Tag Archives: musical

Review: Gentlemen Prefer Blondes (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), 16 Feb – 18 Mar, 2023
Book : Joseph Fields, Anita Loos
Music: Jule Styne
Lyrics: Leo Robin
Director: Richard Carroll
Cast: Octavia Barron-Martin, Thomas Campbell, Ruby Clark, Adam Di Martino, Emily Havea, Georgina Hopson, Tomáš Kantor, Leah Lim, Tomas Parrish, Matthew Predny, Monica Sayers
Images by John McCrae

Theatre review

It is the Roaring Twenties, and two single women are on a luxury cruise ship sailing from New York to Paris. Dorothy just wants to have a good time, but Lorelei is determined to find herself a rich husband. Gentlemen Prefer Blondes may be most remembered as one of Marilyn Monroe’s finest cinematic moments, but its predecessor was this musical by Joseph Fields and Anita Loos, which was in turn based on Loos’ own novel. Light and frothy, with generous portions of slapstick, it brims with post-war optimism, and expresses a kind of anticipation about all the irresistible promises of capitalism.

The key sequence featuring the legendary “Diamonds Are a Girl’s Best Friend” can be taken as ironic, or in fact be read as being quite earnest. In 2023, we understand that in a dog-eat-dog world, especially one that disadvantages women, will of course see someone like Lorelei focussing her energies on money, rather than affairs of the heart. She wants to survive, and knows all the levers to pull, to make things work for her. Performed on this occasion by Georgina Hopson, it is those darker dimensions of girls’ best friend that emerge. Hopson’s performance of a very extended version of the song, is thrilling and unequivocally spectacular. All faculties of the theatrical arts converge flawlessly for a few minutes, to deliver something explosive and transcendent. The rest of the production however, leaves quite a bit to be desired.

As the original writing approaches its centenary, Gentlemen Prefer Blondes proves to have lost its charm and humour. What might have been considered goofy and whimsical, is now simply silly and lazy. Most of the songs are lacklustre, with a distinct soullessness that leaves us cold. Extraordinarily exhilarating musical direction by Victoria Falconer, does marvellously to lift our spirits during interludes between, but the songs themselves remain uninspired.

Like Falconer, all of the cast and crew give their conspicuous best to the production. Director Richard Carroll goes to great lengths to keep pacing taut, and to make all the jokes more sophisticated than were ever intended. Daniel Potra’s set design gives a real sense of the razzle-dazzle, and lights by Benjamin Brockman delivers us all the dynamics missing from the source material, as well as being relentlessly flattering on the cast. Costumes by Angela White seems to make the bold decision to depart from the 1920s, as it draws influence from virtually every decade of the last century.

The role of Dorothy was always no match for the eponymous blonde, but Emily Havea’s resolve to bring the character into a modern age, is certainly admirable. The women’s love interests are played by Tomáš Kantor and Matthew Predny, both delightful personalities, and convincing in their efforts to win affections. Octavia Barron-Martin and Thomas Campbell demonstrate deep commitment to the comedy, making us laugh in spite of the banal dialogue. Leah Lim is especially strong when given the opportunity to showcase her dance abilities; her synergy with choreographer Sally Dashwood elevates the show considerably, even if their contributions bear little relevance to the central plot.

It should be no surprise that men would prefer Lorelei. Even though she is destined to come out on top, it is her dedication to playing by their rules, that turns them on. Lorelei might win, but the point is that, she obeys them. Women game the system every day, but in the process, we often find ourselves inflicting the same harm, that we accuse men of doing. It is a mystery if Lorelei uses her new-found wealth, after the story concludes, for good or evil, but choices are certainly available to her. Power is designed to oppress, but it can also be transformed into something that can be shared and distributed. After Lorelei attains her safe harbour, one would hope, that she keeps the gates open, for others to follow.

www.hayestheatre.com.au

Review: Rocky Horror Show (Theatre Royal)

