or two, the cover of a novel (someone else's, not mine), lots of columns and feature pieces in magazines, and now - as you will see if you click on the image to the left - a flyer for a club night.

Yes, that's right, The Dreaded One (Stompy) and I (Grumpy) will be DJing at the Abercrombie next Saturday night.

Totally hilarious.

Do come play with us if you're in town. It will be fun. Promise.

What's Right With This Picture?

A secret special prize goes to the person who comes up with the best explanation for what the hell is going on in this picture. I mean, what is that expression all about? Why are the tins of minted peas and a little bag of lollies wrapped in cellophane? And check those girly purple mittens. Why is it happening on a Melbourne tram? What the hell is going on?

Any suggestions?

Bendy Grumpy

Most recent Grumpy column in Tsunami. Weird in that it's the third version of something I was trying to write for the blog. Came out different each time. Quite like this version. It's basically an amalgam of many benders had with good friends. Some of them are faint memories from years ago. Others are more recent fun times.

I love swan-diving into the abyss, I really do. But I also like that feeling of swimming to the surface and seeing the clearness again.

New people in my life now, and I totally adore... hang on. Tour de France. Gotta go.

Melbourne Memories

The days were long and sometimes lonely, but it was a pleasant kind of loneliness. Perhaps loneliness is not the right word at all... aloneness. Sometimes I wondered what I was doing there at all.

But the nights, short as they were, brimmed with laughter and good times. Countless funny little episodes as we gazed at the wonderful weirdness that is Dali, huddled laughing in a tiny theatre, or sunk into a couch in a bar and laughed at the antics of fellow drinkdancers.

On those short nights, I didn't wonder, was just glad that I was there at all.

The Weather And Your Health

Drained. Empty. Bit broken. Do love that I love people though.

Here's a thing I saw a couple of days ago: The Weather And Your Health. Sorry about the typos.

Need food. Going out for supplies. Back soon.

Peace

Peace is meeting an old friend, one who has angered you and who you have angered. Peace is accepting you have been wrong and they have been wrong too. Peace is that familiarity that is the foundation of love. Peace is the happiness you feel because you are in the same room as them, same life on planet Earth. Peace is the hug and the smile and the silent look that says I'm glad you are part of my life. Peace is accepting that although you may never see them again, there is a bond. Peace is the happiness you feel because no matter how far away they are, you know they are happy.

More Adventures With Faux Chefing

With regard to faux chefing, things have been quiet on the Big Pointy Building front so I've joined an agency and I've been a chef-for hire. (I was going to mirror the gun-for-hire thing but no chef tool sounds cool. A whisk-for-hire? A spatula-for-hire? A wooden spoon-for-hire?).

Anyway, I've picked up a bit of work and it's been interesting. I'm out of my comfort zone and I'm having to bluff for real now. It's okay at The Big Pointy Building because, as Leonard Cohen says, everybody knows.

But these new people, they don't know that I am not a chef, but rather than being up front about it, I am now willfully acting like I am a chef. I have to. These places are hiring freelance chefs, so I have to be a freelance chef.

My life of deception was going along fine until this week I was hired for six days by a large, very serious catering company... who from henceforthwithforth shall be refered to as The Very Serious Catering Company (VSCC).

The VSCC is located... oh it's located everywhere, but the venue I'm booked for is big to say the least. This is major league, kick arse stuff, and on the first day I'm running not quite late but sort of kind of getting into the red zone. It's a hike to get out there, and this massive stadium... it just feels empty this time of the morning. And I cannot for the fuck of it find this secret underground security entrance I'm supposed to enter through.

By blind luck and tippping my head in different directions to read the You Are Here bit on the map, I manage to find the underground entrance. I buzz for security. Affable security guy gets me to sign in, gives me my security wrist band.

"There ya go," Affable security Guy says, nodding me on.

"Right. Thanks - but go where?"

"Oh you've never been here before? Right. Haha. 'K. Go out here, hang a right, blahblahblahblah. Blahdy blah blah where you should find Bay 16."

