Tag Archives: musical

Review: Peter And The Starcatcher (Capitol Theatre)

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Venue: Capitol Theatre (Sydney NSW), Jan 31 – Feb 9, 2025
Playwright: Rick Elice (from the novel by Dave Barry and Ridley Pearson)
Music: Wayne Barker
Director: David Morton
Cast: John Batchelor, Paul Capsis, Olivia Deeble, Otis Dhanji, Morgan Francis, Lucy Goleby, Ryan Gonzalez, Pete Helliar, Colin Lane, Benjin Maza, Hugh Parker, Alison Whyte
Images by Daniel Boud

Theatre review
It is the story of how Peter Pan came to be “the boy who never grew up”. Originally a novel by Dave Barry and Ridley Pearson, Peter and the Starcatcher involves two ships, pirates, hidden treasure and a celestial substance known as “starstuff”. Transformed into a play by Rick Elice, with music by Wayne Barker, those fantastical elements come to good use, for a theatrical experience catering to young and old.

Design and direction by David Morton delivers a staging that borrows heavily from the pantomime tradition, with notable incorporation of puppetry further enhancing its sense of wonderment. Costumes by Anna Cordingley are commensurately whimsical in nature, with her humorous mermaids leaving an especially lasting impression. Dynamic lights by Ben Hughes are creatively rendered, to take us somewhere magical, with imagery that is often uplifting and inspiring.

Portraying a highly endearing Peter is performer Otis Dhanji, who brings great energy and a compelling innocence to the central role. His new friend Molly is played by Olivia Deeble who delights with her athleticism, and who keeps us attentive with a remarkable presence. Both sing their parts powerfully, along with jaunty and sumptuous musical direction by James Dobinson.

Neverland is a place where the lines between reality and fantasy blur, implying that imagination plays an important part no matter a person’s age. Neverland is also full of danger, meaning that much as we should hold on to an innocent sense of limitless possibility, understanding responsibility is always an essential part of carving out a good life. One should always remember to look to the stars, but unlike Peter Pan, we must never forget to keep our feet steadily rooted to the ground.

www.peterandthestarcatcher.com.au

Review: Wuthering Heights (Roslyn Packer Theatre)

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Venue: Roslyn Packer Theatre (Sydney NSW), Jan 31 – Feb 15, 2025
Adaptor: Emma Rice (from the novel by Emily Brontë)
Composer: Ian Ross
Director: Emma Rice
Cast: Sam Archer, Nandi Bhebhe, Matthew Churcher, Rebecca Collingwood, Frederick Double, Stephanie Elstob, Thomas Fox, Stephanie Hockley, TJ Holmes, John Leader, Robyn Sinclair
Images by Steve Tanner

Theatre review
It is the story of star-crossed lovers Heathcliff and Catherine, from the pen of Emily Brontë but adapted for a contemporary stage. The circumstances around the dark romance of Wuthering Heights may seem a relic of the past, but the emotions that it represents prove enduring.

Transformed into a musical, we are swept away by compositions from Ian Ross that are alternately ethereal and intense, creating a majestic soundscape that takes us far away to 18th-century northern England. Its characters make choices that are unlikely to make sense today, but the music connects with something primal, for an instinctive understanding of how they might have felt.

This reinvigorated version by Emma Rice is as imaginative as it is exuberant, with pop influences that help the old novel resonate anew. Choreography by Etta Murfitt introduces an unexpected kineticism, adding a sense of palpable urgency. Production design by Vicky Mortimer may look somewhat home-spun and dwarfed by the lofty sleekness of the auditorium, but quirky elements are nonetheless delightful.

It is an endearing cast that takes the charge, with John Leader’s idiosyncratic interpretation of a marvellously suave Heathcliff, earning our investment in his epic tale of ambition and regret. Stephanie Hockley’s passionate defiance as Catherine brings an undeniable spiritedness to the production. Also notable are Nandi Bhebne as Leader of the Moors, and Robyn Sinclair as Young Cathy, both highly compelling with their splendid vocals and considered depictions.

There are so many tragic deaths in Wuthering Heights, most of which are related to the notion of a broken heart. Heathcliff was indeed devastated by the loss of his love, and even though it is a truism that life without love is worth little, it is easy to mistakenly believe the same about romance. Only love is essential, and fortunately much more attainable than its illusory and evanescent echo.

www.wutheringheightsaustralia.com

Review: Ghost Quartet (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Jan 8 – Feb 1, 2025
Music, Lyrics and Text: Dave Malloy
Director: Brandon Pape
Cast: Cameron Bajraktarevic-Hayward, David Butler, Hany Lee, Willow Sizer
Images by Angel WL

Theatre review
Dave Malloy seems to concede that Ghost Quartet is more a concept album than a work of theatre, with each song being preceded by the announcement of its “track number”. A highly fractured narrative makes it nigh on impossible to closely follow the story, but the eclectic music is undeniably enjoyable.

