Tag Archives: musical

Review: Wicked (Sydney Lyric Theatre)

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Venue: Sydney Lyric Theatre (Sydney NSW), from Aug 25, 2023
Book: Winnie Holzman
Music and Lyrics: Stephen Schwartz
Director: Joe Mantello
Cast: Sheridan Adams, Shewit Belay, Zoe Coppinger, Liam Head, Courtney Monsma, Todd McKenney, Adam Murphy, Robyn Nevin, Kurtis Papadinis
Images by Jeff Busby

Theatre review

A wave of fascism is sweeping across the Land of Oz, turning friends and family against each other, as entities are identified at random to be villains, so that a select few can hold power in a climate of fear and hatred. It may seem that the central ideas of Wicked retain their pertinence, as the masterpiece turns twenty years old. We see how easy it is for people to loathe one another, that ostracism is almost natural in how humans construct societies. There is something very depraved about our tendency to create scapegoats, as though our desperate need to feel like we are good, is contingent on fabricating subjects that can be identified as bad.

With inevitable evolutions in taste for styles of music and humour, the show probably does not feel as fresh as it did those two decades ago, but Wicked is still compelling and deeply enjoyable, with its somewhat modern narrative involving two women leads, neither of whom are insulted or vilified. It may no longer be a new work, but there is still something surprising about seeing two women on a stage together, not pitted against each other, in a culture that is only slowly learning that there is space for different kinds of women, and that we can all be winners in self-determined lives shaped to our own liking.

Performer Sheridan Adams effortlessly makes Elphaba an endearing character, in a glorious performance that has us completely riveted. The luminous and gritty spirit she brings, along with her flawless singing, ensures that this production of Wicked is one not to be missed. Playing Glinda is Courtney Monsma, who amazes with the depth of emotion she is able to introduce when it truly matters, so that we leave the show with much more than a memory of glittering smoke and mirrors. Also noteworthy is the enchanting Shewit Belay as Nessarose, very touching in her depictions of the outsider. Veterans Robyn Nevin and Todd McKenney as Madame Morrible and The Wizard respectively, demonstrate their competency as they offer additional moments of lustre, on an opulent stage never short of talent and splendour.

Wicked is essentially a story about girls against the patriarchy, one that helps us imagine the ways we can subvert power structures, so that none are left behind. It draws attention to the faceless powers that be, pulling strings behind the scenes, to privilege some and disadvantage many. Well-behaved women rarely make history, as Laurel Thatcher Ulrich first penned several decades ago. As new generations of girls learn to defy, to disobey and to reject the old rules of their fathers, we can look forward to new ways of doing things, that will no longer be about exclusion, but be about honouring every soul with the appropriate grace that has been missing from too many of our lives.

www.wickedthemusical.com.au

Review: The Dismissal (Seymour Centre)

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Venue: Seymour Centre (Chippendale NSW), Aug 31 – Oct 21, 2023
Book: Blake Erickson, Jay James-Moody
Music and Lyrics: Laura Murphy
Director: Jay James-Moody
Cast: Octavia Barron Martin, Georgie Bolton, Peter Carroll, Andrew Cutcliffe, Lincoln Elliott, Joe Kosky, Kaori Maeda-Judge, Shannen Alyce Quan, Quinton Rofail Rich, Monique Sallé, Brittanie Shipway, Anusha Thomas
Images by David Hooley

Theatre review
When the Whitlam government was deposed in 1975, it became clear that the Governor-General possessed much more power, than being the mere figurehead most had thought. In The Dismissal, we are reminded not only of the insidious implications of our constitutional monarchy, but also of the class segregations that exist in how the Australian government runs this country. With a provocative book by Blake Erickson and Jay-James Moody, along with cleverly concocted songs by Laura Murphy, this work of musical theatre is however not a resolutely dark piece of political commentary, but one brilliant with ironic humour.

At almost three hours, The Dismissal can feel too detailed, although its thorough explorations of nepotism and malfeasance in our high offices, are unequivocally valuable. Half a century on, many of us will benefit from a refresher of that most significant of cultural milestones, if only to cause momentary disruption to our characteristic apathy and ignorance on matters of a bureaucratic nature. This is important stuff, and under the direction of creator and aforementioned co-writer Moody, the show is effective at turning amusing all the events leading up to the unceremonious ousting, of a democratically elected leader.

