Tag Archives: musical

Review: Side Show (One Eyed Man Productions)

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oneeyedmanVenue: Hayes Theatre Co (Potts Point NSW), Sep 23 – Oct 16, 2016
Book & Lyrics: Bill Russell
Music: Henry Krieger
Director: Richard Carroll
Choreography: Amy Campbell
Musical Direction: Conrad Hamill
Cast: Daniel Belle, Gabriel Brown, Laura Bunting, Kerrie Anne Greenland, Michael Hart, Bree Langridge, Lachlan Martin, Joshua Mulheran, Elenoa Rokobaro, Berynn Schwerdt, Timothy Springs, Hannah Waterman
Image by Kurt Sneddon

Theatre review
Daisy and Violet Hilton were conjoined twins who in the 1930s, caused a sensation in the American vaudeville circuit. We meet them in the musical Side Show, as their ascent to fame begins, and encounter the highs and lows of the women’s irrefutable difference, in a world determined to treat them as anything but normal. Its plot is unconventional, and for a musical to have at its centre an unpredictable story, is remarkably refreshing. Instead of distinct good and bad categories as is common for the genre, characters exist in spaces of grey, resulting in a tale that surprises with its realism. The songs are beautifully composed, with unusual depth and textures that forsake formulaic writing in favour of accurate representations of human emotion.

Laura Bunting and Kerrie Anne Greenland are the splendid twins, with a persuasive sisterly closeness that keeps us firmly on their side. Bunting plays the extrovert Daisy with an alluring effervescence, while Greenland uses an earnest approach to tug at the heartstrings. Both are excellent singers, although Greenland’s very big notes are undeniably scene-stealing. In the role of Buddy is Gabriel Brown, who impresses with nifty footwork, along with a striking presence, for a character memorable for his exceptional charm. Director Richard Carroll successfully introduces a dignified air to the “freak show” context, but the production often seems too stagnant and minimal in its use of space. There is an admirable restraint in Carroll’s rejection of creating scenes that are overly sentimental, but the show would benefit from greater amplification of its more humorous elements.

Side Show is an elegant work that is respectful in its portrayals, but there is a persistent gentleness that can make it feel somewhat distant. Art must always be aware of cliché and do all it can to avoid it, like it does on this occasion, but the temptation to resort to the tried and tested is always present. The musical format has a strong tendency towards the “garden-variety”, mainly due to commercial pressures, but also because of the seemingly inherent limitations of the genre. There are few avant-garde musicals for good reason. It is a theatrical form with rules that cannot be broken, and that insists on subjugation of its artists, but for some of those who do give in, the rewards can be spectacular. True fulfilment might have been elusive, but Daisy and Violet had a taste of fame and fortune by giving the crowds what they want, and that is a level of success many could only ever dream of.

www.hayestheatre.com.au

Review: Bathhouse: The Musical (New Theatre)

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newtheatreVenue: New Theatre (Newtown NSW), Sep 19 – 23, 2016
Music & Lyrics: Esther Daack, Tim Evanicki
Director: Alex Robson
Cast: Valentino Arico, Marcus Rivera, Alex Robson, Dyan Tai, Lucas Thomson
Image by Priya Prakash

Theatre review
In Esther Daack and Tim Evanicki’s Bathhouse: The Musical, we discover all the goings on in that longstanding institution of the gay experience. Of course, providing a venue for sexual activity is its primary purpose, but where a community exists, a distinct culture can be found, and in this case, a very funny slew of shenanigans is brought to light for both the uninitiated, and the veterans. Its bawdy humour is charming, sharp and surprisingly refreshing, and although deeply conventional, its music is nonetheless enjoyable.

Billy is a smalltown young man in the process of coming out. We follow him as he navigates the dark, mysterious world of the bathhouse, trying to find companions, and more importantly his own sense of self. Performed by Lucas Thomson, the innocent and naive qualities of our protagonist are splendidly conveyed, and through his eyes, an unusual microcosm of human behaviour begins to make sense. The cast begins with unmissable tentativeness, but slowly gain confidence as the show progresses. The production can often feel under-rehearsed, and its performers do seem inexperienced in the specific requirements of the musical’s form and genre, but a vibrant accompanist (Antonio Fernandez on piano) ensures that the show is kept cohesive and jaunty. Alex Robson provides some clever ideas with his direction, but it is his work with live voice over that is truly endearing.

