Review: Slut (New Theatre)

Posted in Theatre by Suzy Wrong

newtheatre2 Venue: New Theatre (Newtown NSW), Sep 22 – 26, 2015
Playwright: Patricia Cornelius
Director: Natarsha Wrensted
Cast: Ashley Avci, Christopher Broadbent, Brigitta Brown, Jordan Keyes-Liley, Sophie Mccrae, Rowan McDonald, Felicity Mckay, Eliza Scott, Zoe Tomaras, Jane Watt

Theatre review
Sex is one of the most natural and fundamental of all human experiences, yet it is tainted by endless negative connotations and meanings, informed by cultural and religious thought that aim to control behaviour in all our societies. Women especially, struggle to embrace and celebrate their sexual selves without having to deal with stigmas of all kinds rearing their ugly heads. Patricia Cornelius’ Slut talks about a Lolita who fails to recognise her power. Instead of valuing her attractiveness appropriately, she uses it to earn indiscriminate affection. We witness her being taken advantage of, and the chastisement that follows. This realm of discussion should be a complex one full of ambiguity, but the play seems simplistic in its attitude, and the powerlessness of its Lolita is concerning and unfortunate. Certainly weak people of all genders exist everywhere, but the juxtaposition of strong sexuality with low intelligence as a central subject matter seems too convenient and obvious.

We do not hear very much of what Lolita has to say, but learn about her exploits from the mouths of her vicious peers. Natarsha Wrensted’s direction illustrates all the hearsay and makes real what could have been only rumours. We see Lolita make mistakes, but she is rarely given the opportunity to speak for herself. We are a society that is capable of using the term “slut” as insult for any woman, and although it is not the play’s intention to label Lolita’s behaviour as reprehensible, there is a troubling disquiet in witnessing a character described only in sexual terms. We want to see the young woman’s worth, but they are reduced, and although we catch glimpses of her personal feelings, they do not offer sufficient balance for the text’s emphasis on her sexuality. The message it wishes to impart seems to be about the danger that we can put ourselves in when desperate for love, but the production needs to take greater care not to imply that aggressive feminine sexuality is in itself problematic.

Politics aside, there is much to enjoy in the 35-minute show’s standard of performance. The cast is uniformly strong, and the predominantly chorus format of presentation is sensitively choreographed and the actors are well-rehearsed. There is a cohesion to the group that is fascinating to watch, and their work is even more effective when individuals are able to bring unexpected flashes of nuance and variation to their parts. Energy and conviction is never an issue in the production, but scene transitions require greater support from lighting and sound.

Criticising any person’s sexuality is without doubt, archaic and senseless. Using the word “slut” as a derogatory term only exposes an inability to communicate with intelligence, and a severe lack of sophistication. We have exhausted the culture of “slut-shaming”, but young people must continue to be taught to value their own bodies, and the bodies of others. We should always try to become better persons, and in that process, how we think about our sex lives is crucial.

www.newtheatre.org.au

22Sep2015

Review: Britannia Waves The Rules (New Theatre)

Posted in Theatre by Suzy Wrong

newtheatre1 Venue: New Theatre (Newtown NSW), Sep 22 – 26, 2015
Playwright: Gareth Farr
Director: Deborah Mulhall
Cast: Vincent Andriano, Jane Angharad, Patrick Cullen, Alan Faulkner, Nick Rowe

Theatre review
This is a tale about the transformation of a poet into a soldier, but it is not a romantic journey that addresses our deluded need to see heroes emerging from wars. Gareth Farr’s Britannia Waves The Rules is quite the opposite. It talks about the ruling class’ persistent use of young men in poverty through generations, and the innocent lives sacrificed for the insatiable need of Western forces to invade. More than an anti-war piece, Farr’s writing is subversive and bold in its approach, and his protagonist Carl is a creation marvellously imagined and thorough in its embodiment of experience and truth. The distillation of the phenomenon of war into the private plight of a singular character is powerfully realised by the intimate nature of its speeches, dialogue and monologue, that seem to hail from a place of brutal and rare honesty.