The Dismissal is remarkably witty, and much of it is wonderfully entertaining. Strong performances by the likes of Justin Smith and Andrew Cutcliffe who play Prime Ministers Whitlam and Fraser respectively, sustain our emotional investment in the story. Both performers are highly convincing as the historical figures, with a precision to their delivery that help us identify nuances to make the narrative speak with resonance. In the role of Governor-General John Kerr is the unforgettable Octavia Barron Martin who impresses with an uncanny ability to convey both vulnerability and cunning, for an impactful portrayal of corruption in our system. The satirical icon Norman Gunston is played by Matthew Whittet with marvellous physicality and timing, operating as narrator to provide a sense of elevation to the style of how the story is told.

Choreography by Amy Campbell can appear awkward when trying to convey naturalistic dimensions of the musical, but when depicting the many comical scenarios in The Dismissal, she accomplishes them with great aplomb. The stage is uncomfortably bare, with an overwhelming amount of plain surfaces that look persistently lifeless. Designers Charles Davis and Emma White achieve higher standards with costumes, especially in an instance of heightened theatricality, although a general overreliance on realism does make visual aspects of the production unremarkable. Lights by James Wallis help to improve a sense of dimension, allowing us to perceive spaces in ways that exceed the ordinary.

There may be much that can be enhanced cosmetically about the show, but there is no denying the strength of its core material. It may seem the converse is true about our governments. Politics have become so much about the surface, that we are never sure if any integrity resides therein. What we can rely on, are our observations of real world consequences. We never really know what happens in those hidden realms of influence and control, but we can see the effects on our lives. To regard our rulers with scepticism is healthy, and to doggedly hold them accountable, is indicative of a virtuous citizenry to which we should all aspire.

www.seymourcentre.com | www.thedismissal.com

Review: The Marvellous Elephant Man (The Sydney Spiegeltent)

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Venue: Sydney Opera House (Sydney NSW), Sep 1 – Oct 1, 2023
Music, book and lyrics: Marc Lucchesi, Jayan Nandagopan, Sarah Nandagopan
Directors: Guy Masterson, Chris HF Mitchell
Cast: Lachlan Bartlett, Kanen Breen, Ben Clark, Annelishe Hall, Sam Harmon, Gavin James, Marc Lucchesi, Eleanor MacIntyre, Jayan Nandagopan, Rebecca Rolle
Images by Paul Scott

Theatre review
There indeed lived a Joseph Merrick in 19th century England, so badly deformed he was called the Elephant Man. The Marvellous Elephant Man by Marc Lucchesi, Jayan Nandagopan and Sarah Nandagopan, re-imagines Merrick’s life as a musical comedy, in a style reminiscent of the period, that we may categorise today as being in the vaudeville or burlesque genres. Currently performing inside a spiegeltent in Sydney, it offers atmosphere that simply cannot be any more appropriate. The songs are pleasantly melodious, but its book and lyrics are perhaps too conventional, with nothing surprising in its telling of an old story.

The jokes are not quite bawdy enough, with inconsistent direction by Guy Masterson and Chris HF Mitchell, delivering humour that vacillates excessively in tone. Furthermore the show never succeeds at making any of its personalities endearing, so it can feel a struggle to engage. Lighting design by Matthew Marshal is dynamic, as are costumes by Roberto Surace, although both can benefit from being more imaginative and indulgent, in conception as well as implementation.

It is an energetic cast that presents the show, insufficiently charismatic but committed and lively nonetheless. Leading man Ben Clark impresses with some very powerful high notes, while Annelise Hall attempts to bring integrity to Nurse Hope, an absurd and regressive fabrication, at a time when we have learnt to be intolerant of seeing ornamental women characters on our stages.

