Tag Archives: hayes theatre co

5 Questions with Bree Langridge and Lachlan Martin

Posted in Suzy's 5 Questions by
Bree Langridge

Bree Langridge

Lachlan Martin: In Side Show, you play the Tattooed Lady. Do you have any tattoos?
Bree Langridge: I have three; a spider on my ankle, a lotus on my wrist and Aboriginal symbols on my ribs. I love tattoos. If I weren’t a performer I would get a full sleeve.

What is your dream role?
Sally Bowles from Cabaret. (Lachlan: Funny – my dream role is the Emcee from Cabaret.)

Have you worked at the Hayes before?
I performed my cabaret/tribute show called Little Diana based on the life of Diana Ross.

You’ve performed in some of Australia’s biggest theatres. How are you feeling about putting this reasonably large musical in such an intimate space like The Hayes?
I’m quite petite so I’ll fit nicely in the Hayes. But it will be a challenge especially because we are playing with the idea of dancing on silks hung from the ceiling. Exciting nonetheless.

Do you have any funny moments that have happened from previous productions?
I’ve just finished touring Cats as an onstage swing and the first time I performed the role of Rumpleteaser, (usually Cockney) I jumped past my light, over energised my voice and sounded Celtic. The rest of the show was banging though.

Lachlan Martin

Lachlan Martin

Bree Langridge: You play the Lizard Man in the freak show. How do you relate to lizards?
They are long and skinny – me down to a tee!

What are you enjoying about the process of creating the world of the freak show?
Well, I have never worked with any of the cast so getting to know them is fun. What we are doing is sometimes silly and very physical; we are throwing ourselves into it, which is allowing all sorts of creativity. The freaks are essentially a family and even after day 4 I can see us as actors becoming a family. And they are all super talents!

If you could have anyone over for dinner, dead or alive, who would it be?
James Dean. I can’t cook though so we would go out to a fancy restaurant and he would pay. Ha!

In Side Show you play not only the Lizard Man but a variety of other small roles. As an actor how do you differentiate between them?
We are still working through that process but as I’m a very physical person I use several different postural choices, vocal shifts and accents. The story travels during the show allowing us to access all sorts of worldly characters.

What attracted you to working in theatre?
As a child I would run around the house like a show queen! I grew up in Glenelg, Adelaide and mum took me to lots of theatre. From a very young age I knew I wanted to perform however it may happen – singer, dancer, actor, lizard!

Bree Langridge and Lachlan Martin can both be seen in Side Show the musical.
Dates: 23 September – 16 October, 2016
Venue: Hayes Theatre

Review: Xanadu (Matthew Management / Hayes Theatre)

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xanaduVenue: Hayes Theatre Co (Potts Point NSW), May 12 – Jun 12, 2016
Book: Douglas Carter Beane
Music & Lyrics: John Farrar, Jeff Lynne
Director: Nathan M. Wright
Choreography: Leah Howard, Nathan M. Wright
Musical Direction: Andrew Bevis
Cast: Dion Bilios, Francine Cain, Catty Hamilton, Kat Hoyos, Jaime Hadwen, James Maxfield, Ainsley Melham, Josh Quong Tart, Jayde Westaby
Image by Frank Farrugia

Theatre review
1980 is not exactly a great many lifetimes ago, but we have certainly lost a considerable measure of innocence since then. The Xanadu stage musical is a recent incarnation of the now cult classic film that materialised at the very dawn of the 80’s, and judging by the thoroughly farcical approach now taken, twenty-first century life seems to be very cynical indeed. Gone are all the naive idealism and whimsical romance that had accompanied Electric Light Orchestra’s bubblegum pop for the original, replaced by post-modern campery so sardonic, Liberace and Mae West are blushing in their respective graves (maybe with jealousy, but hard to know for sure).

