Tag Archives: hayes theatre co

Suzy Goes See’s Best Of 2014

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sgs-best2014

2014 has been a busy year. Choosing memorable moments from the 194 shows I had reviewed in these 12 months is a mind-bending exercise, but a wonderful opportunity that shows just how amazing and vibrant, theatre people are in Sydney. Thank you to artists, companies, publicists and punters who continue to support Suzy Goes See. Have a lovely holiday season and a happy new year! Now on to the Best Of 2014 list (all in random order)…

Suzy x

♥ Avant Garde Angels
The bravest and most creatively experimental works in 2014.

♥ Quirky Questers
The most unusual and colourful characters to appear on our stages in 2014.

♥ Design Doyennes
Outstanding visual design in 2014. Fabulous lights, sets and costumes.

♥ Darlings Of Dance
Breathtaking brilliance in the dance space of 2014.

♥ Musical Marvels
Outstanding performers in cabaret and musicals in 2014.

♥ Second Fiddle Superstars
Scene-stealers of 2014 in supporting roles.

♥ Ensemble Excellence
Casts in 2014 rich with chemistry and talent.

♥ Champs Of Comedy
Best comedic performances of 2014.

♥ Daredevils Of Drama
Best actors in dramatic roles in 2014.

♥ Wise With Words
Best new scripts of 2014.

♥ Directorial Dominance
Best direction in 2014.

♥ Shows Of The Year
The mighty Top 10.

♥ Suzy’s Special Soft Spot
A special mention for the diversity of cultures that have featured in its programming this year.

  • ATYP

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Photography by Roderick Ng, Dec 2014

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Best of 2018 | Best of 2017 | Best of 2016 | Best of 2015 | Best Of 2013

Review: Guilty Pleasures (Blue Saint Productions)

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bluesaintVenue: 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

5 Questions with Joanna Weinberg

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joannaweinbergWhat is your favourite swear word?
POES! It’s a South African word which is extremely rude and derogatory and politically incorrect and therefore satisfying to those in the know.

What are you wearing?
Bare feet , black nail polish and lots of drapy shawl things.

What is love?
My husband reads my reviews and lies to me if they are bad.

What was the last show you saw, and how many stars do you give it?
Storytiller on the Sydney Fringe. Lots of stars.

Is your new show going to be any good?
My new show is already good. What a dumb question.

Joanna Weinberg is starring in Baroness Bianka’s Bloodsongs.
Show dates: Sundays 14, 21 and 28 Sep 2014
Show venue: Hayes Theatre Co

Review: Love And Death And An American Guitar (Highway Run Productions)

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highwayrunVenue: Hayes Theatre Co (Potts Point NSW), Jun 4 – 6, 2014
Playwright: Toby Francis
Director: Neil Gooding
Musical Director: Andrew Worboys
Cast: Toby Francis, Noni McCallum, Andrew Worboys

Theatre review
Jim Steinman is a living American rock legend. Best known for power ballads made famous by the likes of Meatloaf, Bonnie Tyler, Air Supply and Celine Dion, his music is deeply ingrained into pop culture the world over. Like many song writers responsible for the most popular music ever recorded, his fame has never matched those who are centre stage. Toby Francis’ new script is mainly a monologue that incorporates the cabaret format. He performs it with an accompanist, along with a support vocalist who provides a female voice for several numbers. The story gives us some background into Steinman’s work and subsequent estrangement with Meatloaf, then goes on to an imagined depiction of Steinman pitching to us, an idea for a rock opera. Neverland was the precursor to Steinman’s seminal Bat Out Of Hell, but Francis’ vision is assembled like a concerto of greatest hits.

