Tag Archives: musical

Review: Guilty Pleasures (Blue Saint Productions)

Posted in Theatre by

bluesaintVenue: Hayes Theatre Co (Potts Point NSW), Dec 17 – 21, 2014
Book: Joshua Robson
Lyrics: Hugo Chiarella
Director: Joshua Robson
Music Director and Composer: Robert Tripolino
Cast: Angelique Cassimatis
Image by Mike Snow

Theatre review
Joshua Robson, Hugo Chiarella and Robert Tripolino’s Guilty Pleasures is a 45 minute musical with murderous women and their bad men. It is Chicago‘s “Cell Block H” expanded, and they’ve all had it coming. Comprising a series of independent stories about fatal romances, the short narratives are amusing, with compelling songs that add drama and a colourful sense of theatricality.

Performed by just one woman, the work demands that Angelique Cassimatis provides range and variety to each character, but the show does not have enough tonal shifts in performance or design, to create textural complexity from its string of tales. Robson’s direction blends each segment to form a cohesive whole, leaving behind the lively and fluctuating nature of the text. Cassimatis’s training and experience is evident, especially with her physical discipline and dance abilities, but her approach tends to be a technical one. Her talents in singing and acting seem to come less naturally, but the actor’s conviction is clear to see, and her energetic presence helps endear her to the crowd.

Burlesque touches in the production provide a sexy edge to the already risqué themes it covers. The writing has a dark humour that would appeal to those who seek a musical theatre experience that is less than “family-friendly”, but its execution might be a little subdued for some. Written and directed by three men, Guilty Pleasures is a feminine work with a queer sensibility and a charming cynicism about romantic relationships. The women in the show are determined to define themselves against the men in their lives, and all pay a hefty price at the end.

www.bluesaint.com.au

Review: Sweeney Todd (New Theatre)

Posted in Theatre by

Venue: New Theatre (Newtown NSW), Nov 18 – Dec 20, 2014
Music & Lyrics: Stephen Sondheim
Libretto: Hugh Wheeler
Director: Giles Gartrell–Mills
Cast: Josh Anderson, Erin Bogart, Briony Burnes, Jamie Collette, Justin Cotta, Daisy Cousens, Courtney Glass, Michael Jones, Jaimie Leigh Johnson, Lucy Miller, Carl Olsen, Joel Paszkowski, Steven Ritchie, Chelsea Taylor, Aimee Timmins, Simon Ward, Byron Watson
Photographs © Bob Seary

Theatre review
We all love a musical that has everything; humour, drama, talent, surprise and great music. All this is found in Giles Gartrell-Mills’ production of Sweeney Todd for the New Theatre, along with a good deal of ingenious low budget innovation, and a healthy dose of morbidity. It appears that Stephen Sondheim’s famous work can be staged without complex set designs and special effects, as long as gifted individuals are committed to presenting the best of their abilities, and an astute director is at the centre orchestrating an amalgamation that features all the strengths of each collaborator.

With Sweeney Todd, Gartrell-Mills shows that he is a man of excellent taste who has a brave approach to the theatrical arts. The emotions are big in his musical, as are the characters and their singing, but everything converges to tell a fascinating story that grips and entertains us, while making the many outrageous scenarios seem entirely believable. He has a wonderful team of seventeen performers at his disposal, and is careful to position each one in the most flattering light, so that the best singers can deliver breathtakingly powerful notes, and the strongest actors can impress with their delicious flair and intensity.

Justin Cotta plays the Demon Barber of Fleet Street with a grand and magnetic madness. The agility in his body and face, along with a professional awareness of how his character is perceived with every subtle shift in gesture and look, contribute to a performance that is precise, polished and very delightful. His voice is not perfectly suited to the material, but he sings it all with exuberance and accuracy. Similarly, Lucy Miller is not the best singer in the world for the role of Mrs Lovett, but the abundance of skills she displays, brings to life one of the stage’s most interesting and complex figures. Miller is charming, strong and instinctual. The several startling twists her character reveals are brilliantly performed, and her star quality shines brightly in the production. We cannot keep our eyes away from everything she presents, and she deserves every ovation awarded for her work in this production.

