Review: The Credeaux Canvas (Lambert House Enterprises)

Posted in Theatre by Suzy Wrong

lamberthouse Venue: Seymour Centre (Chippendale NSW), Jan 29 – Feb 14, 2015
Playwright: Keith Bunin
Director: Ross McGregor
Cast: Emilie Cocquerel, Carmen Duncan, Felix Johnson, James Wright

Theatre review
In Keith Bunin’s The Credeaux Canvas, the commodification of art and youthful ambition are explored through the intertwined lives of three young Americans in 2001 New York City. This is a story of broken dreams and deceit, as well as the often underplayed hardships of growing up. On the surface, Bunin’s characters have everything in the world going for them, each with talent, intelligence and social access, but they make choices that are doomed from the start, and all have to pay the price for their mistakes. The play delves into relationships and events, but leaves us to question the ways humans err, and to investigate what it is that likens us to the moth that gets burned by a flame.

This is a handsome production, beautifully and thoughtfully designed to evoke an accurate sense of time, space, and drama. Emma Vine’s set of a dilapidated apartment is executed with sophistication and flair, and lighting by Liam O’Keefe adds variety and nuance to scenes with careful subtlety. A highlight of the show is music by Christopher Gordon, who takes charge of scene transitions with great imagination and impressive elegance.

Ross McGregor directs the show with a passionate sensibility. He tries to keep scenes active and lively, but is restricted by individual abilities of his cast. Leading lady Emilie Coquerel is polished and energetic, but her character never feels believable enough, although it must be said that her transformations are depicted with good clarity. The key role of Winston is played by James Wright, who brings a natural naiveté to the painter’s wide-eyed entrance into adulthood. Both Coquerel and Wright can be overly self-conscious, most notably in a nude scene where the actors engage uncomfortably in a long conversation, revealing not much more than their bodies.

Felix Johnson is a dynamic performer who shows great commitment in his supporting part of Jamie, with an endearing emotional volatility that allows us to identify and engage with his narrative. Veteran actor Carmen Duncan appears in just one scene, but blinds the audience with her formidable talent and skill. She plays art collector Tess with sensational presence and brilliant humour, captivating the crowd in a way that only extensive experience and that enviable star quality can.

Death is mentioned several times in The Credeaux Canvas, and indeed, life is short, and although we only have one chance at it, mistakes are made so that they can be rectified, and through regret, we can grow. There is a darkness to the play’s conclusion with its characters finding themselves at a juncture where they can either continue on roads of destruction, or make a change for the better. It is a significant point in time for them, but their story gives us the knowledge that every moment is an opportunity to move, from the dark to the light.

www.facebook.com/credeauxcanvas

18Jan2015

Review: The Winslow Boy (The Genesian Theatre)

Posted in Theatre by Suzy Wrong

Venue: The Genesian Theatre (Sydney NSW), Jan 17 – Feb 14, 2015
Playwright: Terence Rattigan
Director: Nanette Frew
Cast: Matthew Balkus, Meg Mooney, Lois Marsh, David Stewart-Hunter, Sonya Kerr, Lachlan McNab, David Prickett, Tom Massey, Jane Thorpe, Mehran Mortezaei, Roger Gimblett

Theatre review
Terence Rattigan’s 1946 work The Winslow Boy centres around the theme, “let right be done”, and its distinction from the concept of attaining justice. Not a great deal is made of this intellectual dissection in Nanette Frew’s direction, but in place of philosophical depth is quaint nostalgia and lighthearted entertainment. The interpretation is anti-naturalistic, with more than a hint of stylistic emulation of English theatre and life in the 1910s, resulting in a production that is staid and distant to begin with, but slowly warms up to something that is ultimately quite delightful.