Deborah Mulhall’s adventurous direction embraces the text’s poetic machismo to deliver a work that is wild and emotional, but also deeply sensitive in the way characters and relationships are established. In the role of Carl is Vincent Andriano, a turbulent presence that depicts anger, anxiety, fear, and sorrow with remarkable accuracy and energy. His highly dramatic interpretation is a beautiful accompaniment to the often introspective voice of the script, and we are transfixed from the very start to the bitter end. Also memorable is Nick Rowe, who plays Bilko with a dynamism that matches the lead’s. The chemistry between the two is intense and convincing, and the heartache that transpires is as authentic as it can get at the theatre. Performances are excellent in the production, all cleverly conceived and fluently executed.

As a collective, we understand things from an abstract perspective, and details are neglected, often deliberately hidden. Mainstream discourse does not reveal the personal losses that occur every day, but we must not stop talking about the ravages of war. Britannia Waves The Rules does not present any surprising facts. We already know that death is the currency of conflict and victory, but the way it tells the age old story of destruction is unusually poignant. It wants us to see that every young person sent to the battlefield is a son and daughter, and our brother and sister. As long as this keeps happening, the voices that oppose it must be heard.

www.newtheatre.org.au

19Sep2015

Review: Quarter Life Crisis (The General Public Theatre Company)

Posted in Theatre by Suzy Wrong

generalpublic Venue: 107 Projects (Redfern NSW), Sep 17 – 20, 2015
Playwright: Courtney Ammenhauser
Director: Lakia Pattinson
Cast: Courtney Ammenhauser

Theatre review
Steph is turning 25, and is having a bit of a meltdown. She has done the responsible and conventional thing of getting a regular job that pays a regular wage, but is now restless about the futility of a life that does not offer more than stability and predictability. Like many of us, the real problem is that Steph knows only what she does not want, and what she truly desires remains elusive. This leads to a series of frivolous, funny, and charming exploits that depict a hollow existence, guided by a pursuit of pleasure that ultimately leads to unabashed emptiness. The one-woman play runs for under an hour, comprising genuinely amusing scenes that deliver many laughs. It begins with a moment of deep reflection on the meaning of life, but loses its poignancy as the show progresses, along with Steph’s dignity, which gradually erodes away with each sip of alcohol.

Courtney Ammenhauser’s script is honest and brassy, as is her performance. Marvellously exuberant and unrestrained, Ammenhauser presents a show that captivates and entertains, putting on display the aimlessness of youth in Australia that comes from a place of privilege and complacency. Where there is no urgent compulsion and need for anything, it seems humans can only indulge in the obvious and convenient. Steph does not challenge herself, but Ammenhauser’s efforts on stage are certainly committed. Along with director Lakia Pattinson, the duo’s creation is energetic, fun and surprisingly nuanced. There is a sensitivity and flair in their approach to comedy that sharpens their simple concept for an enjoyable show. We wish for Steph to find some degree of enlightenment, or to realise the errs of her ways, but like in real life, it is much easier to get swept up by mundane and destructive trivialities.

www.facebook.com/events/…

17Sep2015

Review: Retrograde (The Sandking Collective)

Posted in Theatre by Suzy Wrong

12026466_10153178590912683_932214705_n Venue: 107 Projects (Redfern NSW), Sep 16 – 27, 2015
Playwright: Peter-William Jamieson
Director: Michael Yore
Cast: Peter-William Jamieson, Mark Lee
Image by Michael Yore

Theatre review
One of the things about gender is that we make the quality of vulnerability inaccessible to the sterner sex. Damage to mind, body and soul follow, all of which are hard to unravel. Peter-William Jamieson’s Retrograde looks at two men, through a series of psychotherapy sessions, to explore the hardened emotional landscapes that reside in half of our population. Both characters are realistically drawn out. They are familiar archetypes, a young criminal and a semi-retired counsellor, who we investigate at depth, as the play ventures to bring illumination to the mystery behind the often impenetrable surfaces maintained by the male of our species. The writing is straightforward, with clear intentions, but its style is simple and sometimes too obvious. The narratives are dramatic, but the plot’s predictability prevents intrigue from taking hold. There is a sensitivity to the way each scene unfolds, as more of the characters are being revealed, but none of it is surprising. We feel one step ahead of the game, and resist the tension that the production tries to build.

