Review: Miss Saigon (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), Aug 17 – Oct 13, 2023
Music: Claude-Michel Schönberg
Lyrics: Alain Boublil, Richard Maltby Jr.
Book: Alain Boublil, Claude-Michel Schönberg (based on Madama Butterfly by Puccini)
Director: Laurence Connor
Cast: Abigail Adriano, Nick Afoa, Kerrie Anne Greenland, Kimberley Hodgson, Nigel Huckle, Seann Miley Moore, Laurence Mossman 
Images by Daniel Boud

Theatre review
The 1989 musical by Boublil and Schönberg, Miss Saigon has become increasingly contentious, as creative communities grow to be more inclusive of minority cultures, and learn to be sensitive to perspectives of those traditionally marginalised. Based on Madama Butterfly by Giacomo Puccini from 1904, the germination of Miss Saigon was always from a place of pity, and by implication cultural superiority.

It is no wonder that the show is widely regarded by the Vietnamese diaspora to be problematic, not only because of the inherently patronising attitudes, but also of the stunning disregard for any people who wish to be considered more than pathetic, desperate or undignified. One may choose to take the view that the creators’ intentions seem to be about sympathy and solicitude, but there is no denying that the three main Vietnamese  characters in the work, are nothing any viewer from any cultural background, would wish to aspire to. In the absence of any persons more respectable or indeed honourable, Miss Saigon represents a Vietnam that is essentially ignoble and debilitated, devoid of spirit and worth.

This revival, first presented 2014 in London, does little to address the contemporary concerns surrounding Miss Saigon. It retains the famed gimmick of a helicopter landing on stage, along with truly cringeworthy choreography appropriating military physicality of the “Yellow Peril”. Admittedly, lighting design by Bruno Poet is exquisitely rendered, and for this production, the orchestra is simply sensational, able to have us emotionally stirred throughout, even with all the absurdity of the most unbelievable love story.

Performer Abigail Adriano too is spectacular as Kim, the embarrassingly hopeless romantic at the centre of this drama. Adriano’s voice is crystal clear and replete with power, singing every note to sheer perfection, and along with her fierce commitment to portraying verve and passion for the role, we are nearly convinced, if not by Kim’s narrative, then definitely by the utter intensity of her emotions.

Kim is almost but not quite heroic, in a show that wishes to paint her as admirable. Through a Western feminist lens, Miss Saigon is to be criticised for choosing to depict a woman of immense fortitude and strength, only as forlorn and sorrowful, a long-suffering lover and mother who can only meet with tragedy at the conclusion. Even if we are to believe in her sadistic tale, there are plentiful other parts to her life that should take precedence, ones that are independent of her brush with a Westerner, and ones that demonstrate the inevitable joy and humour that must exist in any person’s astounding capacity for survival in those circumstances. Instead, we only see Kim at her worst, before witnessing her completely gratuitous demise.

Other notable cast members include Nigel Huckle who plays Chris, the Pinkerton equivalent, with appropriate wholesomeness, in a work determined to have the straight white male offering the only beacon of light, in what is really a no-win situation. Laurence Mossman’s restraint as Thuy proves a valuable element, in something that revels in being overwrought and fantastical. The Engineer is played by Seann Miley Moore, who brings an excellent flamboyance, but who leaves the part feeling somewhat surface, unable to protect him from being mere caricature.

Musicals are big business, at least in the world of art. It makes commercial sense to bring Miss Saigon back, if the main intention is financial, and indeed survival, for the many individuals and organisations involved. This argument is however, too convenient. Those who choose to work in the arts, should not be forgiven for putting money ahead of the socio-cultural impact their work may bring. There are many professions that are unashamedly about the pursuit of material wealth, and making art is simply not one of those. The artist’s life is hard, not only because the very nature of creativity and invention is difficult, the artist has to always prioritise their search for truth and meaning, over any desire for wealth and esteem. Certainly, the artist must participate in activities that are less than idealistic, there are countless opportunities for one to compromise, but when the damage can be deep, as in this case involving ongoing trauma from a widely reverberating calamity, we simply have to say no.

www.miss-saigon.com.au

Review: idk (Force Majeure/Carriageworks)