There are good performances in the piece, including Sonya Kerr who plays Catherine Winslow, a suffragette finding her way through a changing world for women. Kerr is vibrant and playful, bringing a fun liveliness to the space. Her enthusiasm is not always matched by colleagues, but her persistence pays off and she creates the most engaging character of the show. In the role of Sir Robert Morton is Roger Gimblett whose chemistry with Kerr is a highlight. Gimblett is a dynamic actor who delivers effective drama, but would benefit with greater familiarity with his lines. The master of the house Arthur Winslow is performed with elegant gravity by David Stewart-Hunter who is a convincing patriarch, if a little oversubtle in approach.

Many audiences love a period piece, and Genesian’s The Winslow Boy satisfies on some levels. Cosmetically, it is well put together (especially Sandra Bass’ hats and Sharon Case’s wigs), but much of the execution feels surface, with characterisations and storytelling requiring further development. The production gives its creators much to be pleased about, but bars can always be raised higher in artistic expression, even when tackling a century old tale.

www.genesiantheatre.com.au

16Jan2015

Review: Short+Sweet Theatre 2015 Top 80 Week 2 (Short+Sweet)

Posted in Theatre by Suzy Wrong

shortsweet Venue: New Theatre (Newtown NSW), Jan 14 – 18, 2015
Festival Director: Pete Malicki
Image by Sylvi Soe

Theatre review
Week two of 2015 Short+Sweet Theatre features a wealth of talent. There is exciting writing, clever direction, inspired acting, and sharp costuming to be found peppered through the night. Although no single work is able to be outstanding in every creative capacity, memorable moments are many, and the event continues to be an important one for Sydney artists and audiences alike.

Robert Renshaw’s Chat To Death teeters on the precipice of pornography, but the dangerous eroticism he explores is thrilling and beautiful, although quite explicit. The context he builds is not perfectly resolved, but his use of language more than satisfies. In Ryan Pemberton’s Business Meeting, a macabre and very quirky take on what happens in corporate boardrooms is beautifully directed by Pemberton whose sense of humour is odd, unique and very appealing. Direction is also a highlight in Rachel Welch’s So Says The Sea. James Hartley finds nuance in a deceptively simple script, and portrays surprising depth in just ten minutes. His cast is a strong one, especially Petrie Porter and Aleks Mikic who both impress with committed and meaningful interpretations of what could have been quite plain characters.

Other fabulous performances include Matthew Friedman, whose own piece The Least Impossible Thing That Happened This Evening opens the programme with vibrant energy and genuine enthusiasm. Equally buoyant is Jo Ford’s Chance You Can Dance, whose outrageously camp actors Hilary Park and Drew Holmes deliver irresistible laugh out loud sequences with their charming references to familiar cultural archetypes. Gavin Vance’s Screamers! The Wizard Of Aussie! Aussie! Aussie! (pictured above) stars the unforgettable Joseph Chetty who plays an Australian version of Dorothy Gale, blending drag comedy with a bawdy cabaret approach to present a scathing critique of the Abbott government, culminating in a live rendition of ‘Somewhere Over The Rainbow’ that is thoroughly and utterly electrifying. Dorothy’s call for a better national leader is a convincing one, and for a quick minute, she makes us believe in the pot of gold that lies at the end.

www.shortandsweet.org

8Jan2015

Review: Radiance (Belvoir St Theatre)

Posted in Theatre by Suzy Wrong

belvoir Venue: Belvoir St Theatre (Surry Hills NSW), Jan 3 – Feb 8, 2015
Playwright: Louis Nowra
Director: Leah Purcell
Cast: Leah Purcell, Shari Sebbens, Miranda Tapsell
Image by Brett Boardman

Theatre review
Our relationships with parents may not all be bad, but they are certainly complex. Louis Nowra’s Radiance offers a look at the way one woman’s human errors reverberate for generations after, and accordingly, we observe the inevitable karmic inheritance from predecessors. Cressy, Mae and Nona are three sisters who have reunited in North Queensland for their mother’s funeral. Their personalities are vastly different, and there is no shortage of friction as they navigate their rare time together in the old house where they had grown up. Nowra’s script is dramatic and sensual, with an aggressive but beautiful energy that surprises in a milieu that is frequently dark and plagued with anxiety.