Michael Yore’s direction is faithful to the directness in Jamieson’s writing. There are few embellishments, except for the frequent use of video footage that is a key and clever component to the play. Unfortunately however, the poor quality of projected images prevents us from engaging sufficiently with the performance therein. Mark Lee does splendid work as Earl, the older and wiser of the two, but who struggles with addiction and an unresolved past. The actor is powerfully present and accurately detailed in his portrayal. His work is consistent and sharply focused, and is the unequivocal highlight of the production. Playwright Jamieson is cast as the wayward Sonny, a young man trying to escape the remains of a bruised childhood. His performance is committed and studied, but too restrained and not always believable. The voice and physicality that he creates does not match our imagination and experience of that personality type, and some of his depictions of emotion require greater authenticity, in order that we may identify more closely with Sonny’s plight.

The themes in Retrograde are valuable points of discussion. Problems associated with our obsession with masculinity are pervasive, and the importance of articulating and dealing with them cannot be understated. We need to redefine socially, what it is to be a man, so that we can identify truer virtues and shift prominence to them. Silence in the play is a cancer, a force that destroys individuals and relationships, and it is the opposite of that silence that can heal us all.

www.sandkingcollective.com

15Sep2015

Review: All About Medea (Montague Basement)

Posted in Theatre by Suzy Wrong

montague Venue: Old 505 Theatre (Surry Hills NSW), Sep 15 – 19, 2015
Playwright: Saro Lusty-Cavallari
Director: Saro Lusty-Cavallari
Cast: Christian Byers, Lulu Howes
Image by Patrick Morrow

Theatre review
In Saro Lusty-Cavallari’s All About Medea, the ancient Greek mythological characters of Medea and Jason are transformed into generic versions of modern day “girl and boy”. We know little about them, except for their time together; their initial meeting, their pregnancy and marriage, and the eventual devastation that befalls their story. The breakdown of this relationship is the main focus of the play, but it occurs with little explanation. Jason is painted as the villain, but his infidelity is too convenient and his transformation to apathy unconvincing. It might appear that Lusty-Cavallari’s eagerness to portray Medea’s innocence in this sad state of affairs has guided him to a narrative that is far too simplistic.

Medea is an intriguing and dynamic character, but her legend’s value in feminist terms is debatable. It is doubtless that she possesses immense strength, but the sacrifice of her children is made, ultimately to punish the man who abandons her. Her vengeful obsession gives her her power, but in All About Medea, her implied purpose is to cause suffering to Jason, and then to win him back by her delusional attempt to turn back time. Her happiness depends squarely on the manipulations she can effect on her husband’s life.

Nevertheless, the production is an engaging one, with short and sharp scenes that manage to surprise within its purposefully conventional plot structure. Performances by Christian Byers and Lulu Howes are uneven, but the team’s easy and confident chemistry is an outstanding feature. There are some refreshing and subversive approaches to the portrayal of sexuality that will leave an impression, including its liberal amount of nudity at a particularly conservative time in our civilisation. Also, the play provides insightful commentary on youth culture in Australia, and on the trend for the formation of families at a significantly younger age than had been the norm in recent decades.