I head off, by now deep into the red zone of being late, without technically as yet being late, and it quickly becomes apparent that the little underground road I'm following is the circumference of the stadium. I've had to go halfway around the damn thing on ground level to get here, now it feels like I'm walking the other half to form a complete circle.

I find Bay 13 and Bay 12 and it appears that I've been heading in the wrong direction. Fuckity fuck. I head back and back and pass the security entrance and keep going and going until I see some cleaners on a golf buggy and I ask them where Bay 16 is.

"Oh, it's back that way... it's a long way but you have to go back around...

You get the idea. By now I am definitely going to be late, I just hope it's not going to stand out too much.

Bay 13, it turns out, is the bay I should have been looking for. This is the catering entrance. I'f I'd just walked a bit further along I would have seen evidence of catering, like the signs on the doors saying things like 'Catering inside'.

I see a loading dock guy with a chef's apron on and ask him where I have to go. He takes me inside and it's the biggest, shiniest kitchen I have ever seen. I smack my gob. Seriously. My God.

Loading dock guy hands me a white frilly thing and tells me I have to have it. It's a strip of frilly paper. I have no idea what it is. I ask what it is. He smirks and pulls it apart and I realise I have to start the chef deception thing. I go oh riiight, and pull the frilly thing apart and put it on my head, hoping that it is indeed a hair net.

The guy takes me through these massive, empty kitchens to a couple of doors while I briefly wonder where the other chefs are. He send me through the doors and into the middle of a room of attentive chefs, maybe 60 of them. They all look impeccable in their chef whites and they listen to head chef concluding a rundown of the event as well as asking some pop questions about food handling.

They have all turned to look at me as I quietly sneak into the room dressed in my cargo pants and cammo hoodie, my kit slunbg over my shoulder. I squat down at the back of the room because there are no chairs left, and I listen to head chef go into so much detail about his demands and expectations and I realise that I am possibly very deep in the shit now. It feels very much like those dreams you may have had where you turn up for school not wearing any pants.

But this is so very real. Time slows as I wonder, really, what the fuck am I doing here. The room is so white with all this chef gear that it may as well have been a flamingo that just walked into the room. I think very seriously about bailing as soon as the meeting is over because I am clearly in over my head.

And then I wonder if I'm even in the right place. Maybe there's more than one catering facility at this massive venue. There must be. Maybe I should be at Bay 16 after all.

Back in the days when my insecurities fully had their way with me I would have been crushed. But mostly robust me was howling with laughter on the inside. It was too perfect a fuck up. But I also wondered, how the hell did everyone know about this meeting and that they had to be changed into their chef gear? Why was I the only one who didn't know?

Found out later in the day that it happens to a lot of newbies. The agency just doesn't know or doesn't bother to tell first timers.

Anyway, it was an up and down day but I seem to have gotten away with it. For two days now. Two down, four more to go.

Shun

He gets drunk again. He passes out on the couch again. He sleeps the sleep of the dead. Again.

In the morning she comes to him. They lie in each other’s arms and murmurtalk. She sits up and sees the knife on the coffee table. She stares at it for a while and eventually asks him, why is your Shun on the coffee table?

He looks at the knife. It’s a beauty of Japanese craftsmanship. So balanced. So sharp. It’s one of his beautiful things. His pen made from wood and stone. His mobile phone. His laptop. His special coffee cup from that market stall all those years ago. His Shun knife.

I don’t know, he says, I don’t know why the knife is there. It’s not where a knife should be.

They both think about this. He got drunk again. He passed out again. The warm living room, their soft place, it’s not where a knife should be. They both stare at the knife until she gets up and takes it to the kitchen where it belongs.

All day long he thinks about this. Why the knife, why there, why does he get so drunk? She probably wonders the same. It disturbs him a little because he really can’t remember. Things are not good, but are they that bad? There are still laughs. There are still wonderful people, the thought of them can make a smile. Are things that bad? Why the knife?

All day long. All day long, he wonders.

Then it’s time to go. It’s cold out but they want to go for food and wine. They want to go out and be amongst others. He must get dressed now. He thinks of his shoes. More of his nice things... and then he remembers. He is relieved and amused, tips his head back and laughs the laugh of the living.

