Tag Archives: crossroads live

Review: Cats (Theatre Royal)

Posted in Theatre by

Venue: Theatre Royal (Sydney NSW), Jun 17 – Sep 6, 2025
Music: Andrew Lloyd Webber
Lyrics: T.S. Eliot, Trevor Nunn, Richard Stilgoe
Director: Trevor Nunn
Cast: Leigh Archer, Jarrod Draper, Des Flanagan, Lucy Maunder, Todd McKenney, Gabriyel Thomas, Mark Vincent
Images by Daniel Boud

Theatre review
It’s time again for a Jellicle Ball, but no prizes for guessing who gets chosen to ascend to the Heaviside Layer. Andrew Lloyd Webber’s Cats is now into its 45th year, and it may seem that what was for a long time passé and even embarrassing, is now once again au courant. Early synth music arrangements, and lyrical jazz choreography had become indicators of bad taste for perhaps more than two decades, but trends have evolved to a state where Cats seems to have firmly established itself today, as a true classic of the genre.

Dancers in the current Sydney production give the work an amazing sense of elevation; their agility and athletic capacities take our collective breath away. Axel Alvarez as Mr Mistoffelees, Chaska Halliday as Cassandra, and Claudia Hastings as Victoria, impress with incredible physical discipline, along with the fascinating characterisations they bring to their various feline manifestations.

The truly iconic Grizabella is played by a mesmerising Gabriyel Thomas, who brings much-needed gravity to her rendition of “Memory”. Jarrod Draper’s regal handsomeness as Munkustrap has us charmed and captivated, while effortlessly conveying authority as de facto leader of the pack. Mark Vincent’s commanding voice makes Old Deuteronomy a persuasive patriarch, and Todd McKenney’s whimsical turn as Asparagus proves a delight.

A work like Cats can easily feel a relic, but on this occasion there is more than nostalgia that it delivers. Performers are often charged with the responsibility of breathing life into something old, and when they succeed, the wonder inspired can be even greater than ever before.

www.catsthemusical.com.au

Review: And Then There Were None (Theatre Royal)

Posted in Theatre by

Venue: Theatre Royal (Sydney NSW), May 3 – Jun 1, 2025
Playwright: Agatha Christie
Director: Robyn Nevin
Cast: Jack Bannister, Eden Falk, Jennifer Flowers, Nicholas Hammond, Mia Morrissey, Peter O’Brien, Christen O’Leary, Chris Parker, Anthony Phelan, Grant Piro, Tom Stokes
Images by Jeff Busby

Theatre review
Agatha Christie’s And Then There Were None was, believe it or not, originally titled Ten Little N****rs at its time of publication in wartime 1939, but it is ten ostensibly white people who we witness to have descended upon an isolated island off the Devon coast, in South West England. The mysterious gathering proceeds to see its guests and staff killed off one by one, after the last boat has left.

The classic whodunit is given the most traditional of treatments by director Robyn Nevin, who brings polish to a tried-and-tested style of theatre presentation. Nothing is being reinvented, but the formula works well to have us involved in the crime-solving pleasure, that is characteristic of Christie’s oeuvre.

A lavish production design by Dale Ferguson transports us somewhere fabulously rich, with lights by Trudy Dalgleish adding to the glamorous imagery. Paul Charlier’s sound design helps to escalate tension, as the story moves along. The ensemble is cohesive and equally matched, although it may seem that performers are more effective rendering dramatic rather than comical aspects, of this Golden Age detective story.

Although approaching a century old, it is possible to perceive in And Then There Were None the perverse phenomenon of grievance by the wealthy, that is today so prominent a feature of our social ills. Like the victims invited to the Owens’ murderous mansion, we find ourselves subject to the absolutely unjustifiable vengeful actions of the wealthy, who very weirdly and perplexingly believe,  that their misery can be mended by inflicting all manner of punishment on us.

www.andthentherewerenone.com.au

Review: Elf: The Musical (Sydney Opera House)

Posted in Theatre by

Venue: Sydney Opera House (Sydney NSW), 19 – 29 Dec, 2024
Book: Bob Martin, Thomas Meehan
Music: Matthew Sklar
Lyrics: Chad Beguelin
Director: Eric Giancola
Cast: Brianna Bishop, Oscar Bridges, Simon Burke, Andrew Dunne, Gareth Isaac, Madeleine Mackenzie, Lara Mulcahy, Katrina Retallick
Images by Daniel Boud

Theatre review
Buddy embarks on a journey to New York to find his biological father, having recently learned that he is not a natural-born elf. Elf: The Musical was created several years after the success of the 2003 motion picture on which it is based, bringing further joy to the holiday season for audiences of all ages.

