Category: Musical Theatre

Review: Six the Musical

The six not-so-merry, but incredibly fierce, wives of Henry the Eighth

By Narelle Wood

Six the Musical is a modern, girl-power infused, diva-driven, retelling of the stories of Henry the Eighth’s wives or, more accurately, ex-wives.

Catherine of Aragon (Phoenix Jackson Mendoza), Anne Boleyn (Kala Gare), Jane Seymour (Loren Hunter), Anna of Cleves (Kiana Daniele), Katherine Howard (Chelsea Dawson), and Catherine Parr (Shannen Alyce Quan filling in for Vidya Makan on opening night) are each given their moment to tell their story, win the audience’s sympathies and, in the process, reveal a little bit of untold history.

Each queen is inspired by different queens of pop, such as Adele, Beyonce, Britney, Rihanna, Alicia Keyes and Avril Lavigne. The songstresses’ styles permeate each performance from attitude, musical genre, to dance moves, as well as the costumes and styling. Costume designer, Gabriella Slade, has created masterful pieces befitting all the dancing queens. In any other musical, the amount of detail and number of diamantés could be too much, but every part of these bedazzled outfits, including the shoes (I would like pair), are in and of themselves a piece of art.

I must admit, in terms of performances, I found myself gravitating towards the musical genres and artists that would normally fit within my musical tastes. So, the standouts for me were Gare’s Boleyn and Daniele’s Anna of Cleves. Both Gare and Daniele capture the playful edginess of Avril Lavigne and Lilly Allen, and Nicki Minaj and Rihanna respectively; they also had the added bonus of being the more up-beat solo numbers of the show.

The book by Toby Marlow and Lucy Moss, capitalises on the rock-musical genre with a little bit of a Cell Block Tango feel and not too much dialogue. The staging is minimal yet effective, and the all-female back-up band, the Ladies in Waiting (Claire Healy, Heidi Maguire, Kathryn Stammers, Debbie Yap and Jessica Dunn), were phenomenally tight. I couldn’t help but wonder though what directors Moss and Jamie Armitage would do with a much bigger stage, or if Six might benefit from a theatre more suited to a rock concert; it felt at times very small for a cast of six women with such big voices and a band with such big sound.

I did worry at times about how the stories were held together and what commentary the retelling might be making on the worthiness of female historical figures. But Six is a very self-aware show and doesn’t shy away from highlighting potential problems with either the show or how these women have historically been portrayed.

If you are a history buff, a fan of pop-princesses and diva-queens, and don’t flinch at the thought of watching Eurovision, then Six should definitely be on your list of musical theatre to see this year. And even if you’re not any or all of those things, Six the Musical will definitely educate and entertain.

Tickets from $89 available at https://premier.ticketek.com.au/. Six the Musical is on at the Comedy Theatre until 7 August 2022.

Photography by James D Morgan-Getty

Review: Fun Home

By Kiana Emmett

Moments are transient, memories are at times unreliable, though once a person is gone, grappling at those moments are all you have left.

In the Melbourne Theatre Company’s vibrant production of Fun Home, cartoonist Alison Bechdel’s journey to find truth and clarity about her father’s death leaves her spiralling into her upbringing, reliving both light and shade through her Little and Medium Alison counterparts. Based on Bechdel’s graphic memoir, with book and lyrics by Lisa Kron and sweeping score by Jeanine Tesori, Fun Home made history with the first female writing team to win the Tony Award for Best Original Score. Its appeal translates to Australian stages, with its universal themes of family, loss and identity making a heartfelt production.

The sharp, meticulously executed direction by David Bryant brings out the humour and heartbreak of the source material, and ‘Come to the Fun Home’ was a crowd favourite, with the performances of the younger cast garnering praise and applause. ‘Ring of Keys’ specifically was performed with pinpoint precision, excellently depicting an innocence and a knowledge far beyond her years.

Ursula Searle as Medium Alison was near perfection. Her portrayal was raw and vulnerable, awkward and uncomfortable and uplifting, it was exactly what life should be. She put her whole life force into the character and the result was a depth and immensity that was a joy to watch.

Alicia Clements’ set design is spectacular, and the use of the roundtable stage was especially poignant, representing the cycle of life and death, and how the two are inextricably linked.

Musical Director Carmel Dean presents vocals and a 7-piece orchestra that ebbs and flows and feels as alive and present as those on stage. It always feels as though the music is a manifestation of character wants and needs, instead of being for the sake of song- the sign of a great musical.

