Review: Fiddler On The Roof (Capitol Theatre)

Posted in Theatre by Suzy Wrong

Venue: 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

19Mar2016

Review: Ghost (Theatre Royal)

Posted in Theatre by Suzy Wrong

Venue: 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

12Mar2016

Review: Space Cats (Brevity Theatre)

Posted in Theatre by Suzy Wrong

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

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Space Cats 2016 Brevity Theatre

23Feb2016

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

Posted in Theatre by Suzy Wrong

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

13Jan2016

Review: The Fantasticks (Wooden Horse Productions)

Posted in Theatre by Suzy Wrong

Venue: 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

7Jan2016

Review: The Magic Flute (Opera Australia)

Posted in Theatre by Suzy Wrong

Venue: Sydney Opera House (Sydney NSW), Dec 30, 2015 – Jan 16, 2016
Music: Wolfgang Amadeus Mozart
Libretto: Emanuel Schikaneder (English translation by J D McClatchy)
Director: Matthew Barclay (based on the original production by Julie Taymor)
Cast: Taryn Fiebig, John Longmuir, Samuel Dundas, Hannah Dahlenburg, Daniel Sumegi, Jane Ede, Sian Pendry, Anna Yun, Katherine Wiles, Kanen Breen, Adrian Tamburini, Malcolm Ede, Jonathan McCauley, Dean Bassett, Clifford Plumpton, Jack Kleem, Justin Chen, Ben Johnston
Images by Branco Gaica

Theatre review
Julie Taymor’s reinvention of The Magic Flute first appeared at New York’s Metropolitan Opera in 2004. Whimsical and colourful, Opera Australia’s presentation of Taymor’s work with Matthew Barclay at the helm, speaks to audiences of all creed and ages. The story’s darker elements and its mischievous sexuality are left intact, but interpreted in a gentle manner that poses no threat to young minds and delicate sensibilities.

Marvellous use of puppetry and masks, along with animated performance styles ensure that we are captivated and constantly amazed. The extraordinary spectacle created by elaborate sets and costumes is the centre of our attention, and music becomes secondary for most of its duration. There are exceptions of course, most notably the arias by the Queen of the Night, thrilling and beautiful under Hannah Dahlenburg’s masterful execution. Technical brilliance and unbridled passion of the diva’s voice brings elevation to our spirit, and the mythological aspects of The Magic Flute become markedly resonant. The trio of young boys Justin Chen, Ben Johnston and Jack Kleem are memorable as adorable child-spirits, joined at the hip and perfectly harmonious with their delicate singing. Another trio of performers Jane Ede, Sian Pendry and Anna Yun create a humorously malicious gang of ladies who appear throughout the show quite out of the blue, effectively manifesting a sense of the supernatural for this magical opera.

If this is pantomime, then it is the most sophisticated that one could wish to see. There is artistic excellence at every turn that will satisfy any theatrical aficionado, and even though its emotional and intellectual capacities are moderate at best, this is a production that has extremely wide appeal, perhaps surprisingly so for its genre. In The Magic Flute, evil is banished and lovers unite with solace and happiness. The simple tale will never grow old, especially at this level of innovation that artists can tell it. The spirit of adventure and invention is alive in Mozart’s 225 year-old masterpiece.

www.opera.org.au

The Magic Flute 2016 Opera Australia

17Dec2015

Review: The Sound Of Music (Capitol Theatre)

Posted in Theatre by Suzy Wrong

Venue: Capitol Theatre (Sydney NSW), Dec 13 – Jan 17, 2015
Music: Richard Rodgers
Lyrics: Oscar Hammerstein II
Book: Russel Crouse, Howard Lindsay
Director: Jeremy Sams
Cast: Johanna Allen, Lorraine Bayly, Eleanor Blythman, Du Toit Bredenkamp, Nakita Clarke, Savannah Clarke, Cameron Daddo, Jacqueline Dark, Philip Dodd, Louis Fontaine, Erica Giles, David James, Stefanie Jones, Amy Lehpamer, Dominica Matthews, Jude Padden-Row, Marina Prior, Madison Russo
Images by James Morgan

Theatre review
The Sound Of Music premièred on Broadway in 1959, which makes it a reasonable assumption that most of us had grown up with songs from the iconic musical, figuring prominently in each of our own musical education. Maria brought music to the Von Trapps, and also to lives of millions. Our familiarity with the songs in Rodgers and Hammerstein’s masterpiece is quite unparalleled, and although some of the show’s dialogue has long become archaic, its power over our cultural consciousness is second to none.

