Tag Archives: musical

Review: Six (Theatre Royal)

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Venue: Theatre Royal (Sydney NSW), 25 Oct – 28 Dec, 2024
Creators: Toby Marlow, Lucy Moss
Directors: Jamie Armitage, Lucy Moss
Cast: Chelsea Dawson, Kimberley Hodgson, Loren Hunter, Giorgia Kennedy, Deirdre Khoo, Zelia Rose Kitoko
Images by James D. Morgan

Theatre review
Henry VIII’s wives compete to determine who had suffered the most. Turning them into queens of pop, Toby Marlow and Lucy Moss’s 2017 musical Six configures these historical women into a contemporary girl group, to tell their tragic stories from the 16th century. A thoroughly exuberant work, with a particular youthful appeal, Six may not be able to say as much about feminism as it wishes, but Marlow and Moss’ proficiency at crafting pop perfection is undeniable.

Casting on this occasion is nothing short of exquisite, with each performer bringing colourful idiosyncrasy to the piece, yet introducing flawless chemistry to their efforts as a collective. Chelsea Dawson, Kimberley Hodgson, Loren Hunter, Giorgia Kennedy, Deirdre Khoo, and Zelia Rose Kitoko, are powerful as a team and individually endearing, all effortless at having us mesmerised with each of their moments at centre stage. The choice to deliver their lines in Australian accents proves a charming and memorable feature, for this revival of an enduring crowd-pleaser.

The musicians for this remount are similarly impeccable. Danielle Colligan, Claire Healy, Heidi Maguire, Ann Metry, and Kathryn Stammers are a formidable backup band, bringing unrelenting excitement, to a show determined to make us feel as though immersed in the setting of an arena concert. 

The king’s wives may have been dispensable and objectified, but we can try to remember them in new ways, with their agency intact. Much as conditions all those centuries ago had unquestionably deprived many of their freedoms, we can see in Six that it is possible to find alternate interpretations to narratives, if only to inspire defiance, for a culture that persists with its need to keep women down.

www.sixthemusical.com.au

Review: Penpals (Qtopia)

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Venue: Qtopia (Darlinghurst NSW), Oct 23 – Nov 9, 2024
Book, Music & Lyrics: Megan Robinson
Director: Sarah Campbell
Cast: Danielle Lorzano, Rhiannon Lidbury, Damien Noyce, Megan Robinson, Danika Rojas, Toby Rowe, Nikolas Zielinski 
Images by Jessie Jay

Theatre review
The story involves 2 high school girls falling in love, after writing to each other between Perth and Sydney. It was 1997, and letters were on their last legs. In the musical Penpals by Megan Robinson, we can clearly see that those were more romantic times, although certainly undeniable is that homophobia was significantly harsher. Robinson’s songs are excellent, but the many scenes in between musical numbers are written with less flair. The plot is thoughtfully assembled, even if it can often feel excessively detailed.

Robinson’s vocals are very strong, in the role of Callie. Singing by Danika Rojas for Pearce too, is beautiful. Acting however, is very intemperate across the board, by all members of the seven-person cast. Direction by Sarah Campbell requires a more subtle approach, in order that the audience may invest more authentically and tenderly into the love story. Musical direction by Hazel Alexander does well to convey the emotional qualities of Penpals, and with greater access to resources, there is no doubt that the songs can be presented in a much more affecting manner.