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Venue: Carriageworks (Eveleigh NSW), Aug 23 – 26, 2023
Director: Danielle Micich
Cast: Gabriel Comerford, Adriane Daff, Merlynn Tong
Images by Brett Boardman

Theatre review
In the devised performance named idk, two women are seen to be strong and powerful, never short of agency in whatever circumstance they find themselves. Yet, we sense a distinct and persistent lack of safety for their existence, as though sharing a subconscious awareness about a world in which power resides elsewhere. Much as the women appear to be in charge of their destinies, real control proves elusive. The man in the piece may not be presented as the kind who struts around like he owns the joint, but when the genders collide, something happens in between, that gestures to the pervasive imbalance we know to be real.

Directed by Danielle Micich, idk is a beautiful work, never sufficiently engaging in emotional and intellectual terms perhaps, but certainly a feast for the eyes and ears. Set and costumes by Anna Tregloan are thoroughly elegant, with hints of vibrancy reflecting an adventurous spirit that informs the entire production. Damien Cooper’s lights are unremittingly dynamic, keeping us intrigued and engrossed in what the human bodies on display are conjuring next. An unmistakable sensuality is conveyed via illumination, as well as through music and sounds by Angus McGrath, who inspires visceral responses at will, completely delightful with all that he adds to this fascinating production.

Performers Gabriel Comerford, Adriane Daff and Merlynn Tong not only showcase inventive and exquisite use of body and voice in idk, it is a notable soulfulness in their presentation that provides elevation, to something that could have easily left us feeling confounded and empty. Their resolute presence keeps us invested, and therefore receptive to what they have to say, in ways that expose the recurrent inadequacies of words.

We observe in idk that characters of both genders are discontented with the way things are. Of course, we know that the male has the upper hand in so much of how we operate, but he too is filled with frustration. Sitting on top may be better than languishing down below, but in a system where virtually no one is truly happy, it is peculiar that everyone does so much to maintain the status quo. We are terrified of burning the house down, because we have yet to hatch a satisfactory plan for its replacement, or maybe we are more than slightly suspicious, that we will simply erect a facsimile that will inflict the same horrors again.

www.forcemajeure.com.au | www.carriageworks.com.au

Review: Saturday Girls (25A Belvoir)

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Venue: Belvoir St Theatre (Surry Hills NSW), Aug 9 – 27, 2023
Playwright: Miranda Michalowski
Director: LJ Wilson
Cast: Mym Kwa, Lucy Burke, Candice Mejias, Brandon Scane
Images by Phil Erbacher

Theatre review

Joey and Sam are besties at high school, both girls demonstrating excellent control over their bodies when rehearsing with their dance team, but who are only now starting to negotiate their personal autonomies, in a world that never really knows how to deal with sexual agency in young women. Saturday Girls by Miranda Michalowski offers a look at the awkward years, of teenagers trying to own their sexualities, before understanding any of the complexities involved. It is a humorous work, in a style more appropriate for younger audiences perhaps, with good attempts at exploring the deeper dimensions of adolescence, from a burgeoning writer who is evidently, and rightly, still bewildered by adulthood.

Teenage clumsiness is portrayed with accuracy by director LJ Wilson, who renders for every character an earnest innocence, alongside a comedy that is somewhat trite in approach, although school-age viewers could very well relate to a tone of performance, that some of the older generations find alienating.

Set design by Soham Apte features a simple but elegant representation of the gym where Joey and Sam spend their time, with ample space to accommodate all manner of creative physical configurations. Esther Zhong’s costumes are attentive to the personality types being depicted, and protective of the bodies being put under scrutiny. Lights by Aron Murray and sound by Sam Cheng are helpful in conveying tonal shifts in the storytelling, but would benefit from being slightly less predictable in approach.

Joey and Sam are played by Lucy Burke and Mym Kwa respectively, both actors displaying admirable commitment to the cause, and highly convincing as Year 10 students at a difficult stage of being neither children nor adults. Supporting players Candice Mejias and Brandon Scane bring wonderful playfulness to Saturday Girls, vibrant but also considered, in their expressions of youthful folly.

