Venue: Hayes Theatre Co (Potts Point NSW), Jun 23 – Jul 23, 2023
Music: Cy Coleman
Lyrics: David Zippel
Book: Larry Gelbart
Director: Sam Hooper
Cast: Madeleine Betts, Doron Chester, Chantel Cofie, Sian Crowe, Paul Hanlon, Glenn Hill, Noah Janssen, Katelin Koprivec, Penny McNamee, Mia Morrissey, Conor Neylon, Shannen Alyce Quan, Ethan Rutledge, Marcus Rivera, Aaron Tsindos, Jessica White
Images by Grant Leslie

Theatre review

It is the 1940s and Stine is adapting his award-winning novel into a screenplay for Hollywood. Transitioning from one art form to another proves challenging, as he tries to preserve artistic integrity, in what quickly proves to be little more than a commercial venture. In the 1989 musical City of Angels, we see both Stine’s reality as well as a manifestation of his film noir creation, involving a private detective Stone and the various temptresses within his orbit. Despite its highly convoluted plot structure, the payoff is ultimately underwhelming, offering a narrative that feels much too predictable. Furthermore its humour seems not to have stood the test of time, although it must be said that music composition is its silver lining, with every song proving to be masterfully composed, by the legendary Cy Coleman.

The 3-hour production is valiantly revived by director Sam Hooper, who although demonstrates passionate verve, lacks inventiveness and an eye for detail. City of Angels not only requires great ambition, it demands a meticulousness and sophistication that few are able to muster. There is an evident lack of polish in the set design by Simon Greer, which can be blamed for the many clumsy, and noisy, scene changes. Lights by James Wallis attempt to create a sense of delineation between real and reel, but is in general too muted and lifeless. Costume designs by Esther Zhong are more accomplished, able to instinctively convey personality types of the many characters we encounter.

Music direction by Abi McCunn and Damon Wade, is the unequivocal highlight, greatly evocative of the big band era, with just seven musicians delivering all that is necessary to take us back in time, sonically at least. Singing is also of a high standard, with Glenn Hill and Aaron Tsindos (as Stine and Stone respectively), leading a cast that is never short of dedication and commitment. More memorable performances include Mia Morrissey playing dual roles of Gabby and Bobbi, introducing sensuality along with authenticity, to a production that tries to negotiate the outmoded and problematic portrayals of womanhood. Marcus Rivera is unforgettable in the number “All You Have to Do Is Wait” as Muñoz, full of intensity and unapologetic in a rare singular moment of candour, that feels suddenly resonant.

In 2023 it is perhaps no longer a surprise, that to make money, a portion of a person’s soul has to be sold, along with whatever labour is entailed in the transactive process. Just several decades ago, it had felt poignant to see an artist losing their way, when trying to exploit the big-money world of commercialised entertainment. Today at a time of late capitalism, idealism for artists seems a distant memory, yet we persist in searching for something of greater value, than what can be commodified. Within that spirit, we understand that money can never completely encompass what we do, that it is always the immaterial that represents our true purpose, even as we learn to accept that that which is material, should no longer be seen only as the evil adversary.

www.hayestheatre.com.au | www.jrpaustralia.com

Venue: Hayes Theatre Co (Potts Point NSW), May 26 – Jun 17, 2023
Music and Lyrics: Vidya Makan in collaboration with Sonya Suares
Director: Sonya Suares
Cast: Joseph Althouse, Dyagula, Milo Hartill, Jeffrey Liu, Vidya Makan, Billy Mcpherson, Karlis Zaid
Images by Philip Erbacher

Theatre review

It is perhaps the most important function of the theatre, to help us figure out, who we are as a community. A space of congregation where artistic expression is shared, so that issues can be discussed by those local to the area, and where hopefully some form of consensus can be reached. Theatre is at its best, a force for social cohesion. In these times of division, brought on by unprecedented technological disruptions, the myth of monolithic cultures can no longer prevail. Yet we have to find ways to uphold notions of unity, in a new climate determined to acknowledge and appreciate the irrefutable diversity that can no longer be subsumed by outmoded conceptions of a singular identity.

In The Lucky Country, a new musical written by Vidya Makan in collaboration with Sonya Suares, that diversity is displayed extensively on stage, but without a sense of fracture that has come to inform how we understand difference. Makan and Suares’ thorough search and depiction of ways to pay respect, for the many peoples that we are, allows The Lucky Country to offer a showcase of identities that feels accurate and aspirational. Each of its many delightfully melodious songs represents a different part of those on this land; they are distinctly rendered, more like an anthology than one narrative of experience, allowing each of us to have our own say, and demonstrating the ease of co-existence.

The work is incredibly moving with its deep excavations of marginalised lives, but it is also guided by a scintillating humour, for a show that is disarmingly funny from beginning to end. Directed by Suares, along with choreography by Amy Zhang, The Lucky Country is energetic and bustling with activity, holding our attention captive, always keeping us fulfilled and wanting more.