The song list is selected wisely, with many of Steinman’s crowd-pleasers included. Francis is on stage, dressed in denim, wielding a guitar and a microphone stand. On his right is musical director Andrew Worboys on a grand piano. It seems an awkward arrangement, but the rock cabaret works. The glam quality in Steinman’s songs provide a romantic flamboyance that makes sense for the context. Pre-programmed backing tracks give the songs their arena style volume, but all vocals are sung live. There is no doubt that the strongest element of Love And Death And An American Guitar is its standard of singing. The notes that emerge from Francis and his female counterpart Noni McCallum’s voices are astounding. One of the great joys of live performance is to be in the presence of superhuman talent, and these singers’ abilities are beyond what any combination of iPod and earphones can encapsulate. Also accomplished is Francis’ storytelling and the script he has prepared for the show. There is a beautiful lyricism to his writing, although the story does lack vividness at times. His skills as an actor are persuasive enough for the production, but the command over his physicality requires training.

Much as Steinman is one of the greatest song writers ever to surface, he does not have the makings of a rock god. Successful rock stars lend style, attitude and personality to the stage. They need to resonate sexuality, danger, confidence and power. In his show, Francis is positioned somewhere between cabaret, musical theatre and rock. He has a vulnerability that is alluring, but there is a politeness that belongs to the more formal world of musicals. The songs belong to stadiums that seat thousands, but Love And Death And An American Guitar translates them for a much smaller venue, and an entirely different genre of show. Francis sheds new light on these classic tunes, allowing their many fans to fall in love all over again. To borrow from the man himself, “it’s so hard to resist and it’s all coming back…”

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

5 Questions with Toby Francis

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tobyfrancisWhat is your favourite swear word?
The one I use the most is “fuck” so I should probably say that’s my favourite by default but because I get to choose I’d say my favourites are “dickhead” and “some bastard” because they always make me laugh. Especially when used like this, “Why don’t you like Bill?” “He’s a fuckin’ dickhead.” And, “Who stole your car Grandma?” “Some bastard.” Cracks me the fuck up.

What are you wearing?
A white t-shirt with Johnny Cash on it that my sister-in-law got me from Bear Hug and blue denim jeans that I got for myself from Jeans West because they were on sale. I’m so white.

What is love?
Work. I’ve been with my partner for 9 years and it’s been my experience that love is work. And not in a bad way. In a totally good way, in the way love is not only an attraction or need to be around someone and care for them but it’s also a commitment to them that says even when we are at our worst, when we are really at each other because of whatever reason, I will work and try to make it better. I will still be here and I’m not going to walk away because it’s tough right now. I think that once that feeling goes, that’s when the love is gone.

Also, I have a question for you Suzy Goes See, how many people answer this question with “baby, don’t hurt me”? I’m hoping it’s a million percent of people. (Thanks for asking this Toby, because it isn’t far from a million percent. Not all creative people are original thinkers, just quietly. – Suzy x)

What was the last show you saw, and how many stars do you give it?
David Campbell sings John Bucchino at The Hayes. I’m incredibly biased but I give it 5 stars. The whole show is fabulous, the music, the vocals, the everything. The conversation has a real ease to it, you get comfortable in that room very quickly then it’s just a matter of sitting back and enjoying it. It’s really quite special.

Is your new show going to be any good?
No. It’s mostly just me describing photos of Jim Steinman I’ve seen on the internet. Don’t see it… But actually, I’m really proud of it. It’s different to anything I done before in that I’m playing the character of Jim, I’m not just being myself. I’ve spent more time with this script than I have on any of my previous shows really working through it with loads of input from Neil Gooding, Lauren Peters, and Andrew Worboys. And everyone is so good at what they are doing on this show, Lauren’s design is incredible, she basically said to me, “I know what this show should look like so I’m going to go away and create some stuff and don’t bother me, ok?” And then she did and it was perfect. Neil’s really got a strong grasp of the show I wanted to create and he’s helped keep everything on track and shape it into a cohesive show. And, of course, Andrew Worboy’s arrangements and Musical Direction is incomparable. He has such a distinct style but at the same time, he can take the music anywhere. The work he is doing on this show, and that he did on Sweet Charity and Truth, Beauty and a Picture of You, is mind-blowing to me. I feel incredibly lucky to have these people want to work on this show with me. But yes, I think it’s going to be good. More than I’m probably allowed to admit in public.