This manifestation for an Australian touring production is a straightforward one that presents no surprises. The text is unchanged, and all the trappings of a commercial musical are delivered efficiently. Sets transform with military precision, lighting evolves endlessly to take us through every mood change, and the last note to every song decides whether or not its audience should applaud. Everything is thoroughly refined, and the experience is orchestrated to a measured and mechanical perfection, but a cast in live theatre of course, will always be susceptible to some variation, even in the most immovable of productions like this one.

In the role of Maria is Amy Lehpamer, who delivers an impossibly flawless rendition of one of the most popular musical characters of all time. There is no denying the fact that viewers will gauge any actor taking on the part against the legendary film version, but Lehpamer easily meets our expectations, with deeply impressive technical abilities and a presence so warm that every last punter in the nosebleed section cannot help but be won over. She is glorious from prologue to curtain call, with an effortlessness that only a true star of the stage can portray. Similarly fabulous is Jacqueline Dark, whose Mother Abbess is simultaneously commanding and endearing, memorable for her astoundingly powerful singing in “Climb Ev’ry Mountain”. Cameron Daddo’s vocals are thankfully adequate, and while not a scene-stealing performance, his work as Captain Georg von Trapp is often believable and surprisingly moving, aided by a cast of enchanting youngsters who play his children with irresistible cuteness and brilliant conviction.

The anti-Nazi story in The Sound Of Music provides a gravity that helps set it apart from the often excessively frivolous quality of its genre. It is ironic that the entirety of its very large cast is of Caucasian appearance, but the show’s message is unambiguous. We think about the meaning of freedom, and its primary importance in any life. We think about the magic that comes from great music and great art, and how our humanity cannot be divorced from the wonderful capacity of song that brings hope to the darkest of days. When things are not going well, we can find ourselves caged in by fear, but it is our human ability to imagine something better that gives us resilience and ingenuity. In our weakest moments, the simplest of lyrics will lift us up; “Follow ev’ry rainbow till you find your dream.”

www.soundofmusictour.com

The Sound Of Music 2015 Capitol Theatre

20Nov2015

Review: Grey Gardens (Squabbalogic Independent Music Theatre)

Posted in Theatre by Suzy Wrong

Venue: Seymour Centre (Sydney NSW), Nov 18 – Dec 12, 2015
Book: Doug Wright
Music: Scott Frankel
Lyrics: Michael Korie
Director: Jay James-Moody
Cast: Sienna Arnold, Caitlin Berry, Maggie Blinco, Kelly Callaghan, Beth Daly, Blake Erickson, Sian Fuller, Jenna Keenan, Simon McLachlan, Russell Newman, Timothy Springs
Images by Michael Francis

Theatre review
The legendary Edies made their way into public consciousness through the now classic Maysles documentary film of 1975, Grey Gardens. It was an instant hit, but unlike many documentaries that seem to lose relevance beyond the time of their emergence, this is a story that has captivated every subsequent generation. The last decade especially has been particularly illustrious for the mother-daughter pairing, with the Maysles releasing a second documentary about the same subjects on home video, along with a prominent feature film by HBO, and a Broadway musical paying tribute to the famous eccentrics.

The musical commences in the heyday of Grey Gardens, a time when glitzy parties at the East Hamptons property saw the rich and important mingle, and where social status was the greatest of currencies. It is soon revealed however, that all is not well in the Beale household. Big Edie has been abandoned by a philandering husband, and finds herself left with nothing but the mansion and a daughter desperate to be married off to a Kennedy. In Act Two, we return thirty-three years later to discover the two women in their famous dilapidation. We are bewildered by their spectacular descent from glory to squalor, and the failure of the Edies to explain the predicament only makes us more intrigued.