It takes time to become a woman. One needs to learn about all the ways she is vulnerable, in a world that has for centuries relegated her as inferior, and therefore available to be exploited, used and abused. We protect our children, but are terrified that they may learn the truth of what we are protecting them from. They are therefore subject to a long sequence of awakenings, that are sobering and enraging, but also at times, pleasurable. There seems no easy way. For as long as we insist on bringing life into existence, innocence will be ravaged, but we remain hopeful that their time on this plane will somehow be better.

www.instagram.com/sourcherry.productions | www.belvoir.com.au

Review: The Weekend (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Aug 5 – Sep 10, 2023
Playwright: Sue Smith (based on the novel by Charlotte Wood)
Director: Sarah Goodes
Cast: Roman Delo, Belinda Giblin, Melita Jurisic, Toni Scanlan, Keila Terencio
Images by Brett Boardman

Theatre review
Adele, Jude and Wendy are congregating at their recently deceased friend Sylvie’s beach house, to organise its sale. Charlotte Wood’s novel The Weekend deals with bereavement, through which we explore the meanings of life and of friendship, for women in their twilight years. Sue Smith’s adaptation is a gently humorous stage version, that offers a glimpse into the challenges faced by three fiercely independent and professionally accomplished women, in a world that is not quite built for them.

Directed by Sarah Goodes, The Weekend is occasionally amusing, but with an intense melancholy that reflects a disquieting anxiety associated with the ageing process. Music by Steve Francis provides a sense of longing, one that relates perhaps to the dissatisfaction with a world that routinely neglects older women. Madeleine Picard’s sound design transports us to the idyllic coastal towns of Australia, where we are persuaded to yield to its seductive languor.

Stephen Curtis’ scenic design too, is evocative of that lazy beach life, along with costumes by Ella Butler that depict exactly, the class of people we are looking at. Damien Cooper’s mellow lights tell of the quiet maturity being portrayed. The three leading ladies, Belinda Giblin, Melita Jurisic and Toni Scanlan, offer distinct characters, each one dignified, authentic and intriguing. Puppeteer Keila Terencio brings the enfeebled but charming dog Finn to glorious life, and Roman Delo plays the part of young artist Joe with a charming irony, adding a dose of whimsy to the staging.

Much of The Weekend can feel strangely unaffecting, but there is no mistaking the importance of the discussion. It is true that Adele, Jude and Wendy have each other, but they deserve more. Western culture regards age and death with a grim disdain, that consigns our elderly, especially those of the female gender, to obscurity, leaving them marginalised and abandoned. Unlike the rest of the world, we do not honour the old. We consider our mastery at creating material wealth, to mean a superiority, and refuse to adopt values from other cultures that are plainly virtuous, and beneficial to societies at large. It is a privilege to experience life as an old person, and all our communities should make it a privilege as well, to have the elderly integral to the way we do things.

www.belvoir.com.au

Review: Elvis: A Musical Revolution (State Theatre)

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Venue: State Theatre (Sydney NSW), from Aug 2 – Sep 10, 2023
Book: David Abbinanti, Sean Cercone
Director: Alister Smith
Cast: Annie Chiswell, Sienna Embrey, Joti Gore, Ben Hall, Rhys James Hankey, Matt Heyward, Jo-Anne Jackson, Zuleika Khan, Rob Mallett, Noni McCallum, Connor Morel, Aidan O Cleirigh, Ian Stenlake, Hanlon Innocent, Kirby Burgess, Charly Williams
Images by Daniel Boud, Ken Leanfore

Theatre review
The King of Rock and Roll may have had an eventful life, but it is ultimately his music and enduring influence on pop culture that matters the most. In Elvis: A Musical Revolution, the legend is portrayed from childhood to the very pinnacle of his career, featuring a string of evergreen hits (faithfully and propulsively re-orchestrated by Daniel Puckey) that will forever be associated with the icon. The book by David Abbinanti and Sean Cercone might feel deficient and unremarkable, in efforts to encapsulate an epic narrative, but the star’s incandescence persists throughout the piece regardless.