The Xanadu film was never well regarded by critics, and its box office takings were disappointing, but it retains a significant place in pop culture history chiefly for the hugely successful music that it features. It makes sense that Douglas Carter Beane would re-write the piece exposing all the silliness of the story so that we can laugh with his version, instead of laughing at it as was often the case with its predecessor, but there is a compromise to the substantial presence of the original songs that does not always find harmony. Beane can subvert everything in the book, but shoehorning his comedy into the perfectly constructed pop masterpieces often feels antipodal and frankly, a waste of opportunity. Instead of improving the storytelling around the euphoric compositions of passion, he tries to re-engineer them for his comedic purposes with mixed results. Nonetheless, the show is by and large, a very funny one, in the style of a “children’s show for 40 year-old gay people” as one of its character states.

Director Nathan M. Wright rises to the challenge of bringing a tenacious and flamboyant vibrancy to the work, never missing a beat with his show’s unrelenting hammy humour. Always engaging and always in jest, every weakness of the 1980 film is turned into a knowing joke, as are the few effective poignancies from the original. The love story takes a back seat, making way for amusing and frivolous characterisations taking centre stage, performed almost vaudevillian in style, by an impressive cast that seems to have no limits to their abilities. It is not every day that we see people singing, dancing, acting and making us laugh, all at once, and on roller-skates no less. Jaime Hadwen is perfect for the role of Kira, sent from the heavens to raise Xanadu from its ashes. Hadwen’s comedic skills win us over from her first appearance, and while the tender warmth that she is able to inject surreptitiously, is easily overlooked in a mélange of frenzy, it is that quality of sweetness that keeps us endeared and quite miraculously, invested in. Her singing is exuberant and accomplished, but more creative sound design is required to live up to Olivia Newton-John’s legendary recordings. Xanadu may not be perfectly conceived, but its execution is top-notch, especially by the performers who give it their all on stage.

Kira discovers that the reason for humans striving hard for art, is linked inextricably to our mortality. As daughter of Zeus, her life is eternal, but the only way for us to live beyond the last breath is to establish legacy. The fact that Xanadu has endured against all odds through the decades, serves as inspiration to all of us who suffer from lapses of confidence in our work and indeed, other parts of life. We may not always receive affirmation and recognition for the things we do, but it is important to realise the ripple effect of even the smallest of our efforts. We cannot see every tomorrow, but the ones we touch will carry something of us into the days ahead, like “where Alph, the sacred river, ran / Through caverns measureless to man /
Down to a sunless sea.” (Kubla Khan by Samuel Taylor Coleridge)

www.hayestheatre.com.au

5 Questions with Dion Bilios and James Maxfield

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Dion Bilios

Dion Bilios

James Maxfield: So you play Thalia, the muse of comedy in Xanadu. Who would you say your comedy inspirations are?
Dion Bilios: I grew up watching Jim Carrey movies. Ace Ventura and The Mask were my favourites. But you can’t go wrong with Eddie Murphy or Will Ferrell.

Have you been mused or had a muse in your life before?
I like to think I’ve been a muse. Some people would say that I inspired the character “Donkey” from Shrek.

If you could have been born in an another era, what would that be?
Definitely the 70’s. I would have rocked a big afro. I can’t help myself when I hear a sexy disco bass line.

Your beautiful wife Danielle is also a performer. How do you two juggle your marriage, career and the on-and-off distance that so delightfully comes with working in this industry?
Yes, she is beautiful and extremely talented too! I’m very lucky to be married to someone who truly understands what being a performer entails. It’s not easy, I’ll tell you that! But setting goals and knowing that you have each other’s back no matter what is a huge part of it. Also, flying… lots of flying.

So you’re a bit of a foodie. What’s your favourite go-to places to eat in Sydney?
Oooooh I do love my food! Let’s see, I’m a big fan of A’Tavola in Darlinghurst (beautiful Italian). Also, if you feel like a treat with your significant other (or just yourself) spend 4 hours overlooking the harbour at Quay, it’s amazing.

James Maxfield

James Maxfield

Dion Bilios: Hey Jimmy, Xanadu is set in the 80’s. Some hated the era but I’m a fan. What are your thoughts about it?
James Maxfield: Massive fan! Who doesn’t love shoulder pads and power ballads, am I right?! Plus, nothing compares to the dance style of the 80’s. Stayin’ Alive, Flashdance, Footloose, Dirty Dancing. Classics!