Their allure is beautifully encapsulated by the writing. Larger than life personalities, frightful circumstances, piercing humour and cruel social realities; all the best ingredients of the beloved documentary have made their way into the musical. There is an abundance of wit for endless amusement and enjoyable tunes that have us entranced, inspired by the stranger than fiction characters and their delightfully curious ways.

The songs are performed marvellously under Jay James-Moody’s direction. Every musical number is conceived with flair, creativity and nuance, utilising the cast’s considerable talents to great effect. Sequences between songs are less successfully realised, with chemistry between performers faltering in the absence of choreography and singing. The production suffers from an overall lack of precision and polish, but it is a show with spirit, buoyed by Beth Daly’s astonishing portrayal of middle-aged Little Edie. Breathtakingly accurate re-enactments of iconic film moments and a thorough understanding of her character’s traits, allow Daly to create a theatrical marvel that is deeply endearing and incredibly impressive. The effect her Little Edie has on us, is little different from what the real McCoy delivers in the original film. We are shocked, confused, saddened but powerfully moved by her extraordinary story. Maggie Blinco and Caitlin Berry play the other Edies (at different ages), both accomplished and compelling with their respective interpretations. Blake Erickson is memorable in the supporting role of George Gould Strong, providing a dramatic but subtly comical performance, accentuated by a remarkable singing voice that never fails to seize our attention.

The production is ambitious with its visual elements but does not quite hit the mark. Lighting design by the inventive Benjamin Brockman is heavily relied upon to depict time and spacial shifts in the presence of a domineering yet inflexible set. Costumes are charming when imitating the documentary’s looks, but they fall short at delivering the extravagant decadence necessary in Act One. On a brighter note, the show’s sound design by Jessica James-Moody and music direction by Hayden Barltrop are executed with great fervour and brilliant sensitivity. The aural landscape of the show is the chief element that takes us through every step of the plot, and it does so thoughtfully, with an effortless elegance.

What the Edies represent, is the notion of freedom, or more accurately the lack thereof. Grey Gardens insists that we consider how the women had arrived at their disappointing state of affairs, and through that discussion, to go on and think about issues of personal volition, kinship and the consequences of forsaken responsibilities. Big Edie’s father, husband and sons had all but discarded our protagonists, and what we encounter is the harsh truth of what remained. We wish that the Edies had been stronger and more resourceful, but the irrefutable fact is that they were deserted and destroyed. We all have a right to live the lives we dream, but we are also bound by the people who need us. We can simply walk away, but the price to pay can sometimes be too great.

www.squabbalogic.com.au

Grey Gardens 2015 Squabbalogic

5Nov2015

Review: Round Heads And Peak Heads (Actors College Of Theatre & Television)

Posted in Theatre by Suzy Wrong

Venue: Bondi Pavilion (Bondi NSW), Nov 5 – 9, 2015
Playwright: Bertolt Brecht
Director: Lex Marinos
Cast: Simon Benjamin, Campbell Briggs, Alex Brown, Cait Burley, Sarah Anne Carter, Abbie Coco, Keegan Fisher, Joseph Hallows, Reilly Anne Keir, Richard Littlehales, Angelika Nieweglowski, Jake Scherini, Amy Shapiro, Romney Stanton

Theatre review
Bertolt Brecht premiered Round Heads And Peak Heads in 1936, when Hitler was leading Germany. The play talks about racial persecution, without specifically naming the Jews, and how ethnic minorities are used as a scapegoat of sorts for people in positions of power. It explores the dynamics between greed and justice in a way that is not far different from discourse today, although its cautious language (as a result of censorship) is certainly much more indirect than we are used to.

The production, directed by Lex Marinos, is an energetic one, with variations in texture that occupy our senses, but a more explicit adaptation to current political climes and social concerns would make it more engaging. Performances are uneven in the 14-strong cast, with some talents outweighing others. Cait Burley is a striking Isabella De Guzman, with intense and raw emotion accompanying a studied physicality that displays a daring adventurous spirit. Romney Stanton and Campbell Briggs have interesting roles that they sink their teeth into, both providing colourful portrayals energised by impassioned creativity. Also noteworthy are Angelika Nieweglowski and Alex Brown, who exhibit interesting presences and excellent commitment to their charmingly idiosyncratic roles.