Performer Rob Mallett could very well have presented a show paying tribute just singing and dancing, without all the attempts at delivering a narrative, and the audience would have been equally thrilled. Mallett’s skill at impersonating the idolised figure might be nothing short of astonishing, but it is his ability to captivate and connect, as a preeminent artist of the live format, that makes the show an electrifying experience. With his incredible vocal range, and a confident and dexterous physicality, Mallett transcends mimicry, to have us infatuated all over again with one of the world’s greatest sex symbols.

The entire cast is commendable, full of vim and vigour, in their support of an exceptional leading man. Choreography by Michael Ralph takes every opportunity to provide excitement, in addition to his responsibilities in recreating the king’s unforgettable moves.  Costume design by Isaac Lummins too, is exquisitely rendered, for an Elvis wardrobe that is at once authentic and elevated, able to help us recall the many striking images indelible in our collective memory.

Other design aspects however are less than impressive, in a production that often looks unimaginatively assembled and insufficiently opulent, for this reminiscence of the most flamboyant of entertainers. Video projections are especially poorly administered, failing to add clarity to the storytelling and making the overall visual aesthetics even more disappointing. The production is directed by Alister Smith, who must be given credit for finding ways to bring true sentimentality beyond the smoke and mirrors of the musical genre, but much of the show feels to be a work in progress, yet to uncover its full potential.

Elvis Presley paid an inordinately high price for fame. His story is eventually tragic, but on this occasion we are thankfully spared having to go through those heartbreaking final days. What he left behind is endlessly inspiring and unequivocally glorious. In Elvis: A Musical Revolution, we are miraculously able to rekindle that unparalleled magic, complete with a myriad somewhat characteristic imperfections.

www.elvisamusicalrevolution.com.au

Review: Constellations (Sydney Theatre Company)

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Venue: Wharf 1 Sydney Theatre Company (Walsh Bay NSW), Jul 29 – Sep 2, 2023
Playwright: Nick Payne
Director: Ian Michael
Cast: Johnny Carr, Catherine Văn-Davies
Images by Prudence Upton

Theatre review

The one certainty in Nick Payne’s Constellations, is that Marianne and Roland met one fateful day. Whatever happened thereafter, becomes a series of infinite and random configurations, in a play that explores the nature of consequence, and the idea of boundless possibilities. Things could have ended between the two after a single exchange, or a lifetime of connectedness could have eventuated, or indeed a myriad of combinations in between. Maybe all that can be imagined, does in fact take place simultaneously, in a world that is much bigger, much less ordered and linear, than we usually believe to be true.

Unequivocally intellectual, Payne’s writing is also witty and heartrending, offering the stage opportunities for a theatre that engages both mind and soul. Directed by Ian Michael, all of Constellations‘ immense potentialities are realised, in a production that absolutely captivates, to deliver an experience satisfying on every level, and leaving its audience deeply contented yet full of wonderment, newly curious about our planes of existence. Furthermore, as a work of classic drama, Constellations is intensely moving in its rendering of a love story, but also consistently and effortlessly funny, in many comedic moments that Michael instils exactingly, yet with an unmistakable lightness of touch.

Designed to perfection, the show features a glorious set by Isabel Hudson that is sure to take one’s breath away, from the very first encounter upon entering the auditorium. Dark gleaming surfaces depict characters in timelessness, floating as though representing both the material and immaterial, in a play that ventures inevitably into esoteric spaces. Benjamin Brockman’s spectacular lights coax responses from our emotions and senses, in the most detailed ways, ensuring  that heads and hearts follow each step of the complex plot, never for a moment disengaging from the presentation. Music and sounds by James Brown bring sublime beauty to the show, along with depths of profundity that the body understands more than the cerebrum, allowing enjoyment and appreciation of the show to extend viscerally.