There is a vibrant spirit at the core of The Marvellous Elephant Man, one that is eccentric and wild, but what has resulted is something suppressed by notions of orthodoxy and commerciality. Much as Merrick may have wished for a life of normalcy, the truth is that his legacy is one of uniqueness and frankly, grotesqueness. As the saying goes, “let your freak flag fly,” and if one should choose to pursue the arts, then surely any tendency for conformity is best relinquished.

www.marvellouselephantman.com

Review: Miss Saigon (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), Aug 17 – Oct 13, 2023
Music: Claude-Michel Schönberg
Lyrics: Alain Boublil, Richard Maltby Jr.
Book: Alain Boublil, Claude-Michel Schönberg (based on Madama Butterfly by Puccini)
Director: Laurence Connor
Cast: Abigail Adriano, Nick Afoa, Kerrie Anne Greenland, Kimberley Hodgson, Nigel Huckle, Seann Miley Moore, Laurence Mossman 
Images by Daniel Boud

Theatre review
The 1989 musical by Boublil and Schönberg, Miss Saigon has become increasingly contentious, as creative communities grow to be more inclusive of minority cultures, and learn to be sensitive to perspectives of those traditionally marginalised. Based on Madama Butterfly by Giacomo Puccini from 1904, the germination of Miss Saigon was always from a place of pity, and by implication cultural superiority.

It is no wonder that the show is widely regarded by the Vietnamese diaspora to be problematic, not only because of the inherently patronising attitudes, but also of the stunning disregard for any people who wish to be considered more than pathetic, desperate or undignified. One may choose to take the view that the creators’ intentions seem to be about sympathy and solicitude, but there is no denying that the three main Vietnamese  characters in the work, are nothing any viewer from any cultural background, would wish to aspire to. In the absence of any persons more respectable or indeed honourable, Miss Saigon represents a Vietnam that is essentially ignoble and debilitated, devoid of spirit and worth.

This revival, first presented 2014 in London, does little to address the contemporary concerns surrounding Miss Saigon. It retains the famed gimmick of a helicopter landing on stage, along with truly cringeworthy choreography appropriating military physicality of the “Yellow Peril”. Admittedly, lighting design by Bruno Poet is exquisitely rendered, and for this production, the orchestra is simply sensational, able to have us emotionally stirred throughout, even with all the absurdity of the most unbelievable love story.

Performer Abigail Adriano too is spectacular as Kim, the embarrassingly hopeless romantic at the centre of this drama. Adriano’s voice is crystal clear and replete with power, singing every note to sheer perfection, and along with her fierce commitment to portraying verve and passion for the role, we are nearly convinced, if not by Kim’s narrative, then definitely by the utter intensity of her emotions.

Kim is almost but not quite heroic, in a show that wishes to paint her as admirable. Through a Western feminist lens, Miss Saigon is to be criticised for choosing to depict a woman of immense fortitude and strength, only as forlorn and sorrowful, a long-suffering lover and mother who can only meet with tragedy at the conclusion. Even if we are to believe in her sadistic tale, there are plentiful other parts to her life that should take precedence, ones that are independent of her brush with a Westerner, and ones that demonstrate the inevitable joy and humour that must exist in any person’s astounding capacity for survival in those circumstances. Instead, we only see Kim at her worst, before witnessing her completely gratuitous demise.

Other notable cast members include Nigel Huckle who plays Chris, the Pinkerton equivalent, with appropriate wholesomeness, in a work determined to have the straight white male offering the only beacon of light, in what is really a no-win situation. Laurence Mossman’s restraint as Thuy proves a valuable element, in something that revels in being overwrought and fantastical. The Engineer is played by Seann Miley Moore, who brings an excellent flamboyance, but who leaves the part feeling somewhat surface, unable to protect him from being mere caricature.

Musicals are big business, at least in the world of art. It makes commercial sense to bring Miss Saigon back, if the main intention is financial, and indeed survival, for the many individuals and organisations involved. This argument is however, too convenient. Those who choose to work in the arts, should not be forgiven for putting money ahead of the socio-cultural impact their work may bring. There are many professions that are unashamedly about the pursuit of material wealth, and making art is simply not one of those. The artist’s life is hard, not only because the very nature of creativity and invention is difficult, the artist has to always prioritise their search for truth and meaning, over any desire for wealth and esteem. Certainly, the artist must participate in activities that are less than idealistic, there are countless opportunities for one to compromise, but when the damage can be deep, as in this case involving ongoing trauma from a widely reverberating calamity, we simply have to say no.

www.miss-saigon.com.au

Review: Elvis: A Musical Revolution (State Theatre)

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Venue: State Theatre (Sydney NSW), from Aug 2 – Sep 10, 2023
Book: David Abbinanti, Sean Cercone
Director: Alister Smith
Cast: Annie Chiswell, Sienna Embrey, Joti Gore, Ben Hall, Rhys James Hankey, Matt Heyward, Jo-Anne Jackson, Zuleika Khan, Rob Mallett, Noni McCallum, Connor Morel, Aidan O Cleirigh, Ian Stenlake, Hanlon Innocent, Kirby Burgess, Charly Williams
Images by Daniel Boud, Ken Leanfore