When imagining Medea as a modern woman, one would hope that society can afford her greater freedom to establish a life in accordance with her desires, but with much smaller reliance on her husband and children. The concluding moment of All About Medea is a controversial one that pushes its audience to reach for their own vision of alternatives that we wish for our heroine, and luckily, that task is not a difficult one.

www.montaguebasement.com

14Sep2015

Review: Minus One Sister (Stories Like These)

Posted in Theatre by Suzy Wrong

storieslikethese Venue: SBW Stables Theatre (Kings Cross NSW), Sep 9 – Oct 3, 2015
Playwright: Anna Barnes
Director: Luke Rogers
Cast: Kate Cheel, Lucy Heffernan, Liam Nunan, Contessa Treffone
Image by Brett Boardman

Theatre review
Unlike Abraham’s sacrifice of Isaac that did not eventuate, Agamemnon killed his daughter Iphegenia to appease the goddess Artemis, in order that the lives of many others could be saved. In Anna Barnes’ retelling of the ancient tale, place becomes Australia and the time is now. Her poetic language borrows from Greek theatrical traditions and combines it with the speech of today, for a fascinating and modern take on the dramatic form. Early passages are slow-moving, with repetitions that do not seem to serve a clear enough purpose, but when the blood-letting begins, Minus One Sister takes on the intense energy of a classic tragedy. Transposing the story to a contemporary context involves a hindrance that the play tends to evade. The chain of murders originates at a point of supernaturality, which in Barnes’ version for the twenty-first century, is not entirely reasonable or convincing. Even though her revenge narratives are powerful and full of intrigue, the first transgression occurs with insufficient persuasiveness, and without that foundation, emotional investment in the piece becomes challenging.

Luke Rogers’ direction brings to the stage a wild and decadent destructiveness that is often mesmerising, in the shape of a finely tuned drama that provides many exciting moments. Although the production does not deliver great poignancy, its sensuality resonates effectively, with beautifully crafted tension holding together a show that is full of fragility and volatility. Marvellously designed by the dynamic team of Georgia Hopkins (set and costumes), Sian James-Holland (lights) and Nate Edmondson (sound), we are transfixed and overcome by a sordid world populated by unimaginably dark thoughts and evil plans. The ruin of purity could perhaps be handled with a harsher brutality, but the family’s misery is depicted with a melancholic, almost gothic, sensibility that appeals to our taste for storytelling with an edge of morbidity.

The four young actors make a compelling cast, each with a distinctive presence, and an enthusiasm for agile atmospheric shifts that keeps the show from turning predictable. Contessa Treffone, as Chrysothemis and Clytemnestra, is especially powerful, and impressive with the range of temperaments that she is able to conjure up for her scenes. Tender, resolute or cruel, she is full of conviction and we are consistently drawn to her every surprising expression. Electra, the angry and vengeful sister, is played by Kate Cheel whose ability to portray chilling ruthlessness gives the play a gravity and a foreboding that are essential to its apocalyptic plot trajectory. Cheel’s climatic moment of devastation requires greater passion, but her work is memorable for its intellectual clarity and her flair for sombreness.

Minus One Sister is concerned with the disruption of family and innocence, but its message comes across mildly, in spite of its severe and horrific episodes. There are obvious efforts at making key personalities empathetic, but their experiences do not come close enough to our reality. Nevertheless, the production is a polished and sometimes spectacular one. There is a generous amount of talent on display, and every one of its fabulous facets welcomes our genuine and immediate admiration.

www.storieslikethese.com

11Sep2015

Review: The Game Is Afoot (The Factory Theatre)

Posted in Theatre by Suzy Wrong

gamesafoot Venue: The Factory Theatre (Marrickville NSW), Sep 9 – 13, 2015
Cast: Bridie Connell, Kate Coates, William Erimya, Ange Lavoipierre, Patrick Magee, Luke Ryan, Jon Williams

Theatre review
Upon entering the venue, audience members are invited to fill in a form to suggest scenarios for the improvisational comedy that is about to unfold. The first performer Jon Williams appears and introduces himself as Dr. Watson, assistant to the world’s most famous fictional detective, Sherlock Holmes. He jokes charismatically about a few of our recommendations before settling on “The Adventure of the Mummy’s Curse”.