The seamless collaboration between all aspects of the staging, is incredible to witness, including the two extraordinary performers, whose unsurpassed generosity and integrity, make Constellations unforgettable. As Roland, actor Johnny Carr brings interpretations and impulses that feel entirely natural, to a text notable for its abstractions. Every vacillating scenario is made believable and rational, with an unabating charisma that keeps us endeared to each mutation of the story. The mesmerising Catherine Văn-Davies is interminably dynamic in the role of Marianne, brilliantly inventive with each refreshed delivery of dialogue, physically manifesting the infinitude that is so resolutely central to the text. The sentimental dimensions of the play are crucial to sustaining our engrossment, and Văn-Davies’s commitment to portrayals of human vulnerability keeps us riveted to the unusual storytelling. Above all, it is the extraordinary chemistry between both players that makes this theatrical moment a special one, with a partnering that invites us to perceive love as an entity beyond conventional prescription. We are as magnificent as we allow ourselves to envision.

The gravity we bear in navigating life is partially tangible, and partially in the mind’s eye; there are portions more real and portions mutable. Finding ways to dissolve the boundaries that constitute meanings of selves, or in other words, to free oneself from definitions that necessarily impose constrictions, is to release the self to an expansiveness that must mean exaltation and peace. Constellations could be seen as a meditation on zen doctrines, or at least be a key to one instance of bliss.

www.sydneytheatre.com.au

Review: Mr Bailey’s Minder (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), Jul 28 – Sep 2, 2023
Playwright: Debra Oswald
Director: Damien Ryan
Cast: John Gaden AO, Rachel Gordon, Albert Mwangi, Claudia Ware
Images by Prudence Upton

Theatre review

Therese is in no position to wait for a better job, so she takes on the challenge of caring for Leo, an artist of great renown who has no redeeming features, except for his exceptional paintings. Debra Oswald’s Mr Bailey’s Minder is about salvation, even for the worst of us. It is a wonderful sentiment, that all of us should deserve hope, but even though there is a lot of truth in the old saying, ‘let them who are without sin cast the first stone,’ to forgive Leo and endear to him, is perhaps too much to ask of some audiences.

Like his daughter Margo, we find it mostly an absurd idea, to indulge in the fantasy that a man with decades of transgressions, should be essentially good and therefore worthy of love in his twilight years. The complete predictability of the plot, along with the lacklustre dialogue, makes for a play that feels even more passé than its two-decade age might suggest. Certainly its intentions are wholesome and pure, and this staging by director Damien Ryan reflects those very decent virtues appropriately. The show feels spirited, almost charming at times, and it is unsurprising that some might be led to find it a meaningful story to invest in.

Abstract elements of Soham Apte’s set design are charmingly considered, although its colour palette could benefit from a little restraint. Apte’s work on costuming is more effective, rendered with a detailed eye to help us achieve an understanding of characters from first glance. Lights by Morgan Moroney are remarkable for subtle and astute calibrations that ease us through constant vacillations between comedy and drama. Sound design by Daryl Wallis is minimal but realistic, with occasional interlude music offering a hint of elegance.

Actor John Gaden is extremely likeable as Leo Bailey and, therefore, elicits conflicting feelings about a man who has ostensibly done a lot of harm throughout his lifetime. Gaden’s palpable chemistry with each member of cast, makes everything magically palatable. Playing Therese is Claudia Ware whose warm exuberance compels us to persist with the tale. Albert Mwangi too is charismatic in dual roles, captivating whether as the deviant Gavin or the delightful Karl. As Margo, Rachel Gordon’s humour is a highlight, enjoyable enough for us to excuse her inability to make convincing her character’s eventual change of heart, regarding the contemptible patriarch.

Forgiveness is the most honourable quality one can learn to cultivate, but is admittedly difficult to engender with erstwhile offenses, and nigh on impossible to instil when wrongdoings are ongoing and recurrent. In Mr Bailey’s Minder one could detect a real need for grace, and that impulse is prudent and true. Also true, is that we need to see evil for what it is, and find ways to recognise that confronting discord, and not fall into delusions to make absolution easier. Furthermore in our art, benevolence should perhaps play a subordinate role, to chastising those who deserve it. Leo may be a great artist, but he is also a horrible man, and choosing to forget the inconvenient half, is unconscionable.

www.ensemble.com.au

Review: Pitchfork Disney (Meraki Arts Bar)

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Venue: Meraki Arts Bar (Darlinghurst NSW), Jul 20 – Aug 5, 2023
Playwright: Philip Ridley
Director: Victor Kalka
Cast: Jane Angharad, James Hartley, James Smithers, Harry Winsome
Images by Clare Hawley