Theatre review
The King of Rock and Roll may have had an eventful life, but it is ultimately his music and enduring influence on pop culture that matters the most. In Elvis: A Musical Revolution, the legend is portrayed from childhood to the very pinnacle of his career, featuring a string of evergreen hits (faithfully and propulsively re-orchestrated by Daniel Puckey) that will forever be associated with the icon. The book by David Abbinanti and Sean Cercone might feel deficient and unremarkable, in efforts to encapsulate an epic narrative, but the star’s incandescence persists throughout the piece regardless.

Performer Rob Mallett could very well have presented a show paying tribute just singing and dancing, without all the attempts at delivering a narrative, and the audience would have been equally thrilled. Mallett’s skill at impersonating the idolised figure might be nothing short of astonishing, but it is his ability to captivate and connect, as a preeminent artist of the live format, that makes the show an electrifying experience. With his incredible vocal range, and a confident and dexterous physicality, Mallett transcends mimicry, to have us infatuated all over again with one of the world’s greatest sex symbols.

The entire cast is commendable, full of vim and vigour, in their support of an exceptional leading man. Choreography by Michael Ralph takes every opportunity to provide excitement, in addition to his responsibilities in recreating the king’s unforgettable moves.  Costume design by Isaac Lummins too, is exquisitely rendered, for an Elvis wardrobe that is at once authentic and elevated, able to help us recall the many striking images indelible in our collective memory.

Other design aspects however are less than impressive, in a production that often looks unimaginatively assembled and insufficiently opulent, for this reminiscence of the most flamboyant of entertainers. Video projections are especially poorly administered, failing to add clarity to the storytelling and making the overall visual aesthetics even more disappointing. The production is directed by Alister Smith, who must be given credit for finding ways to bring true sentimentality beyond the smoke and mirrors of the musical genre, but much of the show feels to be a work in progress, yet to uncover its full potential.

Elvis Presley paid an inordinately high price for fame. His story is eventually tragic, but on this occasion we are thankfully spared having to go through those heartbreaking final days. What he left behind is endlessly inspiring and unequivocally glorious. In Elvis: A Musical Revolution, we are miraculously able to rekindle that unparalleled magic, complete with a myriad somewhat characteristic imperfections.

www.elvisamusicalrevolution.com.au

Review: Sweeney Todd (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), Jul 22 – Aug 27, 2023
Music and Lyrics: Stephen Sondheim
Book: Hugh Wheeler (based on the play by Christopher Bond)
Director: Stuart Maunder AM
Cast: Kanen Breen, Jeremi Campese, Antoinette Halloran, Ben Mingay, Benjamin Rasheed, Ashleigh Rubenach, Harry Targett, Margaret Trubiano, Dean Vince
Images by Daniel Boud

Theatre review

Returning to London from exile, Sweeney Todd discovers that his wife had died by suicide. An unquenchable thirst for vengeance soon overwhelms him, thus begets Sweeney Todd: The Demon Barber of Fleet Street. The macabre comedy of Stephen Sondheim’s 1979 musical (with a book by Hugh Wheeler), proves once more to be sheer delectation. This latest revival under the direction of Stuart Maunder AM, feels refreshed and energised, delivering wondrous amusement as though no time has passed since its inception.

Set design by Roger Kirk is perfectly proportioned to draw us into its 18th Century depictions of disquieting squalor, convincing us that corruption and depravity await at every corner. Kirk’s costumes are appropriately theatrical, but they are also relied upon to convey authenticity while remaining practicable and flattering for the cast. Lights by Philip Lethlean move us accurately through the constantly varying moods and tones of Sweeney Todd, whether fantastical, slapstick, romantic, or horrifying, in a production that aims to have it all. Sound design by Jim Atkins adds layers of atmosphere to enhance the storytelling, as conductor Simon Holt brings drama and urgency to the very polished staging.