This review will not discuss every performer’s work but the entire support cast is truly fabulous. In the role of the Beggar Woman is Courtney Glass, who steals the show at each small appearance, with her sublime vocals and meticulous acting. Glass’ part is a smaller one, but she is flawless at every turn. Byron Watson does not have the right physicality for Judge Turpin but his voice is a highlight of the production. His deep and tremorous baritone brings an operatic sensibility to Sondheim’s music, and we lose ourselves in the beautiful baroque flavour of the compositions.

Liam Kemp’s achievement as musical director and pianist cannot be understated. He has condensed the score to an absolute minimum, with just himself, plus a violinist and a double bassist providing accompaniment for the whole show. The three-piece outfit pulls off an unbelievable feat, creating a soundscape that is dynamic, emotional and theatrical, culminating in a Bernard Herrmann inspired moment where Sweeney Todd meets Norman Bates, and the suspense becomes almost too much to bear. Also outstanding is the set design, comprised of three simple pieces in a hundred configurations, exposing Gartrell-Mills’ imagination to be wildly remarkable. His use of space is quite extraordinary, and one cannot resist imagining what he may be able to achieve with a more substantial design budget.

Musicals are best consumed sentimental, and Gartrell-Mills delivers this dark tale with a big emotional punch. Many of the characters are deplorable and nasty, yet we are seduced into connecting with them, and sometimes even identifying with them. They live in a world far removed from our realities, but we understand their desires and motivations, and we invest heavily into their stories of revenge and murder. We do not think of independent theatre as the best platform for the majestic, opulent musical, but on this occasion, David has emerged seemingly out of nowhere, to slash the throat of Goliath in awesome splendour.

www.newtheatre.org.au

Sweeney Todd 2014 New Theatre
Sweeney Todd 2014 New Theatre
Sweeney Todd 2014 New Theatre
Sweeney Todd 2014 New Theatre
Sweeney Todd 2014 New Theatre
Sweeney Todd 2014 New Theatre
Sweeney Todd 2014 New Theatre
Sweeney Todd 2014 New Theatre
Sweeney Todd 2014 New Theatre
Sweeney Todd 2014 New Theatre
Sweeney Todd 2014 New Theatre
Sweeney Todd 2014 New Theatre
Sweeney Todd 2014 New Theatre

Review: Once (The Gordon Frost Organisation / Melbourne Theatre Company)

Posted in Theatre by

Venue: Princess Theatre (Melbourne VIC), from Oct 1, 2014
Playwright: Enda Walsh (based on film by John Carney)
Music & Lyrics: Glen Hansard, Markéta Irglová
Director: John Tiffany
Cast: Tom Parsons, Madeleine Jones, Anton Berezin, Ben Brown, Gerard Carroll, Colin Dean, Brent Hill, Keegan Joyce, Amy Lehpamer, Jane Patterson, Greg Stone, Susan-ann Walker,
Images by Jeff Busby

Theatre review
Once is probably not the first musical that makes understatement its central intention, but it is certainly the most celebrated of the kind. Enda Walsh’s quietly sentimental work is not ambitious in a conventional sense. There are no stunning set changes or breathtaking costumes, nobody dies and no predictable resurrections occur. Instead, it is determined to find poignancy and emotional resonance through story, characters and songs. There is a distinct and appealing simplicity to Glen Hansard and Markéta Irglová’s musical compositions that make an impact in the absence of ostentatious spectacle, and Walsh’s ability to create affable yet colourful personalities make for a show that is powerfully endearing.