Theatre review

Haley and Presley are siblings who lock themselves up at home all day, indulging in chocolate and drugs, as they tell each other endless tall tales to pass the time. When Cosmo appears quite unexpectedly, we find the sanctuary suddenly perilous, as the stranger threatens to disrupt the household’s long-standing equilibrium. The many anecdotes shared by characters in Philip Ridley’s Pitchfork Disney are replete with fear and darkness, reflecting an anxious pessimism that no doubt was present during the writing process, although an ironic humour is certainly involved as well, in a bizarre work that proves to be as quirky as it is morbid.

The production is full of intrigue, with director Victor Kalka exploring the text’s curious nature to deliver, an experience memorable for its fascinating experimentations with the abstract. Kalka’s set design is noteworthy for its finesse and believability, and some of his costume pieces are wonderfully outlandish, if somewhat paradoxical for a show concerned with decay and dilapidation. Lights by Jasmin Borsovszky are effective in moments of heightened drama, but can sometimes be too abrupt in the rendering of an ambitious vision.

In the role of Presley is the marvellous James Smithers, whose brilliant performance as a man in a state of arrested development, keeps us on edge for the entirety. His work is beautifully measured, courageous and intelligent, and although seeming to be in total control for the whole 90 minutes, it is Smithers’ capacity for vulnerability that provides this staging its truest artistic merit. Harry Winsome plays Cosmo with commendable vigour, and along with Jane Angharad’s buoyancy as Haley, they create enjoyable dimensions for Pitchfork Disney that are commensurate with the play’s eccentric spirit. James Hartley too is amusingly kooky, when he appears late in the piece as the mysterious Pitchfork.

Writing can be an isolating exercise. For some, to hide from the real world is to delve into the greatest creativity, and to unearth the deepest secrets one can harbour. There is no question, that the outside is full of terror and dread, and one can easily be tempted to retreat into the innermost spaces for refuge, perhaps as a gesture of surrender, or maybe as an attempt for finding the greatest incontrovertible truths. To go inside is to access the most precious of human experience, but to remained closed off from the big scary world, is the worst a person can do.

www.virginiaplaintheatre.com | www.meraki.sydney

Review: The Turn Of The Screw (Seymour Centre)

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Venue: Seymour Centre (Chippendale NSW), Jul 21 – Aug 12, 2023
Playwright: Richard Hilliar (after Henry James)
Director: Richard Hilliar
Cast: Kim Clifton, Martelle Hammer, Lucy Lock, Harry Reid, Jack Richardson​
Images by Phil Erbacher

Theatre review

A young woman is hired to be governess at an English country estate, where she is to care for 12-year-old Miles and his younger sister Flora. The unnamed governess soon discovers strange goings-on and decides that the house is haunted. The children too are not quite what they seem. Richard Hilliar’s stage adaptation of The Turn of the Screw, is a savvy reframing of Henry James’ 1898 horror novella , that accommodates judiciously, our contemporary sensibilities. It is the same old story, but adjusted for the ways we now talk about child abuse and mental health. Thankfully, supernatural elements are very much kept intact, allowing us to enjoy both the realistic and the metaphysical aspects, of this spooky tale.

That amalgamation of period and modern styles, is seamlessly rendered by Hilliar, who as writer and as director, delivers an experience that addresses our need for a certain veracity in nostalgic terms, but with a rhythm and pace that is unmistakeably of the present day. The show moves quickly and boldly, switching from taciturn to explicit when required, to ensure that we invest in the historical context in meaningful ways. The production may not always hit the mark with its scary elements, but it is definitely creepy enough to keep us on the edge of our seats for its entirety, making us give full attention to the highly intriguing occurrences.

A very handsome set design by Hamish Elliot lures us into this foreboding domain, while efficiently addressing the many practical stipulations of the production. Angela Doherty’s costumes are assembled to convey authenticity, not just in terms of era but also of class. Lights by Ryan McDonald do a splendid job of traversing oscillating states of realism, able to engender warmth in one moment, and then swiftly switching to depict terror the next. Sound and music by Chrysoulla Markoulli are richly rendered, especially for the many instances of heightened dramatics.