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Venue: Theatre Royal (Sydney NSW), Feb 14 – Apr 1, 2023
Music, lyrics and book: Richard O’Brien
Director: Chris Luscombe
Cast: Ellis Dolan, Jason Donovan, Darcey Eagle, Ethan Jones, Deidre Khoo, Loredo Malcolm, Stellar Perry, Henry Rollo, Myf Warhurst

Theatre review
Half a century after its inception, the only thing shocking about Rocky Horror Show is in the realisation, that the word “transvestite” is now beginning to sound archaic. Frank-N-Furter’s ambiguous gender expressions are now, unbelievable as it may seem, a normalised phenomenon in many cities, so the iconic figure is no longer the ironic abomination it once was. Their power however, remains resolutely intact, and it is that sense of dominion they exude, that keeps the show a thrilling experience.

This latest rendition by director Chris Luscombe, seems quite incredibly, to be even more energetic and exuberant than ever before. The show’s celebratory qualities appear to really resonate, in this new age of queerness and trans-inclusiveness; the Rocky Horror Show may not have changed as much as we have, but that is perhaps the reason for its renewed allure. We are looking at the show with fresh eyes, and discovering that it still makes sense for the Twenty-First Century, albeit in differently nuanced ways.

Times have changed. 30 years ago, Jason Donovan was accused by the queer community for homophobia, following his legal action against a publication for false claims about his sexuality. Today, Donovan is an excellent Frank-N-Furter, completely at ease with the camp and salacious aspects of the role, demonstrating a thorough understanding of the part’s efficaciousness. He pushes to the limit, right where the bawdy, brash and crass, is about to become too much, and lets us off the hook, so that he can take us further the next time.

The narrator is played by Myf Warhurst, much less seasoned as a musical performer, but clearly a charming celebrity, happy in her own skin and comfortable with public adoration. Deidre Khoo and Ethan Jones are sensational as Janet and Brad, both fantastically versatile, and captivating with their sardonic characterisations and exquisite timing. Also memorable, are Stellar Perry and Henry Rollo, as Usherette/Magenta and Riff Raff respectively, delivering all the electrifying subversive joy associated with the legendary Rocky Horror Show. Also noteworthy is musical direction by Jack Earle, who injects extraordinary spiritedness, into a production that leaves us wanting more.

In 2023, it is Janet and Brad who look more alien than anyone else, on the Rocky Horror stage. What creator Richard O’Brien had identified in 1973 as ordinary but repugnant, is now simply bizarre. The puritanical values represented by the couple, and the hypocrisy they embody, although still prevalent in certain circles, are no longer the norm it used to be. People need to be allowed to diverge in whatever ways suit them, as long as nobody gets hurt, and as long as we know to give ourselves over to “absolute pleasure” from time to time.

www.rockyhorror.com.au

Review: Joseph And The Amazing Technicolour Dreamcoat (Capitol Theatre)

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Venue: Capitol Theatre (Sydney NSW), from Feb 11 – Apr 16, 2023
Lyrics: Tim Rice
Music: Andrew Lloyd Webber
Director: Laurence Connor
Cast: Trevor Ashley, Euan Fistrovic Doidge, Paulini
Images by Daniel Boud

Theatre review
Joseph’s brothers sell him off to a life of slavery, simply for loving himself a little too much in a rainbow coat. By the end of the biblical story we discover, quite unsurprisingly, a moral about forgiveness. These archaic tales seem always to place the onus on victims to make things right, and even though there is a valuable lesson in Joseph being the bigger person in the situation, there is no denying that his eleven brothers should have been taught in the first place, not to act like deplorable imbeciles.

The fable of Joseph and the Amazing Technicolour Dreamcoat however does include some moderately delightful fantasy aspects, involving Joseph’s abilities as a soothsayer. He interprets other people’s dreams, and tells the future. As with all clairvoyant types, Joseph is hopeless at predicting his own destiny, so even though his story ends with redemption, there is something deeply uninspiring about his general lack of agency. The songs by Andrew Lloyd Webber and Tim Rice, in this 50-year-old musical are not much more exciting, but nostalgia is always certain to appeal, especially to those in search of something gratuitously sentimental.

