Tag Archives: musical

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

Review: Parade (Seymour Centre)

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Venue: Seymour Centre, Everest Theatre (Chippendale NSW), May 9 – 25, 2024
Book: Alfred Uhry
Music & Lyrics: Jason Robert Brown
Director: Mark Taylor
Cast: Georgia Barron, Nic Davey-Greene, James Frampton, Ashley Garner, Guillaume Gentil, Genevieve Goldman, Adeline Hunter, James Lee, Sophie Loughran, Noah Missell, James Nation-Ingle, Maverick Newman, Rebecca Ordiz, Aaron Robuck, Quinton Rofail Rich, Montana Sharp, Tarisai Vushe, Liam Wigney
Images by Matthew Chen

Theatre review
It was 1913 in the USA state of Georgia, when Leo Frank was charged with the murder of a young girl. The case remains an important and deplorable example of antisemitism, and over a century later, authorities recommenced investigations, in efforts to clear the name of the wrongfully accused. The musical Parade, by Alfred Uhry and Jason Robert Brown, details that infamous trial. Although appropriately sombre, and containing some eternally useful lessons on human behaviour and injustice, the piece features highly enjoyable songs, that keeps an audience attentive to the meaningful story.

Music direction by Mark Bradley is richly inspiring for this 2024 Australian production, but sound engineering proves a significant deficit, often preventing us from sufficiently connecting with the creative endeavours being carried out. Lights too, keep us wanting. Although imaginatively rendered by Sidney Younger, the show is frequently shadowy and consistently dim, further alienating us from the action. Production design by Harry Gill, although overly muted with its palette, conveys a sense of authenticity, and provides impressive spatial adaptability that helps with engagement of the narrative.

Direction by Mark Taylor, along with choreography by Freya List, delivers a staging that is swiftly paced yet admirably earnest, in this valuable recount of history. Performer Aaron Robuck brings integrity to the portrayal of Frank, and Montana Sharp is especially memorable as wife Lucille, with a vocal brilliance and a dramatic urgency, that encourages our emotional investment. Also noteworthy is Adeline Hunter who is surprisingly convincing as the 14-year-old victim, with a believable innocence that accompanies very strong singing, for her interpretation of a crucial role.

The American Civil War was meant to have ended in 1865, but we see time and time again, that a system built on subjugation of peoples, will keep rearing its ugly head, and make refreshed nemeses of new others. We seem always to work on the liberation of particular communities, but in failing to address the very fascistic tendencies of how we relate to one another, we find ourselves simply creating different enemies and scapegoats. Humans understand peace, but it appears we know it much more as an abstract concept, than as a lived reality.

www.seymourcentre.com | www.soundworksproductions.com.au

Review: Tell Me On A Sunday (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Apr 12 – May 5, 2024
Music: Andrew Lloyd Webber
Lyrics: Don Black
Director: Blazey Best
Cast: Erin Clare
Images by John McRae

Theatre review
There was a time, approximately half-a-century ago, when men would create shows about women who had no interest for anything else but love. They would dream up pretty young things who wanted nothing other than to find a man, presumably a specimen much like themselves. Andrew Lloyd Webber and Don Black’s 1979 creation Tell Me on a Sunday is a one-act song-cycle, that sees “the girl” wandering from England to New York and to Hollywood, just chasing candidates for marriage, presumably because for her to have any other purpose, would be terribly inconvenient. At just over an hour long, the pair clearly did not know much about the character they purport to represent, and although of brief duration, some might consider Lloyd Webber and Black’s show to be tiresome even before its halfway point.

In this 2024 iteration, direction by Blazey Best does accord “the girl” an attitude of gumption and vigour, she is certainly no shy retiring type, but it is nonetheless irksome to see her want nothing but to land a man. The songs are very much of that period, none of which are particularly catchy, although musical direction by David Gardos is notable for offering enjoyable nostalgia through his faithful renditions, of these compositions about missed opportunities.

Performer Erin Clare sings the score with precision and passion, and although motivated to bring a sense of integrity to the character she embodies, it is difficult to see her as anything but lost and excruciatingly misguided.  Costumes by Ruby Jenkins are flattering, if not always accurate with the era being depicted. Lights by Kelsey Lee deliver sumptuous imagery, along with a sense of time’s passage, as we see “the girl” wasting her best years, running from one failed romance to another.

