Review: Catch Me If You Can (Hayes Theatre)

Venue: Hayes Theatre Co (Potts Point NSW), Jul 19 – Aug 18, 2019
Book: Terrance McNally
Music: Marc Shaiman
Lyrics: Scott Wittman, Marc Shaiman
Director: Cameron Mitchell
Cast: Jordan Angelides, Simon Burke, Jessica Di Costa, Jarood Draper, Tim Draxl, Joel Houwen, Penny Martin, Heather McInerney, Monique Salle, Jake Speer, Erica Stubbs, Riley Sutton, Stacey Thompson
Images by Robert Catto

Theatre review
It is the incredible but true story of Frank Abagnale, the young con man who pulled outlandish stunts in the middle of the previous century, and succeeded for years at evading authorities. One of the most notorious impostors of the time, made legendary by Steve Spielberg’s 2002 film Catch Me If You Can, Abagnale was able to pass himself off as a pilot, a doctor and a lawyer (amongst other things) and in the process expose the fallibility of American systems, along with the nature of the privilege that is bestowed upon white men. If you look and sound a certain way, you could get away with anything.

Scott Wittman and Marc Shaiman’s songs for this musical rendition are consistently enjoyable and appropriately colourful with a swinging sixties vibe, but although cohesive as a whole, Terrance McNally’s book seems to make for a experience that is surprisingly low on stakes and therefore lacking in tension. Cameron Mitchell’s work as director and choreographer is energetic, able to hold our attention for the duration, although a lacklustre set design does make for a production that often appears vacant and unexciting.

Leading man Jake Speer sings his songs immaculately, a precise performer who brings great conviction to his part. As a crook however, Speer is too vanilla, lacking in mischief for a role that is entirely about perversion. The show is stolen by Tim Draxl, who plays FBI agent Hanratty with exceptional charisma, bringing much needed pizzazz to the strangely disengaging plot. Simon Burke and Penny Martin play the parents, both adorable in their quirky manifestations. Burke’s chemistry with Speer is particularly endearing, for father-and-son scenes remarkable in their authenticity.

It is true that we are all capable of doing bad, and the domino effect that ensues, from lies and other misdeeds, are certainly a phenomenon familiar to many. Frank Abagnale started on a slippery slope that saw him commit years to being a fraud, and we see him waiting to be caught, as though the brakes can only be pushed by an external entity. Self-destruction is a cruel mistress. Like an addiction that we feel powerless over, it tells us that we can stop it at any time, knowing that we will never find the wherewithal to turn over a new leaf that easily.

www.hayestheatre.com.au | www.laurenpetersdesign.com

Review: American Psycho (BB Arts & Two Doors Productions)

Venue: Hayes Theatre Co (Potts Point NSW), May 10 – Jun 9, 2019
Book: Roberto Aguirre-Sarcasa (based on the novel by Bret Easton Ellis)
Music & Lyrics: Duncan Sheik
Director: Alexander Berlage
Cast: Blake Appelqvist, Erin Clare, Shannon Dooley, Ben Gerrard, Eric James Gravolin, Amy Hack, Loren Hunter, Julian Kuo, Kristina McNamara, Liam Nunan, Daniel Raso
Images by Clare Hawley

Theatre review
Bret Easton Ellis’ seminal 1991 novel American Psycho encapsulates a kind of sickness that had emerged from 1980’s capitalism. The story of exemplary yuppie Patrick Bateman was a wild indictment of Western culture at the time, one obsessed with prestige and facade, centred around the mythical Wall Street model of success. Evil personified, he served as an icon of all that had hitherto gone wrong, a monster materialising not from supernatural realms, but borne out of economic reality. The book’s detailed and extreme violence sparked great outrage, but the unassailable truths behind Ellis’ extravagant depictions, have made it a classic that remains pertinent three decades on.