Performer Euan Fistrovic Doidge is a very attractive Joseph, convincing with his guileless charm, and delivering all the singing and dancing required with such effortlessness, he makes the job look like child’s play. Paulini contributes her marvellous voice to the staging, and is every bit the Sunday School teacher, as narrator in a show that sees her interacting with a lot of children. The Elvis-like Pharoah is played by a flamboyant Trevor Ashley, who proves a breath of fresh air, in something that has a tendency to feel dreary despite its resolutely vibrant title.

Those who enjoy too much colour and extravagance, know what it is like to be ostracised and condemned. Joseph was banished because he was deemed irksome, by brothers who felt inadequate in comparison, or who were simply envious. The divine will always elude the drab, and even though the drab seems always able to create oppression from their own deficiencies, it will always be the divine that will endure beyond.

www.josephthemusical.com.au

Review: Hairspray (Sydney Lyric Theatre)

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Venue: Sydney Lyric Theatre (Sydney NSW), Feb 5 – Apr 2, 2023
Book: Thomas Meehan, Mark O’Donnell (based on the film by John Waters)
Lyrics: Marc Shaiman, Scott Wittman
Music: Marc Shaiman
Director: Jack O’Brien
Cast: Brianna Bishop, Rhonda Burchmore, Ayanda Dladla, Mackenzie Dunn, Bobby Fox, Todd Goddard, Asabi Goodman, Shane Jacobson, Sean Johnston, Javon King, Donna Lee, Todd McKenney, Carmel Rodrigues
Images by Jeff Busby

Theatre review

Tracy is a big girl, and because it is 1962, she was never meant to appear on TV. When Corny Collins looks past conventions to recognise Tracy’s talents and casts her on his variety show, Tracy quickly uses her new platform to instigate change on national television, by forcing the integration of Black and white Americans on screen. Whether one sees Hairspray as yet another “white saviour” narrative, or a story that is about true allyship, the musical’s feelgood charm is hard to deny. Characters and the story from John Waters’ original 1988 film are colourful and adorable. Songs by Marc Shaiman and Scott Whittman from this 2002 Broadway creation are irresistibly soulful. Perfect in so many ways, this is a show that is likely to keep returning for generations to come.

Performer Carmel Rodrigues is completely delightful as Tracy Turnblad, full of vibrancy as the spirited teen. Her legendary mother Edna is played by Shane Jacobson, who although never really convinces as the divine maternal figure, impresses with his vocal prowess. Scene-stealer Javon King’s immense talent and unequivocal star quality, only makes us want the part of schoolfriend Seaweed to be much bigger, even though he is in no way an insignificant element of the show. Asabi Goodman as Motormouth Maybelle, may require a bolder sense of confidence, but her solo rendition of  “I Know Where I’ve Been” is certainly accomplished, and an important statement about the unfaltering efforts of Black activists, even when their white counterparts claim the limelight.

It should come as no surprise that Tracy is a good feminist. The fact that she faces prejudice every day, from inhabiting a physicality deemed contemptible by so many, could only mean that she must understand the deficiencies of how things are run. Tracy knows also, that it is not only one’s size that could be weaponised against people. We see her fighting for Black rights, because injustice is simply injustice, no matter how it manifests. Good feminists must continue to hold the door open, once they have entered the room, and they must never forget that no one is to be left behind.

www.hairspraymusical.com.au

Review: Urinetown (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), 13 Jan – 5 Feb, 2023
Book and Lyrics: Greg Kotis
Music and Lyrics: Mark Hollman
Director: Ylaria Rogers
Cast: Artemis Alfonzetti, Dani Caruso, Joe Dinn, Deanna Farnell, Max Gambale, Joel Horwood, Tom Kelly, Kira Leiva, Barbra Toparis, Petronella Van Tienen, Benoit Vari, Karen Vickery, Natasha Vickery
Images by Phil Erbacher

Theatre review

Somewhere in America, in a dystopian future, to go toilet has become a commodified privilege. Urinetown, the 2001 musical by Mark Hollman and Greg Kotis, tells a story about an economic system that allows the top 1%  to insist on us paying for everything, and receiving incommensurate returns. The vast majority thus becomes increasingly disadvantaged, finding themselves to be mere cattle, constantly scrounging for the benefit of those who claim to be owners of every resource. In Hollman and Kotis’ fantasy, a revolt eventuates. The conclusion however, is not quite as predictable.