Under Eric Giancola’s effervescent direction, this stage version emerges as a comedic delight determined to leave crowds beaming with pleasure. Charming choreography by Mitchel Woodcock is a memorable feature, adding richness and dynamism to the narrative’s inherent momentum. Splendid video design by David Bergman increases the kineticism of the experience, working with our imagination to render believable a wide range of locations, as it delivers irrepressible colour and movement to have us mesmerised.

Performer Gareth Isaac plays Buddy with an appealing naivety, and along with his vibrant ebullience,  convinces us to invest in this story about an oversized Santa’s helper. As Santa, Laura Mulcahy’s natural charisma shines to great effect, completely enchanting with the confidence and humour she introduces. Simon Burke and Katrina Retallick are notable for their magnetism in the roles of Mr and Mrs Hobbs, both effortlessly captivating, as parental figures in Buddy’s search for belonging.

Christmas may always be first and foremost about the birth of a deity, but increasingly we regard it to simply be a time for togetherness and harmony. No matter our beliefs, it becomes a greater possibility during these festivities to lay down the arms, and to hold sacred a moment, if only for remembering to hope for peace on earth, and mercy mild.

www.sydneyoperahouse.com

Review: The Odd Couple (Theatre Royal)

Posted in Theatre by

Venue: Theatre Royal (Sydney NSW), 27 Jun – 28 Jul, 2024
Playwright: Neil Simon
Director: Mark Kilmurry
Cast: John Batchelor, Laurence Coy, Lucy Durack, Shane Jacobson, Todd McKenney, Penny McNamee Jamie Oxenbould, Anthony Taufa
Images by Pia Johnson

Theatre review
Felix and Oscar are living together, because both have recently divorced their wives. Although best friends, their personalities are wildly divergent and therefore  do not make the most compatible of housemates. Neil Simon’s 60-year-old play delivers nostalgia in spades, but The Odd Couple has clearly lost its relevance decades ago. Many will nonetheless find the humour appealing, within a presentational style that straddles between something charmingly classic and regrettably outmoded.

Direction by Mark Kilmurry remains faithful, to memories of 1960s New York. It is a slick production (on an attractive set design by Justin Nardella), with precise timing that ensures we know exactly where the laughs are situated. Actor Shane Jacobson is very strong with the comedy, never missing an opportunity to expand on Simon’s humour, in the role of the carefree Oscar. On the other hand, his counterpart Todd McKenney is perhaps not entirely convincing as the uptight Felix, but commendable for bringing a consistent verve to his performance. Lucy Durack and Penny McNamee are noteworthy as the Pigeon sisters, an inventive pair demonstrating remarkable capacity for enriching some perhaps more ordinary characters.

Theatre will always explore the silliness of being human. What is silly changes constantly however, just as what we feel to be funny rarely stays the same. When revisiting old comedies, we can discover how we have evolved, and be able to identify shifts in culture that reflect the transformations of values and attitudes. In The Odd Couple, we can see some aspects of life that have gone through dramatic metamorphosis, alongside others that have scarcely altered. Humanity is unlikely to ever become anything resembling pristine, but we certainly cannot help but try tirelessly to be better.

www.theoddcoupleplay.com.au

Review: Hairspray (Sydney Lyric Theatre)

Posted in Theatre by

Venue: Sydney Lyric Theatre (Sydney NSW), Feb 5 – Apr 2, 2023
Book: Thomas Meehan, Mark O’Donnell (based on the film by John Waters)
Lyrics: Marc Shaiman, Scott Wittman
Music: Marc Shaiman
Director: Jack O’Brien
Cast: Brianna Bishop, Rhonda Burchmore, Ayanda Dladla, Mackenzie Dunn, Bobby Fox, Todd Goddard, Asabi Goodman, Shane Jacobson, Sean Johnston, Javon King, Donna Lee, Todd McKenney, Carmel Rodrigues
Images by Jeff Busby