Life is often not fair. Ability does not guarantee success, and hard work does not always see commensurate returns. We exist in predetermined structures that will identify and subjugate the weak, but fortunately in this lucky country, some semblance of democracy exists, and individuals are able to attain their heart’s desires against all odds. What the secret ingredients are, is anyone’s guess, but it is the very definition of success that needs to be evaluated and re-evaluated every step of the way.

www.actt.edu.au

1Nov2015

Review: Cats (The Really Useful Group / Capitol Theatre)

Posted in Theatre by Suzy Wrong

Venue: Capitol Theatre (Sydney NSW), from Oct 30 – Nov 29, 2015
Music: Andrew Lloyd Webber
Lyrics: T.S. Eliot, Trevor Nunn, Richard Stilgoe
Book: T.S. Eliot
Director: Trevor Nunn
Resident Director: Stephen Morgante
Cast: Daniel Assetta, Amy Berrisford, Madeline Cain, Jade Hui-Wen Coutts, Christopher Favaloro, Keanu Gonzalez, Delta Goodrem, Dominique Hamilton, Ross Hannaford, Ashleigh Hauschild, Sam Hooper, Thomas Johannson, Emily Keane, Sarah Kate Landy, Bree Langridge, Tobias Madden, Matt McFarlane, Holly Meegan, Samantha Morley, Brent Osborne, Josh Piterman, Taylor Scanlan, Stephanie Silcock, Jason Wasley, Patrick Whitbread

Theatre review
Cats first appeared in London in 1981, and remains one of the world’s longest running musicals. This Australian tour is based on last year’s West End revival by its original team, with minor updates that preserve its familiar charm, while taking the show into the twenty-first century. Cats has a distinct quietness that sets it apart from the bold and brash shows of today, where humour tends to be obvious and songs are unsubtle. We are transported back to the theatrical age of Bob Fosse and Alvin Ailey, rediscovering that lost sophistication in sound and movement.

The emphasis on dance is its most glorious feature, and this energetic Australian cast executes all the show’s feline frolic with impressive athleticism, discipline, accuracy and flair. Christopher Favaloro’s turn as Mr. Mistoffelees is delightfully memorable, exceeding expectations by delivering technical excellence along with a superbly effervescent characterisation of the magical cat.

It is an exceptionally well rehearsed cast, and although vocal abilities can vary quite starkly depending on the level of dance required in roles, each performer is accomplished in their own right. Matt McFarlane as Munkustrap, the narrator and second-in-command of the Jellicle tribe, is the strongest all-rounder of the production, with a voice and physicality that has the necessary power to direct our attention at will, and a sex appeal that seems to transcend boundaries of species. The mainstream hit song “Memory” is a significant motif in the show, sung by Delta Goodrem, whose indisputable commitment to her role of Grizabella, complete with suitably raspy tones, almost delivers the goods. Goodrem’s portrayal of age and faded glory is not quite up to scratch, and her trouble with the lower registers of her song are clearly audible in spite of the pronounced reverb effect appearing quite abruptly. Nonetheless, her louder belting sections are crowd pleasing, and help make the production an unforgettable musical theatre debut for the pop star.

Frivolity will always be big business in entertainment. Masses go to musicals to forget their troubles, and for a short time, be transported and filled with wonderment. Cats is entirely fantasy, but its approach is dignified and at times, aloof. Some people will prefer dogs, but art must never aim to please everyone.

Suzy Goes See

Sydney Theatre Reviews | Australian Theatre

Tag Archives: musical

Review: Fiddler On The Roof (Capitol Theatre)

Review: Ghost (Theatre Royal)

Review: Space Cats (Brevity Theatre)

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

Review: The Fantasticks (Wooden Horse Productions)

Review: The Magic Flute (Opera Australia)

Review: The Sound Of Music (Capitol Theatre)

Review: Grey Gardens (Squabbalogic Independent Music Theatre)

Review: Round Heads And Peak Heads (Actors College Of Theatre & Television)

Review: Cats (The Really Useful Group / Capitol Theatre)