It is an excellent conceit, although the plot has a tendency to feel rambling and its narrative often finds itself gridlocked. Not a lot actually happens, in the two-and-a half hour duration, and its humour can be lacklustre, but the songwriting is enjoyable, with enough inventiveness to sustain attention. Matthew Reid’s musical direction is spirited and jaunty, creating a charged atmosphere, with his very accomplished four-piece band.

Direction of the show by Ylaria Rogers is dynamic, with a lightheartedness that keeps things amusing. Cameron Mitchell’s choreography too, provides levity to proceedings, in order that the message becomes an easier pill to swallow. Set design by Monique Langford involves clever use of ladders in various configurations, that allow for a spacious stage to comfortably accommodate a big and busy cast. Helen Wojtas’ costumes for the great unwashed are in appropriate states of dereliction, but with colours and textures to maintain visual interest. Lights by Jasmin Borsovszky are a wonderful element of the production, bringing unexpected beauty and a sense of gravity, to something we know to be true and important.

Performer Joel Horwood demonstrates admirable versatility in the role of Bobby, bringing charm, wit, emotional intensity and a crucial quality of profundity, that prevents the comedy from undermining the whole point of Urinetown. Their singing is powerful, in a show that features consistently strong vocals. Petronella Van Tienen plays Hope, a saccharine sweet character but with the kind of earnestness that most are likely to find appealing. Chemistry between the leads is scintillating, especially for their romantic duet “Follow Your Heart”. Also noteworthy is Natasha Vickery whose vaudeville style of presentation for Little Sally leaves an impression, as one of the more refreshing personalities we encounter, in this world of misery.

Ultimately, we discover that Urinetown is about the extinction of the human race. Some argue that this is due to no fault of our own, but most will understand all the devastation we have brought to the planet. It is a tale about our insatiable greed. It questions our nature, and like all good art, it urges us to examine what it means to be human, and further, if anything could be done, to combat the parts of us determined to cause harm. We keep wanting to overpower Mother Earth, such is the depth of our foolishness. It is certain that we are never going to be a match for the infinitude of the universe, yet we seem determined to not find ways to make peace with it. 

www.hayestheatre.com.au

Review: Velvet Rewired (Sydney Opera House)

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Venue: Sydney Opera House (Sydney NSW), Dec 22, 2022 – Feb 12, 2023
Director/Creator: Craig Ilott
Cast: Joe Accaria, Jacinta Gulisano, Marcia Hines, Sasha Lee Saunders, Craig Reid, Beau Sargent, Tom Sharah, Sven and Jan, Harley Timmermans
Images by Daniel Boud

Theatre review

Performer Tom Sharah plays someone meek, miserable and lost, inside an exuberant clubland peppered with decadence and brimming with cacophonous life. It is the story of a man’s broken heart, that provides a vague sense of narrative to Velvet Rewired, a theatrical presentation in the form probably best described, as a variety show. Comprising 75 minutes of classic disco hits, and nary a word of dialogue, it is a cornucopia of colour and movement that we are thrust into, along with an old school devil-may-care spiritedness, that hopes to awaken the most wearied of our modern cosmopolitan dispositions.

Created and directed by Craig Ilott, Velvet Rewired provides an excuse for an instance of hedonism, where all the strain of staying alive can be set aside. Ilott urges us to indulge in his fantasy realm, by removing rhyme and reason from our interactions with the staging. Indeed it is when mind-boggling stunts occupy our attention, and we lose our breath gawking at incredible physical feats, by the likes of aerialists Beau Sargent and Harley Timmermans, rollerskating acrobats Sven and Jan, and hula hooping wonder Craig Reid, that the show really lifts us away from the mundane.