So I know you’re an animal lover. Tell me about your pets.
I have two dogs. A pug named Bentley and a French bulldog named Tyson. I’m just a little obsessed with dogs that have squishy faces, breathing problems and a complete lack of gross motor skills.

We spent a lot of years dancing and performing together when we were younger. On a scale of 1 to I love you, how much would you say you love me?
Marry me! I mean, I would say you’re kinda up there in the “I Love You” league… I guess.

Now that you’re a Xanadu pro roller skater, what are your thoughts on competing in the world championships?
(Laces up roller skates, performs a perfect triple axle into arabesque., skates towards camera.) I’m a little rusty but I’ll give it a go *wink*

Any tips for young performers wanting to get into the industry?
Never stop learning! I’ve been doing this for 12 years now and there’s not a job I do where I’m not learning something new about my craft. The more boxes you tick, the more work there is out there for you. And just be nice. To everyone. It makes life so much easier.

Dion Bilios and James Maxfield can be seen in Xanadu the musical.
Dates: 12 May – 12 Jun, 2016
Venue: Hayes Theatre

5 Questions with Ayeesha Ash and Heather Manley

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Ayeesha Ash

Ayeesha Ash

Heather Manley: Rent is your first musical after studying Acting at WAAPA. How do you find the rehearsal process compared to a straight play?
Ayeesha Ash: The rehearsal process hasn’t been extremely different, it’s just focusing on song lyrics instead of dialogue and making sure I know my choreography perfectly, so that I don’t accidentally hit someone in the head with a prop.

If you had to choose one cuisine to eat for the rest of your life what would it be?
Definitely Japanese. Sushi, sashami, wakame, edamame. SOY SAUCE.

What has been your favourite performing experience?
In my final year at WAAPA my class toured a show that we wrote to Dublin. It was such a great experience being able to perform a piece we were so connected to on the other side of the world.

What strange fact about you do not many people know?
When I was a kid I would only have a shower if I was wearing my rain hat (I’ve grown out of that phase now).

Would you rather be married to a man with a fish head and a normal body or a normal head with a fish body, and why?
Normal head and fish body because he would probably be a really good ocean swimmer. He could take me on ocean dates and introduce me to all of his whale friends.

Heather Manley

Heather Manley

Ayeesha Ash: What’s been the most challenging piece to learn in Rent?
Heather Manley: I think the whole thing was a bit of a challenge because it’s a return season and we are entering a cast where almost all of the members were in the first run and knew all the numbers already. My brain was so full of lyrics and choreography within the first week.

Who is your favourite character to play in the show and why?
I really like playing Mimi’s sassy mom and singing in Spanish. Who doesn’t love to be sassy when they get the chance?

If you were an animal, what type of animal would you be?
Definitely a bird. It’s always been a fantasy of mine to be able to fly. And I’m a bit obsessed with birds – I have four cockatiels as pets back home in Guam.

If you could turn any movie into a musical what would it be?
I think Miss Congeniality is screaming to be a musical!

Who did you prefer in the 90s: Britney or Xtina?
Britney Spears’ album with ‘Hit Me Baby One More Time’ was the first album I bought, so definitely Britney.

Ayeesha Ash and Heather Manley can be seen in the new season of Rent the musical.
Dates: 29 Mar – 17 Apr, 2016
Venue: Hayes Theatre

Click here for Suzy’s review of last year’s production of Rent.