Leah Purcell’s direction suffers from her additional responsibilities as actor in the role of Cressy. The play is uneven, with group dynamics feeling lacklustre even though the portrayal of closeness between the women is successful. Their interchanges are believable but come across oddly tame, notwithstanding some quite sensational themes. There is an understated elegance to the piece, but it is needlessly subdued, with many missed opportunities for bigger laughs and more heightened drama. It is noteworthy however, that Purcell is able to find authenticity in the writing, and the emotions of the text are adequately played out so that we feel in touch with the essence of the narrative, despite the scarcity of a sense of theatricality.

As actor, Purcell is never convincing as an opera diva who has found success overseas, and her overly restrained interpretation not only does little to embody class, it also detracts from some of the more flamboyant sections of the play. Fortunately, Purcell’s ability to deliver gravity in key revelatory moments holds our attention, and she gives the plot an enjoyable coherence. Middle child Mae is played by Shari Sebbens whose presence is noticeably weaker than her counterparts’. Her work is focused and strong, but her depiction of seriousness can read a little dreary, and consequently, her character becomes too distant. On the other hand, the youngest role of Nona is engagingly and empathetically performed by Miranda Tapsell, who connects with us from her very first entrance. The vibrancy she introduces to her scenes is remarkable, if only that energy is sustained by the other players. Tapsell has an easy confidence that keeps us on her side, and the compassion she brings to her character allows us to believe the extraordinary circumstances we witness unfolding.

Sound design by Brendan O’Brien is thorough and thoughtful, adding a dimension to the show that facilitates the articulation of a complicated and deep emotional universe. Dale Ferguson’s set is sophisticatedly beautiful, but his design forces a substantial portion of the play to be performed quite far upstage, prohibiting us from getting more involved.

Louis Nowra’s script is undeniably rich and seductive. It deals with familiar difficulties of real life, but the world it inhabits is almost exotic. Radiance uncovers a wildness that exists in our own homes, one that hides in plain sight yet begs to be examined. Secrets are associated with shame, but it is the abandonment of shame that will ultimately set us free.

www.belvoir.com.au

7Jan2015

Review: Short+Sweet Theatre 2015 Top 80 Week 1 (Short+Sweet)

Posted in Theatre by Suzy Wrong

shortsweet Venue: New Theatre (Newtown NSW), Jan 7 – 11, 2015
Festival Director: Pete Malicki
Image by Sylvi Soe

Theatre review
Sydney’s Short+Sweet Theatre festival features around 160 different 10-minute plays over 8 weeks. It is an excellent opportunity for talents of all experience levels to experiment, and a way for a myriad Australian stories to be told. The festival takes the form of a competition, with winners selected by judges and audiences, to be announced in March. The contest environment might encourage participants to only create crowd-pleasing works, but the event is actually quite varied in style and substance. On each night, ten plays are presented by a wildly diverse group of artists with no discernible unifying theme, which means that the likelihood of any audience member enjoying every piece in the program is slim, but discovering a couple of works that would appeal is certainly not difficult.

Short plays are challenging to performers who need to provide depth to characters who appear only fleetingly. They have less scripted pages to rely on, so ingenuity becomes central to their process. Ally Morgan plays Stephanie Tamara Anderson, a terminally ill teenager in Bokkie Robertson’s Wish (pictured above). Morgan’s confidence and conviction is a joy to watch, and the playful enthusiasm she brings to the stage is thoroughly captivating. In Jeffrey Hampson’s Wherefore Art Thou Oh Writing Inspiration, Hampson plays the role of William Shakespeare in an imagined struggle to create a new play, tentatively titled ‘Juliet and Romeo’. His performance finds focus after a shaky start, and endears to the crowd with a humorous take on the creative process.