Daack and Evanicki’s creation is ten years old, but the advent of smart phones over this short period, is a factor that plays in our minds through the piece. Life is change, but the need for human connection is an uncompromising constant. Billy went to the baths looking for other souls who may make him feel less alone, but if he had begun his journey today, it is likely that the phone is where he goes most, ironically, to escape solitude. Technology can give us plenty, but flesh is unlikely to be replicated or replaced. The touch of another person, stranger or friend, can at times seem a lot to ask, but life without sex is not an existence anyone of any sexuality, should endure.

www.newtheatre.org.au

Review: Aladdin (Capitol Theatre)

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aladdinVenue: Capitol Theatre (Sydney NSW), Aug 3 – Oct 23, 2016
Music: Alan Menken
Lyrics: Howard Ashman, Tim Rice, Chad Beguelin
Book: Chad Beguelin
Director: Casey Nicholaw
Cast: Aljin Abella, Adam Jon Fiorentino, George Henare, Arielle Jacobs, Ainsley Melham, Adam Murphy, Michael James Scott, Troy Sussman, Robert Tripolino

Theatre review
Based on their own 1992 film, Disney’s musical version of Aladdin is everything one could hope for in an adaptation of a much loved family classic. Fondly remembered for Robin Williams’ hilarious interpretation of Genie, and the chart-topping song “A Whole New World”, this theatrical rendering first appeared in 2011, and is now a well-oiled machine that delivers every bell and whistle expected of the format, including jaw-dropping state-of-the-art stagecraft, along with genuinely effective comedy, that provide sensational entertainment for young and old alike.

The show’s visual design is lavish and inexhaustibly dynamic. Costumes, sets and lights are a real treat, fascinating our senses at every moment like a kaleidoscope that constantly amazes. The manifestation of an actual magic carpet that literally flies around the stage is a gimmick that will captivate any viewer, including the very seasoned theatregoer.

Performances are strong, and the cast will likely grow in chemistry as the Australian season progresses. Michael James Scott’s work as Genie is particularly likeable. Although his energy levels do appear to falter after vigorous sequences, Scott impresses with charisma, sharp humour and a brilliant singing voice, making the larger than life character as commanding a presence as we wish for him to be. Ainsley Melham and Arielle Jacobs are the extraordinarily attractive leads, both delightful in their respective roles, and perfectly charming as the saccharine lovebirds.

It is an innocent romance that blossoms between Aladdin and Jasmine, but the show is a sophisticated one with its naive conceits kept in check. The world is a dangerous place in Aladdin, and its people must access their sense of morality to make the right choices. Themes of slavery, feminism and poverty are only lightly touched upon, but they provide the story with a meaningful foundation on which it discusses the eternal struggle between good and evil. This Disney musical has all the froth and frivolity that fans spend their money on, but at its heart is an ancient folk tale from the legendary One Thousand And One Nights, where the human condition is scrutinised, to reach an understanding of how we are, on our very best days.

www.disney.com.au

Review: Singin’ In The Rain (Sydney Lyric Theatre)

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singinintherainVenue: Sydney Lyric Theatre (Sydney NSW), Jul 7 – Aug 28, 2016
Music & Lyrics: Nacio Herb Brown, Arthur Reed
Screenplay: Betty Comden, Adolph Green
Director: Jonathan Church
Cast: Grant Almirall, Robyn Arthur, Mike Bishop, Jack Chambers, Rodney Dobson, Erika Heynatz, Gretel Scarlett
Image by Hagen Hopkins

Theatre review
Regarded by those in the know to be the greatest movie musical of all time, Singin’ In The Rain takes place in Hollywood in the late 1920’s, when sound had begun to disrupt the silent film industry. This theatre production, based on the 2012 London revival, is similarly lighthearted, with a simple storyline that provides justification for a lot of song and dance in a style that harks back to the golden age of cinema.

Performers Jack Chambers and Erika Heynatz are called upon to provide the laughs in distinct comic sequences that showcase their talents appropriately, but the production suffers from a lack of exuberance that maintains an unfortunate muted tone over proceedings. Visual and sound design elements seem to be overly subdued, resulting in a show that often feels distant and lifeless. In the role of Don Lockwood is Grant Almirall, no less skilled and technical than Gene Kelly in the original film, but his very nifty footwork does not make up for the shortfall of charisma that we have come to expect of a Broadway style leading man.