Roberto Aguirre-Sarcasa and Duncan Sheik’s musical version is understandably much more tame in comparison, but thanks to the extraordinary characters and narrative it inherits, the show is still able to captivate, even if Sheik’s original songs are at best mediocre. It must be noted however, that musical direction by Andrew Worboys succeeds masterfully, at elevating these show tunes, turning very average melodies and lyrics into genuinely exciting numbers. Visual design too, is remarkable. Isabel Hudson’s revolving stage and butchers-style strip curtains are high gloss and very sexy, and even though slightly noisy at times, their theatrical effect is truly marvellous. The stage management team, headed by Brooke Verburg must be congratulated for their super smooth execution of mind-boggling logistics, most obviously in terms of performers’ complicated entrances and exits, all flawlessly enacted to quite magical results. Choreographer Yvette Lee demonstrates exceptional attention to detail and a highly sophisticated style, that bring the stage to flamboyant life.

Director Alexander Berlage’s lighting design is suitably sleek, and highly evocative. Along with Mason Browne’s costumes, they establish an aesthetic that is as much about contemporary fashion as it is about the 80’s; alluring, colourful and ostentatious, and ambitious like Patrick. Berlage’s direction of the piece certainly corresponds with his protagonist’s love of the surface. First half is all frothy and camp, a queer interrogation into toxic and hyper masculinity, that sits well within the musical genre. American Psycho‘s notoriety means that we know the tale to be terrifyingly macabre, but the production’s obsession with portraying a vacuous culture, can feel more bubblegum than menacing, although at no point is it ever less than fabulously entertaining. Second half becomes much more satisfying, as things get sinister, as we approach the true horror of the story.

Performer Ben Gerrard may not be entirely convincing as the demonic American, but the intelligent commentary he infuses into every line and lyric, every glance and gesture, ensures a resonance that communicates on levels beyond the obvious. We are repulsed by Patrick, but Gerrard’s charm keeps us attentive. Without a moral to its story, American Psycho is only obscene, and our leading man’s admirable efforts at driving home the message, represents the show’s beacon of integrity. Memorable supporting players include Liam Nunan whose turn as Luis, the closet homosexual, proves to be as comical as it is heartbreaking. Loren Hunter has the unenviable task of playing Jean, the dowdy secretary who falls in love with Patrick, a difficult role that she, quite miraculously, makes believable and empathetic.

Patrick, at twenty-seven, is a big fan of Donald Trump. The role models we choose, are a direct reflection of our values. Unable to see past the superficial glamour of the rich and powerful, Patrick invests his entirety to the pursuit of money and status. Morality is irrelevant. Today, Trump is President. It would be erroneous to imagine that all 63 million who had voted for him are devoid of morality, but these numbers tell a symptom that we would be remiss to ignore. Over the course of time, virtues are constructed, and re-constructed. In 1991, American Psycho controversially appeared as a cautionary tale of sorts. In 2019, the yuppies are nowhere to be seen yet we only have to look in the mirror to wonder, if resistance against greed is always futile.

www.bbartsentertainment.com | www.hayestheatre.com.au

Review: Monty Python’s Spamalot (One Eyed Man Productions)

Venue: Hayes Theatre Co (Potts Point NSW), Mar 6 – Apr 13, 2019
Book & Lyrics: Eric Idle (based on the film Monty Python And The Holy Grail)
Music: John Du Prez, Eric Idle
Director: Richard Carroll
Cast: Marty Alix, Blake Appelqvist, Cramer Cain, Rob Johnson, Josie Lane, Aaron Tsindos, Bishanyia Vincent, Jane Watt
Images by John McRae

Theatre review
Hard to believe that it has been half a century, since Monty Python began its influence on British comedy and entertainment. Since first appearing in 1969, their distinct style of irreverent humour has helped define laughter for generations, all over the globe. With a particular interest in lampooning figures of authority, the Monty Python brand has been a force in counter-culture, allowing us to use its absurdity to investigate what is considered polite and normal in many of our societies. Monty Python’s Spamalot is a characteristically iconoclastic and rambunctious take on musical theatre, adapted from their now legendary Monty Python And The Holy Grail, the 1975 film centring on the misadventures of King Arthur and his knights.

