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The transformations are all the more impressive for their minimal use of make-up or prosthetics; Lilley’s performances are all about voice and mannerism.In character (usually as deluded individuals who consider themselves legends while everyone else considers them dickheads) he’s convincing, engrossing, and very funny.A sixteen year old Queen Bee, a disruptive Tongan teen, a juvenile offenders’ officer in her sixties, feckless teenage twins, a flamboyant drama teacher, a pushy Japanese mother…Chris Lilley puts on a wig, an outfit (and sometimes, a controversial bit of face paint) and becomes them all.Surprisingly, given his skills in composition, Lilley wasn’t a stage school brat, but as he tells it, an authority-avoiding low-achiever often taken out of class for one-on-one attention.Teaching was set to be Lilley’s profession before he left university to start a stand-up career.

That 2005 series garnered awards of its own, and introduced recurring Lilley characters Daniel and Nathan Sims, rural twins one of whom is deaf, and Ja’mie King, a toxic, bigoted Queen Bee at an expensive private school girl.Lilley spoke to Pacific Islander families and interviewed groups of Tongan and Fijian school-age boys, as well as to their teachers.The way he tells it, he’s never experienced anything but warmth and good humour from the Pacific Islander communities about his representation of Jonah and his family.Though she's unlikely to take it as a compliment, Lilley says his sister and her friends were part of his inspiration for Ja’mie, as well as the Sydney girls he grew up amongst once his private school went co-ed.He tells interviewers that his sixteen-year-old niece and her circle provided more up-to-date inspiration for the character, from their self-choreographed (and self-important) contemporary dance pieces to their teenage parties, at which he made a point of being a fly on the wall.

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