Review: Little Shop Of Horrors (Luckiest Productions / Tinderbox Productions)

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Venue: Hayes Theatre Co (Potts Point NSW), Feb 18 – Mar 19, 2016
Book & Lyrics: Howard Ashman
Music: Alan Menken
Director: Dean Bryant
Choreography: Andrew Hallsworth
Musical Direction: Andrew Worboys
Cast: Angelique Cassimatis, Tyler Coppin, Esther Hannaford, Brent Hill, Scott Johnson, Dash Kruck, Josie Lane, Kuki Tipoki, Chloe Zuel
Images by Jeff Busby

Theatre review
When Roger Corman’s original film of Little Shop Of Horrors appeared in 1960, it was seen mainly as a science fiction comedy about aliens from outer space invading planet earth, a popular genre believed to represent the USA’s anxieties about the spread of communism in the middle of the twentieth century. By the time of its evolution into an off-Broadway musical in 1982, and the many subsequent revivals, Little Shop Of Horrors had taken on greater poignancy. It is now ironically a story about the horrors of capitalism, and the insatiable voracity of money. Seymour’s sacrifices for fame and fortune begin cautiously but they are soon beyond his control, and Audrey II literally takes on a life of its own to usurp much more than Seymour had ever intended. It is debatable if economies anywhere were ever as innocent in purpose as our protagonist, but Audrey II is a clear and unexaggerated parallel for the seemingly incessant threats of financial crises that we are warned about in the daily news.

Dean Bryant’s vision for this 2016 staging is wildly imagined and beautifully realised. There is great sophistication to be found alongside his exuberant showmanship, offering a night of sensational entertainment, the quality of which is admittedly rare. Bryant’s boldness in attitude meets with the material’s unbridled extravagance for a production that enchants and excites. Although fundamentally a very dark tale, its theatrical executions here aim for a wide appeal, ensuring that musical enthusiasts and general audiences alike would be equally captivated. Aided by a phenomenal team of designers (most remarkably Owen Phillips’ set and puppetry by Erth Visual & Physical Inc), the show is a visual feast resulting from daring dreams and big ambitions that the intimate space has very clearly failed to hamper.

Thoughtful casting brings together a group of vivacious personalities who fire up the stage with vibrant humour and immense energy. There are bigger voices to be found in the industry for sure, but prioritising characterisations over technical ability pays off in spades. Brent Hill is an endearing Seymour, with a convincing purity that connects well with his audience. Leading lady Esther Hannaford’s comic timing is outstanding, and the Audrey that she manifests is a real and irresistible joy. It is a coupling that we cannot resist championing for, and that ensures the plot’s effectiveness from start to end. Supporting players Angelique Cassimatis, Tyler Coppin and Scott Johnson too, leave excellent impressions with brilliantly funny performances in their respective roles. It must be noted that sound designer Jeremy Silver’s achievements in finding the perfect sonic balance for the show is quite an accomplishment, helping the ensemble provide an engrossing and exhilarating experience that will prove to be unforgettable.

Revisiting classics is always a tricky exercise. Having to live up to standards set by two classic films and innumerable stage adaptations, is without a doubt a formidable task, but this version of Little Shop Of Horrors is quite possibly the best rendition that this generation can hope to see, and maybe for several years thereafter. It exceeds not just expectations, but also our fantasies of what the show could possibly look like before our own eyes. The artists have created a work of great spirit and surprising poignancy, and along with a good deal of wonderful singing and dancing, this is a show that will have you suddenly falling in love with musical theatre all over again.

www.hayestheatre.com.au

Little Shop Of Horrors 2016 Hayes Theatre
Little Shop Of Horrors 2016 Hayes Theatre
Little Shop Of Horrors 2016 Hayes Theatre
Little Shop Of Horrors 2016 Hayes Theatre
Little Shop Of Horrors 2016 Hayes Theatre
Little Shop Of Horrors 2016 Hayes Theatre
Little Shop Of Horrors 2016 Hayes Theatre
Little Shop Of Horrors 2016 Hayes Theatre
Little Shop Of Horrors 2016 Hayes Theatre
Little Shop Of Horrors 2016 Hayes Theatre
Little Shop Of Horrors 2016 Hayes Theatre
Little Shop Of Horrors 2016 Hayes Theatre
Little Shop Of Horrors 2016 Hayes Theatre
Little Shop Of Horrors 2016 Hayes Theatre
Little Shop Of Horrors 2016 Hayes Theatre
Little Shop Of Horrors 2016 Hayes Theatre