Even the love obsessed, must contend with the existence of other things, if only for survival. It can be true that a person like “the girl” did exist, especially at a time when we were determined to indoctrinate that being wife and mother, was the ultimate virtue. How we talk about women though, needs to be much more generous in scope. Not all women have to be ambitious, powerful, wise, or resilient, but we do need to make stories be about our agency and autonomy. In stories at least, we need to be able to put ourselves at our own centres.

www.hayestheatre.com.au

Review: Grease (Capitol Theatre)

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Venue: Capitol Theatre (Sydney NSW), from Mar 24 – Jun 1, 2024
Book, Music & Lyrics: Jim Jacobs, Warren Casey
Director: Luke Joslin
Cast: Brianna Bishop, Cristina D’agostino, Tom Davis, Mackenzie Dunn, Keanu Gonzalez, Annelise Hall, Catty Hamilton, Marcia Hines, Jay Laga’aia, Patti Newton, Andy Seymour, Joseph Spanti, Caitlin Spears, Harry Targett
Images by Jeff Busby

Theatre review
It is more than 50 years, since the original premiere of the musical Grease, and even though its songs remain as delightful as ever, its story could not be more antiquated. Nonetheless, the show is a much-loved classic, and can always be considered ripe for reinvention. It is therefore disappointing that this new iteration under the direction of Luke Joslin, chooses to be faithful, in both stylistic and ideological terms, to the Grease of the 1970s. Through no fault of Sandy’s own, she is again required to go through an awkward, and completely inauthentic transformation, in order to attain happily ever after. 

Of course, the narrative was always absurd, which is probably why the musical genre feels appropriate for farcical stories of this nature. The current production however lacks a campness that could have ameliorated many of it deficiencies. There is a sterile quality to the presentation, also noticeable in music direction by Dave Skelton, which sounds frankly soulless, for a work famed for its humorous expressions of teenage rebellion.

There is no doubt that the cast works hard to bring ebullience, but comic timing proves not to be their strong suit. Singing and dancing are of a high standard though, with nostalgic choreography by Eric Giancola contributing much needed pizzazz. Annelise Hall and Joseph Spanti play the leads, both delivering commendable vocals, and are physically attractive as Sandy and Danny, although unable to compensate for the general shortage of charisma on this stage.

Set design by James Browne is ambitious, and even though not sufficiently refined, does manufacture a satisfying grandeur. Browne’s costumes add colour and a charming whimsy, and along with dynamic lights by Trudy Dunn, imagery is consistently captivating, for an otherwise lacklustre experience.

Sandy was always fine as she was. Furthermore, Danny had adored her whether she presented innocent or provocative. In 50s America though, they both had to acquiesce to standards of behaviour that were far too oppressive and invasive, unable to escape peer pressure of high school, which served as a microcosmic representation of the wider world. Things feel different now, but it is hard to be sure if changes are true and fundamental, or if it is only the way we talk that has altered.

www.greasemusical.com.au

Review: Zombie! The Musical (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Mar 8 – Apr 6, 2024
Book, Music and Lyrics: Laura Murphy
Director: Darren Yap
Cast: Natalie Abbott, Tamsin Carroll, Chelsea Dawson, Nancy Denis, Adam Di Martino, Ryan Gonzalez, Stefanie Jones, Drew Livingston, Monique Sallé
Images by John McRae

Theatre review
It is three hours before curtains at a community theatre in Sydney’s west, which is a terribly inconvenient time for zombies to begin rampaging all across the land. Zombie! The Musical is an ingenious work of musical theatre by Laura Murphy, memorable for its zany humour and amusing characters. Murphy’s infectious pop-flavoured songs are deeply compelling, and accompanied by a delightfully absurd plot, Zombie! proves to be most satisfying, even if its concluding moments do go overboard with its intentional cheesiness.

Darren Yap does wonderfully as director of the show, turning every moment into a joke, and making every joke absolutely hilarious. Choreography by Chiara Assetta is inventive and charming; always keeping energies up, and holding our attention to every plot detail.

Set design by Nick Fry impresses with its adaptive capacities, and costumes by Esther Zhong are memorable for their convincing renderings of apocalyptic ruin. Lights by Verity Hampson are a sensational element, completely delightful with their flamboyant depictions of supernatural occurrences.

Sound design by David Grigg adds to our enjoyment of the production’s style of faux horror, unabashedly theatrical with its enhancements for all the ghoulish goings on. Music direction by Damon Wade is exciting and varied, thoroughly engaging in its post-modern pastiche approach, for a story taking place in 1999.

