Tag Archives: musical

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

Review: Fiddler On The Roof (Capitol Theatre)

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fiddlerjeffbusbyVenue: Capitol Theatre (Sydney NSW), Mar 24 – May 6, 2016
Music: Jerry Brock
Lyrics: Sheldon Harnick
Book: Joseph Stein
Director: Roger Hodgman
Cast: Blake Bowden, Sara Grenfell, Glen Hogstrom, Andrew Kroenert, Lior, Mark Mitchell, Jensen Overend, Anthony Pepe, Annie Stanford, Monica Swayne, Derek Taylor, Sigrid Thornton, Jessica Vickers, Anthony Warlow, Nicki Wendt, David Whitney, Teagan Wouters
Images by Jeff Busby

Theatre review
Stories of diaspora never seem to lose their relevance. Fiddler On The Roof is over 50 years of age, but its story of religious persecution consists of an authenticity that every generation will find poignant. As the problem of refugees escalates and takes over our airwaves, themes in the musical hold a deep resonance that relate directly to big issues of the day that all of us are made to face. Tevye and his family are charming folk that, although culturally different from contemporary Australians, endear to us with familiar and admirable qualities, representing the best of our shared humanity. Tevye is an honourable and humble man, with little to his name except for a loving family, and the respect of his community. The songs are similarly heart-warming, with an integrity found in its folk and traditional style, that sets it apart from the tried, tested and very tired styles of music in many other shows of the Broadway genre.

Anthony Warlow’s performance as Tevye is truly remarkable. From physicality and voice, to humour and spirit, Warlow is exemplary on the stage, with impressive star power coupled with indisputable talent, eclipsing every other element of this production. He is a grand presence who is able to convey subtleties. He entertains but keeps us conscious of the higher stakes at play. His generosity extends not only to his audience, but also to his colleagues, whom he offers strong support for their individual shining moments. Monica Swayne and Blake Bowden play Hodel and Perchik, one of the story’s romantic couples, with beautiful chemistry and moving passion. Swayne’s solo rendition of “Far From The Home I Love” is a tearjerker executed without overblown sentimentality, only pristine honesty accompanying a sensational voice able to portray a sublime vulnerability in spite of its palpable strength.

The show is at its best when scenes are tender, deep and meaningful. Sequences of exuberance are less consistent, with many of its early moments seeming to lack energy and spontaneity. Fortunately Act II, although shorter in length, becomes much more dramatically engaging, leading to a heartbreaking conclusion orchestrated with outstanding sensitivity and elegance. It is not often that a big musical touches us beyond the superficial, but the message of peace that it conveys from beginning to end, in different guises, speaks profoundly, and we can only respond accordingly.

www.fiddlerontherooftour.com

Review: Ghost (Theatre Royal)

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ghostVenue: Theatre Royal (Sydney NSW), Mar 18 – May 14, 2016
Book & Lyrics: Bruce Joel Rubin
Music & Lyrics: Glen Ballard, Dave Stewart
Director: Matthew Warchus
Cast: Wendy Mae Brown, Ross Chisari, David Denis, Rob Mills, Jemma Rix, David Roberts, Lydia Warr, Evette Marie White
Image by Jeff Busby

Theatre review
The 1990 film Ghost is remembered for its fantastical melodrama involving spirits, murderers, a psychic, and a pair of lovers with a penchant for ceramics. The 2011 musical version retains the very eventful narrative of its original, as well as an extravagant sentimentality that has become closely associated with Ghost. It is undoubtedly a cheesy operation, but no one on stage or in the audience pretends that it is anything otherwise. Its characters are two-dimensional, all singing formulaic showtunes, and the chorus makes sure that the very last row of nosebleeds would notice their every move, even though choreography is already terribly obvious.

There is no room for subtlety here, and the production calls for a certain amount of toughness on the part of its audience in order to stomach its garish approach on all fronts. It is paint by numbers Broadway style, but those predictable blueprints are established for a reason. Ghost provides entertainment, escape and amusement. It gives us moments where we suspend disbelief and reach for the most naive parts of our minds to indulge in all its saccharine wonder, as we gasp at its melange of levitating bodies, disappearing apparitions and actors walking through doors. We might find our intelligence insulted at certain points, but we are accepting of it, as evidenced by box office takings the world over for productions of this nature.