It is wonderful to see young artists paying tribute to a previous generation of queer people. There is a danger in former struggles becoming forgotten, not only because the young need a way to value their freedoms today, but also because nefarious forces are always poised to attack, when given the opportunity. We cannot let our guards down, when we know that the conservatives are constantly looking for new scapegoats to serve their agenda. Queer people remain an easy target, and our vigilance is imperative, to keep them fearful of our might.

www.qtopiasydney.com.au | www.instagram.com/penpalsmusical

Review: Dear Evan Hansen (Roslyn Packer Theatre)

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Venue: Roslyn Packer Theatre (Sydney NSW), Oct 12 – Dec 1, 2024
Book: Steven Levenson
Music and Lyrics: Benj Pasek & Justin Paul
Director: Dean Bryant
Cast: Martin Crewes, Verity Hunt-Ballard, Georgia Laga’aia, Natalie O’Donnell, Carmel Rodrigues, Jacob Rozario, Harry Targett, Beau Woodbridge 
Images by Daniel Boud

Theatre review
Evan finally becomes popular, after fabricating a close relationship with Connor, after Connor’s suicide. In the teen drama of Dear Evan Hansen, we watch a protagonist suffer from loneliness and anxiety, but gradually grow in maturity and self-awareness, after learning from his mistakes. The narrative, like the songs of this 2016 musical, is earnestly sentimental to a fault. The book by Steven Levenson, with songs by Benj Pasek and Justin Paul, depict the substantive effects of a snowballing lie, but everything works too hard to keep Evan likeable throughout the piece.

What may be saccharine for some, is also the ticket to commercial viability, in this business of the musical theatre. Productions like Dear Evan Hansen often prove successful even when deficient in literary complexity, or indeed any simple sense of irony. The show’s stakes too are never really high enough, but it does seem that formulaic song writing is more than adequate to have audiences invest, both in terms of emotions and money.

The staging is however, very slick and frequently spectacular, as directed by Dean Bryant, with enveloping video projections by David Bergman leaving a particular strong impression, and musical direction by Zara Stanton never failing to have the audience roused and beguiled. Sound engineering by Ghiovanna De Oliveira is highly effective in achieving extraordinary clarity and balance, and can be credited for enriching the quality of singing by its passionate cast.

Beau Woodbridge plays Evan, with immense sincerity and an admirable precision, in a presentation memorable for its technical excellence. Jacob Rozario is a godsend as classmate Jared, able to introduce some uplifting playfulness, to an excessively solemn experience. Maternal characters are played powerfully by Verity Hunt-Ballard and Natalie O’Donnell, both bringing an air of substance, to roles that are mediocrely written.

It should be no surprise that entertainment can be packaged in something bland and inoffensive, in its commercial aspirations to have the widest reach. When art bears those same qualities however, we have to be suspicious of what it says, in the possible absence of integrity and truth. The message of Dear Evan Hansen can feel dubious on reflection, and we begin to understand that a momentary sensation of heightened dramatics, can prove subsequently to be empty and cheap.

www.dearevanhansenmusical.com.au

Review: Flat Earthers: The Musical (Griffin Theatre Co / Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Oct 11 – Nov 9, 2024
Book and Lyrics: Jean Tong, Lou Wall
Songwriting: Lou Wall, James Gales
Director: Declan Greene
Cast: Michelle Brasier, Lena Cruz, Manali Datar, Milo Hartill, Amanda McGregor, Manon Guderson-Briggs, Mel O’Brien, Shannen Alyce Quan, Zarif
Images by John McRae

Theatre review
The story begins when Ria and Flick meet online, and quickly fall in love. Being a conspiracy theorist however, means that Flick is making their unfolding romance very complicated indeed. Flat Earthers: The Musical by Jean Tong, Lou Wall and James Gales commences with a fascinating conceit involving the very contemporary phenomenon of information silos and alternative facts, but quickly devolves into a confusing quandary of fantastical excursions.

Director Declan Greene brings a sense of exuberance to an outlandish plot that goes completely frenzied and unruly, but the musical comedy never really connects in any meaningful way. A heavy reliance on video elements, as designed by Xanthe Dobbie and Daniel Herten, makes the experience feel excessively complicated, resulting in a sensory overload that prevents us from truly engaging with the ideas and the humour of the piece.