Performer Stefanie Jones is a confident and grounding presence as Felicity, giving our focus a secure centre for a playful narrative that could otherwise have turned too chaotic. In the role of Dave, Ryan Gonzalez presents the most endearing zombie one could ever meet, with a pizzazz that is, well, to die for. Tamsin Carroll and Drew Livingston bring exquisite polish to the stage, along with the most excellent comedy, in a show that brims over with laughter. Musicals may not be for everybody, but Zombie! is entertainment that even the sourest of dullards can sink their teeth into.

www.hayestheatre.com.au

Review: & Juliet (Sydney Lyric Theatre)

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Venue: Sydney Lyric Theatre (Sydney NSW), from Feb 27, 2024
Book: David West Read
Music and Lyrics: Max Martin
Director: Luke Sheppard
Cast: Blake Appelqvist, Casey Donovan, Jesse Dutlow, Yashith Fernando, Amy Lehpamer, Lorinda May Merrypor, Rob Mills, Hayden Tee.
Images by Daniel Boud

Theatre review
If Anne had possessed any meaningful amount of power in the 16th century, she would have been able to make her husband William Shakespeare’s plays much more palatable to audiences of today. In the musical & Juliet by David West Read, with songs by Max Martin, we see Anne standing up for women, in her objection to the dismal conclusion of “Romeo and Juliet”, demanding that Juliet does not sacrifice herself at the end. A rewrite of the legendary play ensues, with the young leading lady making choices that are much more satisfying, and reasonable, than what the Bard had conjured on his own.

Read’s book provides for the musical a clever and exciting narrative, bolstered by a benevolent attitude that is sure to inspire audiences everywhere. Incorporating some of the biggest pop hits from the last 30 years, written and co-written by Martin, we are treated to a story that encompasses brilliantly, feminist and queer virtues, in a representation of our best progressive selves in the current epoch. Direction by Luke Sheppard is appropriately exuberant, with visual design elements that make the experience as dazzling as any musical theatre lover could hope for.

Performer Lorinda May Merrypor is a convincing Juliet, commendable for hitting every musical note and every gesture of choreography, with vivacious accuracy. Jesse Dutlow and Yashith Fernando play May and Francois respectively, both sprightly presences who help tell the story with unmistakable passion. Romeo appears near the conclusion of Act 1, brought to scintillating life by Blake Appelqvist whose flamboyant sense of irony keeps us endeared to a character that could easily be regarded with little more than disdain.

The magnetic Casey Donovan is most valuable player, as Angélique the nurse, precise with her delivery of every line, and effortless in her glorious execution of some very big tunes. Hayden Tee is immensely charming as Lance, marvellously switching between poignancy and comedy, for a loving portrait of modern fatherhood. Shakespeare is played by a very likeable Rob Mills, whose delicate balance of egotism and sincerity, makes the fanciful conceit of the show seem suddenly plausible. Amy Lehpamer wins us over entirely to Anne’s side, with an intricate understanding of the humour required in every scene, always making us feel secure in this bold revision of a revered classic. Also remarkable is the fantastically attractive ensemble cast, bringing emotional authenticity to all the extravagant goings on.

So much of our cultural institutions contain values that are outmoded and frankly, harmful. They are deeply entrenched in our lives, and even when we are able to identify their failings, it is no easy task trying to deny their existence, and simply wishing them away has proven impossible. We can however confront and interrogate what they mean, and examine how they continue to affect subsequent generations. We can reframe old messages, turning them into new discussions, so that we may bring refreshed understandings, to symbols of authority that have outstayed their welcome. It is no longer acceptable in our storytelling to have 14-year-old girls kill themselves for romance, and that is only the tip of an iceberg, that includes many more maladies we have grudgingly inherited.

www.andjuliet.com.au

Review: Send For Nellie (Wharf 1 Theatre)

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Venue: Wharf 1 Sydney Theatre Company (Walsh Bay NSW), Jan 10 – 14, 2024, with further performances at Art House Wyong (January 19–20) and Merrigong Theatre Company in Wollongong (February 14–17)
Playwright: Alana Valentine
Director: Liesel Badorrek
Cast: Elenoa Rokobaro, Eleanor Stankiewicz
Images by Wendell Teodoro

Theatre review
Born 1900 in Sydney, Nellie Small worked many of her adult years as an entertainer, eventually establishing a career as a male impersonator in the 1930s. As a gender non-conformist, and a prominent person of colour living in Australia a century ago, Small remains an important figure in our queer history. Alana Valentine’s play in a cabaret style Send for Nellie, is an admirable attempt at immortalising the memory of Small. It is a respectful tribute, albeit offering a somewhat sanitized impression of Sydney nightlife.