Instead of a set, the empty stage is adorned with a cyclorama, on which Justin Harrison’s witty and sensitive video compositions are projected, adding further emotional dimensions to the production. Lights by Rob Sowinski and costumes by Emily Collett are slightly under explored, but both provide satisfactory levels of embellishment. Heidi Maguire’s orchestrations are entertaining and lively, and along with Michael Tan’s sound design, deliver for the songs a beautiful simplicity that feel rich in resonance.

In spectacular form, a wonderful cast delivers these stories of diminished individuals to glorious light. Joseph Althouse, Dyagula, Milo Hartill, Jeffrey Liu, Vidya Makan, Billy Mcpherson and Karlis Zaid bring technical acuity, as well as exceptional soulfulness, to make The Lucky Country an unforgettable instance of transcendence, filled with love for all who have been welcomed to this country.

Colonialism aims to make so many of us feel small and devalued. It also wishes to drive wedges between us, so that we forget who the real enemies are. Its apparatus is hopelessness, wearing us down until we relent and allow them to exploit and pillage as they wish. Defiance however is a part of the human spirit that remains accessible, even during the hardest of times. In The Lucky Country, we see that the act of defiance can be joyful and unifying. An insistence on new ways to define ourselves beyond old ideas that privilege few, is an urgent need that begins with a defiance that can be summoned, from every dark depth of despair.

www.hayestheatre.com.au

Venue: Hayes Theatre Co (Potts Point NSW), 16 Feb – 18 Mar, 2023
Book : Joseph Fields, Anita Loos
Music: Jule Styne
Lyrics: Leo Robin
Director: Richard Carroll
Cast: Octavia Barron-Martin, Thomas Campbell, Ruby Clark, Adam Di Martino, Emily Havea, Georgina Hopson, Tomáš Kantor, Leah Lim, Tomas Parrish, Matthew Predny, Monica Sayers
Images by John McCrae

Theatre review

It is the Roaring Twenties, and two single women are on a luxury cruise ship sailing from New York to Paris. Dorothy just wants to have a good time, but Lorelei is determined to find herself a rich husband. Gentlemen Prefer Blondes may be most remembered as one of Marilyn Monroe’s finest cinematic moments, but its predecessor was this musical by Joseph Fields and Anita Loos, which was in turn based on Loos’ own novel. Light and frothy, with generous portions of slapstick, it brims with post-war optimism, and expresses a kind of anticipation about all the irresistible promises of capitalism.

The key sequence featuring the legendary “Diamonds Are a Girl’s Best Friend” can be taken as ironic, or in fact be read as being quite earnest. In 2023, we understand that in a dog-eat-dog world, especially one that disadvantages women, will of course see someone like Lorelei focussing her energies on money, rather than affairs of the heart. She wants to survive, and knows all the levers to pull, to make things work for her. Performed on this occasion by Georgina Hopson, it is those darker dimensions of girls’ best friend that emerge. Hopson’s performance of a very extended version of the song, is thrilling and unequivocally spectacular. All faculties of the theatrical arts converge flawlessly for a few minutes, to deliver something explosive and transcendent. The rest of the production however, leaves quite a bit to be desired.

As the original writing approaches its centenary, Gentlemen Prefer Blondes proves to have lost its charm and humour. What might have been considered goofy and whimsical, is now simply silly and lazy. Most of the songs are lacklustre, with a distinct soullessness that leaves us cold. Extraordinarily exhilarating musical direction by Victoria Falconer, does marvellously to lift our spirits during interludes between, but the songs themselves remain uninspired.

Like Falconer, all of the cast and crew give their conspicuous best to the production. Director Richard Carroll goes to great lengths to keep pacing taut, and to make all the jokes more sophisticated than were ever intended. Daniel Potra’s set design gives a real sense of the razzle-dazzle, and lights by Benjamin Brockman delivers us all the dynamics missing from the source material, as well as being relentlessly flattering on the cast. Costumes by Angela White seems to make the bold decision to depart from the 1920s, as it draws influence from virtually every decade of the last century.

The role of Dorothy was always no match for the eponymous blonde, but Emily Havea’s resolve to bring the character into a modern age, is certainly admirable. The women’s love interests are played by Tomáš Kantor and Matthew Predny, both delightful personalities, and convincing in their efforts to win affections. Octavia Barron-Martin and Thomas Campbell demonstrate deep commitment to the comedy, making us laugh in spite of the banal dialogue. Leah Lim is especially strong when given the opportunity to showcase her dance abilities; her synergy with choreographer Sally Dashwood elevates the show considerably, even if their contributions bear little relevance to the central plot.