Toby Francis is starring in Love And Death And An American Guitar, part of Hayes Theatre’s Cabaret Season 2014.
Show dates: 4, 5, 6 Jul 2014
Show venue: Hayes Theatre Co

Review: O.C. Diva (Hayes Theatre Co)

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hilarycole1Venue: Hayes Theatre Co (Potts Point NSW), Jun 15 – 29, 2014
Directors: Hilary Cole, Jay James-Moody
Musical Director: Steven Kreamer
Cast: Hilary Cole

Theatre review
Hilary Cole’s cabaret show takes on the familiar structure of a singer with a microphone, and her musical director on piano. The format works well for Cole, whose voice is an absolute delight, and her ability to convey clear stories and emotions through song demonstrates real talent. As is customary, the song list is composed mostly of familiar standards, but unexpected twists are introduced for added dimension as well as comic effect. Blondie’s 1979 hit “One Way Or Another” gets a surprising mash up treatment with Andrew Lloyd Webber’s “Phanton Of The Opera”, delivering laughs as well as an impressive opportunity to showcase Cole’s musical flair and her musical director Steven Kreamer’s prowess as an accompanist. There is also a one-woman “duet” with Cole being joined by her own impersonation of Bernadette Peters, that illustrates her admiration for the Broadway superstar, and reveals an unexpected versatility.

Direction of Cole’s performance is effective in the comic sections. Her punchlines are subtle but defined, and the jokes are well written. The young performer’s level of confidence is still in teething stages, but she manages to connect well in the venue’s intimate setting. Cole does fidget and stroll around excessively, and her eyes often withdraw into an introspective downward glance, but her passion for the stage is vibrant and infectious. There is a significant portion of the show that looks back at Cole’s experience with obsessive compulsive disorder. The performance becomes vulnerable and truthful, but also overly dark and depressing. Balance is lost here, and one is reminded of the work of Sandra Bernhard and Liza Minnelli where melancholic humour is retained when dealing with bleaker subject matter. Sadness does have a place in the cabaret, but a greater sense of show needs to be applied.

Cole is a beautiful performer, both physically and vocally. She is also a quirky personality, which justifies the choice for a show that is slightly unorthodox in tone. Ultimately, O.C. Diva‘s most memorable moments involve Cole’s singing, which proves to be much closer to perfection than she believes it to be. After divulging her anxieties about personal deficiencies, the show ends at a point of catharsis where she confesses the need for trust. It is evident to all in the audience that she can certainly rely on her talents to take her very far indeed.

www.hayestheatre.com.au

5 Questions with Hilary Cole

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hilarycoleWhat is your favourite swear word?
Fuck because it can go before or after any word and always makes sense.

What are you wearing?
Staple cold weather gear. X-Tall super thick stockings, socks, brown boots, a long sleeved dress and my favourite leather jacket (It’s made from off cuts of the meat industry, but still I’m a terrible vegetarian). I also just noticed I still have my aviators on because you can never be too careful, the UV lights in this artificially lit shopping centre are pretty dangerous…

What is love?
The deepest kind of obsession.

What was the last show you saw, and how many stars do you give it?
The last show I saw was Violet on Broadway and it was beyond brilliant. I’m gonna give it 4.5 stars, just a tiny notch down from Lady Day At Emerson’s Bar and Grill which I’d give a 5. Perfection.

Is your new show going to be any good?
Hah! What a fantastic question. Yes it is. (Gotta be confident in this industry right?) It’s completely original and I think it presents these songs and stories in a way people probably haven’t seen before. It’s my first go at cabaret so I’m trying to be really truthful, unashamed and hopefully entertaining. Because it’s about me I don’t have the luxury that I usually do of hiding behind a character, which is scary as heck but it means that the audience will get a fair chunk of my soul each night.