Performer Ben Mingay is irrepressibly broody as Sweeney Todd, commanding with his voice, but not always sufficiently agile in adapting to the shifts in presentation styles required of the show. Mrs Lovett is played by an exquisite Antoinette Halloran, captivatingly flamboyant but also precise in approach, ceaselessly entertaining, and irresistible with her charm, as she explores every nuance in a role that suddenly seems newly complex. Extremely noteworthy is the incandescent Jeremi Campese, who as Tobias Ragg introduces unexpected warmth and poignancy to an outlandish tale, leaving a remarkable impression as an artist admirable for both his technical and impulsive capacities.

People are dropping like flies in London town, but no suspicions are raised, as the populace indulges in improbably affordable meat pies. It appears to be true, that we routinely choose not to know how the sausage is made, preferring always to devour that which is pleasurable, and neglecting inconvenient ethical considerations. Our lives have become bounded by modes of consumption, in which we think only of utility, leaving the true costs of things to be left buried, as though the system of resource allocation is never going to fail. Even as reports emerge constantly about the dangers and failures of this way of life, we turn a blind eye, evidently resigned to our certain extinction.

www.sydneyoperahouse.com

Review: Forgetting Tim Minchin (25A Belvoir)

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Venue: Belvoir St Theatre (Surry Hills NSW), Jul 12 – 19, 2023
Book, Music and Lyrics: Jules Orcullo
Director: Amy Sole
Cast: Jules Orcullo, Nova Raboy
Images by Clare Hawley

Theatre review

Jules quit her job and moved home during the pandemic, thinking she would take the opportunity to really develop her art. Just when she becomes exasperated about the lack of progress, an accidental social media post exposes her talent to childhood idol Tim Minchin, and things begin to magically fall into place. Jules Orcullo’s original musical Forgetting Tim Minchin is a deeply whimsical work, full of genuine hilarity, juxtaposed against an unrelenting and disarming commitment to emotional authenticity. Despite its creator’s many reminders that the story is mostly fictional, the musical captivates seemingly effortlessly, with its enchanting blend of comedy and heartfelt moments.

The show is hugely entertaining, directed by Amy Sole whose detailed approach ensures an extraordinary attention to nuance, so that we are seduced into the tiny microcosm of Jules’ bedroom, where a world of imagination and passion is allowed to flourish. Set and costume design by Hailley Hunt are rendered with accuracy, for familiar imagery that speaks on where and who the characters are, in both geographical and socio-economic terms. Lights by Kate Baldwin offer meaningful transformations of space, transporting us across various degrees of reality.

Most of the musical accompaniment is pre-recorded, and although arranged in the simplest style, the songs are never any less than thoroughly delightful. Along with a sound design by Christine Pan and musical direction by Andy Freeborn, all that we hear in this musical production, endears us to its central characters, making us understand and care for them, at every moment.

As performer, Orcullo is a magnetic presence, with an ability to access a certain inner truth, that makes her audience defenceless and entirely open to whatever may come, in this unpredictable journey. Playing Jules’ mother is Nova Raboy, whose remarkable capacity for tenderness and warmth, draws us further into the storytelling. Movement direction by Lauren Nalty gives both performers a sense of structured form and discipline to their physicality, to imbue a visual finesse that further elevates the production.

Forgetting Tim Minchin delivers laughter and tears, in copious amounts. It is an opportunity for emotional catharsis, but probably more importantly, it is an exercise in empathy at a time when we feel increasingly persuaded to become hardened and unfeeling. Orcullo’s work showcases a vulnerability that modern life is rarely capable of accommodating, yet is unequivocally intrinsic to the human experience, and foolish of us to neglect. With computers poised to take over every mechanical aspect of our existence, we should perhaps consider a great retreat into the essentially constitutive human materials, of flesh and spirituality; learn anew to celebrate an attention to vulnerability, and begin to strip off generations of cladding enclosed around it, leave behind what was meant to protect, but have inadvertently made us increasingly inhuman.

www.thejoyoffensive.com | www.belvoir.com.au

Review: Natasha, Pierre & The Great Comet Of 1812 (Darlinghurst Theatre Company)

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Venue: Eternity Playhouse (Darlinghurst NSW), Jul 7 – Aug 27, 2023
Book and Lyrics: Dave Malloy (based on Leo Tolstoy)
Music : Dave Malloyl
Director: Dean Drieberg
Cast: Cameron Bajraktarevic-Hayward, Anton Berezin, Grace Driscoll, Zoy Frangos, Kala Gare, Lillian Hearne, Jillian O’Dowd, Jules Pendrith, Marissa Saroca, P. Tucker Worley
Images by Robert Catto

Theatre review
Natasha falls for bad boy Anatole, when her fiancé Andrey is away at war. Meanwhile, Pierre is undergoing an existential crisis, and hits the bottle hard. Dave Malloy’s Natasha, Pierre & The Great Comet Of 1812, is based on Part 8 of Leo Tolstoy’s masterpiece War and Peace, in which the novelist draws inspiration from a comet that appeared in the Russian skies, remaining visible to the naked eye for 260 days.