It should be no surprise that men would prefer Lorelei. Even though she is destined to come out on top, it is her dedication to playing by their rules, that turns them on. Lorelei might win, but the point is that, she obeys them. Women game the system every day, but in the process, we often find ourselves inflicting the same harm, that we accuse men of doing. It is a mystery if Lorelei uses her new-found wealth, after the story concludes, for good or evil, but choices are certainly available to her. Power is designed to oppress, but it can also be transformed into something that can be shared and distributed. After Lorelei attains her safe harbour, one would hope, that she keeps the gates open, for others to follow.

www.hayestheatre.com.au

Venue: Hayes Theatre Co (Potts Point NSW), 14 Oct – 6 Nov, 2022
Original Conception: John-Michael Tebelak
Music and New Lyrics: Stephen Schwartz
Director: Richard Carroll
Cast: Stefanie Caccamo, Jeremi Campese, Gillian Cosgriff, Victoria Falconer, Alfie Gledhill, Abe Mitchell, Chaya Ocampo, Billie Palin, Quinton Rich, Jane Watt. Swings: Mae Li Cowell, Gus Noakes
Images by Phil Erbacher

Theatre review

Jesus Christ and his disciples are in an Australian pub this time round, in Tebelak and Shwartz’s Godspell. Much has changed since the musical’s first outing half a century ago, but Christ’s teachings about love never age. His popularity as a venerated figure, however, has waned significantly, and there is no question that increasing numbers of audiences will feel alienated by the religiosity that continues to surround his personality.

Director Richard Carroll introduces vast amounts of colour and variety to his version of Godspell, but there is unlikely anything that could convert, those of us who are resolute in our distaste for Christianity or religions in general, which remains central to this 2022 production. Jesus seems a nice enough person, but all that deification is nonetheless, very hard to take.

The show’s visual appeal though, is undeniable, with Emma White’s stage design providing a familiar warmth, along with the provision of multiply apportioned spaces, that helps with the presentation’s constant transformations. Angela White’s costumes are a melange of epochs, with a whimsy that establishes its characters as joyful and endearing from the very start. Peter Rubie’s lights are imaginative and ambitious, offering a delectable palette of luminal combinations that really helps to keep things exciting.

The ensemble beams with dedication; there is an intensity to their focus and camaraderie, that demands our attention. Billie Palin sings the part of Christ well, but her dazzling vocals prove not to be a substitute, for the charisma we associate with sect leaders of that magnitude.

It should be encouraged that we learn about things that are important to our neighbours. Listening to other people’s religious beliefs is often a rewarding experience, that is until they become overwrought and depart too far from shared realities. We have argued for centuries about the intricacies of what Christ had preached, but the damage caused in his name, by so many of his followers, are simply irrefutable.

www.hayestheatre.com.au

Venue: Hayes Theatre Co (Potts Point NSW), 29 Jul – 27 Aug, 2022
Book and Lyrics: Leslie Bricusse
Music: Frank Wildhorn
Director: Hayden Tee
Cast: Melanie Bird, Mitchell Cox, Georgina Hopson, Madeleine Jones, Luke Leong-Tay, Brendan Maclean, Rob McDougall, Sarah Murr, Gus Noakes, Billie Palin, Brady Peeti, Matthew Predny, Mitchell Roberts, Rutene Spooner
Images by Phil Erbacher

Theatre review

Dr Jekyll is determined to reveal the secrets hidden within the human psyche, but what he uncovers is beyond anything he can ever prepare for. This 1990 musical by Leslie Bricusse and Frank Wildhorn, is a retelling of the 1886 novella by Robert Louis Stevenson, famous and eternally resonant with what it says about our nature.

Bringing a delicious sense of camp, is new direction from the inventive mind of Hayden Tee, whose bold vision ensures that Jekyll and Hyde is nothing short of a captivating experience. The show is taut and exciting, with a superlative level of singing and musicianship that has us impressed from start to end. Orchestration by Nigel Ubrihien is exceptionally sophisticated, as well as being highly enjoyable, with Steven Kramer’s musical direction delivering great visceral power, through all that we hear. Olivia Wilding and Sally Schinckel-Brown are the two cellists prominently featured, keeping us deeply engaged in the high drama of this outlandish story.

Leading man Brendan Maclean is appropriately intense and macabre in the title role, although not always convincing with the emotional dimensions being explored. Brady Peeti as Lucy steals the show unequivocally, as does Georgina Hopson (who plays Emma), both performers completely disarming with their supreme vocal abilities. Mitchell Cox and Rutene Spooner too are unforgettable in multiple smaller roles, able to seize our attention with every appearance, for moments of genuine delight. Also noteworthy is choreography by Siobhan Ginty, who keeps our eyes amused through the duration, with her wonderful physical configurations of a splendidly assembled cast.

Set design by Melanie Liertz is whimsical yet ambitious, able to create for the viewer a sense of expansiveness, alongside a satisfying quirkiness to her depiction of a psychiatric hospital. Lights by Anthony Pearson succeed at establishing atmosphere for each sequence, but can sometimes feel perfunctory, or perhaps insufficiently creative in approach. Costumes by Mason Browne on the other hand, are highly appealing, and relentlessly glamorous, whilst maintaining accuracy in all his representations of the tale’s colourful personalities.

We can never try too hard, to reveal who we are. It is apparently true, that there is no end to how much we can learn about being human. The problem it seems, is what we do with that information, when we understand that a big part of our existence comprises qualities less than desirable. Mr Hyde is horrible, and he is everywhere. We imagine that to know Mr Hyde, is to be able to control him, but evidence suggests that evil will always find a way.

www.hayestheatre.com.au