On a positive note, songs in Flat Earthers are consistently enjoyable. Produced by James Gales and with musical direction by Jude Perl, each number is wonderfully rhythmic and often unpredictable, with choreography by Fetu Taku enhancing the imaginative quality and the pop sensibility of these modern showtunes. Singing is generally of a strong standard, with Manali Datar and Shannen Alyce Quan bringing admirable precision to their portrayals of lesbian lovebirds. It is worth noting that the unapologetic depictions of sapphic desire in Flat Earthers address a much needed queering of an art form, that although beloved by queers, rarely centres our identities in stories that routinely deny our right to take focus.

Set design by Brockman creatively incorporates the production’s need for projection screens, although occasionally unwieldy for performers as they enter the stage. Costumes by Emma White are as appealing as they are amusing, able to represent characters with accuracy, whilst maintaining a comical approach. Lights by Brockman are astonishing in their richness and intensity, in a show that is never for a moment, restrained in any way.

In a world where people believe that politicians can inflict hurricanes on battleground states at election time, and where patently and unabashedly evil individuals become presidents by manipulating media consumption of the populace, the business of information propagation is a seriously dire situation.  All of our history demonstrates that humans will trust in all manner of bizarre propositions, many of which have led to death and destruction. Also true of our nature, is that we never stay the same, and this too shall pass.

www.hayestheatre.com.au | www.griffintheatre.com.au

Review: New Works Festival Part 3 (Old Fitz Theatre)

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Venue: Old Fitzroy Theatre (Woolloomooloo NSW)

Champions Oct 11 – 26, 2024
Playwright: Isabella McDermott
Director: Bali Padda
Cast: Cat Dominguez, Talitha Parker, Lincoln Vickery, Bayley Prendegast
Images by Patrick Phillips

Fuccbois: Live In Concert Oct 11 – 26, 2024
Book, Music and Lyrics: Bridie Connell
Director: Jessica Fallico
Cast: Gabbi Bolt, Bridie Connell, Orya Golgowsky, Clara Harrison, Megan Walshe 
Images by Leanne Ansell

Theatre review
The two stories in part 3 of the Old Fitz Theatre’s New Works Festival involve separate groups of four artists and their respective relationships with integrity. Isabella McDermott’s sophisticated Champions looks at the effect of a $50,000 prize, when art becomes a competitive sport. In Bridie Connell’s rambunctious Fuccbois: Live in Concert, it is the competitive alpha male that adopts the art of performance to satisfy his narcissism. 

A contemplative work, Champions is directed by Bali Padda who brings commendable sensitivity to a play brimming with engaging nuance. For Fuccbois, it is Jessica Fallico’s mischievous direction of raucous drag kings that leaves an impression. There is a slight deficiency in terms of dramatic escalation over the duration of both shows, but Padda and Fallico certainly prove themselves accomplished, albeit in wildly different styles.

A simple set design by Elle Fitzgerald converts the space to allow for greater versatility. Tim Hope’s lights are marvellously dynamic for Fuccbois but are perhaps overly sombre in Champions. Costumes by Rita Naidu for Champions and Lily Moody for Fuccbois are all similarly appropriate for each of the characters we encounter. Sound design by Prema Yin for Champions is particularly noteworthy, intricate in approach and effective with the vigour it provides.

The cast for Champions is very strong; Cat Dominguez, Talitha Parker, Lincoln Vickery and Bayley Prendegast play visual artists negotiating a suddenly intensified work environment, remarkable for the distinct qualities they deliver, as well as a sense of authenticity they imbue in the storytelling. For the faux arena concert of Fuccbois, Gabbi Bolt, Bridie Connell, Orya Golgowsky, Clara Harrison and Megan Walshe manufacture an electric atmosphere, gratifying with their pointed commentary on commodified masculinity, but unfortunately lacking in crispness with their highly stylised presentation.