Direction by John Tiffany is sensitive to the melancholic sensibilities of the work, although the presentation of a large scale production in muted tones is sometimes clearly challenging, especially in the few, but important, scenes where music acquiesces to dialogue. An inordinate amount of versatility is required of the performers, including the ability to play instruments (accompaniment is provided by the cast itself) and in the case of leading man Tom Parsons who is a highly impressive vocalist, but a less compelling actor, several crucial sequences of emotional gravity tend to feel weaker when he communicates without the aid of music. His counterpart Madeleine Jones is more evenly talented, and she executes comedic aspects with an elegant flair. Tiffany handles lighthearted moments brilliantly, allowing an intimate connection with its audience that elevates the musical to something quite visceral, and spiritual.

The humorous role of Billy is played by Colin Dean who has the kind of eclipsing presence that wins our hearts with minimum effort. His authenticity is compelling to watch, and the confidence he displays gives his work an uplifting quality. Also memorable is Amy Lehpamer as the fiery Czech, Reza. Lehpamer is a quadruple threat who inspires with proficiencies in singing, dancing, acting and on the violin. Her comic timing is a marvel, and even though the supporting role is a small one, the vibrant performer finds opportunities to steal the limelight with delightful results.

The production is finely balanced, relying heavily on the shifting elements of live performance on each night to make the experience rewarding, leaving little room for complacency. The silences in the show mean that imperfections can become glaring, even if they are few and far between. Choreography by Steven Hoggett is effective and beautiful at times, but also awkward and overdone in certain numbers. The cast moves well, but when gestures become elaborate, the performers tend to appear uncomfortable. The story of Once talks about art and aspiration, dreams and conviction, and the way life can be designed by one’s own imagination. It swims against the tide with an unusual determinedness and audacity, to create something original, moving and thoroughly surprising.

www.oncemusical.com.au

Once 2014 Princess Theatre Melbourne
Once 2014 Princess Theatre Melbourne
Once 2014 Princess Theatre Melbourne
Once 2014 Princess Theatre Melbourne
Once 2014 Princess Theatre Melbourne
Once 2014 Princess Theatre Melbourne
Once 2014 Princess Theatre Melbourne

Review: Anyone Can Whistle (Sydney University Musical Theatre Ensemble)

Posted in Theatre by

museVenue: King Street Theatre (Newtown NSW), Oct 15 – 25, 2014
Book: Arthurs Laurents
Music & Lyrics: Stephen Sondheim
Director: Olivia Aleksoski, Alexander Andrews
Cast: Dani El-Rassi, Sarah Gaul, Curtis Gooding, Jordan Shea, William Wally Allington
Image by nick&nick Photography

Theatre review
Stephen Sondheim’s 50 year-old musical still works. Its themes of corrupt governments and the gullibility of humankind remain relevant, and the farce constructed around those societal issues make for scenarios that are amusing yet meaningful. Sydney University Musical Theatre Ensemble’s production might be an amateur one, but it features the vibrancy and enthusiasm of its young members that impress despite inadequate training and an overall lack of sophistication. The five-piece band headed by Music Director Douglas Emery delivers scaled down but punchy accompaniment that delights us with a sparkling joyousness, even if accuracy and cohesion can be improved.

Choreography by the ambitious Louise Flynn is loud and exciting, with the cast’s varying levels of dance ability utilised intelligently. Flynn has a keenness for theatricality and a lot of fun, which manifests effectively on a stage that is consistently colourful and dynamic. India Cordony as Police Chief Magruder takes every opportunity to inject comedy into her dance, and the results are outrageously memorable. Aidan Kane’s physical discipline pays off with a polish and professionalism that helps him stand out from the chorus line.

Dani El-Rassi and Jordy Shea are fiercely committed in their roles, and both present moments of brilliance that will further improve with greater confidence. William Allington as Treasurer Cooley is also engaging, with an effortless charm that keeps his performance buoyant. The show’s biggest parts are demanding, and not satisfactorily created on this occasion. Their love story is a substantial piece of the plot but the desperate shortage of chemistry between actors is quite painful to watch.

