Tag Archives: musical

Review: The Jungle Book (Emu Productions / King St Theatre)

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rsz_1620714_737788869599707_8034336185139306069_nVenue: King Street Theatre (Newtown NSW), Apr 14 – 26, 2014
Book and Lyrics: Markus Weber (based on the original by Rudyard Kipling)
Composer: Michael Summ
Director: Markus Weber
Actors: Maria De Marco, Badaidilaga Maftuh-Flynn, Mark Power, Mandy Fung, Bernard Wheatley, Brett O’Neill, Kyle Stephens
Image by Lorina Stacey Schwenke

Theatre review
Markus Weber and Michael Summ’s version of The Jungle Book is a beautifully-written musical derived from Rudyard Kipling’s famed writings. Familiar characters are retained, and even though these songs are less well-known, they are delightfully catchy and pleasantly melodic.

Markus Weber’s current production is fairly minimal, and relies on the strength of the songs and text to carry the show. Musical arrangements are joyful and effective for most of the material, but several numbers need an update from an unfortunate and uncomfortable 1990s pop/rock sound. Weber’s use of space is thoughtfully varied. The multi-tiered stage is designed well, and used cleverly to keep the attention of the audience. It is noteworthy that although a vast majority of the crowd is very young, the musical has enough content to entertain any adult companion.

There are moments however, where performances falter, and confusion emerges. Even though performances are spirited, calibre of players vary dramatically. The show is designed for children, but the roles are not simple, and it relies heavily on what the actors can bring to the production.

Maria De Marco’s singing voice is strongest in the cast, using it wonderfully to convey the story wonderfully despite not having assistance from microphones. She plays Bagheera, the black leopard who delivers several poignant moments that give the production a necessary shade of gravity. Badaidilaga Maftuh-Flynn plays Mowgli, the only human character. Maftuh-Flynn performs with conviction, and has the gift of being able to portray emotion with great clarity without appearing to be doing very much at all. Brett O’Neill is a vibrant King Louie, the amusingly deluded monkey who never fails to entertain. O’Neill’s energy is big and focused, and his keen sense of comic timing shows him to be the most polished actor on this stage, leaving an excellent impression, notwithstanding the brevity of his appearance.

The Jungle Book‘s message of ecological awareness is a critical one. The anthropomorphism of wildlife imparts to younger generations, values of conservationism that are noble and necessary. Providing children with an understanding that animals are not our slaves or property is a responsibility we must take, if only for our own survival.

www.kingstreettheatre.com.au

Review: Strictly Ballroom (Lyric Theatre)

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Venue: Lyric Theatre (Sydney NSW), from Mar 25, 2014
Book: Baz Luhrmann, Craig Pearce
Original Score: Elliot Wheeler
Director: Baz Luhrmann
Choreographer: John O’Connell
Performers: Thomas Lacey, Phoebe Panaretos, Bob Baines, Drew Forsythe, Natalie Gamsu, Robert Grubb, Fernando Mira, Heather Mitchell, Mark Owen-Taylor, Sophia Katos

Theatre review (originally published at auditoriummag.com)
The transformation of Strictly Ballroom into a work for the musical stage is a logical progression. The themes and structure of the film obviously lend themselves to a rendering that would fit readily into the popular genre, and Baz Luhrmann’s penchant for ostentation, flamboyance, and musical numbers in his films makes him a marketer’s dream in this lucrative market.

As an internationally lauded luminary of film imagery, our expectations of production and costume design in his show are understandably high. Fresh from receiving her third and fourth Academy Awards just a month prior to opening night, long-time collaborator Catherine Martin’s work as set and costume designer is irrefutably stunning. Working with already outlandish costumes from the world of ballroom dancing, Martin’s creations take a giant leap forward, into a realm of fairy tales and pure fantasy. There is no requirement for restraint on this stage, and we are treated to the most gloriously colourful and glitzy wigs and costumes that had previously existed only in our dreams.

Martin’s sets are effective and dynamic. The scenes are not located anywhere exotic, but the several suburban venues depicted are created with flair and great imagination. There is very efficient use of space with mobile pieces that work independently, but are also combined for different perspectives. It is not a story that features pyramids, castles or helicopters, but this is a visually arresting stage, which exploits every depth and height that the space can afford, and which sparkles at every corner. There are sequins, paillettes, beads and crystals shimmering at all times, helping to establish an aesthetic that fits in perfectly with this fantastical realm.