Direction by Brandon Pape delivers an occasionally haunting experience, but the show is mostly memorable for the warmth with which it showcases the cast of four. Cameron Bajraktarevic-Hayward, David Butler, Hany Lee and Willow Sizer bring exceptional musicianship to the performance, and along with brilliant sound engineering by Em-Jay Dwyer, we discover in Ghost Quartet to be a real treat for the ears. Sumptuous lighting design by Sidney Younger elevates the presentation so that it feels more than a concert, but it is doubtful if the work is truly satisfying for audiences with expectations of a conventional musical.

There are certainly more than a few manoeuvres that can be considered experimental in Ghost Quartet, and that artistic spirit is an admirable quality to encounter at any production. Whenever we talk about ghosts, it is hard to deny that it is ultimately the living that is always the real concern. It is an exercise in examining what has been left behind, just as we pay tribute to every work of art that attempts to push boundaries, and that propels us into new spaces. However much we may or may not enjoy it at the time it occurs, it is the artist’s imagination that offers suggestions for new ways of being, providing inspiration for us to move towards somewhere better than yesterday. 

www.hayestheatre.com.au | www.antipodestheatre.com

Review: Converted! (ATYP)

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Venue: The Rebel Theatre (Sydney NSW), Jan 3 – 25 , 2025
Book: Vic Zerbst
Music & Lyrics: Vic Zerbst, Oliver John Cameron
Director: Hayden Tonazzi
Cast: Helen Dallimore, Paul Leandre Escorrido, Ashley Garner, Cassie Hamilton, Nat Jobe, Melody Kiptoo, Scarlet Lindsay, Teo Persechino, Megan Robinson, Redd Scott, Teo Vergara
Images by Daniel Boud

Theatre review
Teenagers at the “Fix Yourself!” camp are hoping to improve their self-esteem, but like most other places, an overbearing and stifling emphasis on heteronormative values, is instead deteriorating their sense of self worth. Converted! by Vic Zerbst and Oliver John Cameron is an often charming musical about queer youth, and their struggles in a world determined to negate and change their nature. The plot may on occasion be incoherent, but its idiosyncratic style and array of spirited tunes, help to keep us amused and attentive.

Vibrant direction by Hayden Tonazzi ensures that the show is consistently energetic and irrepressibly quirky. A cast brimming with sincerity passionately imparts its story, including performers Helen Dallimore and Nat Jobe who stand out for the comedic nuance they bring to their roles as camp counsellors. Music direction by Mark Chamberlain introduces variation to our experience of songs that could otherwise feel formulaic. Uncomplicated choreography by Jeremy Lloyd ensures a theatricality without compromising the natural movement of characters.

Whimsical set and costume designs by Savanna Wegman set the tone for this cheeky and cheerful presentation. Lights by Brockman give the production its polish, along with a captivating colourfulness that represents perfectly queer culture, and the tradition of defiance against banality that it exemplifies.

Pride is not only about individuals overcoming challenges. It pertains to the continuation of legacies, and the understanding that freedoms that have been won, remain under constant threat. Pride necessitates that we remember the monumental sacrifices that had been made, and that we are prepared to extend victories to all others who still have to fight for justice. Queers are fervent in celebrating our authenticities, if only to demonstrate that truth and integrity are never to be feared. 

www.atyp.com.au

Review: Elf: The Musical (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), 19 – 29 Dec, 2024
Book: Bob Martin, Thomas Meehan
Music: Matthew Sklar
Lyrics: Chad Beguelin
Director: Eric Giancola
Cast: Brianna Bishop, Oscar Bridges, Simon Burke, Andrew Dunne, Gareth Isaac, Madeleine Mackenzie, Lara Mulcahy, Katrina Retallick
Images by Daniel Boud

Theatre review
Buddy embarks on a journey to New York to find his biological father, having recently learned that he is not a natural-born elf. Elf: The Musical was created several years after the success of the 2003 motion picture on which it is based, bringing further joy to the holiday season for audiences of all ages.

Under Eric Giancola’s effervescent direction, this stage version emerges as a comedic delight determined to leave crowds beaming with pleasure. Charming choreography by Mitchel Woodcock is a memorable feature, adding richness and dynamism to the narrative’s inherent momentum. Splendid video design by David Bergman increases the kineticism of the experience, working with our imagination to render believable a wide range of locations, as it delivers irrepressible colour and movement to have us mesmerised.

Performer Gareth Isaac plays Buddy with an appealing naivety, and along with his vibrant ebullience,  convinces us to invest in this story about an oversized Santa’s helper. As Santa, Laura Mulcahy’s natural charisma shines to great effect, completely enchanting with the confidence and humour she introduces. Simon Burke and Katrina Retallick are notable for their magnetism in the roles of Mr and Mrs Hobbs, both effortlessly captivating, as parental figures in Buddy’s search for belonging.