The work is directed by Olivia Aleksoski and Alexander Andrews who have used their wonderful troop of stars cleverly. Each personality is given room to shine, and although the show’s plot is not always clear or affecting, the energy that bubbles on stage is always refreshing. The miracles that happen in the story might have been fabricated, but it should be remembered that most artists are also faking it… until they make it someday.

www.museatusyd.com

Review: Sondheim On Sondheim (Squabbalogic Independent Music Theatre)

Posted in Theatre by

squabbalogicVenue: Seymour Centre (Sydney NSW), Oct 1 – 18, 2014
Music & Lyrics: Stephen Sondheim
Conceived and Originally Directed by: James Lapine
Director: Jay James-Moody
Cast: Blake Erickson, Rob Johnson, Louise Kelly, Debora Krizak, Phillip Lowe, Monique Sallé, Christy Sullivan, Dean Vince
Image by Michael Francis

Theatre review
The second act of Stephen Sondheim’s musical about himself starts with the number, God. Written in 2010 for Sondheim On Sondheim, the song is obviously tongue-in-cheek, but it reflects the adoration, if not obsession, that many lovers of the genre have for him. Conceived and originally directed on Broadway by James Lapine, this biographical work juxtaposes live performance with a film composed almost entirely of Sondheim’s interview footage, old and new. We hear a little about his personal life, as well as vignettes about the origins of certain songs, but perhaps more interestingly, he provides insight into his artistic process. Interspersed with the master’s candid introspection is a cast of eight interpreting his creations, with songs from as far back as 1946 included in the programme. It feels a lot like a greatest hits compilation, except most audiences would probably only find half the selection familiar.

The show is a tribute, and tributes can involve a level of fanaticism. For musical theatre geeks, this is a gift from heaven, and for the rest of us, it is a variety show featuring magnificent singers. Director Jay James-Moody and choreographer Monique Sallé provide the cast with solid emotional and physical structures to navigate around, but focus is kept simple; we hear Sondheim speak, and we hear the cast sing his compositions. It is a challenge to prevent repetitiveness without surprise guest performers and big visual trickery, as variety shows are want to do, and on this occasion, the production does lose a little steam halfway through act two.

It is a tricky thing to perform musical theatre numbers out of context. Without a narrative, some of the more emotive sequences cannot help but feel trite and corny. At a running time of over two hours, there is a good chance that persistent levity would turn sour. Most scenes are not set up sufficiently for the songs to communicate at depth, but an exception is the segment featuring a medley from Sondheim’s 1994 work, Passion, which gives us background information for characters and circumstance, thus allowing us to connect with the tragic love story. Louise Kelly’s sensitive and powerful portrayal of the lovelorn Fosca is beautifully moving, and a reminder of the importance of story and empathy in any theatrical work.

Dynamic work by Mikey Rice on lighting design and Jessica James-Moody on sound, give the independent production a surprising polish. The set design is highly effective, although its resemblance to Brevity Theatre’s Wittenberg at the Old Fitzroy Theatre earlier this year must be noted. Costumes (uncredited) are a disappointment, with many unflattering and unimaginative pieces sabotaging an otherwise pleasant vista.

Sondheim On Sondheim can be thought of as being about heroes and vanity. We sit back and admire phenomenal work by the songwriter and turn green with envy at this excellent collection of voices. We can also think about great art as being a source of inspiration for all. The way we live our lives, and indeed the reasons for living, are infinitely diverse, but a commonality exists in our universal need for a vision of something greater. There is no doubt that greatness presides on this stage, and bearing witness to their extraordinary talent is almost necessary.

www.squabbalogic.com.au

Review: The King And I (Opera Australia / Sydney Opera House)

Posted in Theatre by

thekingandiVenue: Sydney Opera House (Sydney NSW), from Sep 7 – Nov 1, 2014
Music: Richard Rodgers
Book and Lyrics: Oscar Hammerstein II (based on Anna And The King Of Siam by Margaret Landon)
Director: Christopher Renshaw
Cast: Lisa McCune, Teddy Tahu Rhodes, Shu-Cheen Yu, Jenny Liu, Adrian Li Donni, Marty Rhone, John Adam
Image by Brian Geach