Under Richard Carroll’s direction, these old jokes prove to be funny as ever, with liberal updates making the show feel unexpectedly immediate. The production appeals to fanatics, but also caters to a general contemporary audience. We are all there for a good time, and the laughter it delivers is fast and furious. Performer Cramer Cain is solid as King Arthur, with an effortless strength to his presence that keeps our attention on the lead role, in the middle of a lot of hullabaloo. Josie Lane is a tremendous delight as Lady of the Lake, an unrelenting diva who refuses to let her audience forget who the real star should be. Her sensational combination of self-effacing hilarity and vocal prowess, is truly remarkable. The brilliant ensemble is tirelessly goofy, and highly inventive. It is a group completely dedicated to creating a high-octane electrifying experience, determined to pull us out of the mundane, for two hours of unbridled lunatic pleasure.

The written word will gather dust, with many having faded away with time, forgotten and forever buried. The nature of theatre compels us to make everything new again. No matter the origins of a text, those who take it upon themselves to bring the past onto the stage, must find ways to connect the old with the here and now, so that art can do its job and not be a meaningless relic. The spirit of Monty Python is shown here to be eternal. For as long as we believe in venerating kings and gods, its humour will cut them down to size, to offer a reality check that can only be healthy. Laughter eases pain, and by helping us see through the nonsense, Monty Python is able to make real life that little bit more bearable.

www.oneeyedmanproductions.com | www.hayestheatre.com.au

5 Questions with Caitlin Berry and Jonathan Hickey

Caitlin Berry

Jonathan Hickey: How are you different/similar to your character in Aspects Of Love?
Caitlin Berry: Rose is a wonderfully complicated character and I think, through playing her, I’ve seen some of her qualities rub off on me. Rose has striking confidence and tenacity, which are characteristics that don’t come as naturally to me. I’ve enjoyed inhabiting someone who acts on gut feeling, and I’d like to be as bold as Rose more often! I can relate strongly to her desires as a performer, and also her vulnerability in her professional and personal life.

What is your best/favourite love story of all time?
You can’t go past the smart and stubborn Ms Lizzy Bennet meeting her match, Mr Darcy, in Pride And Prejudice. It didn’t hurt that Colin Firth was added to the imagining of this story in the movie adaptation of the book. The meeting of great minds is very romantic.

Who/when was the first time you fell in love?
I probably felt the full, horrible, wonderful and scary force of love when I was with my high-school sweetheart of three years. We met on a musical (go figure). He was a wonderful man and I did all the stupid things you do when you are in the throes of first love. Many songs and movies suddenly made sense.

Any pre-show rituals or superstitions?
I’m embarrassed to say that I have a few pre-show rituals. They serve as a comfort, but can get in the way of being flexible. I like to arrive quite early, I have certain vocal warm-ups I make sure I do, and I have a butter menthol before I go on stage. I’ve been forced to run around the Hayes building three times because I accidentally said ‘The Scottish Play’– so, I’ve learned my lesson in terms of superstitions.

Where and who will you be spending your Christmas with this year?
My older sister is hosting Christmas for the first time. The baton has changed from my mother. I have nephews and nieces now, so Christmas has become about the little ones and just enjoying precious time together as a large bunch of Berrys. I’ve only missed one Christmas with my family, and I hope I can keep it that way.

Jonathan Hickey

Caitlin Berry: How are you different/similar to your character in Aspects Of Love?
Jonathan Hickey: I see quite a few similarities between myself and Alex – We have both experienced the joy of being in love and also the pain, betrayal and sadness of losing love. When I was younger it was easy to fall in love – now that I’ve experienced heartbreak it stays with you, very much like Rose with Alex. 
 
Who/when was the first time you fell in love?
First time I thought i was in love or said ‘I love you’ was when I was in second year uni. Unfortunately the relationship didn’t last all that long but we’re still friends and keep in touch. But yes I’ve been in love and experienced heartbreak – both of which have helped me in playing Alex. 

Where and who will you be spending your Christmas with this year?
I’m going back to Brisbane for Christmas for a couple of days – my family and I will be spending it with my cousins up in Maleny in the Sunshine Coast hinterland. It’s become a bit of a Christmas tradition to have lunch up there. 
 