Strictly Ballroom embraces wholeheartedly the kitsch value of musicals, and its visual elements are only the beginning. Although it does carefully cater to middle class family audiences, every aspect is expressed through a rejection of banal refinement and conventional good taste. Its story is highly romanticised, the emotions it portrays are brash, the songs are oversweet and obvious, and all performers approach their roles with a sense of unbridled and confident exaggeration. If there is ever a moment for a concoction with this much cheese to work, this would be it, but very unfortunately, the show misses its mark on several levels.

Humour is appropriately peppered throughout the plot. There is much to make fun of, with ridiculous characters and contexts all clearly bearing the promise to deliver laughs, but many of the jokes fall flat. Luhrmann’s direction seems to lack an emphasis on the comedy. Punchlines often do not work, and the atmosphere struggles to keep buoyant. An exception is the role of Liz, played by Sophia Katos, who is memorable as the most consistently funny member of the cast. A number of roles have been created chiefly for comic relief, and Katos’ execution is clearly the strongest.

Leading the cast is Thomas Lacey, an attractive man and a strong dancer, both qualities shared by his character Scott Hastings. Lacey is also an adequate singer, but the scale of the production requires a much more experienced voice that will stand its own amongst all the frenetic activity on stage. Weaker still is Lacey’s acting, which fails to connect him with his love interest, and renders their relationship completely uninteresting and unconvincing. Equally responsible is Phoebe Panaretos, who is admittedly more evenly skilled in the various disciplines of musical theatre, but her lack of charisma in the very central role of Fran is a key disappointment. Panaretos is not a weak performer, but it is evident that she is simply too inexperienced for the challenge bestowed upon her.

Better performances come from the likes of Heather Mitchell, who is endearing as Shirley Hastings, the male protagonist’s mother. Mitchell’s characterisation is vibrant and believable, and although not the strongest of singers, she brings a warmth to the production despite playing someone fairly unpleasant. Also in parental roles are Natalie Gamsu and Fernando Mira, who both impress as characters of Spanish heritage. Gamsu’s distinctive voice is outstanding in a production that seems to have cast performers according to dance ability and appearance, and Mira is a charismatic actor, whose talents as a flamenco dancer are showcased brilliantly, but needs to find greater confidence in his singing.

One of the themes in Strictly Ballroom is the tension between ethnic groups in Australia. This is expressed in the romantic relationship between Fran and Scott, and also in their dance. Their families are depicted in wildly different lights, but both are spirited, joyful and moving. Regretfully, this meaningful and dramatic subject matter is not explored in sufficient depth. The young leads seem too easily accepted by each others’ families, and the penultimate obstacle to their love takes form instead, in the young man’s dilemma about competition dance partners. The opportunity for a more emotive conclusion is sacrificed for one that is more vivacious, but also needlessly frivolous. Ultimately it is the production’s marvelous visual beauty that triumphs, but a three hour show requires more than pleasure for the eyes. It needs to do something for the soul, which discerns the difference between style and substance, and recognises all that glitters is not gold.

Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical
Baz Luhrmann 2014 Strictly Ballroom The Musical

www.strictlyballroomthemusical.com

Review: The Drowsy Chaperone (Squabbalogic Independent Music Theatre)

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

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

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

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

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

www.hayestheatre.com.au

www.squabbalogic.com.au

Review: The Vaudevillians (Strut & Fret Production House)

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vaudevillians1Venue: The Vanguard (Newtown NSW), Feb 18 – Mar 2, 2014
Musical Director: Richard Andriessen (Major Scales)
Performers: Jerick Hoffer (Jinkx Monsoon), Richard Andriessen (Major Scales)

Theatre review
The premise is simple. Spouses Kitty Witless and Dan Von Dandy were accidentally frozen under a torrent of snow and cocaine in the 1920s, but were discovered and revived in our very recent times of global warming. Both happen to be brilliant performers, and have found their way to Sydney, just in time to present their show for the Mardi Gras season.