Even when art loses all of its truthfulness, when having to accommodate all manner of economic considerations, it can still reveal something worthwhile, if only we commit to its decipherment. Bad art however is determined to discourage analysis, and have us accept its deceptive surface. In other words, bad art trades in obfuscation and lies. No person can claim to be insusceptible to artful trickery, but it is in the willingness to talk to one another, that we can discover bigger truths, about the messages we are being sold. 

 ww.oldfitztheatre.com.au | www.littlegoat.com.au

Review: Well-Behaved Women (Belvoir St Theatre)

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Venue: Belvoir St Theatre (Surry Hills NSW), Sep 28 – Nov 3, 2024
Music & Lyrics: Carmel Dean
Additional lyrics: Miriam Laube
Director: Blazey Best
Cast: Stefanie Caccamo, Sarah Murr, Zahra Newman, Elenoa Rokobaro
Images by Brett Boardman

Theatre review
Carmel Dean’s Well-Behaved Women (with additional lyrics by Miriam Laube) is a song cycle, with each number inspired by a remarkable woman from the annals of history, from Eve of the Garden of Eden, to Malala Yousafzai the British Pakistani activist. Whether mythical or simply legendary, these personalities all tell extraordinary stories of glorious ascendency, each one a brilliant example of tenacity and triumph.

The songs are uniformly enjoyable, thoroughly melodious to keep our attention and emotions engaged. Direction by Blazey Best delivers a show that reverberates with an unmistakeable sense of dignification for womanhood, although too persistently sombre for the 70-minute duration. Orchestrations by Lynne Shankel are powerful, but overly serious for much of the presentation. Lights by Kelsey Lee too are consistently grave, when we are in search for exaltation.

A cast of captivating singers takes us through this omnibus of exceptional women. Performers Stefanie Caccamo, Sarah Murr, Zahra Newman and Elenoa Rokobaro bring great verve, along with admirable polish, for a show memorable for its proud expressions of success and resistance.

Women are capable of great things, of course, but we are worthy even when we are unremarkable. Feminism is not only for those who are exceptional. In fact, it is more about those who are ordinary. We should all have the courage to behave badly and make history, but we need to remember that it will always be harder for some. It is impossible that we are all going to become iconic, not so much because of personal constitutions, but more because of circumstances. As we continue to love the characters in Well-Behaved Women, we need to understand that it is not only these anomalies that should be celebrated.

www.belvoir.com.au

Review: Titanique (The Grand Electric)

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Venue: The Grand Electric (Surry Hills NSW), 12 Sep 2024 – 22 Jun 2025
Book: Tye Blue, Marla Mindelle, Constantine Rousouli
Director: Tye Blue
Cast: Abu, Stephen Anderson, Abigail Dixon, Georgina Hopson, Jo-Anne Jackson, Matt Lee, Jenni Little, Marney McQueen, Trent Owers, Keane Sheppard-Fletcher, Drew Weston
Images by Daniel Boud

Theatre review
If we are to revisit the story of the Titanic, we may as well have Celine Dion provide her account of events, given how she has inadvertently become so closely associated with the disaster—or, more accurately, with the Hollywood movie about it. This absurd idea is brought to glorious life in the jukebox musical Titanique, a work of unparalleled campy hilarity so completely infused with creative chaos and unbridled frivolity, that it is impossible to dislike.

The incorporation of Dion’s hits may feel somewhat arbitrary at times, but writing by Tye Blue, Marla Mindelle and Constantine Rousouli is so thoroughly uninhibited and joyful, that nothing gets in the way of the good time that Titanique is determined to deliver. Also, Blue’s direction of the production is correspondingly unrestrained, leaving no stone unturned in this unabashed embrace of qualities as personified by its central diva; characteristics that are perhaps too flamboyant, too ridiculous, too mad, and too gay.

Leading lady Marney McQueen is a sensation as the iconic Quebecer, with impeccable mimicry proving a marvel to witness, and impossibly precise comic timing, that has us amused from the very second of her appearance. Casting for the production is quite the achievement, with each performer showcasing exceptional talent, along with their ability to adhere to the same idiosyncratic tone and tenor of this “kooky crazy” show, and for navigating the most challenging stage design imaginable, consisting entirely of stairs.