Theatre review

Tracy is a big girl, and because it is 1962, she was never meant to appear on TV. When Corny Collins looks past conventions to recognise Tracy’s talents and casts her on his variety show, Tracy quickly uses her new platform to instigate change on national television, by forcing the integration of Black and white Americans on screen. Whether one sees Hairspray as yet another “white saviour” narrative, or a story that is about true allyship, the musical’s feelgood charm is hard to deny. Characters and the story from John Waters’ original 1988 film are colourful and adorable. Songs by Marc Shaiman and Scott Whittman from this 2002 Broadway creation are irresistibly soulful. Perfect in so many ways, this is a show that is likely to keep returning for generations to come.

Performer Carmel Rodrigues is completely delightful as Tracy Turnblad, full of vibrancy as the spirited teen. Her legendary mother Edna is played by Shane Jacobson, who although never really convinces as the divine maternal figure, impresses with his vocal prowess. Scene-stealer Javon King’s immense talent and unequivocal star quality, only makes us want the part of schoolfriend Seaweed to be much bigger, even though he is in no way an insignificant element of the show. Asabi Goodman as Motormouth Maybelle, may require a bolder sense of confidence, but her solo rendition of  “I Know Where I’ve Been” is certainly accomplished, and an important statement about the unfaltering efforts of Black activists, even when their white counterparts claim the limelight.

It should come as no surprise that Tracy is a good feminist. The fact that she faces prejudice every day, from inhabiting a physicality deemed contemptible by so many, could only mean that she must understand the deficiencies of how things are run. Tracy knows also, that it is not only one’s size that could be weaponised against people. We see her fighting for Black rights, because injustice is simply injustice, no matter how it manifests. Good feminists must continue to hold the door open, once they have entered the room, and they must never forget that no one is to be left behind.

www.hairspraymusical.com.au

Review: Cinderella (Sydney Lyric Theatre)

Posted in Theatre by

Venue: Sydney Lyric Theatre (Sydney NSW), Oct 24, 2022 – Jan 29, 2023
New Book: Douglas Carter Beane
Lyrics and Original Book: Oscar Hammerstein II
Music: Richard Rodgers
Director: Mark Brokaw
Cast: Daniel Belle, Bianca Bruce, Tina Bursill, Josh Gardiner, Shubshri Kandiah, Nicholas Hammond, Ainsley Melham, Matilda Moran, Silvia Paladino
Images by Jeff Busby

Theatre review
Rodgers and Hammerstein’s exquisite songs for Cinderella were originally written for a 1957 television broadcast, and had taken more than half a century, to reach the Broadway stage. This 2013 adaptation with a new book by Douglas Carter Beane, transposes the old tale for the contemporary stage, carefully incorporating updates and modifications, to make Cinderella palatable for twenty-first century sensibilities. The amalgamation of the classic score with a modernised narrative, proves a delightful opportunity to re-acquaint ourselves with the most familiar of stories, only with a lot less misogyny.

Our poor girl Cinderella is no longer incapacitated and desperate. She is now well-read, smart, intuitive, and maybe even a little ambitious. Performed by Shubshri Kandiah, she is also hugely endearing, and incredibly graceful. God forbid, she might even be a little feisty. Aside from this surprisingly refreshing take on the famous character, Kandiah’s singing and dancing are resplendent, effortlessly transporting us to somewhere magical, and wonderfully innocent.

Prince Topher too has become more human. Given charming humour by the dashing Ainsley Melham, who matches in performance ability with Kandiah; the two look to be a pair made in heaven. Their chemistry is the stuff dreams are made of, and we want their union to succeed as much as they themselves do. Also very impressive is Silvie Paladino, who brings incredible skill and a delicious campness to the unforgettable role of Fairy Godmother. Paladino’s presence is so strong, as is her voice, that she makes her enormous dresses seem a natural fit.

The excellent transformation that occurs in this newer Cinderella, is not that the pauper becomes the princess, but that young girls can now see a version of the heroine being valued for all the right things. The aspiration is no longer just to marry well, but to become intelligent, resilient, kind and generous. This should always be the lesson to teach our young, should we decide to keep telling this story for centuries to come.

www.cinderellamusical.com.au