Theatre review
There is no denying the contentiousness of casting a performer who is not of Asian heritage to play the role of the King of Siam. It is a very rare occasion that a main stage production in Australia features a specifically Asian character in its lead, and to deprive Asian actors of the opportunity to headline a show of this grand scale is unfortunate. On the other hand, we are a culture that believes in meritocracy, where the best candidate for the job should win the part. Instead of background, we look at ability, and in the case of Teddy Tahu Rhodes who is King, in the Sydney season of The King And I, he proves himself a force to be reckoned with. Handsome, imposing and astonishingly talented, Rhodes is in many ways, perfect for the role. His humour is confident and sharp, and his rich baritone voice is immensely satisfying. Rhodes has charisma in abundance, which is key to his successful portrayal of royalty and chauvinism.

Anna is played by the endearing Lisa McCune, who is surprisingly animated in her depiction of the English language teacher from Wales. Her voice is not the most powerful in the cast, but her interpretation of classics like Getting To Know You and Shall We Dance is thoroughly accomplished, and her enthusiasm for the role is more than evident. McCune’s Anna is a delicate figure, but her energy is consistently buoyant, and her performance is compelling and enjoyable. The production features outstanding supporting players, including soprano Jenny Liu as Tuptim who provides the most ethereal and emotional singing in the production. Liu’s ability to convey passion and angst is a great asset to the show, and she embodies the tragedy of the plot effectively. The role of Lady Thiang is performed by Shu-Cheen Yu who delights with a stunning theatricality derived from traditional Chinese forms. Her use of physical and facial expressions is a rare treat on Australian stages, which simply must not be missed.

Designers never share top billing with cast members, but this is a production with a visual glory that will be remembered for years to come. Brian Thomson’s scenic design is luxurious and exquisite, with Nigel Levings’ lighting providing further variation to scenes. We never stray far from the King’s palace, but the stage looks and feels different in every scene, and nearly every change is awe inspiring. The glamour and vibrancy of Roger Kirk’s costumes are second to none, with every ensemble conveying beauty and romance. Choreography of the legendary segment The Small House of Uncle Thomas by Susan Kikuchi (based on Jerome Robbins’ original work) is sublime. Watching the famed sequence emerge from the familiar film into reality, in such fine form is a dream come true. Christopher Renshaw serves as director of the production, bringing with him great amounts of flair and elegance, especially in bigger scenes with groups of children and servants. There are always nuances to discover and flourishes to admire in the background. Renshaw handles the writing’s awkward (and dated) racial dynamics well. Jokes are made out of the clashing and discord between races, but caricatures are toned down significantly so that characters escape obvious degradation.

In spite of the productions efforts however, we cannot escape the core message of The King And I, which pits two cultures against each other and concludes at a point where the Siamese King experiences a dramatic transformation, while the Caucasian Anna remains the same person. The underlying message is clear; one side requires improvement and the other can stay unchanged. Furthermore, the Asian character’s evolution needs to be in line with the Westerner’s standards of taste and acceptability in order for the show to find resolution. It is understandable that the esteemed nature of Rodgers and Hammerstein’s work is resistant to radical alteration, and the fact that the story is based on famous memoirs places psychological constraints on artistic licenses, but creativity in the arts should know no bounds, especially when it takes on the responsibility to improve ideologies and advance civilisations.

www.thekingandimusical.com.au

Review: Ruthless! (The Theatre Division)

Posted in Theatre by

theatredivisionVenue: Seymour Centre (Sydney NSW), Jun 19 – Jul 12, 2014
Book & Lyrics: Joel Paley
Music: Marvin Laird
Director: Lisa Freshwater
Cast: Katrina Retallick, Meredith O’Reilly, Margi de Ferranti, Caitlin Berry, Madison Russo, Geraldine Turner