Characters from the film are brought to the stage with cheeky irreverence. Jack is played by Drew Weston whose knack for physical comedy is as endearing as his natural charm. Georgina Hopson’s astonishing vocal abilities as Rose are sheer pleasure. Stephen Anderson’s outrageous extravagance in the role of Ruth is consistently funniest of the duration, and certainly unforgettable. Also outstanding is Keane Sheppard-Fletcher, who impresses as the strongest all-rounder, singing and lampooning the part of Cal to the greatest effect.

The humour of Titanique feels very particular and granular, but because its source material is one of the widest appeal, the show becomes consequently much more universally approachable than its aesthetic might suggest. If low art and high art do indeed exist, Titanique is perhaps one of the most successful fusion of both, involving subject matters that are almost painful in their mundanity, but elevated with a niche sensibility, one that is most often associated with marginalised communities. When outsiders are left with nothing to lose, being outrageous seems a natural proposition, even if it upsets the hegemony unfailingly. 

www.titaniquemusical.com.au

Review: Sunset Boulevard (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), 28 Aug – 1 Nov, 2024
Music: Andrew Lloyd Webber
Book and Lyrics: Don Black, Christopher Hampton (based on the Billy Wilder film)
Director: Paul Warwick Griffin
Cast: Sarah Brightman, Jarrod Draper, Tim Draxl, Robert Grubb, Paul Hanlon, Ashleigh Rubenach, Troy Sussman
Images by Daniel Boud

Theatre review
Hollywood legend Norma Desmond is desperately trying to claw back her glory days, while relative upstart screenwriter Joe Gillis will do almost anything to make it in the big time. When the two meet, their ambitions prove a lethal combination, leading to the highest of dramatic foibles. Billy Wilder’s unequivocal icon of a film Sunset Boulevard may be 74 years-old, but nothing about this story of faded glamour seems dated; women in showbusiness today are still being chewed up and spat out, and endless aspirants continue to want in on the action.

The 1993 musical adaptation with music by Andrew Lloyd Webber and a book by Don Black and Christopher Hampton, is similarly intoxicating. Old-world extravagance and delicious camp, converge to provide the perfect fodder for this flamboyant, Broadway-style outing. Direction by Paul Warwick Griffin does not reinvent the wheel, but certainly restores the emotive propulsion of the piece, as well as resurrecting the irresistible allure of a narrative on seduction, power and decadence. Splendid design on set and costumes by Morgan Large, along with sumptuous lights by Mark Henderson, ensure that we are thoroughly mesmerised and immersed, in this world of illusory wonder.

In the role of Norma is Sarah Brightman, who although lacks the wicked humour usually associated with the piece, and presents a somewhat less grotesque version of this Hollywood monster, impresses with her searing commitment to the project. This Norma is as terrifically delusionary as any, whether or not we perceive Brightman’s renderings as intentional. Joe is played by a striking Tim Draxl, who brings immense magnetism, coupled with steely precision and technical brilliance, to keep us wholly invested. When required to deliver vulnerability, Draxl is astonishing in his ability to disarm, in order that we may see the deep humanity being explored at the centre of Sunset Boulevard.

Joe witnesses first-hand, the way the system has royally abused Norma, yet he remains unfazed, and continues to pursue his celluloid dreams at full bore. Norma herself too, cannot help but keep fighting to reclaim status, to the extent that she has to completely lose her mind. Such is the formidable might of American capitalism.

www.opera.org.au | www.gwbentertainment.com

Review: Sister Act (Capitol Theatre)

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Venue: Capitol Theatre (Sydney NSW), from Aug 7 – Oct 20, 2024
Music: Alan Menken
Lyrics: Glenn Slater
Book: Cheri Steinkellner & Bill Steinkellner, with Douglas Carter Beane
Cast: Bianca Bruce, James Bryers, Rhonda Burchmore, Casey Donovan, Genevieve Lemon, Sophie Montague, Raphael Wong
Images by Daniel Boud

Theatre review
Deloris takes refuge in a convent, after getting in trouble with her gangster boyfriend. An opportunity to escape the seedy underground of Philadelphia presents itself, but it is up to our protagonist to make the right decisions. Sister Act the musical is based on the hugely popular Hollywood film from 1992, and although lacking the wit of the original, the charm of its characters is dutifully retained, to provide amusement for a wide range of audiences.