Hilary Cole is starring in O.C. Diva, part of Hayes Theatre’s Cabaret Season 2014.
Show dates: 15, 22, 29 Jun 2014
Show venue: Hayes Theatre Co

Review: Truth, Beauty And A Picture Of You (Neil Gooding Productions)

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hayestheatrecoVenue: Hayes Theatre Co (Potts Point NSW), May 9 – Jun 1, 2014
Book: Alex Broun, Tim Freedman
Music: Tim Freedman
Lyrics: Tim Freedman
Director: Neil Gooding
Musical Director: Andrew Worboys
Cast: Ian Stenlake, Scott Irwin, Erica Lovell, Toby Francis, Ross Chisari

Theatre review
Opera and the stage musical are theatre genres with their own defined song structures. Music is written in a specific way so that the genre works. Tim Freedman’s songs were written not for the stage, but for the world of pop and rock. This “juke box” musical is formed with highlights of his recording career with The Whitlams, and it is debatable how well the selection stands up against compositions tailored for the genre, but there is no question that this premier production of Truth, Beauty And A Picture Of You is effective on many levels.

Freedman and Alex Broun have built around the songs, a story replete with nostalgia and sentimentality, ensuring an emotional experience that audiences expect of the format. Characters and lines are thoughtfully crafted, with scenes between songs sometimes leaving a greater impression than the musical numbers themselves. Neil Gooding’s direction utilises space limitations of the Hayes Theatre to his advantage, evoking wistfully, the grunge of the 1990s and of Newtown, where the action is set, but it should be said that visual design could benefit from being a little more adventurous. The incorporation of live musicians within the space is charming. Gooding allows them to be within sight, but they are never intrusive. Above all, Gooding is a sensitive storyteller. The plot unfolds beautifully, with surprise, laughter and pathos always in the mix. His cast is a strong one, and the conviction of their performances is impressively engrossing.

Ian Stenlake, in the role of Anton, unleashes remarkable charisma. He is not a heroic protagonist, but his confident presence captivates us, and makes us care for all that he goes through. Stenlake’s ability to portray frivolity and an Australian casualness is wonderfully endearing, and his comic timing is a highlight of the show. Scott Irwin plays Charlie, buoyant and optimistic in 1994, but wearied and dejected in 2014. His unbelievable transformation between both eras bears an authenticity that is astonishing. Irwin’s work is subtle but powerful. His depiction of the character’s darker moments are devastating, and it is this gravity that gives the production its soul.

Younger members of the cast might be slightly less accomplished, but their talents are evident. Their vocal abilities in particular are outstanding, and they bring new life to many of the songs. It is unfortunate that the only obvious technical weakness of the production has to do with the way voices are mixed, as the band tends to drown out some of the singing in the bigger numbers. Erica Lovell as Beatrice is delightful and spirited. She is the strongest actor in the young bunch, and turns a somewhat inconsequential character into a memorable one.

Truth, Beauty And A Picture Of You is a moving show about love in its many guises. It tugs at our heartstrings and touches deeply. Like every great musical, it is affecting and entertaining, and it presents an opportunity to showcase some of our greatest talents, in whom we find great joy and sublime inspiration.

www.hayestheatre.com.au | www.goodingproductions.com

Review: The Drowsy Chaperone (Squabbalogic Independent Music Theatre)

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drowsychaperoneVenue: Hayes Theatre Co (Potts Point NSW), Mar 14 – Apr 6, 2014
Book: Bob Martin, Don McKellar
Music and Lyrics: Lisa Lambert, Greg Morrison
Director: Jay James-Moody
Choreography: Monique Sallé
Musical Direction: Paul Geddes
Actors: Jay James-Moody, Gael Ballantyne, Chris Coleman, Emma Cooperthwaite, Anna Freeland, Hilary Cole, Brett O’Neill, Ross Chisari, Laurence Coy, Steven Kreamer, Richard Woodhouse, Jaimie Leigh Johnson, Tom Sharah, Monique Sallé, Michele Lansdown

Theatre review
The Drowsy Chaperone is a brilliantly written musical. It is also a hilarious comedy with intelligently sharp and sophisticated humour that does not underestimate its audience. The show’s concepts and structure are original. Considering the usually restrictive genre, the writers have been able to create something that feels refreshing, yet maintain a classic musical formula that is perennially appealing.