Also out of this world, is the singing diva Marcia Hines whose voice and presence help move us somewhere decidedly more transcendent, or rapturous even. Jacinta Gulisano and Sasha Lee Saunders appear to be the hardest working women in showbusiness, onstage for almost the entirety, singing and dancing with great energy and precision, as only the most passionate of artists can. Amy Campbell’s choreography takes care to accentuate the best of this duo’s qualities.

Joe Accaria too is always in sight, as the charismatic DJ perched atop in his secular pulpit, orchestrating the action through his control of the irresistible disco beats. Accaria’s work as musical director for Velvet Rewired is powerful, able to revive the magic of funk and soul music from almost half a century ago, to deliver a sense of timeless euphoria. Lights by Matthew Marshall are dazzling, as they take advantage of the genre’s capacity for limitless ostentation. James Browne’s set design involves a catwalk that makes each member of audience feel part of the action, and his costumes bear a flamboyance and sexiness, that keep our eyes satisfied.

The aforementioned Tom Sharah sparkles when his unnamed character attains his moment of spiritual emancipation. At a show like Velvet Rewired we too are gifted a flash of freedom, where for a few minutes nothing else matters, but the sensual basslines of tried and tested records, that will offer epiphany and redemption, maybe not everlasting, but certain to return when least expected.

www.velvetrewired.com

Review: M’ap Boulé (Urban Theatre Projects)

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Venue: Eternity Playhouse (Darlinghurst NSW), Dec 6 – 9, 2022
Playwright: Nancy Denis
Composer: Carl St. Jacques
Director: Anthea Williams
Cast: Nancy Denis (with musicians Victoria Falconer, Mick Stuart and Kween G)
Images by Jacquie Manning

Theatre review
Nancy Denis is a warrior, not only of circumstance, but also of heritage. A woman of Haitian background, a fighting spirit thrives in her blood. Generations of colonial history have not been able to subdue Denis, as she declares in her show M’ap Boulé, or “I’m On Fire” in English. Featuring stirring music composed by the recently departed Carl St. Jacques, M’ap Boulé is a passionate exhibition of one woman’s joy and pain, and a poignant autobiography by a young artist with a lot to say.

An embodiment of dark-skinned queer womanhood, Denis represents so much of what is marginalised. The dominant hegemony that privileges the straight white male, is of course unable to conceive of her as equal. Her lived experience of inconvenient intersectionalities also means, that the various groups to which she should belong, also struggle to contain the seemingly conflicting identities that are ascribed onto her complicated, but perfectly natural body. To say that M’ap Boulé is an important work would be an understatement; it is a voice we rarely hear, yet demonstrates itself to be, quite possibly, the voice we need most to hear.

A warrior’s story is inherently combative and propulsive, but in M’ap Boulé  it is the revelations of weakness and vulnerability, that make its depictions of strength, truly resonate. Directed by Anthea Williams, the show feels unequivocally guided by a sense of integrity, determined to put to the stage, a wholistic perspective of the author and all that she has chosen to share. Set and costumes by Maitê Inaê are celebratory of Denis qualities, as a woman of colour, born of Haitian immigrants, and together with Karen Norris’ lights, the stage glimmers and pulsates, to connect with the most sensual of our beings.

The artist’s charisma and exuberance as a performer, ensure that her audience is kept riveted. Her velvety timbre, especially when singing contralto, is simply exquisite, and a rare gift that brings tremendous amplification, to the soulfulness that underpins every song. Joining Denis on stage are musical director Victoria Falconer, rapper Kween G and musician Mick Stuart, who work in transcendent harmony, to offer our ears access to some place decidedly more exalted.