Accolades for Whoopi Goldberg’s film performance as the outlandish Oda Mae, including an Oscar, demonstrate our appetite for the brash and gaudy. The role is performed here by Wendy Mae Brown who does a close proximation of the very memorable hustler-turned-psychic. The delightful character is played by a spirited actor with an impressive voice who relishes every punchline and their accompanying laughter. The leads are much more subdued in tone. Rob Mills and Jemma Rix are excellent performers assigned big songs but nothing much else. Their singing is often spectacular, and both are easy on the eye, which makes them perfectly cast.

It is hard to be enthusiastic after the fact, when a show gives you everything that you had seen many times before, but there is no doubt that we find ourselves powerless and captivated by its tried and tested moments of musical theatre. Ghost provides a familiarity that many wish to revisit time and time again. It reduces us to a childlike stupor, and many would pay good money for that fleeting pleasure. It may not be a special work of art, but in comparison to everyday life, this is magic through and through.

www.ghostthemusical.com.au

Review: Space Cats (Brevity Theatre)

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Venue: The Old 505 Theatre (Newtown NSW), Mar 1 – 12, 2016
Playwright: Samantha Young
Composer & Musical Director: Matthew Predny
Director: Samantha Young
Cast: Jonny Hawkins, Graeme McRae, Gautier Pavlovic-Hobba, Eliza Reilly, Samantha Young
Images by Andre Vasquez

Theatre review

It takes a considerable amount of egomania for people to reach the highest positions of government, and in Space Cats, the same is true for alien cats in outer space. Queen Cat is a fascist leader with enormous arrogance, and the ignorance to match, on a rampage to destroy all that she deems to be inferior or objectionable. Her planet is now close to complete eradication, and we wonder if her thirst for annihilation will ever find satiety. This is of course, not at all a serious musical, even if the felines do pontificate on immigration, homelessness and sexual discrimination. In fact, the show does its best to create a ridiculous havoc for an audience that it wishes to amuse in the most outrageous ways possible. The darkness at its heart only makes the experience edgier, and is the element that remains after waves of manic laughter have subsided.

Samantha Young does not play the Queen, but is the indisputable triple-threat boss of the production, responsible not only for its writing and direction, but also for playing the key role of Bin Cat. Young’s script is wildly imaginative and relentlessly humorous, and while it may lack complexity, Space Cats contains sufficient poignancy to prevent its persistent hilarity from becoming banal. Direction of the work will be remembered for its incredible exuberant spirit, with Young’s boundless sense of playfulness littered through every moment. The degree at which her show is determined to entertain is almost merciless. Young also happens to be the strongest singer in the production, and along with Eliza Reilly, the funniest performers in the cast. Reilly plays the aforementioned Queen Cat with splendid flair and a fierce wit, leaving an excellent impression with her enthusiasm for extremely bawdy comedy.

Equally accomplished is Matthew Predny’s work as composer and musical director, simultaneously mocking and embracing the Broadway musical genre for a refreshingly joyful take on something that is often too conceited and cheesy. Set and lighting designer Benjamin Brockman transports us to a parallel universe where every molecule of air seems to be impregnated with glitter, and an involuntary shimmer emanates from each object and being. The team appears to be in competition for turning up the camp, and there is no clear winner with every aspect of production pushing at the limits of all things gay, gaudy and gasp-inducing. Pearls are certainly recommended for spontaneous clutching at Space Cats, no matter what gender, creed or species.

www.brevitytheatre.com.au

Space Cats 2016 Brevity Theatre
Space Cats 2016 Brevity Theatre
Space Cats 2016 Brevity Theatre
Space Cats 2016 Brevity Theatre
Space Cats 2016 Brevity Theatre
Space Cats 2016 Brevity Theatre
Space Cats 2016 Brevity Theatre
Space Cats 2016 Brevity Theatre
Space Cats 2016 Brevity Theatre
Space Cats 2016 Brevity Theatre
Space Cats 2016 Brevity Theatre
Space Cats 2016 Brevity Theatre
Space Cats 2016 Brevity Theatre
Space Cats 2016 Brevity Theatre

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