The show begins, and it soon becomes clear that a substantial amount of what is presented is based on material prepared prior, complete with light cues that denote scene transitions. The specificity of the night’s theme is only moderately relevant to the show’s plot, but our interest lies with its performers, who are mischievous and vibrant, each with a distinct and appealing sense of humour. Kate Coates’ extremely quirky approach leaves a lasting impression. Through various characters, she displays various sides to her unconventional style, all slightly odd, but all delightful. William Erimya is similarly likeable as Constantine Damascus, with the strongest sense of improvisational presence in the group, but his appearances are too brief and few. Patrick Magee (who plays Holmes) and Luke Ryan are dynamic performers who tend to be too controlling of the action on stage, but both turn exuberant whenever the vulnerability of chance is allowed to affect their performances.

The piece is short and sweet, with moments of precariousness keeping things alive and thrilling. Although its “scripted” portions are less impressive, they are nonetheless effective, and provide a context for improvisational play to take place. Sherlock’s adventures have entertained generations, and even though we know him for his genius, it is always the doubt and danger that he encounters that gets us hooked.

www.facebook.com/thegameisafootimpro

10Sep2015

Review: Ride & Fourplay (Darlinghurst Theatre Company)

Posted in Theatre by Suzy Wrong

darlotheatre Venue: Eternity Playhouse (Darlinghurst NSW), Sep 4 – Oct 4, 2015
Playwright: Jane Bodie
Director: Anthony Skuse
Cast: Aaron Glenane, Tom O’Sullivan, Emma Palmer, Gabrielle Scawthorn
Image by Robert Catto

Theatre review
Ride & Fourplay are two plays by Jane Bodie about male-female relationships in Australia today. Bodie’s writing is obsessed with the mundanity and ordinariness of life, and where most writers choose to romanticise and dramatise those boy-meets-girl stories, these versions are in no rush to make their point. They linger and indulge in moments to let us observe human dynamics, and to analyse the inner workings of our emotions. As a result, Bodie’s are scripts that probably hold more value for performers than they do for audiences. Under Anthony Skuse’s direction, emphasis is placed squarely on how the cast brings life to the words. Other theatrics are kept to a minimum, and at a three hour running time, our stamina and patience for brooding reflections are thoroughly tested. Although its characters are not in any way exotic, we do not necessarily find it easy to relate to their many concerns. They are too much like us, and our own foibles fail to appear fascinating when portrayed in such a plain and direct manner.

All four actors are however, impressive. They take the opportunity to explore the painstaking naturalism, and achieve a great deal of authenticity with the material. They do their best to engage without compromising the style of the production, and even though results are ultimately underwhelming, there are many points of frisson that showcase their abilities. Tom O’Sullivan and Gabrielle Scawthorn display extraordinary emotional vulnerability that provide interesting dimensions to their narratives. Their portrayals are detailed studies of the subtle ways we think and act in response to the people around us who matter. Emma Palmer is captivating in Ride, with a broken heart and a lost soul. We recognise the ordeal she goes through, and admire the actor’s thoroughness at understanding her role’s psychology and all that is required to make Elizabeth complex and true. Aaron Glenane plays Jack, a slightly unusual man with a warm charm that helps us forgive his misdeeds. Glenane has the challenging task of turning what is frankly an outrageous circumstance into one that is endearing and uplifting. It is an unpleasant plot twist that he has to deliver, but he does so convincingly.

The production is free of frills, but ambience is beautifully manufactured by its team of designers. Alistair Wallace’s sound and Christopher Page’s lights rarely steal our attention but the mood in the theatre is consistently rich with sentimentality and a gentle electricity, derived from a very sensitive approach to the show’s quiet aesthetics. Hugh O’Connor’s big raked platform facilitates an intimacy that results from giving the actors no place to hide, doggedly exposing their every flinch and gesture. The vast space around them however, causes obvious problems with acoustics, even though the overall vista is a very satisfying one.