At just an hour’s duration, with an abundance of song-and-dance incorporated into the staging, Send for Nellie is an excellent showcase for a performer like leading lady Elenoa Rokobaro, whose powerful vocals and precise execution of choreography, elevates the presentation with her exceptional polish. There is however an absence of a certain queer sensibility, that we know instinctively to be a crucial element in any recounting of Small’s life. Eleanor Stankiewicz plays several supporting characters, each one more vibrant than the last, but none of whom distract from the main attraction. Also a delight is the three-piece band of women musicians with Zara Stanton as Musical Director, although it is worth pointing out, that acoustics are a major sore point in this production.

Direction by Liesel Badorrek gives Send for Nellie an abundance of variation and movement, but the show never really connects. We feel as though the soul is missing, from a person we want to know better. On a positive note, visual design is generally of a high standard, for a work as handsome as the person it wishes to memorialise.

For the benefit of every person in queer communities, we must continue to tell stories about our forebears, in order that we may be inspired by their resilience, their resourcefulness and their innumerable achievements. We need always to see how as a people, we continually prove them wrong, that we are of great worth, that what they have construed of us for generations, is reprehensible and must always be met with resistance. To have survived her times as a queer person of colour, Nellie Small was unequivocally a warrior. It would not have been easy, but it does mean that greatness is absolutely within our grasp.

www.thearthousewyong.com.au

Review: Big Name, No Blankets (Ilbijerri Theatre Company)

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Venue: Roslyn Packer Theatre (Sydney NSW), Jan 10 – 14, 2024
Playwright: Andrea James
Directors: Dr Rachael Maza AM and Anyupa Butcher
Cast: Baykali Ganambarr, Googoorewon Knox, Teangi Knox, Aaron McGrath, Jackson Peele, Cassandra Williams, Tibian Wyles
Images by Brett Boardman

Theatre review
It was 1980 when the Butcher brothers from Papunya in the Northern Territory, along with some great friends, formed the iconic Warumpi Band. Bringing their act all over Australia, and to Europe, the group cemented themselves as an integral part of our national and Indigenous cultural histories. The new play with music Big Name, No Blankets by Andrea James, offers an opportunity to acquire a deeper knowledge of the band, juxtaposing anecdotes of their formation and stories from the road, with legendary songs that prove to stand the test of time.

Co-directed by Dr Rachael Maza AM and Anyupa Butcher, the show shifts seamlessly between its dramatic portions and its musical sections, perfectly blending both aspects for a wonderfully cohesive telling of a captivating tale. Performer Baykali Ganambarr leads the charismatic cast, playing the role of Sammy Butcher Tjapanangka and serving as narrator, with a humorously tender approach that engenders a consistent simpatico connection with the audience.

Also noteworthy is Googoorewon Knox, who as the band’s lead singer George Burarrwanga brings glamour and energy, completely electrifying when performing Warumpi Band’s many rock numbers. Music direction by Gary Watling, together with arrangements by Crystal Butcher, are an unequivocal joy, presented powerfully by live musicians who demonstrate beautifully the genius of the source material. Sound design by James Henry create further auditory embellishments, to keep us engaged and invested.

Set design by Emily Barrie addresses sensitively the various spatial requirements of the storytelling. Lights by Jenny Hector fill the atmosphere with warmth, but switch effortlessly to alluring vivacity when characters are in rock star mode. Video projections by Sean Bacon, Patricia McKean and Guck help us contextualise times and places, as we delve into different pockets of the past. Costumes by Heidi Brooks provide a sense of authenticity for the personalities we encounter, and for an era that most do still remember.

Members of Warumpu Band followed their hearts, and created a legacy out of passion and bliss. Big Name, No Blankets represents and exemplifies the integrity that we should all seek in how we make our decisions, and in how we live our lives. In the show, we see people being their true selves, and are reminded that trying to be anything else, is always a futile, and often harmful, exercise.

www.ilbijerri.com.au