When we watch Nancy Denis on stage, we understand that she is precisely where she needs to be. There are no inadequacies, just as there is no perfection. We need to learn to see ourselves, beyond capitalistic and patriarchal lenses, to remember that we are human through and through, never to be anything but. For sure, we are capable of more, of better, of something else, but it is integral that we never forget, that today, is the result of having overcome everything before, and it is good.

www.utp.org.au

Review: A Christmas Carol (Ensemble Theatre)

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Venue: Ensemble Theatre (Kirribilli NSW), Nov 25 – Dec 29, 2022
Playwright: Hilary Bell (based on the story by Charles Dickens)
Director: Damien Ryan
Cast: Valerie Bader, John Bell, Jay James-Moody, Emily McKnight, Anthony Taufa, Daryl Wallis
Images by Jaimi Joy

Theatre review

The timeless tale of Scrooge’s awakening, was first published 178 years ago. With billionaires making news every day in 2022,  Charles Dickens’ A Christmas Carol resonates anew, although it is only wishful thinking that our overlords should find their souls overnight. Nonetheless, the story remains heart warming, and with Hilary Bell’s stage adaptation taking the form of a pantomime, featuring delightful music by Phillip Johnston, we are re-acquainted with the classic at year’s end, to be reminded of what is truly important.

Charming direction by Damien Ryan delivers nostalgia and sentimentality in spades, although humour in the production could benefit from being less restrained. It is a beautifully designed show, with Alisa Paterson’s set and Genevieve Graham’s costumes leaving a strong impression. Lights by Mat Cox too are sumptuous, and indispensable in delivering for the story, its crucial supernatural elements.

John Bell is believable as the misanthropic Scrooge, suitably mean and cruel, playing one of the best known characters of the festive season. Anthony Taufa brings wonderful exuberance to a great number of roles, full of charisma and playfulness, encouraging us to respond with appropriate cheer. Daryl Wallis provides live accompaniment on piano and percussion, adding blitheness with his sensitive musical direction.

It is right that we should expect more of the rich, but it is also necessary for governments to insist on redistribution of wealth, when disparities are so severe. Dickens did his best to appeal to the human conscience, but it is clear that not many at the top of town are ever going to be sufficiently conscientious. We simply cannot sit and wait for the rich to do the right thing.

www.ensemble.com.au

Review: Nice Work If You Can Get It (Hayes Theatre)

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Venue: Hayes Theatre Co (Potts Point NSW), 18 Nov – 20 Dec, 2022
Book: Joe DiPietro
Music and Lyrics: George and Ira Gershwin
Director: Cameron Mitchell
Cast: Octavia Barron Martin, Lisa Callingham, Grace Driscoll, Nat Foti, Anthony Garcia, Catty Hamilton, Joel Houwen, James MacAlpine, Rob Mallett, Jayme Jo Massoud, Adorah Oloapu, Ashleigh Rubenach, Andy Seymour, Rose Shannon-Duhigg, Andrew Waldin, Jasper Wind
Images by Grant Leslie

Theatre review

It is the Prohibition era, and Billie the bootlegger is secretly storing 400 crates of gin, in a Long Island beach house, owned by Jimmy’s mother. In the meantime, Jimmy is about to get married for the fourth time, but the playboy’s new fascination with Billie means that his best laid plans are going awry. Joe DiPietro’s book for the musical Nice Work If You Can Get It is a tribute to romantic comedies of the Hollywood Golden Age. Thoroughly frivolous and undoubtedly fun, the story is constructed around the songs of George and Ira Gershwin, which are easily, and understandably, the highlight of the show.

Direction by Cameron Mitchell imbues an admirable sense of abandon to the broad comedy of Nice Work If You Can Get It. For 2-and-a-half hours, we are treated to something frothy and gleeful, that never wishes to take it itself seriously. The laughs are constant, often uproarious, proving that an average script can be transposed effectively to the stage, when executed with considerable flair. Mitchell’s work as choreography too is impressive, in a style that harks back to the good old days, delivering nostalgia as well as dynamism, for a staging determined to entertain.

Set design by Simon Greer provides versatile solutions, with great fluidity, to addresses the many location changes, although the space often feels constrictive of the show’s ambitious dance sequences. Christine Mutton’s costumes are delightfully conceived and meticulously fitted, to give much needed elevation to the imagery being created. Wigs on its leading ladies however, require greater attention. Illumination by James Wallis is thankfully utilitarian, providing just enough lighting trickery so that our attention never deviates from the performers.