Cabaret is about performance. Stories are rarely important, but storytelling is everything. The Vaudevillians are played by Jinkx Monsoon and Major Scales, American artists who are truly of an “international standard”. Scales provides excellent support to his leading lady. He is superb on the piano, and the re-arrangements he has created are intelligent and delightful. The choice of familiar songs by the likes of Madonna, Daft Punk, Cyndi Lauper, M.I.A., and Britney Spears makes for a setlist that would appeal to most, but it is his extravagantly comical interpretations that make them all so thoroughly entertaining. Scales does falter a little in confidence when performing his solo number, but it is wonderfully refreshing to see a highly animated and energetic piano man.

Jinkx Monsoon is a comic cabaret artist of the highest calibre. Clearly, The Vaudevillians is a work tailored to her specific talents and abilities, but the 80 minute show impresses and overflows with scintillating wit, belly laughs and stunning singing. Monsoon’s vocals are powerful, and she seems to have an infinite well of techniques for turning every line in every song into something that earns the audience’s laughter. A segment referencing Henrik Ibsen, “A Doll’s House 2: Electric Boogaloo” sees the leading lady attack Gloria Gaynor’s “I Will Survive” with the greatest amount of flamboyant drama one could ever wish to see. She is like a young Gloria Swanson, only louder and a whole lot sillier.

Combining disciplined training (you can hear it in her singing, and see it with her splits and headstands) and a sense of looseness that is unafraid of heckles and other chanced occurrences, Monsoon’s style is deceptively casual, and incredibly brave. It is live performance at its most thrilling, where the audience feels that anything could happen because the performers and the show’s structure allow, or even ask for it. There is danger in the air, the kind that is completely delicious and irresistible. The Vaudevillians is fun, entertaining theatre. Monsoon and Scales are silly as they come, but without a hint of stupidity, and their show is filled with genuine talent and quite genius creativity.

www.theofficialvaudevillians.com

Review: Privates On Parade (New Theatre)

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rsz_1069838_594783037267230_490878940_nVenue: New Theatre (Newtown NSW), Feb 11 – Mar 8, 2014
Playwright: Peter Nichols
Music: Denis King
Director: Alice Livingstone
Choreographer: Trent Kidd
Actors: Matt Butcher, Jamie Collette, Peter Eyers, David Hooley, Morgan Junor-Larwood, James Lee, Henry Moss, David Ouch, Diana Perini, Martin Searles, Gerwin Widjaja
Image by Bob Seary

Theatre review
Written in 1977, this “play with music” appeared just two years before the inaugural Sydney Gay & Lesbian Mardi Gras parade. It contains some of the earliest progressive depictions of same sex relationships, and is an excellent choice for the New Theatre to present it in conjunction with the Mardi Gras festival this year. The work comes from a time before political correctness, and includes many references to ethnicity, gender and sexual preference that could make contemporary audiences cringe, but director Alice Livingstone is mindful of the change in context and deals with those awkward moments shrewdly and with sensitivity.

Livingstone’s decision to add a prologue featuring the “Boogie Woogie Bugle Boys” is a stroke of genius. Gerwin Widjaja, Henry Moss and David Ouch play a trio of drag queens in cheongsams inviting the audience to 1948 Singapore, and providing a side of the fictitious SADUSEA (Song And Dance Unit South East Asia) that is missing from Peter Nichols’ show. More importantly, it showcases the talents of Widjaja and Ouch, who would otherwise have been completely mute as the multiple “oriental men” in the original work.

The greatest strength of this production is its cast. Diana Perini in particular rises to the challenge, and does almost everything one could possibly ask of a performer. She plays comedy and tragedy, sings in ensemble and solo, dances en pointe and on tap heels, gets her top off, and does a mean Indian accent. Her role is not terribly interesting, but she sure makes a jaw-dropping one-woman tour de force out of it. James Lee plays Terri Dennis, the most flamboyant character imaginable. He masters all his song and dance routines, and endears himself as a crowd favourite from his very first appearance. Lee is also very effective in creating chemistry, always bringing out the best in his co-actors when appearing together. There is an effortless warmth to this man that most performers can only dream of. David Hooley is polished and disciplined as Steven Flowers. He seems slight in stature but his singing is big and confident, and his tap dancing is thoroughly impressive. His dreamy “Fred and Ginger” style sequence with Perini is most memorable.