The cast is a fairly large one, but the undoubted star of the production is Jay James-Moody, who plays “Man in chair”, a narrator of sorts who functions as our sometimes tipsy chaperone, guiding us through his favourite musical. James-Moody is also director of the work, and does a good job assembling and crafting the many elements of his creation, but his achievement as performer here is outstanding. His humour is subtle and precise, with a very thorough grasp of the vacillations and nuances in the writing. His connection with the audience is impeccably strong. James-Moody addresses the audience directly and is required to take control of all our reactions to almost everything that unfolds on stage. It is a very tall order but he delivers at every point, and in unbelievably fabulous form.

Hilary Cole as Janet van de Graaf impresses with a beautiful and versatile singing voice. Her role is a demanding one, and she delivers on many fronts but some of the choreography exposes her shortcomings. Cole’s work is full of conviction, and she looks very much the part, but can sometimes introduce too much fragility into her characterisation. Her fiancé Robert Martin is played by Brett O’Neill who has created a character that seems to be magically transported from the 1920s. It is a performance that is authentic and meticulously studied. O’Neill is delightful in the genre, with a strong singing voice and confident execution of choreography. Ross Chisari is slight of frame and plays a smaller role, but leaves a substantial impression. He is by far the strongest dancer in the cast, and has a surprisingly strong voice that belts out some of the most powerful notes in the show. Chisari has many qualities that would see him thrive in the field for all the decades to come.

In its final moments, the show takes a swipe at blockbuster musicals like Cats and Les Misérables. Indeed, The Drowsy Chaperone is not for every Tom, Dick, Harry and their 8 year-old children. It doesn’t operate on a level of simple sentimentality and doesn’t rely on unthinking emotion to hit its mark. This is a supremely entertaining show that appeals with its clever humour, but may need its crowd to have some level of cultured awareness. It is also a show about our love of performance. “Man in chair” has an obsession for stage performers in his record collection, and this production gives us many reasons to be enthralled in our seats, amused and awestruck.

www.hayestheatre.com.au

www.squabbalogic.com.au

5 Questions with Brett O’Neill

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rsz_1069168_10201646988048453_838512451_nWhat is your favourite swear word?
Piece-a-shit!!! It just slips out… A lot…

What are you wearing?
I was in my Peter Alexander pyjamas but now I am not.

What is love?
Love is cuddling while a storm is raging outside. Metaphorically and physically.

What was the last show you saw, and how many stars do you give it?
Merrily We Roll Along on Digital Theatre. 5/5. A truly touching, funny and heartbreaking staging of this musical. Everyone should buy it online. And all of the other ones. I may have done this. Maybe.

I would have loved to have said Sweet Charity (I was even rehearsing on their set) but I was one of the unfortunate buggers who missed out on a ticket for this one (yay for selling out though!!!)

Is your new show going to be any good?
Judging by the standing ovation we got for our last preview, I think we’re on a winner here. This is the feel-good show Sydney needs. In the afterglow of Charity, our tickets are selling like hotcakes so people need to book right this second. (Not a marketing ploy. I know someone that sold 3 of their kids to see this show, even though the tickets are reasonably priced)

Brett O’Neill is appearing in The Drowsy Chaperone, with Squabbalogic Independent Music Theatre.
Show dates: 14 Mar – 6 Apr, 2014
Show venue: Hayes Theatre Co