It is in our nature to love and be loved, but we do not need to think only in terms of the (in this case) girl-boy dynamic. Love takes many forms, yet we spend an inordinate amount of time and effort in the pursuit of things like romance, marriage, fidelity, and sex. We are drawn in by its terribly seductive power; it is a mysterious libido that scientists and philosophers have tried to explain for centuries, but it is a riddle that refuses to be solved. It is an uncontrollable force that goes round and round, and even though its chief motive is pleasure, its increasingly predictable manifestations can sometimes land us in scarce more than weariness.

www.darlinghursttheatre.com

9Sep2015

Review: La Traviata (Belvoir St Theatre / Sisters Grimm)

Posted in Theatre by Suzy Wrong

Venue: Belvoir St Theatre (Surry Hills NSW), Aug 27 – Sep 20, 2015
Creators: Ash Flanders, Declan Greene
Director: Declan Greene
Cast: Ash Flanders, Emma Maye Gibson, Michael Lewis, Zindzi Okenyo
Images by Patrick Boland

Theatre review
Giuseppe Verdi’s opera La Traviata is about love and money. In Ash Flanders and Declan Greene’s radical re-imagination, a third theme of art is added to create a work of theatre that moves emphasis away from sentimental indulgence, to something that is altogether more contemporary, and intellectual. The exploration of ideas becomes an explicit one. Through five separate sequences, we are encouraged to think about our economy and consider the extent to which our lives are required to be commodified in order to survive, or at least to be able to find justification for our social existences.

Flanders and Greene are interested in the problems of thinking about art as product, and in their attempt to determine what it is that gives art a sense of value, a series of funny but thoughtful scenes are created. Each one a different genre, their presentation also addresses the clichés of art reflecting upon itself, and the difficulties in producing anything original, especially within this contemporary and introspective concept. The same operas are staged every year, yet artists are pressured to be innovative, and in our current political climate, the capitalistic ideal of “excellence” is applied to art in an attempt to understand and indeed, control how artists do their work. These absurdities are effectively, and entertainingly, encapsulated in Flanders and Greene’s show. Each section is executed with charm and sharp humour, but the transitions between them are not always managed with the same amount of flair. One also questions the straightforward division of scenes, which comes across too simple and convenient. The fourth sequence involves a question and answer format that aims to perform a sort of “reality” genre that accurately depicts the state of communications today, but the discussions demystify the abstractions that had come before, and the transformation of what was ephemerally beautiful into plainer terms is unfortunate. Perhaps a statement is made about the diminishment of romance and mystery in our lives, but it is an ironic and disappointing loss.

Greene’s talent with aesthetic and atmosphere is a drawcard of the production. Along with designers Marg Horwell (set and costumes), Matthew Marshall (lighting) and Steve Toulmin (music and sound), this overhaul of La Traviata is a consistently fascinating one, particularly at its more classically operatic moments. There is a strong desire for the work to connect, which often results in an appealing brashness that matches its quite madcap humour. It takes every opportunity to express itself with flamboyance and extravagance, but unlike the lavish operas at bigger venues, its sensibility is firmly anti-establishment. Quirky and queer, the world it creates is adventurous, dynamic and consistently idiosyncratic, with compelling symbols that interrogate our imagination and delight our eyes and ears. Performers Emma Maye Gibson and Michael Lewis leave an impression with their accomplished voices late in the piece, surprising us with morsels of operatic singing that we had all but given up expecting. It is a strong cast, each with solid presences and a confidence in their material that helps us appreciate the topics being dissected. In the absence of narrative, their cohesion in energy and comedy styles gives the show its compelling driving force.