Gretel Scarlett’s best efforts as supporting character Kathy Selden bring memorable moments of theatrical brilliance, leaving an excellent impression with polished execution of choreography and sublime vocals. Equally accomplished are the ensemble players, who present magnificent dance sequences that form the strongest feature of the production. Andrew Wright’s contribution as choreographer is outstanding, and almost compensates for the show’s minor but noticeable imperfections. Much excitement surrounds the heavy rain that pours on stage for the eponymous number; unquestionably gimmicky but also spectacular and beautifully realised. We go to musicals of this genre for amusement, and Singin’ In The Rain certainly does offer entertainment and escape, as well as bucket loads of nostalgia for the more romantic among us.

wwww.singin.com.au

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

Review: Oh My God I Have Been Kidnapped & I Hate What I Am Wearing (The Old 505 Theatre)

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old505Venue: Old 505 Theatre @ 5 Eliza St (Newtown NSW), May 10 – 28, 2016
Playwright: Drew Fairley
Songs: Mikey Lira
Director: Liesel Badorrek
Cast: Drew Fairley, Kate Smith
Image by Michael Bourchier

Theatre review
It is a comedy show with generous doses of cabaret, burlesque and musical theatre elements added to the mix. Completely frivolous and silly, Drew Fairley’s Kidnapped is pure entertainment that avoids serious themes and poignant emotional narratives, but impresses with the quality of talent that it showcases. Sugar is the aspiring artist at the centre of our attention, but it is the artists involved in telling her story that are remarkable.

Mikey Lira’s songs are charming and surprising, each with a strong sense of character that enriches the scenes in which they appear. Sound quality in the auditorium requires improvement (as does lighting design), but musical numbers in the show are a joy nonetheless. Choreography and other physical aspects of performance are cleverly devised, utilising every muscle of its actors to fill the space with movement and lively presence.

Formidable leading lady Kate Smith struts her stuff from head to toe, delivering comedy of the highest calibre, immense in its dexterity and inventiveness. Hilarious throughout, and deeply endearing, she has us in the palm of her hand and we find ourselves swept away into waves of laughter with her supreme, indomitable confidence. We never stop wanting more and she never ceases to amaze. Not content with being playwright, producer and musical director, Drew Fairley appears on stage with Smith, with similarly gleeful results. Fairley keeps the limelight squarely and appropriately on his co-star, but is himself more than a capable supporting actor. His work is full of sharp humour and extravagant flourishes, informed by a kooky sensibility that gives the show its irresistibly unique flavour. Chemistry between the two is flawless and stands as the key ingredient to Kidnapped‘s success.

There are few shows as funny as this, because convergence of talents are rarely as perfect as on this occasion. From its writing, to performance, to Liesel Badorrek’s very brave and instinctual direction, a beautiful harmony is established for a small but very special theatrical moment. It delights us, having us grin from ear to ear and cackle with joy, and it inspires us by showing us what artists can do when given the opportunity to demonstrate the best of their abilities. We have trouble giving artists what they are due in Australia, and although Kidnapped has today materialised gloriously in our fragile artistic landscape, we must think of other missed opportunities, and consider our priorities and responsibilities as a society, and we must decide to spend that investment on a little thing we call our soul.

www.venue505.com/theatre

Review: We Will Rock You (Sydney Lyric Theatre)

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wewillrockyouVenue: Sydney Lyric Theatre (Sydney NSW), Apr 20 – Jun 26, 2016
Music & Lyrics: Queen
Story & Script: Ben ELton
Director: Ben Elton
Cast: Erin Clare, Casey Donovan, Jaz Flowers, Gareth Keegan, Brian Mannix, Thern Reynolds, Simon Russell
Image by Jeff Busby

Theatre review
There is a scene in which the Bohemians declare that they do not know what rock and roll is. Ben Elton, writer and director of We Will Rock You evidently suffers from that same predicament. The production showcases some of the greatest rock tunes ever written, but in the interest of the musical theatre genre, builds characters and a narrative around them that unfortunately serve no real purpose except to dilute and dumb down the genius of Freddie Mercury and his Queen legacy.

Elton’s show features an endless series of dad jokes, and a tenuous context of anti-establishment that reads more like anti-progress and narrow minded, greying conservatism. It attempts to make jokes of pop culture icons such as Australian Idol, without acknowledging the fact that the strongest performer in its cast had been a prominent winner of that very franchise. It uses names like Britney Spears and Katy Perry as punchlines, as though we would all share its appetite in humiliating those women and obliterating their undeniable achievements. The show finds it energy from the music it is authorised to use, but unlike the musicians it attempts to pay tribute to, We Will Rock You is spiritless and banal.