Review: The Fantasticks (Wooden Horse Productions)

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woodenhorseVenue: Hayes Theatre Co (Potts Point NSW), Jan 11 – 31, 2016
Book and lyrics: Tom Jones
Music: Harvey Schmidt
Director: Helen Dallimore
Cast: Laurence Coy, Martin Crewes, Bobbie-Jean Henning, Jonathan Hickey, Garry Scale
Image by Marnya Rothe

Theatre review
Every day everywhere in the Western world, groups of enthusiasts come together to stage intimate productions of well-known musicals. Their shows are invariably minuscule versions of big budget monsters that had found success on Broadway and the West End. Many are able to prove that money has little to do with the enjoyment and appreciation of a great work, but many more reveal the musical format to be heavily reliant on bells and whistles that can only be acquired by exorbitant sums of cash.

There is a meaningful story in The Fantasticks about the nature of life and love, and the value of emotional pain as children grow into adulthood. Along with beautiful songs that stand the test of time, it is no wonder that this 56 year-old piece is being revived for a Sydney season. In the absence of elaborate sets and other visual wizardry, director Helen Dallimore relies on her excellent cast of five to tell a story of young love and its disappointments. Their talent is undeniable, but the performers are often left to their own devices, and we feel an inadequacy resulting from that lack of support. The stage seems to need more action. On this occasion unfortunately, simply having strong actors do their best on a bare (but pretty) stage does not quite cut it.

Music is also extremely minimal, with only Hayden Barltrop on keyboards and Glenn Moorhouse on guitars, but their work is effective. A surprising and delightful consequence of the quiet accompaniment is that the vocals are beautifully prominent, which is not usually the case at this particular auditorium. Sound Designer Jeremy Silver has clearly done an exceptional job for this production. Also wonderful are Bobbie-Jean Henning and Jonathan Hickey who play the teenage love-birds, both committed and compelling, with sensational voices and irresistible charm. The duo is endearing from the start, and believable until the very end, but the show depends too heavily on their magic, and we see them struggle with some of the heavy lifting in concluding scenes.

It must be noted that the controversial number “Rape Ballet” is kept intact. One cannot imagine a song like it to be written today, so the decision for its inclusion is a problematic one. We should not be a society that disallows any subject matter in our art, taboo or otherwise, but sensitive topics need to be treated with extra care. The word “rape” seems to be on the verge of joining an increasingly long list of words that are to be avoided at all costs in the public domain, but art must not abide by this rule of convenience. It is art’s responsibility to unpack the prohibitions of society, and use its ingenuity to present these issues in ways that will mean progress and enlightenment. This instance of the “Rape Ballet” might be offensive to many, but its omission would have been cowardly. A better solution is to invest immense thought and sensitivity into the matter, and whether or not the creators have done sufficiently here, is entirely debatable.

www.hayestheatre.com.au | www.woodenhorseproductions.net

Review: Rent (Highway Run Productions)

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highwayrunVenue: Hayes Theatre Co (Potts Point NSW), Oct 8 – Nov 1, 2015
Book, Music and Lyrics: Jonathan Larson
Director: Shaun Rennie
Musical Director: Andrew Worboys
Cast: Laura Bunting, Denise Devlin, Casey Donovan, Linden Furnell, Josh Gardiner, Loren Hunter, Stephen Madsen, Nana Matapule, Jack O’Riley, Matthew Pearce, Chris Scalzo, Monique Sallé, Kirsty Sturgess, Chloe Wilson
Image by Kurt Sneddon

Theatre review
Stories about the impoverished artist are always romantic. The bohemian life is one that fires all our imaginations, but only a few of us are able to experience. In spite of all the debauchery and vulnerabilities associated with that way of life, we admire the purity that they represent with their uncompromising choices. The characters in Jonathan Larson’s Rent are passionate and idealistic, and like characters in Puccini’s La Boheme, their poverty is seen to be something of a rebellion against an establishment that is corrupt and ugly.