Politics shift constantly, and ideologies evolve. Old works of art can be left behind and buried, but creativity can unearth and shine new light on them. We need not be afraid of mistakes past, if we learn to deal with them at every developed age. A 1977 comedy about British forces in 1948 Singapore, has crossed many borders, time and geographical, to reach this point. It is with refreshed enlightenment and a sense of progressiveness that should mark our approach to it today.

www.newtheatre.org.au

Review: Sweet Charity (Luckiest Productions / Neil Gooding Productions)

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rsz_sc_0005_bps4219Venue: Hayes Theatre Co (Potts Point NSW), Feb 7 – Mar 9, 2014
Book: Neil Simon
Music: Cy Coleman
Lyrics: Dorothy Fields
Director: Dean Bryant
Choreography: Andrew Hallsworth
Musical Direction: Andrew Worboys
Actors: Verity Hunt-Ballard, Martin Crewes, Debora Krizak, Lisa Sontag

Theatre review
Bob Fosse directed and choreographed the iconic Sweet Charity, on stage and on film, in the late 1960s. The dance sequences are some of the most striking moving images ever seen, so one of the main challenges in staging the work today would be the treatment given to the re-creation of those scenes.

The current production at Hayes Theatre Co, helmed by director Dean Bryant and choreographer Andrew Hallsworth straddles between faithfulness and innovation. There is an acknowledgment that times and audiences have changed, but also an awareness that the immortal is a hard act to follow. Bryant’s adaptation uses the theatre’s spacial limitations to his advantage, and turns the work into an intimate and emotionally rich experience. There is a sense of things being scaled down, but for the most part, he achieves a good intensity on stage that results from the distillation of something conceptually grander. Hallsworth’s thankless task of re-interpreting Fosse’s choreography is surprisingly effective, even if the numbers “Hey Big Spender” and “Rich Man’s Frug” do leave us pining desperately for the film.

Visual elements are especially noteworthy. Ross Graham’s lighting is varied, dynamic and sensually appealing, providing the minimal set an aura of tragic beauty. It also gives logic to time and place, making the innumerable scene transitions happen flawlessly. Tim Chappel’s costumes and Ben Moir’s wigs are thoughtful and impactful without being overwhelming. They tell the story of the characters even before they begin to speak.

Martin Crewes plays a trio of Charity’s men, and delights with every role. The energy he brings to the stage is staggering, and he possesses a headstrong determination that is seductive and commanding. Crewes impresses with his powerful and creative song interpretations, and is responsible for both the funniest and saddest moments of the show in his role of Oscar. Debora Krizak shines as Nickie, one of the more jaded dance hall hostesses, and is easily the raunchiest and most colourful of characters. Krizak’s ability to portray earthiness and pathos is a real highlight. Verity Hunt-Ballard is the star of the show, with a vocal talent that makes Charity’s songs more meaningful than ever. The comic elements of the role are difficult (it’s not the funniest of scripts), but Hunt-Ballard is deeply moving at every tragic turn.

Sweet Charity can be thought of as pre-feminist. It constantly defines its women in terms of their relationships with men, and depicts their work in the adult industry as unquestionably pessimistic. All efforts are made for them to appear vivacious and intelligent, but their desires are left unexamined and unevolved. Unlike Fosse’s film, this production does not leave you with thoughts of glitz, glamour and glossy dance routines. Instead, it makes you ponder the big questions in our lives… and the meaning of love.

www.hayestheatre.com.au


www.facebook.com/luckiestproductions


www.goodingproductions.com

Review: Falsettos (Darlinghurst Theatre Company)

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falsettos1Venue: Eternity Playhouse (Darlinghurst NSW), Feb 7 – Mar 16, 2014
Book by William Finn, James Lapine
Music and lyrics: William Finn
Director: Stephen Colyer
Co-musical directors: Nigel Ubrihien, Chris King
Actors: Stephen Anderson, Margi de Ferranti, Ben Hall, Tamlyn Henderson, Elise McCann, Katrina Retallick, Isaac Shaw
Image by Helen White

Theatre review
Falsettos is a musical that has everything. More than that, Darlinghurst Theatre’s latest production achieves excellence on many different levels, and provides a theatrical experience that exceeds many shows in Sydney of much grander scales (with far heftier price tags). This is a modest and intimate interpretation of an off-Broadway musical that first took form in 1981, but it surprises with the emotional punch it delivers, and the incredibly impressive standard of choreography, direction and performance.