What, she asks, smiling, what are you laughing at?

And he laughs and laughs.

Because he tried to go to bed. He made it into their bedroom. One shoe off with a drunken slip. The other shoe not so friendly. No slip. Stuck. Trapped. Struggle. No finesse with tight tight knot. Fingers fumble. Only one solution.

And true enough, there is the evidence. The shoe, slashed lace. They laugh and laugh, relieved. So him. So typical of him. So hopeless. So funny.

He threads new lace, smiling, knowing this will be fodder to make them laugh, but the fact remains, as the smile fades, he’ll get drunk again, he’ll pass out again, he’ll sleep the sleep of the dead again.

A Review of Jeff Green, Interview with Darren Gilshenan about Elling

Here are a couple of things seen recently, out in recent issues of Drum. Both were pretty good, although I thought the play was a bit long. Maybe I was just in a mood but I felt it could have had a substantial slab taken out of each act.

Still, it was good. Funny and really very moving underneath the humour. I thought Gishenan as Elling nailed it in the second act. Very impressive comic acting. And Yael Stone... what a talent. Saw her in the same theatre playing The Monster in Frankenstein. Inspired casting, shining talent.

If you've seen this production I guess I'm talking about scenes such as the poetry reading scene. As funny as that was - and it really was funny - it was just a diversion that didn't move the story forward. You can afford to do that in some plays but I just didn't think they got away with it here. But maybe I missed the point. I really felt the first act took a long time to get going, then after a solid start the second act slowed right down again.

Still. I still enjoyed it a lot. This isn't my review - that comes out next week (after I stayed up until 2am writing it because the mag said they needed it first thing in the morning... grr), these are just some notes off the cuff.

I interviewed a man called Serge today. French puppeteer behind Cabaret Decadanse. Story's due this Friday, out next Tuesday. Would like to post the audio but I think my technology is all wrong. Just seems a waste to, erm, waste interviews when they go all right. I think it went all right. He was pretty gracious, and the word 'sock puppet' rolled off his tongue only as it can when said by a gay French puppeteer. He seemed pretty cool.

Dance Like No One's Watching

This is currently a hot youtube hit. There are a couple of versions out there. I posted one on Facebook in which someone has dubbed over the footage with a track they are clearly promoting, cashing in on the popularity of the visuals. I had been a bit suspicious and found this version with the original sound. It's an hilarious clip. The guy's name is, apparently, Collin and he's from Canada. He's a dancing legend. Watch the clip all the way through. You willl smile so much it will hurt.

Get Out Of The House

I had to run across to Surry Hills Shopping Mall late one night last week for some last minute necessities. It can be a bit of a circus over there sometimes with some of life's fringe-dwellers passing through in all sorts of condition.

I went in, quickly hunted and gathered, got the hell out of there. As I passed an obviously down-and-out couple sitting on one of the benches, cheesy muzak playing emptily in the background, I overheard a bit of their conversation.

"But this is the second night we've been down here and it's been really boring both times."

She was obviously trying to convince him there was a better place to be. He was staring blankly at whoever walked past. It struck me as a particularly hilarious thing for her to have said. Brilliant!

Then as I returned to my warm, nice little home with its comfortable mess and its nice things, with its echo of friends and hugs and love and laughter, happiness and messiness, the full sadness of the woman's comment and the couple's situation really hit home.

There is funny shit everywhere... sometimes it's just not as funny as we think.

Bonkers... A Guilty Pleasure.

Funny - I've never been a Dizzee fan and Arman Van Helden doesn't do it for me... but this track kind of cracks me up. I like it.

Hank And Mike

Just watched Hank And Mike, an indie Canadian movie from a couple of years ago. It's about a couple of blue collar Easter Bunnies who lose their jobs due to down-sizing. Lovely concept. It's quietly very funny with one or two laugh-out-loud moments... although if you're more prone to laughing out loud than I am, which you probably are, you will enjoy a lot more than one or two laugh-out-loud moments. Not sure this trailer does it justice but it gives you an idea of what you're in for.

I liked it a lot.