Choose by Sam Jenkins is an intelligent work that entertains and amuses its audience, with a daring and fresh approach to theatre-making. Jenkins’ creation seems to be partly improvisational and partly scripted, but there is no way to tell for sure. The only person we see is a volunteer who reacts to Jenkins’ voice which provides prompts and narration. There is an element of Choose Your Own Adventure to its structure, and it relies heavily on Jenkins’ brilliant sense of humour and lightning fast responses to keep us excitedly engaged. A great strength of the piece is its unpredictability, and its success is evident in how much we wish to see it again, with a different unsuspecting subject steering Jenkins in different directions.

The Short+Sweet brand has expanded across the globe, and is now “the biggest little play festival in the world”. It provides excellent context for community involvement and unparalleled exposure, and is a crucial part of the Australian theatrical landscape that unearths impressive talent and inventive ideas. An event of this scale will have moments of disappointment, and patience will be tested, but with the bad, comes the good, and when the good shines through, all else is forgotten.

www.shortandsweet.org

18Dec2014

Review: The Age Of Entitlement (Mongrel Mouth)

Posted in Theatre by Suzy Wrong

mongrelmouth Venue: Merchants House (Sydney NSW), Dec 3 – 20, 2014
Playwright: Saman Shad
Director: Duncan Maurice
Cast: Adam Connelly, Ali Crew, Amelia Tranter, Aston Campbell, Charlie Upton, Christina Sankari, Danny Gubbay, Eli King, Ezequiel Martinez, Guilia Clemente, Julia Landrey, Latisha Owens, Mark Williamson, Moreblessing Maturure, Paloma Alma, Rowan McDonald, Sage Godrei, Sharon Zeeman, Tess Marshall

Theatre review
Nineteen actors in a beautifully preserved old building present a simple story about politics. We navigate our way through rooms and characters, observing and speaking with these mysterious people, trying to piece together narratives, and to find an understanding of each personality’s agenda, and also what the artists are attempting to convey. The action centres around Lara, who is presented on the ground floor as a student leader of the left, and in a different room upstairs, she is an older politician raising funds to become the head of her right-wing party.

There is a certain amount of chaos from the immersive experiment that keeps us on our toes. It is challenging work that does not let its audience feel comfortable at any point, and director Duncan Maurice is determined for his work to be intriguing and thought-provoking. Placing his actors at such close proximity, we are forced to engage and interpret. Maurice leaves us no room to hide, and we are pressured into taking a stand. The performance feels slightly longer than its eighty minutes. The unusual format leaves us to compose a cohesive tale from many disparate fragments, but unravelling the riddles does not take much time. We are then left to loiter around the hallways waiting for a conclusion of some description to occur, which fortunately, does eventuate, and in quite spectacular style.

Julia Landrey plays X, a member of the student union who proves to be more radical than her peers. X is often positioned alone, so that when we encounter her, she is free to express hidden beliefs that might be too controversial for her comrades. The nature of the work requires a good amount of thick-skinned daring from its cast, and Landrey’s strength ensures that she connects well, even though the role’s presence is an intimidating one. Her impressive improvisational skills allow for brilliant conversations to unfold, and we find ourselves becoming more involved than ever anticipated.

Some of the group is less effective, but they all contribute to the unusual carnival flavour that the production will be remembered for. There are instances where characters seem narrow in scope, which often lead to a shallow sense of plot and oversimplification of ideas. A substantial part of the discussion The Age Of Entitlement aims to inspire, is the tension between the left and right of politics, and the way Australian society shapes its attitudes according to convenient alliances.

The production is well designed. Alex PF Jackson’s work for makeup, hair and costumes especially, are noteworthy. Set and lights are slightly less polished, but spaces are adequately dressed to evoke a sense of fantasy and transportative theatricality.