Playing Jimmy is the dashing Rob Mallet, whose physical discipline brings exquisite polish to the production. The accuracy in his emulation of a vocal style faithful to the period too, keeps us firmly in the fantasy. Ashleigh Rubenach sings all her songs perfectly, but feels somewhat miscast as the tomboyish Billie. Grace Driscoll is very charming as Eileen, able to be both campy and endearing, in her wonderfully kooky sendup of a Martha Graham type.

It is a big cast of 16, comprising some very funny thespians, along with highly accomplished dancers, all doing remarkably to generate theatrical magic. The Gershwin sound however, remains a pinnacle on any stage. It is an eternal joy to hear their greatest hits, no matter the excuse or occasion.

www.hayestheatre.com.au

Review: The Lovers (Bell Shakespeare)

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⭐️⭐️⭐️⭐️
Venue: Sydney Opera House (Sydney NSW), Oct 23 – Nov 20, 2022
Writer: Laura Murphy (adapted from William Shakespeare)
Director: Shaun Rennie
Cast: Natalie Abbott, Blake Appelqvist, Stellar Perry, Monique Sallé, Brittanie Shipway, Jerrod Smith
Images by Daniel Boud

Theatre review

William Shakespeare’s A Midsummer Night’s Dream is given the musical treatment, by Laura Murphy who condenses one of The Bard’s most accessible stories, into something even more digestible. In her new work The Lovers a distinct pop sensibility is applied across everything she touches on, but art lovers be warned, Murphy’s appreciation of pop is a lot less Andy Warhol, and a whole lot more Taylor Swift. Like Swift, Murphy’s lyrics can be criticised for not being poetic enough, with an attitude too devoid of sass, to be considered legitimately cool. Commercial success however, has shown time and again to have little to do with cool, and it appears The Lovers does contain all the requisite ingredients that make it a crowd-pleaser.

Intensely romantic, and silly on more than a few occasions, songs in The Lovers are unquestionably, and thoroughly catchy. Reminiscent, and some might say heavily derivative, of chart toppers from the last twenty years, it can be said that the frothiness of Murphy’s writing, is the perfect companion for Shakespeare’s light-hearted classic. Murphy’s own musical arrangements, along with musical direction by Andrew Worboys, ensures a score that keeps us exhilarated for the entire 2-hour duration, The heady experience is further enhanced by extraordinarily well-executed sound engineering, with Todd Hawken credited as Head of Audio.

Director Shaun Rennie demonstrates great attention to detail, through his delivery of technical brilliance and exceptional polish,  for the staging. Rennie’s work is thoroughly energetic, with an uncanny ability to have his audience roused at will. Marg Horwell’s colourful and intentionally cluttered set design, is a visual manifestation of the chaotic exuberance that is characteristic of The Lovers. Her costumes too are captivatingly vibrant, although not always flattering on the cast. Lights by Trent Suidgeest are dynamic and exciting, a relentless manipulation of tones, intensities and configurations, that really take advantage of this collision between pop and Shakespeare.

The only one stealing the show however, is performer Natalie Abbott who delivers the most endearing Helena imaginable, with an impeccable quality of singing that beautifully incorporates a stirring soul style, with the crispness demanded of the Broadway format. Also very charming is Jerrod Smith, who brings unexpected believability to the role of Lysander. Oberon is played by Stellar Perry who stands out with her confident musicality, and a physical stillness that proves an appealing contrast against the rest. Monique Sallé is a gregarious Puck, Blake Appelqvist brings precision to his Demetrius, and Hermia is performed by Brittanie Shipway who injects much needed grit into the romantic heroine. The team shows itself to be well-rehearsed and innovative, with a compelling chemistry that makes tolerable, Shakespeare’s ridiculous love story.

There may be little that is worldly that constitutes the essence of The Lovers, but there is certainly no shortage of sophistication, in how the show has been put together. It is meaningful though, that our attention is brought to the subject of love, frivolous as it may seem, through the lens of young romance. At a time when our troubles are taking us to the end of tethers, it is perhaps necessary to be reminded that love alone, is capable of moving mountains.

www.bellshakespeare.com.au