Theatre review
The value of camp is found in its affiliation with irony and black comedy, but its inherent darkness is masked by insolent loudness, and often, political meanings are so extensively subverted that they become near invisible. Camp heroes like Carmen Miranda, Liza Minnelli, Bob Downe and seventies pop star Sylvester (to name just a few), are all iconic figures remembered for a certain frivolity, but they each represent something far more serious, which we can choose either to acknowledge, or ignore. Joel Paley and Marvin Laird’ Ruthless! is utterly and irrevocably camp, but it is also highly intelligent and sophisticated in its approach. Its themes of feminism, family and the American dream are key impetuses for its jokes and plot development, even if they are not explicitly dissertated. Instead, front and centre are the wittiest of lines, the most charming of show tunes, and the savagest of stories. This is a musical that has all the constituents of a cult hit, which is to say that it is not for everyone, but for those with whom it resonates, Ruthless! is a very special show indeed.

Lisa Freshwater’s direction is suitably bold. The material needs a brazen and fearless attitude, and Freshwater is certainly no shrinking violet. Wickedness lurks in every corner, and the director is never afraid to take full advantage of it for our benefit. The writing is a minefield of laughter, and she detonates at every opportunity. The characters have few redeeming features, but Freshwater manages to make each one bewitching. By ensuring that these women never seem realistic, their misdeeds are prevented from descending into too dark and threatening a space. Instead, they are always beguiling and glamorous, like the women in Disney films, only more animated.

Choreography by Christopher Horsey is dynamic and astute. He is always in on the joke, and provides a rich suite of tools for the performers to articulate in movement. The stage is always vibrant, and the women are always confident. Each gesture and posture is full of flair and calculated, forming part of the rich visual language that establishes the production’s brilliant effervescence. Also noteworthy is Mason Browne’s work as set and costume designer. His use of colour is exemplary, and the vividness he achieves with quite minimal elements is truly inspired.

The lead role Judy Denmark is played by Katrina Retallick with inconceivable talent and flair. It is sublime to witness an elite performer at the top of her game, and this is such an occasion. The performer glows throughout the show, with supreme grace, a flawless voice and a surprising mastery over the dark humour at hand. The role is a tricky one. It is challenging, technical, unconventional and confronting, and Retallick achieves it all with flying colours and devastating splendour.

Young performer Madison Russo is a revelation as the scene stealing Tina Denmark. Her vocal and dance abilities are impressive, and crucial to the effectiveness of the narrative. Caitlin Berry’s versatility is showcased perfectly, along with a stunning singing voice and a keen sense of acerbic humour. Margi de Ferranti plays both Miss Block and Myrna Thorn with exuberance, and claims the biggest laugh of the show with a gag about Miss Block’s sexuality and dress sense. Geraldine Turner is positively terrifying as the theatre critic who “hates anything to do with the theatre, that’s my job”, Lita Encore. Her performance of “I Hate Musicals” is reason enough to buy a second ticket for another viewing. Meredith O’Reilly as Sylvia St Croix displays professional savvy and a stage presence that are impossible to ignore.

As Les Misérables celebrates its umpteenth opening in Melbourne this month, it is important to remember that popularity in the arts might mean fame and fortune, but excelling in smaller theatres under ridiculous constraints of all kinds is a greater glory. Ruthless! will never see the financial success of Phantom and Saigon (“if I want helicopters, I’d go to the airport!” says Lita Encore), but for those of us who yearn for something with bite, and that provides its cast with nowhere to hide but to rely only on sheer talent, this is a show to ruthlessly champion for.

www.thetheatredivision.com

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

Posted in Theatre by

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

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

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

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

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

Review: O.C. Diva (Hayes Theatre Co)

Posted in Theatre by

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

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

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

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

www.hayestheatre.com.au

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

Posted in Theatre by

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

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

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

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

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

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

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