Actor Lucy Lock demonstrates impressive versatility as the governess, believable whether doting and tender, or in complete panic and hysteria, beautifully nuanced with her interpretation of the dynamic role. Jack Richardson is sensational as Miles, with excellent humour and a knack for making every extravagant gesture feel convincing and appropriate. Kim Clifton’s exemplary commitment never lets us diverge from the notion that Flora is a child, thus raising the stakes continually, as the plot unfolds. Housekeeper Grose is played by a remarkable Martelle Hammer, whose prodigious range is showcased perfectly, in a play that lets her perform at ever changing levels of intensity. The irrepressible Harry Reid establishes a tone of devious mischievousness in the opening scene, and although appears only for that singular instance as the children’s uncle, proves unforgettable with his flair for subtle expressions and delicious timing.

When we talk about ghosts, we are opening the doors to pasts that yearn to be exhumed. In order for life to move on, so much of what we have encountered needs to be left behind. Trauma especially wants to hide away, in order that we may awake to every new dawn. Pain however refuses to be muted. It finds ways to manifest, sometimes in the flesh, sometimes in the mind, be it physical, emotional or spiritual, trauma always resurfaces. Ghosts may be an allegory for the return of anguish, but they may also very well be assertions of truths that simply will not be denied, come hell or high water.

www.seymourcentre.com | www.toothandsinew.com

Review: Sweeney Todd (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), Jul 22 – Aug 27, 2023
Music and Lyrics: Stephen Sondheim
Book: Hugh Wheeler (based on the play by Christopher Bond)
Director: Stuart Maunder AM
Cast: Kanen Breen, Jeremi Campese, Antoinette Halloran, Ben Mingay, Benjamin Rasheed, Ashleigh Rubenach, Harry Targett, Margaret Trubiano, Dean Vince
Images by Daniel Boud

Theatre review

Returning to London from exile, Sweeney Todd discovers that his wife had died by suicide. An unquenchable thirst for vengeance soon overwhelms him, thus begets Sweeney Todd: The Demon Barber of Fleet Street. The macabre comedy of Stephen Sondheim’s 1979 musical (with a book by Hugh Wheeler), proves once more to be sheer delectation. This latest revival under the direction of Stuart Maunder AM, feels refreshed and energised, delivering wondrous amusement as though no time has passed since its inception.

Set design by Roger Kirk is perfectly proportioned to draw us into its 18th Century depictions of disquieting squalor, convincing us that corruption and depravity await at every corner. Kirk’s costumes are appropriately theatrical, but they are also relied upon to convey authenticity while remaining practicable and flattering for the cast. Lights by Philip Lethlean move us accurately through the constantly varying moods and tones of Sweeney Todd, whether fantastical, slapstick, romantic, or horrifying, in a production that aims to have it all. Sound design by Jim Atkins adds layers of atmosphere to enhance the storytelling, as conductor Simon Holt brings drama and urgency to the very polished staging.

Performer Ben Mingay is irrepressibly broody as Sweeney Todd, commanding with his voice, but not always sufficiently agile in adapting to the shifts in presentation styles required of the show. Mrs Lovett is played by an exquisite Antoinette Halloran, captivatingly flamboyant but also precise in approach, ceaselessly entertaining, and irresistible with her charm, as she explores every nuance in a role that suddenly seems newly complex. Extremely noteworthy is the incandescent Jeremi Campese, who as Tobias Ragg introduces unexpected warmth and poignancy to an outlandish tale, leaving a remarkable impression as an artist admirable for both his technical and impulsive capacities.

People are dropping like flies in London town, but no suspicions are raised, as the populace indulges in improbably affordable meat pies. It appears to be true, that we routinely choose not to know how the sausage is made, preferring always to devour that which is pleasurable, and neglecting inconvenient ethical considerations. Our lives have become bounded by modes of consumption, in which we think only of utility, leaving the true costs of things to be left buried, as though the system of resource allocation is never going to fail. Even as reports emerge constantly about the dangers and failures of this way of life, we turn a blind eye, evidently resigned to our certain extinction.

www.sydneyoperahouse.com