There are tragic repercussions in the narratives of Rent, and it is not until those occur in the second act that emotions begin to run high. All the musical numbers are beautifully realised under the direction of Shaun Rennie, but characters and their stories are somewhat distant, perhaps due to the age of the piece. Rennie, along with his designers (set by Lauren Peters, lights by Ross Graham and costumes by Georgia Hopkins) bring an accuracy to the look and feel of the USA in the mid-90’s, and Musical Director Andrew Worboys does an excellent job of updating its sound, but for a substantial duration, the piece plays like a concert with brilliant performances that engage, but only on a superficial level. We wait for poignancy to take hold, and although it eventually does, its effects seem too little, and too late.

The cast is comprised of 14 powerful voices that give the musical a superb polish. Some are stronger actors than others, but the quality of singing is consistently impressive and thoroughly enjoyable. Mimi is played by Loren Hunter, who shines bright in the role with her creation of a personality that is complex, colourful and clear. There is a precision to her work that delivers just the right amount of pathos, keeping us connected through her sense of authenticity. Along with her warm vocal tones, Hunter’s portrayal of conflict and suffering is an irresistibly captivating one. Also memorable is Casey Donovan, feisty and dramatic as Joanne, the Ivy League-educated lawyer. Donovan stuns us with her extraordinarily soulful singing, giving the musical genre a rare edge, and surprises us with a convincing characterisation of an intriguing personality. Christopher Scalzo is a controversial Angel. Originally written as a trans woman, Scalzo’s interpretation reads more like a cisgender gay male. Well-known trans characters of the theatre are extremely rare, so this obliteration is unfortunate, but it is a commendable decision that Scalzo is not required to assume a false trans identity for the stage, and is instead allowed to give expression to the role in a manner that is perhaps more in line with his personal gender identity. It is also noteworthy that Scalzo’s gutsy approach to his songs adds a raw dimension to a show that can be too clean in its presentation of the New York underground. His concluding scene is sensitively rendered, providing one of the key elements to the most moving portion of the production.

Rent was created at a time when AIDS was the leading cause of death in young Americans. Although there is much more still to be achieved in the space of HIV/AIDS research and medical advancement, we have come a long way since those early days of death and darkness. Discrimination however, still persists and the message in Jonathan Larson’s work remains relevant. Wealth distribution is still the cause of our troubles, and the urgency to address the problems in Africa is undiminished. The production’s upbeat end is to be expected, and although it seems futile in these times of complacency to bemoan the fact that the struggle is yet to be over, the truth in Larson’s work resonates, and it is always the underprivileged that is neglected and we simply have to do better.

www.hayestheatre.com.au | www.highwayrunproductions.com

5 Questions with Libby Asciak and Erin Clare

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Erin Clare

Erin Clare

Libby Asciak: Do you have any little rituals you do before each performance?
Erin Clare: The great thing about Heathers is its iconic 80’s theme and styling. I really feel like I’m stepping into a different character every time I apply copious amounts of blush to my cheeks, temple and forehead. It’s bizarre, but it really helps to be able to transform into another person visually. The hour call is really the time to exercise the outrageous fashion faux pas about that time and I love it. I like to watch Pat Benatar’s clip “love is a battlefield” because it is a gift to my soul- sometimes if I sit really still I can feel my hair getting frizzier just watching it.

How well did you know the musical Heathers before starting rehearsals?
If there’s anything the fan base of Heathers has taught me- is that if you know Heathers, you absolutely love it. I hadn’t heard of the show before the Hayes announced it, and after hearing the opening track I realised it was something very very special. Anyone who I spoke to raved about the show- and much like the movie; it has serious cult status for very good reason. Before rehearsals I listened to the soundtrack religiously, and of course watched the film, but it really is such a hidden gem that anyone in musical theatre should listen to.