Political theatre gives voice to causes and groups, and on occasion, it changes minds. This show does not tell us what to think, but it espouses the importance of holding beliefs and standing up for them. Almost contradictory is the way it interrogates our practice of identifying with political sides, but that conflict gives the work a meaningful complexity that feels resonant with our lived experiences. Maybe a few people will begin to think differently of their political attitudes from attending Entitlement, but more likely is its effect on how we think of theatre’s relationship with the public and its modes of expression. There is so much to be explored when artists and audience meet, especially when all the old rules are broken.

www.mongrelmouth.com

17Dec2014

Review: Guilty Pleasures (Blue Saint Productions)

Posted in Theatre by Suzy Wrong

Venue: Hayes Theatre Co (Potts Point NSW), Dec 17 – 21, 2014
Book: Joshua Robson
Lyrics: Hugo Chiarella
Director: Joshua Robson
Music Director and Composer: Robert Tripolino
Cast: Angelique Cassimatis
Image by Mike Snow

Theatre review
Joshua Robson, Hugo Chiarella and Robert Tripolino’s Guilty Pleasures is a 45 minute musical with murderous women and their bad men. It is Chicago‘s “Cell Block H” expanded, and they’ve all had it coming. Comprising a series of independent stories about fatal romances, the short narratives are amusing, with compelling songs that add drama and a colourful sense of theatricality.

Performed by just one woman, the work demands that Angelique Cassimatis provides range and variety to each character, but the show does not have enough tonal shifts in performance or design, to create textural complexity from its string of tales. Robson’s direction blends each segment to form a cohesive whole, leaving behind the lively and fluctuating nature of the text. Cassimatis’s training and experience is evident, especially with her physical discipline and dance abilities, but her approach tends to be a technical one. Her talents in singing and acting seem to come less naturally, but the actor’s conviction is clear to see, and her energetic presence helps endear her to the crowd.

Burlesque touches in the production provide a sexy edge to the already risqué themes it covers. The writing has a dark humour that would appeal to those who seek a musical theatre experience that is less than “family-friendly”, but its execution might be a little subdued for some. Written and directed by three men, Guilty Pleasures is a feminine work with a queer sensibility and a charming cynicism about romantic relationships. The women in the show are determined to define themselves against the men in their lives, and all pay a hefty price at the end.

www.bluesaint.com.au

12Dec2014

Review: Tell Me Again (Eye Of The Storm / The Old 505 Theatre)

Posted in Theatre by Suzy Wrong

old505 Venue: Old 505 Theatre (Surry Hills NSW), Dec 3 – 21, 2014
Playwright: Jeanette Cronin
Director: Michael Pigott
Cast: Jeanette Cronin, James Lugton

Theatre review
The stage is a sacred space. It has endless possibilities, and many have occupied and used it for different purposes, to achieve every imaginable effect and result. Jeanette Cronin’s Tell Me Again shows a love and respect for the theatrical form and its audience, aiming to provide a moment in time with something deeply emotional, perhaps making us feel things in a way that our real daily lives are too fragile or restless to permit. Cronin’s play invites us to encounter what is truest of the human experience, by instigating a series of raw and naked visceral responses by removing the protection of narrative and logic. It is poetry in motion that encourages us to get in touch with the the spirit within that compels us toward every action, yet that internal essence seldom seeks to be the centre of attention. For these 80 minutes, we come face to face with it, and it is sublime.

Direction and design of the work by Michael Pigott creates an inviting beauty that lets us connect with the work in a place that story usually resides. He engages our curiosity and we begin to apply our own stories to what he lets us experience. Where there is emotion, there is a human need to explain and understand its origin, and it is the spectator’s own creativity that is summoned in Tell Me Again. Pigott’s work is extremely tender and sensitive, but there is also an uninhibitedness that prevents things from becoming predictable. There are instances however, where the show seems to drift away from our consciousness, as we indulge in the ideas it inspires, but it invariably pulls us back with touches of drama and passion.