Christmas may always be first and foremost about the birth of a deity, but increasingly we regard it to simply be a time for togetherness and harmony. No matter our beliefs, it becomes a greater possibility during these festivities to lay down the arms, and to hold sacred a moment, if only for remembering to hope for peace on earth, and mercy mild.

www.sydneyoperahouse.com

Review: Irving Berlin’s Holiday Inn (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Nov 22 – Dec 22, 2024
Music and Lyrics: Irving Berlin
Book: Gordon Greenberg, Chad Hodge
Director: Sally Dashwood
Cast: Zohra Bednarz, Emma Feliciano, Paige Fallu, Matt Hourigan, Nigel Huckle, Niky Markovic, Chloë Marshall, Mary McCorry, Jamie Reisin, Jacob Steen
Images by Robert Catto

Theatre review
All Jim wants is an idyllic life of marriage in rural Connecticut, but when Lila discovers that the farmhouse is not quite to her taste, Jim quickly finds a new love interest in Linda. Based on a film from 1942, it is perhaps not a surprise to find in Holiday Inn, that women are but interchangeable and disposable. The book by Gordon Greenberg and Chad Hodge for this 2014 musical version, preserves what some might term an old-fashioned charm, but for others it is probably only the interpolated songs from the Irving Berlin oeuvre that holds any appeal.

Direction by Sally Dashwood is correspondingly nostalgic in style, with an approach that is perhaps overly sterile and conservative. Zealous choreography by Veronica Beattie George is highly animated, but a restrictive set design by Bell Rose Saltearn hinders the cast from performing freely. Lights by Véronique Benett introduce dynamism to the staging, but it is the extensive wardrobe by costumier Brendan de la Hay that provides some visual splendour.

Music direction by Abi McCunn is faithful to the relevant era, ensuring that Berlin’s hits remain enchanting. Leading the cast are Nigel Huckle and Mary McCorry who both impress with their singing abilities as Jim and Linda, although chemistry is nowhere to be found on this occasion. More captivating is Jacob Steen who plays Jim’s partner and friend Ted, demonstrating exceptional flair and a knack for harnessing dramatic authenticity, even for a story that is completely absurd. There is something about the Christmas season that feels ridiculous, but we participate anyway, understanding that so much of the joy comes from a willingness to indulge in a collective delusion, about this portion of the calendar holding so much more meaning, than the rest of the year.

www.hayestheatre.com.au

Review: Jesus Christ Superstar (Capitol Theatre)

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Venue: Capitol Theatre (Sydney NSW), from Nov 6, 2024 – Jan 26, 2025
Music: Andrew Lloyd Webber
Lyrics: Tim Rice
Director: Timothy Sheader
Cast: Elliott Baker, Mahalia Barnes, Reuben Kaye, Javon King, Peter Murphy, John O’Hara, Michael Paynter
Images by Jeff Busby

Theatre review
Originally an album of songs about the Passion, and one of the first rock operas to be written, Jesus Christ Superstar by Andrew Lloyd Webber and Tim Rice has travelled a long way from its conception in 1970. What had been deemed irreligious and controversial, has become unremarkable, due mainly to the steady rise of secularism over the decades. 

The performative intensity and drama of God’s only son being killed by crucifixion, seems almost quaint in today’s climate. This iteration fuses the musical and concert formats, for a compact showcase of Lloyd Webber and Rice’s songs, as directed by Timothy Sheader, whose rendition feels entirely faithful to the work’s initial spirit. There may be nothing surprising about the production, but the lustre of its song writing seems to have persisted, especially with extraordinary musical direction by Laura Tipoki imbuing a timeless soul edge, that connects wonderfully our contemporary sensibilities to these half-century old tunes.

Performer Michael Paynter’s vocals prove a sensation for the role of Jesus, but it is Javon King as Judas who leaves the best impression, with both acting and singing abilities being a source of constant astonishment. Mahalia Barnes and Peter Murphy sing perfectly their respective parts for Mary and Pilate, but characterisations are lacking. Reuben Kaye appears as Herod for a single number, introducing a moment of camp that is certainly a highlight.

Aside from Herod’s costume which is unequivocally spectacular, production design by Tom Scutt is somewhat underwhelming, with a setting that creates awkwardly inconvenient divisions of space for the ensemble. Choreography by Drew McOnie too is often inelegant and overzealous, in a show we learn to be one that sounds much better than it looks. There is perhaps a satisfaction in discovering that the songs of Jesus Christ Superstar have, by and large, stood the test of time, but it is unclear whether any staging could live up to the power of its heyday.

www.jesuschristsuperstarmusical.com.au

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