Does love change everything?
Love does change everything – to love someone and be loved is beautiful, you become a part of a team – you share your life with that person, support each other. One of my friends told me you’re a “witness of that persons life” which I thought was pretty special. Although it can make you irrational at times, the happiness and well-being of that person you love is more important than your own.

Have you met a famous person, if so who?
When I was in London late last year, I bumped into David Mitchel at Primrose Hill and had a very brief chat – told him I loved his work in Peep Show and various other TV shows and got a quick snap. He was lovely.

Caitlin Berry and Jonathan Hickey can be seen in Aspects Of Love , by Andrew Lloyd Webber.
Dates: 22 Nov – 6 Jan, 2018
Venue: Hayes Theatre

Review: Aspects Of Love (Hayes Theatre)

Venue: Hayes Theatre Co (Potts Point NSW), Nov 22 – Dec 30, 2018
Book: Andrew Lloyd Webber (based on the novella by David Garnett)
Music: Andrew Lloyd Webber
Lyrics: Don Black, Charles Hart
Director: Andrew J. Bevis
Cast: Finn Alexander, Hugh Barrington, Caitlin Berry, Ava Carmont, Annelise Hall, Christopher Hamilton, Jonathan Hickey, David Hooley, Stefanie Jones, Megan Kozak, Wendy Lee Purdy, Michaela Leisk, Matthew Manahan, Sam Marques, Grant Smith
Images by David Hooley

Theatre review
Rose and Alex have an unconventional romance, with each other as constants, but also involving several other people who weave through over the years, to test traditionally held notions of love. David Garnett’s 1955 novella Aspects Of Love is a seductive work, with intentions for a refreshed sense of modernity, but Andrew Lloyd Webber’s clumsy adaptation turns the story into an absurd one, with abrupt renderings that in effect, ridicule its characters and alienate its audience. The opening song “Love Changes Everything”, a legitimate hit from the composer’s heyday, is characteristically schmaltzy, but other tunes are even less appealing, in a show that disappoints from the very beginning.

Although unable to surmount the astonishingly poor writing, this production, directed by Andrew J. Bevis, is assembled with an admirable polish. Tim Chappel’s costumes and Steven Smith’s set design are particularly charming, with John Rayment’s lights helping to provide a visual sophistication to the bewildering goings on. Performers are similarly accomplished, with leading lady Caitlin Berry introducing a high level of professionalism as Rose, to keep us secure in her unwavering and impeccable stage savvy. Alex is played by Jonathan Hickey, convincing as the 17-year-old ingénue, but who gradually loses his grip on the material as the role progresses into maturity. Stefanie Jones is memorable as Giulietta, spirited and alluring in a role that otherwise makes little sense.

At the heart of Aspects Of Love is a wonderful tale that challenges the way we look at our world. Its women are free, able to fall without explanation, time and time again, for friends and lovers all through their lives. They experience marriage, but remain unencumbered. Rose chooses the right husband, who helps her grow beyond the prescribed and parochial, never ceasing to flourish, forever expanding, in both professional and personal terms. The musical however, fails to encapsulate that majesty, instead it deflates and diminishes, with an insistence that all should yield to a perspective that is ultimately pedestrian, and incapable of inspiration.

www.hayestheatre.com.au

Review: Evie May (Hayes Theatre)

Venue: Hayes Theatre Co (Potts Point NSW), Oct 12 – Nov 3, 2018
Book & Lyrics: Hugo Chiarella
Music & Lyrics: Naomi Livingston
Director: Kate Champion
Cast: Amanda Harrison, Loren Hunter, Keegan Joyce, Tim Draxl, Jo Turner, Bishanyia Vincent
Images by Nik Damianakis

Theatre review
In Hugo Chiarella and Naomi Livingston’s musical Evie May, a queer woman from early last century takes centre stage, to tell a story of lost loves against a backdrop of bittersweet nostalgia. We watch as our protagonist’s star rises, revelling in her achievements as an illustrious vaudeville performer, but also mournful of the sacrifices demanded of her, in a world that simply would not allow a woman to be her true self. Evie May is a strong work, beautifully imagined and executed with admirable integrity. Its narrative is intelligently constructed, with songs that are memorable yet unusually tasteful.