What’s your favourite moment in the show?
In our production, without giving anything away, the incredible Lucy Maunder who plays Heather Chandler has a moment with a set of keys that I am obsessed with. To quote another fan I may have had a borderline “religious experience” at how hilarious it is. Within the show there are a lot of razor sharp moments that switch from belly laughs to tragedy within seconds and I think it is incredibly well written in that regard. One favourite moment for my character is my suicide attempt, which is always so fun to play and leaves me minty fresh for the rest of the show. That makes absolutely no sense unless you come watch so I guess you will just have to buy a ticket now.

If you weren’t cast as Heather Mac who else would you like to play?
I would cut off my limbs to play Martha, what a beautiful role! She truly is the heart of this piece and just so brilliantly delivered by Lauren McKenna. I would also love if it were at all possible to play J.D. His song “Meant To Be Yours” is an amazing roller-coaster of someone so beautifully insane and he has such an amazing part to play within the story. Incidentally I also enjoy a smart trench coat.

If you weren’t in the performing arts industry what would you be doing?
I’ve been so incredibly lucky to be able to know exactly what I wanted to do from a really young age. I think if I wasn’t in the industry I would be complaining to friends and hairdressers about wanting to be in the industry. We are really blessed to be doing what we are doing and part of something really exciting. If not for my aversion to technology I’d love to write a column for an arts publication but I’m still deciphering Windows 98.

Libby Asciak

Libby Asciak

Erin Clare: After learning you had landed the role of Heather Duke, how did you begin to prepare for the role?
Libby Asciak: Before auditioning I had only watched sections of the movie and off-Broadway show so I went back to the movie where it all started to find out what made this movie such a massive hit in the 80’s.

Word on the street is that you make the world’s best rocky road. Do you have any other baking specialities?
I’m not even gonna lie my rocky road is the bomb and I have a lot of pride attached to it haha. I literally throw in all of my favourite things, add some chocolate, add some peanut butter and you cant go wrong! I love cooking but I’m actually not a crazy baker as I cant eat egg which is in so may of the yummy baking recipes.

What is your favourite thing about playing Heather Duke?
I get to play a bitch. I definitely wasn’t a Heather in high school. I loved my music and dance and being in the design studios so that didn’t really make up to be the standard of a Heather sadly. It is so amazing to be able to turn the tables and play the girls who made me feel so insecure and made me feel like I wasn’t enough. Now I can show them how it’s really done!

If you had the choice between a green or red scrunchie, which would you prefer?
I love a red lip which makes me go more towards the red so I can at least match hehe. However, at Westerburg High I don’t think I can live with the pressure of being in control of the red scrunchie.

What is your favourite scene in either the movie or musical and why?
I’m gonna go with the musical and I think my favourite scene is when Heather Chandler pops out of the locker and says the very famous line “F*ck me gently with a chainsaw.” The audience go crazy when Lucy Maunder (Heather Chandler) says it and she plays it so brilliantly.

Libby Asciak and Erin Clare star in Heathers, the musical.
Dates: 16 July – 9 August, 2015
Venue: Hayes Theatre

Review: Heathers (Snowqueen Productions / Working Management)

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hayesVenue: Hayes Theatre Co (Potts Point NSW), July 16 – Aug 9, 2015
Book, Music and Lyrics: Laurence O’Keefe, Kevin Murphy (based on the screenplay by Daniel Waters)
Director: Trevor Ashley
Choreographer: Cameron Mitchell
Cast: Jaz Flowers, Lucy Maunder, Stephen Madsen, Erin Clare, Libby Asciak, Vincent Hooper, Jakob Ambrose, Lauren McKenna, Mitchell Hicks, Michelle Barr, Rebecca Hetherington, Stephen McDowell
Image by Kurt Sneddon

Theatre review
The film Heathers is a cult favourite from 1988 that surprised viewers, with its dark approach to the teen movie genre that had been in vogue at the time. What appeared on the surface to look like standard fare about high school hierarchies and puppy love turned out to be fascinatingly morbid. Its exploration of teenage angst in a plot that discussed suicide and murder preempted today’s attention of school shootings and other massacres of the kind. Laurence O’Keefe and Kevin Murphy’s musical version is a much more frivolous interpretation of events in the movie, although it is noteworthy that stories and characters are largely kept intact. Most of the songs are well-written, but they range from comical to sentimental, with very few occasions for the macabre that the original film was successful at generating.

