Tag Archives: musical

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

Review: Little Women (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Jul 12 – Aug 11, 2024
Book: Allan Knee
Music: Jason Howland
Lyrics: Mindi Dickstein
Director: Amy Campbell
Cast: Cameron Bajraktarevic-Hayward, Maddy Betts, Molly Bugeja, Peter Carroll, Emily Cascarino, Lawrence Hawkins, Vitoria Hronopoulos, Tisha Kelemen,  Kaori Maeda-Judge, Shannen Alyce Quan, Kurt Russo, Tyran Stig
Images by Grant Leslie

Theatre review
Jo is an aspiring writer in 1868 Massachussets, facing challenges due to her gender and class. It is decades before women obtain the right to vote, so to have career ambitions, and indeed to imagine herself as anything more than a wife and mother, is quite remarkable. Family, however, remains central to Jo’s concerns, as we see in this musical adaptation of Louisa May Alcott much-loved novel, Little Women. Her mother and sisters form important threads in the narrative, of a young woman who has no qualms about deserving it all.

In a book by Allan Knee, we discover a slightly lacklustre plot assembled from a condensation of key events from Alcott’s story. Songs by Jason Howland and Mindi Dickstein are generic in style, although theatrically effective, and on occasion capable of being deeply moving. Direction by Amy Campbell excels at creating believable characters, and at making every scene engaging, for a show that many will find enjoyable. Visual aspects are less accomplished. Set design by Tanwee Shresta demonstrates admirable creativity, but struggles to evoke relevant time and place. Costumes by Lily Matelian too are imaginatively rendered, although not always flattering. Lights by Peter Rubie are mostly pragmatic in approach, only taking the opportunity to be conspicuous at the right moments.

In the lead role is the sensational Shannen Alyce Quan, powerful not only with their vocal abilities, but also with their depictions of Jo’s emotional dimensions, making a gregarious personality feel wonderfully vibrant and spirited, whilst remaining convincing as a woman from a bygone era. It is a strong cast that delivers Little Women, each performer dedicated and considered in their respective parts, and harmonious as an ensemble. The strong quality of singing is a highlight of the show, and along with music direction by Gianna Cheung, Little Women is a work of theatre that proves enjoyable, if not sufficiently poignant.

We love telling children, that they can be anything they wish when they grow up, but subliminal messages often convey something different. Girls especially, are indoctrinated all manner of restrictions that pertain especially to how we conceive of gender as a defining element in a person’s being. Not only do we continue to believe that men and women have different capacities, we insist on perpetuating the subjugation of one beneath the other. Even if Jo is able in her own mind to escape all that conditioning, there is only so much she can achieve, in 19th century USA where the sustenance of prevailing systems require that very imbalance of power. Jo would certainly have gone further in today’s improved circumstances, but disparities persist and many of her sisters will continue to not be able to shine.

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

Review: Chicago (Capitol Theatre)

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Venue: Capitol Theatre (Sydney NSW), from Jun 9 – Jul 28, 2024
Music: John Kander
Lyrics: Fred Ebb
Book: Fred Ebb, Bob Fosse
Cast: Asabi Goodman, Lucy Maunder, Peter Rowsthorn, S. Valeri, Zoë Ventoura, Anthony Warlow
Images by Jeff Busby

Theatre review
Roxy Hart and Velma Kelly were reality stars, before the advent of television. Americans were gripped by the hijinks of the two criminals, with relentless press coverage reflecting an obsession for scandal, long before click-baiting had become par for the course in the media business. It may seem some things never change, and so it is that Chicago the musical can still feel relevant, almost half a century after its initial staging.

In this incarnation, based on the 1996 revival directed by Walter Bobbie, we discover that it is not just the themes, but also its style that feels hitherto unsurpassed. From its Bob Fosse-inspired choreography, and the vaudevillian jazz score, to the female-forward representations of characters and relationships, Chicago seems to have aged only slightly, and in the most delightful ways. There is something intrinsically subversive about the show, that allows it to stand the test of time.

On this occasion, it is the ensemble that really delivers the goods. Each supporting member of cast is alluring and robust, proving themselves completely captivating, whether or not they are occupying centre stage. Lucy Maunder and Zoë Ventoura are the leading ladies, both demonstrating technical brilliance, although others with more powerful voices have certainly sung those parts to greater effect. Thankfully, the eternally dependable Anthony Warlow is on hand to deliver vocal perfection as the unscrupulous Billy Flynn. Also noteworthy is the winsome Peter Rowsthorn, who absolutely shines as the tenderly comical Amos Hart.

Women are constantly pitted against each other, in Chicago and in real life. We comply and enact repeatedly that narrative of contest and conflict, thinking only about momentary victories, and ignoring the perpetual state of failure, that inevitably results. Women embracing rugged individualism under the patriarchy, is manifestly absurd. Prescribing to anything that relies on the suffering of the majority, is plainly ignorant. At the end, Roxy and Velma are left to their own devices, and they realise that sisterhood is the only way to survive, and perhaps thrive. 

www.chicagomusical.com.au

Review: Ride The Cyclone (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), May 23 – Jun 22, 2024
Book, Music & Lyrics: Jacob Richmond & Brooke Maxwell
Director: Richard Carroll
Cast: Natalie Abbott, Bailey Dunnage, Lincoln Elliott, Justin Gray, Ava Madon, Mel O’Brien, Karis Oka, Pamela Rabe (voice)
Images by Prudence Upton

Theatre review
In a purgatorial space, six teenagers have to compete as if in a talent contest, to win a second chance at life. The 2008 musical Ride the Cyclone, by Jacob Richmond and Brooke Maxwell attempts a meditation on existential significance, but its efficacy is questionable. The collection of songs is moderately enjoyable, with characters who are occasionally charming. Given the gravity of its premise, there is never really a great poignancy to be found in the piece. It is consistently comical, but its humour has a tendency to feel unfortunately trite. Direction by Richard Carroll, along with choreography by Shannon Burns, provide considerable amounts of energy and exuberance to the staging, although ultimately unable to turn Ride the Cyclone sufficiently engaging.

There is a sense of polish to the production, that demonstrates an admirable level of talent and skill involved. Set design by Benjamin Brockman is cleverly rendered, to evoke the esoteric, in a way that feels transportive, and fabulously theatrical. Costumes by Esther Zhong and hair by Ashleigh Grace, inspire an effortless whimsy that proves delightful. Lights by Ryan McDonald are commendable for their ambition and dynamism, but greater attention is necessary to keep performers illuminated in perhaps a more traditional way, so that we may connect more deeply with the material.

The cast is dedicated and vibrant, all of whom are charismatic, and convincing as seventeen-year-olds. There is a good level of precision to their presentation, if slightly predictable in their approach. The band is excellent, with music direction by Victoria Falconer bringing sophistication to the experience. Sound design by Daniel Herten helps convey the supernatural dimensions of the story, and video projections, also by Herten, deliver imagery that is noteworthy for its cohesiveness with the live action.

It is understandable that we feel regret for those who die young, but it should really be the richness of a person’s life, rather than its duration, that serves as the gauge of their value. Many of us can go on living for decades and decades, but few of us can claim to have made that time matter, and made this a better plane.

www.hayestheatre.com.au