Flawless performances by Cronin and James Lugton produce a couple of characters palpable in their authenticity, and stunning with chemistry. Lugton’s minimal approach strips away layers of affectation so that only the very essential is left, and exposed like fresh wounds. It is a physical manifestation of the concept of love, not always immediate and recognisable, but incredibly moving and profound at the end. Cronin is intense but quiet, with a wild and devastating power barely hidden, explosive secrets brimming under the surface. The role she plays is strange but not a stranger. In fact, the complexities Cronin displays are familiar, feeling like private flashbacks unfolding before our eyes despite the peculiarity of the play’s eccentric plot.

We cannot live in a constant state of elevated sentimentality, but leaving emotions concealed is on one hand damaging and on the other, an unfortunate deprivation. Feelings are scary things, but Tell Me Again turns them seductive and irresistible. The indulgence in sadness and melancholy is an occasional necessity, and art is its friendly abettor, but in this production, escapism is not to be found, and the pain that remains, is naked.

www.venue505.com/theatre

9Dec2014

Review: Cinderella (Belvoir St Theatre)

Posted in Theatre by Suzy Wrong

Venue: Belvoir St Theatre (Surry Hills NSW), Nov 13 – Dec 14, 2014
Playwright: Matthew Whittet (based on an original concept by Anthea Williams)
Director: Anthea Williams
Cast: Mandy McElhinney, Matthew Whittet
Images by Brett Boardman

Theatre review
Fairy tales appeal to our basic desires. They address our need to be acknowledged and exalted, which is probably why they so often take the form of love stories. Matthew Whittet and Anthea Williams’s Cinderella is about our need for love, but it seeks to transform the fantasies and lies of Disney world, relocating it to a space of truth, lived experience, and disappointment. Its characters Ashley and Ash, are thoroughly familiar beings who remind us of ourselves and of people we meet everyday. They are strangers in the night who reach out to each other, hoping for a connection, and it is that possibility of a soul finding its other half that touches and engages us.

When both Ashleys meet, their accidental encounter is an awkward one. They are not brassy personalities, and their attempts at stretching beyond their individual comfort zones in the act of seduction becomes the comedic core of the production. The actors are brilliant comics who deliver laughs with precision, but the plot feels repetitive in its emphasis on creating jokes from that incessant awkwardness that subsumes the otherwise interesting development of character and relationship that takes place under the surface. A major tonal shift finally occurs in the last quarter of the show, bringing a breath of fresh air along with immense poignancy. The conclusion is beautifully crafted, although the depth that is eventually exposed feels sadly momentary.

The charismatic Whittet plays Ash with an attractive ease, consistently amusing his audience with a quirky instinctual approach. The actor has a slight physique and his countenance is plain, but the magnetic presence he adds to the stage assertively demands our attention, determined to entertain at every opportunity. Also enjoyable is Mandy McElhinney, who presents herself as a committed comedian, always sensitive to punchlines and timing. Her enthusiasm for creating laughter is infectious, but it also alienates us from the emotional arc of her character’s journey. We wish to dive into Ashley’s experience, but often find ourselves pushed out to observe only the funny side of scenarios. It is noteworthy that McElhinney and Whittet perform the final dark scenes with excellent and surprising intensity, leaving us wishing for more of their serious sides.

This Cinderella is an accurate and timely representation of romance in the digital age. Technology and commerce have penetrated every aspect of our lives, yet some of our notions of love and relationships are adamantly traditional and wholesome. The show looks at how we survive loneliness, and the meaning of sex and relationships in the era of dating apps and casual hook ups. The reality is unbearably grim, but it is human to shield our vulnerability with dreams. In affairs of the heart, delusions and hope are two sides of the same coin, and only the ones looking at the stars will stand a chance of fleeing the gutter.