When an actor is allowed to showcase the clichéd triple-threat in demanding roles, results can be breathtaking, and in the case of lead man Tamlyn Henderson, it is definitely so. Henderson’s performance is skilful and complex. He draws laughter and tears, all the while being Mr Showbiz, all booming singing voice and nifty footwork, but simultaneously completely believable and tender in his characterisation. Henderson is in a word, fantastic.

Katrina Retallick brings an extraordinary warmth to her Trina, and performs the single most memorable number of the night, based entirely on a step aerobics routine. Young actor Isaac Shaw steals hearts in the role of the irresistibly cute Jason, displaying talent and ability that matches up confidently to his adult counterparts.

In spite of his ugly wig and spectacles, Stephen Anderson’s natural charisma is clearly evident. His comic ability is well utilised in the show, and his singing voice is delightfully versatile and reliably resonant. Ben Hall provides the story’s eye candy, and certainly lives up to that challenge. Thankfully, Hall imbues his role with a healthy sense of humour, and is a strong enough singer to hold his own (but does suffer a little from the lack of microphones). It must be noted that Nigel Ubrihien’s solo piano accompaniment is outstanding, and does what a full orchestra sometimes fails to do. The feel and accuracy he contributes to the sonic landscape of the production is absolutely crucial and perfectly executed.

Visual design elements are effective but understated. Ingenuity is shown in the use of seven coffin-like structures that are incorporated elegantly into stage design and choreography, but could probably benefit from a little sprucing up. Our eyes focus on characters, while set, props, costumes and lighting take a back seat in this musical.

Director Stephen Colyer’s extensive background in dance shines through brilliantly. His use of movement and the physical form is intricate, deeply considered, and beautiful. The lines between choreography and direction are entirely blurred. Characters never dance for the sake of dancing alone. Every move is for character development and storytelling. Colyer obviously knows all there is to know about entertainment and show pacing, but he is also careful to handle the material with sensitivity and spirituality, which in turn produces a good level of depth that accompanies the sentimentalities that pervade the writing. The show he has created is artistically inventive and technically accomplished. It is also highly entertaining, thought provoking and full of humanity. This is the musical format thoroughly evolved.

www.darlinghursttheatre.com

Review: Notre Dame De Paris (Base Entertainment)

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14247-140-7[1]Venue: Marina Bay Sands (Singapore), Dec 17, 2013 – Jan 11, 2014
Book: Victor Hugo
Music: Riccardo Cocciante
Lyrics: Luc Plamondom (English translation by Will Jennings)
Director: Giles Maheu
Actors: Alessandra Ferrari, Matt Laurent, Robert Marien, Richard Charest, Alberto Mangia Vinci, Ian Carlyle, Elicia MacKenzie

Theatre review
The story unfolds with a lack of clarity, and the English lyrics are less than elegant, but this “Musical Spectacular” features a cast of astounding talent (largely Canadian), and their work makes for an evening of inspiration and fantastic entertainment.

Robert Marien is outstanding as Frollo, with a magnificent voice that is world class. The songs he performs showcase his talents well, and allow for the performer to steal the show effortlessly. Alessandra Ferrari plays Esmeralda, impressing her audience with a vocal range that will remain unforgettable. Even though her role is spectacularly anti-feminist, Ferrari is able to charm her way and make her audience fall into endearment.

Choreography is relatively conventional, but the team of dancers and acrobats perform at a level that can only be described as stellar. We are treated to an incredibly high energy and accomplished presentation, with influences from jazz, modern and break dance, along with shades of Cirque du Soleil and the Eurovision Song Contest. Yes, things do get kitschy, but they are irresistibly so.