The show feels somewhat anomalous. In an industry that seems to thrive on relentless exhilaration, the languid melancholy of Evie May is paradoxically refreshing, sustained by a palpable desire to authentically represent a woman genius from our recent past. Director Kate Champion’s approach is elegant, often understated, and although visually underwhelming, her show is ultimately a moving one, profound in the messages it is able to convey. The characters come from a different time, but they all exist to impart something meaningful, and valuable, to how we see ourselves, then and now.

Within a no frills set up, the cast prove themselves more than proficient, at a lot of heavy lifting. The ingenue version of Evie, is played by bona fide triple-threat Loren Hunter, whose powerful acting and mesmerising dulcet tones, has us hopelessly engrossed in her character’s captivating melodrama. Amanda Harrison brings star quality to Evie at her early retirement age, a confident presence, thoroughly reliable as the production’s heart and soul, on which all the action anchors. Love interest June is played by a very delightful Bishanyia Vincent, effervescent as flamboyant showgirl and deeply poignant as the one who got away. Vincent is equally persuasive in the role of Margaret, Evie’s sister, a difficult personality made worthy of compassion by the actor’s detailed rendering.

It is convenient to think that the worst of our oppression as LGBTQ women are over, but Evie May’s story is not just a relic of yesteryear. The compromises we have to make, in order to succeed, or simply to survive, continue to be unreasonable and unjust. It is a modern Australia, but we must not live in the delusion that the straight white man has relinquished his position as top dog. Until our girls can walk into any space they choose, there is still much to fight for.

www.hayestheatre.com.au | www.newmusicalsaustralia.com.au

Review: She Loves Me (Hayes Theatre)

Venue: Hayes Theatre Co (Potts Point NSW), Aug 24 – Sep 15, 2018
Book: Joe Masteroff
Music: Jerry Bock
Lyrics: Sheldon Harnick
Director: Erin James
Cast: Caitlin Berry, Zoe Gertz, Joel Granger, Jay James-Moody, Tony Llewellyn-Jones, Kurt Phelan, Suzanne Steele, Georgina Walker, Rowan Witt
Images by Noni Carroll
Theatre review
Balash and Nowack have been exchanging anonymous love letters, unaware that they are colleagues, both working at the same cosmetics store. Based on Miklós László’s 1937 play Parfumerie, the musical She Loves Me first appeared 1963 on Broadway, and although a terribly old-fashioned story, its songs are utterly and eternally charming, still able to delight audiences today. Its characters are perhaps no longer believable, and they present little that we can relate to, but the show would most certainly appeal to those seeking a healthy dose of nostalgia in their entertainment.

Musical direction for this revival, is executed wonderfully by Steven Kreamer, who breathes new ebullient life into these half-century-old songs. His team of musicians, along with David Grigg’s sound design, deliver for our ears, an unexpectedly rich and exciting experience. Choreography by Leslie Bell, too, is enchanting, bringing to the stage a sense of extravagance that consistently fascinates our senses.

Much of the comedy in She Loves Me is outdated, but several big laughs are had when supporting player Jay James-Moody occupies centre stage; his comic inventiveness is an absolute godsend. Caitlin Berry and Rowan Witt are the leads, both excellent singers, with strong presences that manage to sustain our attention, even when the story wanes. Director Erin James keeps the production active and energetic, but the plot’s flimsiness seems impossible to rectify.

The nature of romance changes with time. In the Tinder age, we are encouraged to always anticipate the next better thing. Unlike us, people of Balash and Nowack’s generation were more likely to believe in that one true love, at a time when moving mountains to find them, had seemed a completely reasonable thing to do. The stakes are significantly lower now, as we become increasingly independent and pragmatic, able to attain fulfilment without narrow definitions of success and love. Many have been let down by dreams of happily ever after, but if we are able to appreciate the things that are, and not hanker only for what could be, chances are that heaven, is already here.

www.hayestheatre.com.au