Music by Alan Menken is catchy and uplifting, taking inspiration from gospel and disco, in an adaptation that takes the action back to the heady 70s. Deloris is played by the luminescent Casey Donovan, who aside from being eminently likeable, sings every note to perfection, demonstrating extraordinary vocal versatility, in a deeply satisfying performance of some very demanding songs.

All other members of cast too, impress with their talent and dedication. Genevieve Lemon brings authenticity and warmth to her portrayal of Mother Superior. Rhonda Burchmore and Raphael Wong are standouts, with their dazzling comic dexterities, able to elevate some frankly ordinary material, and turn their parts memorable. 

In Sister Act, we discover that it is through adversity that Deloris finds herself. Not unlike the nuns at Our Lady of Perpetual Sorrow, she learns the big lessons in life, by experiencing it the hard way. We can be critical of religious types who seem to indulge excessively in suffering, but there is no question that one can see the light much better, after being engulfed in the most agonising dark.

www.sisteractthemusical.com.au

Review: In The Heights (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), 20 Jul – 25 Aug, 2024
Music & Lyrics: Lin-Manuel Miranda
Book: Quiara Alegria Hudes
Director: Luke Joslin
Cast: Barry Conrad, Steve Costi, Lena Cruz, Janet Dacal, Olivia Dacal, Tamara Foglia Castañeda, Ryan Gonzalez, Jervis Livelo, Alexander Palacio, Angela Rosero, Olivia Vásquez,  Richard Valdez
Images by Daniel Boud

Theatre review
Washington Heights in Upper Manhattan, is home to a Latin American community full of stories that speak specifically to the migrant experience of diasporas everywhere. In The Heights by Lin-Manuel Miranda and Quiara Alegria Hudes is approaching twenty years old, but the musical remains resonant with potent accuracy, in its depictions of our struggles and aspirations, as people trying to thrive in places that may not be completely accepting or hospitable.

Miranda’s music is an unequivocal pleasure, laden with Latinx rhythms that have us engrossed and uplifted. With exuberant musical direction by Victoria Falconer, each number grabs us with its scintillating percussion and sensual bassline, to deliver sensations that are celebratory and life-affirming.

Singing is of an excellent standard across the board, but characters are not always charismatic or indeed convincing. Memorable performers who save the show include Ryan Gonzalez, Janet Dacal and Richard Valdez who impress with their vocals as well as their acting, in addition to the magnetism they seem to wield so naturally.

Direction by Luke Joslin keeps proceedings at a stirring pace, and along with dazzling choreography by Amy Campbell, the audience is kept attentive and fascinated, but this iteration of In The Heights unfortunately lacks an emotional intensity, that can leave us feeling empty in moments where we expect poignancy.

The production is however visually appealing, with a colourful set design by Mason Browne creating dimensionality and depth that help us effortlessly imagine the different locations at which action takes place. Costumes by Keerthi Subramanyam convey authenticity, along with being flattering, to draw us into these personal tales of resilience and triumph. Lights by Jasmine Rizk are not always sufficiently energetic, but are remarkable for bringing surprising variety to the imagery being presented.

In The Heights can be thought of as a work about the American Dream, or simply about survival, of those who have had to overcome unusual hardship. The circumstances around people having to leave their homelands, are almost always difficult, and what they encounter at their various destinations, is certain to never be an easy ride. The intentional fostering of community then becomes a necessary part of life as migrants, if only for the benefit of those who come later.

www.hayestheatre.com.au | www.jrpaustralia.com