The story is yet another take on the messianic allegory. Like Jesus from the Bible or Neo from The Matrix, Galileo is sent from the heavens to save us all. Whether or not one is concerned with the political incorrectness, and tastelessness, of creating opportunities for another white man to deliver us from evil, the trope is frankly, very desperately tired. As though its format is not already archaic enough, a female “lead character” is included for no discernible reason except to provide Galileo with a love interest, presumably to assure us of his hetero-masculinity in case, god forbid, Freddie Mercury’s gayness would befall him by association.

It is a well-performed show nonetheless, with an excellent band, and a strong cast that traverses the rock and musical genres effortlessly. The aforementioned Idol winner Casey Donovan steals the show as the villainous Killer Queen, winning us over to the dark side where everything is much more appealing and infinitely more rock and roll; very ironic indeed. Brian Mannix, frontman of 1980s rock bad Uncanny X-Men, is also on hand to bring hints of authentic flavour to a stage that is ostensibly tailored for a “family-friendly” type crowd. They may all be stars that we see having their glitzy moment in We Will Rock You, but it is certainly not rock heaven that they have taken us.

wwww.wewillrockyou.com.au

Review: Spring Awakening (ATYP)

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atypVenue: ATYP (Walsh Bay NSW), Apr 27 – May 14, 2016
Book and Lyrics: Steven Sater (based on the original by Frank Wedekind)
Music: Duncan Sheik
Director: Mitchell Butel
Cast: James Raggatt, Jessica Rookeward, Josh McElroy, Alex Malone, Patrick Diggins, Kate Cheel, Joe Howe, Bardiya McKinnon, Henry Moss, Caitlin Rose Harris, Taylor Howard Anthony, Alexandra Fricot, Julia Dray, Lochie Kent, Julian Kuo, Thomasin Litchfield, Richard Sydenham
Image by Tracey Schramm

Theatre review
Teenagers discovering sex is among the most intense experiences that a person can go through. It is simultaneously delightful, frustrating, embarrassing and intractable, full of complexity and obsessive power in the way it dominates one’s body and mind. Adolescence is difficult and the consequences of sexual miseducation can be catastrophic, yet offering appropriate guidance and accurate information remains a challenge. Recent debates over the “Safe Schools” initiative to broaden the consciousness of high school students beyond a heteronormative scope and traditional religious values, have revealed conservative and harmful beliefs about sex that persist in Australia today. The story of Spring Awakening is over a century old but is based on those same tensions that still exist in our inability to be honest with the young about the pleasures and responsibilities associated with their sexualities. This 2006 musical incarnation is an edgy expression of the subject that exposes how we fail the young and the dire consequences that follow.

It is a spirited production, helmed by promising young performers. Watching them explore ideas around sex with exuberant openness, without a modicum of coyness or shame, is a truly remarkable experience. Each individual brings a confident presence and as a group, the ensemble delivers a passionate and bold staging that demonstrates their enthusiastic appreciation for the themes of discussion. Jessica Rookeward impresses as the naive Wendla, with a convincing and tender performance made prominent by a strong singing voice. The cast is emotionally compelling, but the overall standard of singing is adequate at best, which tarnishes their otherwise strong work. Choreography is effective in its ability to bring energy and excitement, but can sometimes be overbearing for the intimate space. Set design is kept minimal, with lights employed to do all the heavy lifting of conveying time and place. Damien Cooper and Ross Graham, co-lighting designers, contribute greatly to the vibrancy and variety of visuals. Direction by Mitchell Butel highlights all that is appealing about his zealously youthful actors, and creates a show with great optimism in spite of its dark narrative. There is a tendency to favour pathos over humour, which makes the production feel excessively heavy, but it achieves a beautiful authenticity that helps with the story’s poignancy.