Cinderella 2014 Belvoir St Theatre

www.belvoir.com.au

20Nov2014

Review: Sweeney Todd (New Theatre)

Posted in Theatre by Suzy Wrong

Venue: New Theatre (Newtown NSW), Nov 18 – Dec 20, 2014
Music & Lyrics: Stephen Sondheim
Libretto: Hugh Wheeler
Director: Giles Gartrell–Mills
Cast: Josh Anderson, Erin Bogart, Briony Burnes, Jamie Collette, Justin Cotta, Daisy Cousens, Courtney Glass, Michael Jones, Jaimie Leigh Johnson, Lucy Miller, Carl Olsen, Joel Paszkowski, Steven Ritchie, Chelsea Taylor, Aimee Timmins, Simon Ward, Byron Watson
Photographs © Bob Seary

Theatre review
We all love a musical that has everything; humour, drama, talent, surprise and great music. All this is found in Giles Gartrell-Mills’ production of Sweeney Todd for the New Theatre, along with a good deal of ingenious low budget innovation, and a healthy dose of morbidity. It appears that Stephen Sondheim’s famous work can be staged without complex set designs and special effects, as long as gifted individuals are committed to presenting the best of their abilities, and an astute director is at the centre orchestrating an amalgamation that features all the strengths of each collaborator.

With Sweeney Todd, Gartrell-Mills shows that he is a man of excellent taste who has a brave approach to the theatrical arts. The emotions are big in his musical, as are the characters and their singing, but everything converges to tell a fascinating story that grips and entertains us, while making the many outrageous scenarios seem entirely believable. He has a wonderful team of seventeen performers at his disposal, and is careful to position each one in the most flattering light, so that the best singers can deliver breathtakingly powerful notes, and the strongest actors can impress with their delicious flair and intensity.

Justin Cotta plays the Demon Barber of Fleet Street with a grand and magnetic madness. The agility in his body and face, along with a professional awareness of how his character is perceived with every subtle shift in gesture and look, contribute to a performance that is precise, polished and very delightful. His voice is not perfectly suited to the material, but he sings it all with exuberance and accuracy. Similarly, Lucy Miller is not the best singer in the world for the role of Mrs Lovett, but the abundance of skills she displays, brings to life one of the stage’s most interesting and complex figures. Miller is charming, strong and instinctual. The several startling twists her character reveals are brilliantly performed, and her star quality shines brightly in the production. We cannot keep our eyes away from everything she presents, and she deserves every ovation awarded for her work in this production.

This review will not discuss every performer’s work but the entire support cast is truly fabulous. In the role of the Beggar Woman is Courtney Glass, who steals the show at each small appearance, with her sublime vocals and meticulous acting. Glass’ part is a smaller one, but she is flawless at every turn. Byron Watson does not have the right physicality for Judge Turpin but his voice is a highlight of the production. His deep and tremorous baritone brings an operatic sensibility to Sondheim’s music, and we lose ourselves in the beautiful baroque flavour of the compositions.

Liam Kemp’s achievement as musical director and pianist cannot be understated. He has condensed the score to an absolute minimum, with just himself, plus a violinist and a double bassist providing accompaniment for the whole show. The three-piece outfit pulls off an unbelievable feat, creating a soundscape that is dynamic, emotional and theatrical, culminating in a Bernard Herrmann inspired moment where Sweeney Todd meets Norman Bates, and the suspense becomes almost too much to bear. Also outstanding is the set design, comprised of three simple pieces in a hundred configurations, exposing Gartrell-Mills’ imagination to be wildly remarkable. His use of space is quite extraordinary, and one cannot resist imagining what he may be able to achieve with a more substantial design budget.

Musicals are best consumed sentimental, and Gartrell-Mills delivers this dark tale with a big emotional punch. Many of the characters are deplorable and nasty, yet we are seduced into connecting with them, and sometimes even identifying with them. They live in a world far removed from our realities, but we understand their desires and motivations, and we invest heavily into their stories of revenge and murder. We do not think of independent theatre as the best platform for the majestic, opulent musical, but on this occasion, David has emerged seemingly out of nowhere, to slash the throat of Goliath in awesome splendour.

www.newtheatre.org.au