Our hero Violetta chooses love over money at every stage of her life story. There is never a hint that money could ever mean more than her one true love. The sacrifices she makes for Alfredo eventually destroys her, and although we observe in sadness her tragic death, the profound meanings of integrity and truth emerge clearer than ever. Death pales in comparison to passion. When one is able to identify the greatest love of all, life is worth living.

www.belvoir.com.au | www.sistersgrimm.com.au

La Traviata 2015 Belvoir / Sisters Grimm

8Sep2015

Review: Anything Goes (Opera Australia / Gordon Frost Organisation)

Posted in Theatre by Suzy Wrong

Venue: Sydney Opera House (Sydney NSW), from Sep 5 – Oct 11, 2015
Music and Lyrics: Cole Porter
Book: Guy Bolton & P.G. Wodehouse, Howard Lindsay & Russel Crouse, Timothy Crouse, John Weidman
Director: Dean Bryant
Cast: Gerry Connolly, Carmen Duncan, Bartholomew John, Wayne Scott Kermond, Debora Krizak, Claire Lyon, Todd McKenney, Caroline O’Connor, Alex Rathgeber
Images by Jeff Busby

Theatre review
Cole Porter’s songs are amongst the most familiar in the Western world, and Anything Goes boasts a whole raft of evergreen hits, all taking pride of place in the musical. Originally staged in 1934, the show has been revived many times, along with film versions in 1936 and 1956 and a television special in 1954. Porter’s music is unquestionably delightful and quite irresistible. The wit of his lyrics, and catchiness of his melodies were perfect for stage and screen during his active years from the 1920’s until his final TV score in 1958 for Aladdin. This latest rendering of Anything Goes is a nostalgic gem that brings back all that is wonderful of the era, and adapts it to contemporary tastes. Direction by Dean Bryant is snappy and bold, but the production is always mindful of the conservative American climate that it re-enacts and never allows itself to get vulgar, although moments of bawdy humour are plentiful and extremely well-received. Where there are forbidden fruits, the idea of “anything goes” can take hold anywhere, and Bryant’s less is more approach pays off. By being only slightly naughty, he makes us laugh from beginning to end, tapping into a sense of old-fashioned cheekiness that still works.

Anything Goes features an ensemble cast, with many small (and very lightweight) narratives held together by the conceit of a classic cruise liner setting. We do not usually expect definitive stars for this variety of show, but Caroline O’Connor’s presence clearly dominates. Her skill, energy and seasoned pizazz, together with supreme confidence and splendid comic timing, ensures that her talent is a cut above the rest and that her every appearance jolts the crowd into spasms of irrepressible excitement. Also fantastic are the young lovebirds, Claire Lyon and Alex Rathgeber, both with impeccable voices beautifully suited to the genre, and each with physical disciplines that let the depiction of their characters be believable, charming, and terribly romantic. Their rendition of De-Lovely is a show-stopper with demanding choreography by Andrew Hallsworth executed with tremendous flair and exquisite sentimentality, bringing to the show a sophistication that exceeds all expectations. Supporting players are effective comedians but less gratifying in their respective musical numbers, most of which appear in Act II, and causing an unfortunate dip in energy as the show attempts to reach its climatic conclusion.

Designers of the show must be lauded for a lavish production that looks outstanding in its refinement and elegance. Even though visual elements are probably derivative and significantly inspired by previous incarnations, costumes by Dale Ferguson are a treat to behold and a genuine highlight. Ferguson’s set, along with Matt Scott’s lights, are as dynamic and intelligent as they come. Every movement on stage occurs flawlessly, and our eyes shift effortlessly under the spell of their technical wizardry. Placement of the orchestra in the elevated centre stage is a genius touch that recalls big band formations of the past, and contributes to a wonderful acoustic dimension impressively balanced by Michael Waters on sound design.

The title might be Anything Goes, but nothing is left to chance. There is little logic in the stories and characters we see (and its occasional racial humour will undeniably offend some), but everything on the stage is measured to utmost precision. It is professional theatre at its strongest, and will provide benchmarks on many aspects of performing arts, in Australia and worldwide. Musicals are not the best at advancing a society’s politics and civilisation, and it rarely reveals rare truths of the human condition, but a work of this standard will inspire greatness in many forms. A night of sheer entertainment might not move mountains, but where we can find meaning, is the way it helps us see that mere mortals are the ones to make miracles happen.

www.anythinggoesmusical.com.au