Malloy’s musical rendition is an adventurous work, memorable for its experimental qualities, even if its book can at times be frustratingly indecipherable. Directed by Dean Drieberg, the production is full of vitality, with a mischievous spirit that truly endears. There may be little to savour in terms of a narrative, but each number is richly conceived by Drieberg, in partnership with choreographer Brendan Yeates, to deliver an engrossing experience that talks to us on a visceral level, endlessly fascinating and unpredictable.

Set design by Tyler Hawkins provides a multitude of performance spaces, trying its best to accommodate a show that often feels poised to burst at its seams, with its irrepressible thirst for action and unbridled exuberance. Costumes by Nicol & Ford address the need for accuracy in terms of personality types within a particular historical epoch, but also satisfies our desire for something more flamboyantly theatrical, offering exquisite elevation to a story involving Russian nobility of a bygone era. Also very visually pleasing, are lights by Veronique Benett, who brings a sense of unmistakable lavishness to proceedings, unabashedly extravagant with all the embellishments being rendered.

Claire Healy’s musical direction is an outstanding feature of the show, exciting with its immense inventiveness, able to connect powerfully without relying only on conventional strategies of the genre. It is noteworthy that music is performed by the cast, who seem to be in constant motion, every artist completely dazzling with all that they deliver on this lively stage.

Grace Driscoll as Natasha sings every note with a delicate beauty, and along with the compelling presence she harnesses for the role, keeps us mesmerised and intrigued. Zoy Frangos too is thoroughly persuasive as Pierre, unforgettable for his honeyed tone of voice. The pair’s collaboration in the show’s final moments resounds with a rare transcendence, and is not to be missed by fans of the art form. Anatole is played by Jules Pendrith, whose excellent swagger has us simultaneously seduced and repelled. The soulful Kala Gare is remarkable in her magnetic solo “Sonya Alone”, bringing the house down in the production’s singular moment of minimalism.

Art offers exaltation, but not always in predictable ways. At the theatre, in this town, we are accustomed to a dependence on the content of stories, rather than the very act of telling them, to offer inspiration. On this occasion, the body understands more than the mind, and that is something we simply must learn to trust and listen.

www.darlinghursttheatre.com

Review: City Of Angels (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), Jun 23 – Jul 23, 2023
Music: Cy Coleman
Lyrics: David Zippel
Book: Larry Gelbart
Director: Sam Hooper
Cast: Madeleine Betts, Doron Chester, Chantel Cofie, Sian Crowe, Paul Hanlon, Glenn Hill, Noah Janssen, Katelin Koprivec, Penny McNamee, Mia Morrissey, Conor Neylon, Shannen Alyce Quan, Ethan Rutledge, Marcus Rivera, Aaron Tsindos, Jessica White
Images by Grant Leslie

Theatre review

It is the 1940s and Stine is adapting his award-winning novel into a screenplay for Hollywood. Transitioning from one art form to another proves challenging, as he tries to preserve artistic integrity, in what quickly proves to be little more than a commercial venture. In the 1989 musical City of Angels, we see both Stine’s reality as well as a manifestation of his film noir creation, involving a private detective Stone and the various temptresses within his orbit. Despite its highly convoluted plot structure, the payoff is ultimately underwhelming, offering a narrative that feels much too predictable. Furthermore its humour seems not to have stood the test of time, although it must be said that music composition is its silver lining, with every song proving to be masterfully composed, by the legendary Cy Coleman.

The 3-hour production is valiantly revived by director Sam Hooper, who although demonstrates passionate verve, lacks inventiveness and an eye for detail. City of Angels not only requires great ambition, it demands a meticulousness and sophistication that few are able to muster. There is an evident lack of polish in the set design by Simon Greer, which can be blamed for the many clumsy, and noisy, scene changes. Lights by James Wallis attempt to create a sense of delineation between real and reel, but is in general too muted and lifeless. Costume designs by Esther Zhong are more accomplished, able to instinctively convey personality types of the many characters we encounter.