The theatre seats 2,155 but today’s session probably was less than a quarter filled. The performers were entirely unperturbed and gave their all, and the audience was obviously swept away. The standing ovation at the end of the evening was genuine, and well deserved.

www.baseentertainmentasia.com

Carrie (Squabbalogic Independent Music Theatre)

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carrieVenue: Seymour Centre (Sydney NSW), Nov 13 – 30, 2013
Music: Michael Gore
Lyrics: Dean Pitchford
Book: Lawrence D. Cohen (based on the novel by Stephen King)
Director: Jay James-Moody
Performers: Hilary Cole, Margi de Ferranti, Adele Parkinson, Rob Johnson, Prudence Holloway, Bridget Keating

Theatre review
Transposing a well-known horror movie into the live musical genre seems a strange concept, but Carrie is mainly about life in an American high school, which is a setting that is no stranger to show tunes and dance sequences.In fact, Jay James-Moody’s direction is confident within that realm of the “high school musical”, and he steers it into family-friendly territory, which is not inappropriate but unfortunately loses the opportunity at creating something darker and edgier for the genre.

The show has a stable of outstanding singers, but casting misses the mark in a couple of cases. Three key characters, Carrie, Sue and Tommy, however, are excellently portrayed, and their work contributes greatly to the success of this production. Hilary Cole as the protagonist is convincing and heart-wrenching. Even though her characterisation of Carrie is slightly underplayed, her singing voice is strong enough to create impact whenever the plot demands drama. The penultimate and iconic scene is handled especially well, which is surprising, considering the pervasiveness of its imagery in pop culture. Cole more than lives up to expectations, and gives us a Carrie who is at once frightening and tragic.

Adele Parkinson is fantastic in her role of Sue. Her creation is the most believable in the show, and crucially, she encourages empathy from the audience with her natural warmth, and the credible affection she musters for the lead character. Rob Johnson is a charming Tommy. He is an eminently watchable actor, who seems to be at ease in any situation, and with any co-star. Johnson has a confident laid-back quality that suits his role perfectly.

This production does not have the same horror and tension that many know from the book and film adaptation, but it stands alone as a fascinating and captivating show. Carrie is an “outsider” classic that speaks to many, despite its implausibilities. We relate to the girl who is left out, and the bullying she experiences is topical for any generation.

www.squabbalogic.com.au

Atomic (Dreamingful Productions)

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rsz_1400420_585853668128395_551489903_oVenue: NIDA Parade Theatres (Kensington NSW), Nov 16 – 30, 2013
Music and Lyrics: Philip Foxman
Book and Lyrics: Gregory Bonsignore, Danny Ginges
Director: Damien Gray
Actors: Michael Falzon, Bronwyn Mulcahy, David Whitney, Christy Sullivan, Lana Nesnas, Simon Brook McLachlan, Blake Erickson
Image by Gez Xavier Mansfield Photography

Theatre review
Atomic is a musical about two things; the invention of the atomic bomb that destroyed Hiroshima in 1945, and Leo Szilard, the man who was chiefly responsible for the science behind it. It is admirable that the writers had afforded a substantial portion of the show to historical aspects of the story, but the nature of musicals always seems to favour less solemn content, even if they are highly emotional. It is hard to make a dignified musical work, but the efforts here are laudable. One is reminded of Miss Saigon and Madame Butterfly, where war provides the backdrop, but personal devastation is given the spotlight. The result is a stronger, and more effectively emotional experience, but those sentiments are clearly not of the best taste. Atomic would perhaps be a more conventionally engaging musical if it dwells more heavily on Szilard’s personal predicaments and crises, but it is understandable that the show chooses to adopt a more refined approach to its storytelling.

On the technical front, Michael Waters’ sound design is most accomplished. NIDA’s Parade Playhouse’s acoustic potentials are exploited thoroughly, and the venue proves itself to be an outstanding option for more intimate stagings of musicals. There are some issues with lighting and set, but they are a result of being over-ambitious rather than negligence.

The strongest element in this production is the quality of its performers, who each have their moments of undeniable brilliance. Leading man Michael Falzon invests a great deal of psychological authenticity into his characterisation, and puts on a subtle yet strong portrayal of Szilard. Falzon’s success at transforming an unassuming scientist into a musical protagonist without the use of stage cliches is impressive and remarkable. He also happens to be the performer who executes the show’s choreography most effectively. David Whitney plays Enrico Fermi, the show’s only flamboyant character, and stands out appropriately with a joyful and effervescent performance. Christy Sullivan plays a wide range of ensemble characters, consistently delighting with conviction and a natural charm. It must be said that all performers sing their parts beautifully, and this is an Australian cast to be very proud of.

www.atomicthemusical.com