Accordingly, Trevor Ashley’s direction of the work is hugely comedic, with meticulous focus on amplifying every funny moment. His style is deafeningly camp, which is not unsuitable for the production, but that distinctively loud tone of presentation tends to play on a single level with little variation, and allows for scarce instances of complexity. The first act in particular, is relentlessly raucous. We cannot help being engaged, but the story feels empty. The writing does not seem to provide sufficient space for tension to build, and the central character Veronica is not given a realistic chance at making a strong enough connection with her audience for the narrative to work as well as it does in the film. Additionally, the leads do not have the same superstar charisma of Winona Ryder and Christian Slater to keep us spellbound, but Jaz Flowers and Stephen Madsens’ accomplished singing does a good job of moving the show along.

Act Two is a marked improvement, with more compelling plot twists and greater disparity between scenes. Supporting performers impress in their solos, including Lauren McKenna as Ms. Fleming, the flamboyant high school teacher whose intentions to help the students are more self-serving than altruistic. McKenna is inventive, confident and very effervescent in her cheeky depiction of the faux hippy woman. Vincent Hooper plays the Sweeneys (senior and junior) with outstanding energy and enthusiasm. The performer embraces the bawdy style of humour and creates hilarious exaggerations of the American jock, which delivers some of the biggest laughs of the night.

Heathers the musical is amusing at every point, with many entertaining sequences of choreography and effective comedy. It does however, miss the opportunity for creating greater tension and poignancy with its resonant subject matter. The teenagers in Heathers grow up too fast. Their loss of innocence requires deeper exploration, but as in real life, we brush aside their concerns too easily.

www.hayestheatre.com.au

Review: Ali McGregor’s Alchemy (Hayes Theatre Co)

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alimcgregorVenue: Hayes Theatre Co (Potts Point NSW), Apr 21 – 26, 2014
Musical Director: Sam Keevers
Cast: Ali McGregor

Theatre review
Ali McGregor has the kind of talent that we all wish to have. She is a singer who can sing anything across every genre, and she does them all incredibly well. In Alchemy, she showcases her frankly amazing ability at opera, rap, pop, rock, and all shades of jazz. There is nothing her voice is incapable of, and everything sounds authentic. Switching from musical theatre torch songs to hip hop à la Salt-N-Pepa is entirely effortless for McGregor. We never feel that the performer is more comfortable in one style than another, and the confidence she presents with each number is thoroughly enthralling and quite overwhelming.

When the diva sings, we are captivated and suspended in a timeless space; we lose ourselves and all our cares evaporate. McGregor says that Alchemy is about turning trash to treasure. The set list includes well known chart hits from the 80’s and 90’s, but rearranged to fit a jazz cabaret mode featuring Sam Keevers on the piano, Jonathan Zwartz on double bass and Tim Firth on drums. The programme is beautifully paced and constantly surprising, with an enjoyable juxtaposition of the familiar with the unexpected, providing amusement and delight. McGregor is a keen entertainer who engages her crowd with gestures and glances, and a lot of talking between songs. She is without question, a funny lady, and uses comedy well to create contexts for song choices, but unlike the music, her style and content of her chit-chat can become repetitive. She also shies away from more serious moments, frequently introducing a self-deprecating humour that is sometimes charming, but can also be disruptive. McGregor is capable of a lot of beauty with her presence and performance, and should allow more of her sublime qualities to resonate, instead of reverting to a persistent display of modesty and down-to-earthness.

It must be noted that lighting design for the show is inventive and very dynamic, transforming the simplest of stagings into something quite visually stunning. Sound however, does not show off McGregor’s range with enough effectiveness. The singer sounds impressive through the venue’s speakers for most of the duration but when she belts the bigger notes with her extraordinary power, the technical facilities seems to falter, losing dimension at these crucial points. Fortunately, the star’s determination and infallibility smooths over every flaw, and we cannot help but stay in love with her until the very end.

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