Music direction by Abi McCunn and Damon Wade, is the unequivocal highlight, greatly evocative of the big band era, with just seven musicians delivering all that is necessary to take us back in time, sonically at least. Singing is also of a high standard, with Glenn Hill and Aaron Tsindos (as Stine and Stone respectively), leading a cast that is never short of dedication and commitment. More memorable performances include Mia Morrissey playing dual roles of Gabby and Bobbi, introducing sensuality along with authenticity, to a production that tries to negotiate the outmoded and problematic portrayals of womanhood. Marcus Rivera is unforgettable in the number “All You Have to Do Is Wait” as Muñoz, full of intensity and unapologetic in a rare singular moment of candour, that feels suddenly resonant.

In 2023 it is perhaps no longer a surprise, that to make money, a portion of a person’s soul has to be sold, along with whatever labour is entailed in the transactive process. Just several decades ago, it had felt poignant to see an artist losing their way, when trying to exploit the big-money world of commercialised entertainment. Today at a time of late capitalism, idealism for artists seems a distant memory, yet we persist in searching for something of greater value, than what can be commodified. Within that spirit, we understand that money can never completely encompass what we do, that it is always the immaterial that represents our true purpose, even as we learn to accept that that which is material, should no longer be seen only as the evil adversary.

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

Review: Beauty And The Beast (Capitol Theatre)

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Venue: Capitol Theatre (Sydney NSW), from Jun 14 – Dec 24, 2023
Book: Linda Woolverton
Lyrics: Howard Ashman, Tim Rice
Music: Alan Menken
Director: Matt West
Cast: Rohan Browne, Nick Cox, Rodney Dobson, Jackson Head, Gareth Jacobs, Shubshri Kandiah, Hayley Martin, Orlando Steiner, Alana Tranter, Jayde Westaby, Brendan Xavier
Images by 

Theatre review
Belle is an avid reader, who lives an idyllic life with her father in a village somewhere in France. Just as she begins to express the need for something more, adventure descends upon her simple provincial existence, when her father is held captive in the castle of the abominable Beast. This stage musical version of Beauty and the Beast first appeared on Broadway in 1994, when the Disney corporation had begun to deviate from the damsel in distress narrative. Even though Belle finds love in a prince, we are thankful that her sense of identity extends far beyond romance and marriage.

Revisiting the show in 2023, it is Belle’s strength and independence that truly resonates. The production benefits greatly from advancements in technology over these three decades, for some seriously spectacular staging especially notable in the world famous “Be Our Guest” number among others, but the effectiveness of the show is essentially predicated on a narrative about the celebration of humanity. All Beast and his servants want, is to become human again. All Belle wants, is freedom for herself and for her father. It turns out that love is the phenomenon that delivers for everyone at the end, but we know that humanity is the real and fundamental concern in Beauty and the Beast.

Exceptional stage craft in this production, offers an unparalleled experience of theatrical magic, capable of delighting even the most jaded of audiences. It delivers the kind of sensation that no other art form can; the thrills from witnessing live performance at this level of accomplishment, is quite transcendent. The artistry of a musical performer though, remains crucial to its success, and its star Shubshri Kandiah is so electrifying as Belle, one could imagine the show being equally satisfying without all the extravagant trimmings, just as long as Kandiah is present to bring her astounding talent, skill and soulfulness to the piece.

Beast is played by Brendan Xavier, whose flawless singing has us completely bewitched, and is surprising with the tenderness he injects, into depictions of a new masculinity much more suited to our contemporary age. Jackson Head as the cocky Gaston is appropriately conceited and comical, with a precision to his work that proves to be highly engaging. The iconically flamboyant Lumiere is brought to glorious life by Rohan Browne, who demonstrates incredible charisma and power, virtually unmatchable in allure whenever he steps onto the stage. 

Beast can only turn human again when he is touched by love. In order to survive this existence, we all go through processes of dehumanisation, where over time we become harder, colder, closed off and anesthetised. Romance will not be every person’s salvation, but we can fight determined, against that which wants to turn us brutal and unfeeling. People are capable of loving again, and layers of calluses can be removed, to reveal a weathered but stronger heart, ready for bigger and better.

www.beautyandthebeastmusical.com.au