The talents in Spring Awakening are in control. They surprise us with their maturity and their strength of resolve in taking over a stage to communicate what they believe to be real and valuable. We must never underestimate the capacities of our youth, and we must certainly never forget that much of our weaknesses have not yet befallen them. They need our protection but they deserve the truth. Our social problems, especially those pertaining to discrimination, are a product of ignorance that we continue to harness through false information and archaic belief systems. Spring Awakening represents the struggle against oppressive orthodoxies, and for the truth that sets us free.

www.atyp.com.au

Review: There’s No One New Around You: A Tinder Musical (Sydney Comedy Festival)

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tindermusicalVenue: The Factory Theatre (Marrickville NSW), Apr 27 – 29, 2016
Book: Keira Daley, Mark Simpson
Music and Lyrics: Keira Daley, Steven Kreamer, and Mark Simpson
Director: Beth Daly
Cast: Keira Daley, Mark Simpson
Image by Gina Jenkins

Theatre review
Online dating is a modern phenomenon, and Tinder is the current leader of a very saturated app market. With reports suggesting 50 million users, its increasing presence in our storytelling is not at all surprising. There’s No One New Around You by Keira Daley and Mark Simpson is probably the first musical to be staged that is entirely about Tinder, compiling anecdotes, impressions, inventions and humour, relevant to the uniquely contemporary experience. Its songs and jokes may not always be fresh or edgy, but there are many moments of cutting social commentary that keeps us excitable and engaged. In the show’s efforts to find verisimilitude, the audience is offered realistic reflections of our attitudes towards romance, sex and loneliness that can be powerful, perhaps embarrassingly so, in its accuracy. The characters we see are very silly, but they are unquestionably real, and whether or not one is familiar with the phone app in question, their thoughts and behaviour bear a closeness to modern life that cannot be denied.

The production is assembled with minimal fuss, and our attention is placed squarely on the two performers playing out stand-alone scenes that make light of all the absurdities associated with dating in the digital era. Daley and Simpson are perfectly exuberant, and very well-rehearsed, hitting every mark they have set in a playfully conceived but ultimately simple vehicle of entertainment. Adding an extra dimension of comedy is a film element crucial to the show’s effectiveness, cleverly edited by Simpson and seamlessly integrated with the live action. There’s No One New Around You is about clichés, and although there is nothing new in what it says, its observations are thoroughly amusing.

Humans cannot go without food, but our voracious appetite for love and affection reveals what it is that truly provides sustenance. Science tells us that eating and drinking keep us alive, but we know that life cannot be without intimacy and connection. We worry about technology keeping people apart, and lament the disintegration of community at the hands of accelerating capitalism, but the need to reach out and find affirmation refuses to be dampened by increasingly utilitarian ways of thinking about life. Even as electronics and money continue their never-ending encroachment into our persons, we will not abandon love and lust, but they will morph into new forms appropriate for the times. There is clearly no elegance in courtship Tinder style, but whether it can deliver any old fashioned romance, is anybody’s guess.

/www.tindermusical.com

Review: Georgy Girl (State Theatre)

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georgygirlVenue: State Theatre (Sydney NSW), Apr 2 – May 15, 2016
Book: Patrick Edgeworth
Music & Lyrics: The Seekers and others
Director: Gary Young
Cast: Sophie Carter, Pippa Grandison, Phillip Lowe, Mike McLeish, Adam Murphy, Ian Stenlake, Glaston Toft, Stephen Wheat
Image by Jeff Busby

Theatre review
Over 50 years of The Seekers’ history is charted in Georgy Girl. Predictably, all their hits are included in the musical, but very unexpectedly, virtually no sentimental dramatisation of events is found. It is a quiet story about unassuming personalities who happen to have achieved greatness is their careers. There is little in terms of narrative to get excited about, and the show is almost completely devoid of dramatic tension, but for fans of the band’s music, nostalgia abounds.

An excellent cast plays the famous musicians, and although they engage in little acting, their interpretations of classics more than fit the bill. Pippa Grandison heads the group, and in the role of Judith Durham, she impresses with a rich and powerful voice, effortlessly recalling the glory days of the Australian icon. Playing Durham’s husband Ron Edgeworth is the charismatic and flamboyant Adam Murphy who single-handedly introduces a sense of theatricality to the show. His charm offensive is a highlight, and probably the only memorable element for an admittedly small number of audience members who are less familiar with The Seekers.

The production is polished and professional, but it appears that little of the budget is spent on set design. The very rudimentary and underwhelming stage is a clear let down for those who have grown accustom to highly complex and sophisticated stagecraft that is now par for the course in events of this genre. Georgy Girl is minimal, subdued, and plain, qualities to be loved in folk musicians but hardly the characteristics we expect of a Broadway style musical extravaganza.

www.georgygirlthemusical.com