The standouts of the production however were parents Bruce and Helen Bechdel (played by Adam Murphy and Silvie Paladino respectively). They brought depth and complexity to their characters. Paladino’s ‘Days and Days’ was soul crushing and exquisite. Her electric presence and energy on stage spills out into the audience and touches anyone lucky enough to be in the presence of her performance. Murphy’s portrayal is a triumph, the complexity and subtlety of his performance of which treads the line between his responsibilities as a parent and his duty to be true to himself as an individual. This often manifests itself in angry outbursts taken out on those around him, which would be more truly directed to the world he lives in. He longs for the opportunity to be as open and forthright with his identity as his daughter is.

Euan Fitstrovic-Doidge’s vocal prowess is on full display with ‘Raincoat of Love’, as was his versatility, as he slid through characters effortlessly throughout the piece.  

The candid, conversational tone that Alison (Lucy Maunder) brings to the show provides relief from the larger, more complex issues taking part in non-linear vignettes. She is understated at first, before finding herself falling into her memories, which makes her shift into ‘Telephone Wire’ (where gay father and daughter long to connect over their similarities, instead of divide themselves in their differences) all the more heartbreaking and beautiful. This transformation at the end of the show, where we’ve seen Alison grow, mature and find herself, from the little girl who didn’t want to wear a dress, and sees herself in the butch delivery woman she encounters in a diner, To an overexcited college student who is exploring her sexuality with Joan (excellently portrayed by Emily Havea, who brings sultry and supportive tones), to the mature woman who leads us through the show, grappling with the death of her father is brilliantly executed and thoroughly engaging.   

Fun Home is a celebration of self-discovery, family and love, with the joy of discovery, ecstasy of love, and the crushing pain of loss. It is an invitation to view the impact of not living authentically as oneself can have on a person and their loved ones. Fun Home is a ground-breaking triumph. You must see it.

Fun Home is playing at the Art Centre Playhouse through March 5th. Tickets can be booked at: https://www.mtc.com.au/plays-and-tickets/whats-on/season-2022/fun-home/

Interview: Silvie Paladino on Fun Home

By Kiana Emmett

Based on Alison Bechdel’s bestselling graphic novel about growing up and coming out, the groundbreaking, multi-Tony Award-winning musical Fun Home, arrives in Melbourne following its acclaimed Sydney season. Directed by Dean Bryant (Torch the Place) and featuring a stellar cast that includes Lucy Maunder (Ladies in Black) and Silvie Paladino (Mamma Mia!), this production promises to make you laugh, cry and love until your heart is full.

Silvie Paladino plays Helen Bechdel, Alison Bechdel’s mother in the MTC production of Fun Home. She took the time to talk to us at the Media Preview ahead of the show’s opening night this week.

Q. What do you think makes Fun Home different from the other shows running in Melbourne at the moment?

I think certainly the topics that are touched on, we talk about diversity, mental illness, mental health. It talks about so many things: family, acceptance, homosexuality, so many major topics in life have been squeezed into an hour and forty minutes of this show. With an incredible score and an incredible book, I mean the story is so moving and funny and full of emotions. It won multiple Tony Awards, yeah, it’s an extraordinary piece.

Q. How has COVID shifted the way you prepare and the way you sustain yourself during a show season?

It’s hard because you lose that show fitness. I know people don’t see this but we are similar to athletes in that our voices are our muscle, and if we don’t use them we lose that elasticity, that flexibility that comes with singing. So it’s been hard, it’s been challenging to get back in the swing of things. But it’s also been extremely fulfilling and I feel like we are back where we belong, not sitting on the couch in our moccasins, even though that is wonderful! I would kill to be doing that right now! But it’s great to be doing it again. You appreciate the job so much more now than we possibly did before because we haven’t been able to do it.

Q. What do you hope audiences take away from this show?

I hope that audiences will hopefully be open minded, broaden their ideas of what families are and what we are as individuals. For me, we are called to love each other no matter what and I think this show, I hope this show will get people talking about their own unique family dynamic. Because we’re all different aren’t we? And rather than judging, and casting judgement on others, that we can just love one another. That’s what I hope comes out of it.

Fun Home is currently playing at the Arts Centre Playhouse through March 5th. Tickets can be purchased at https://www.mtc.com.au/plays-and-tickets/whats-on/season-2022/fun-home/

Review: Voldemort and the Teenage Hogwarts Musical Parody

An Hilarious Hogwartian Homage

By Owen James

After a painful hiatus, it’s safe to say that theatre has returned to Melbourne with a bang. And Salty Theatre’s latest production ensures that bang is a wild explosion – of infectious, ferocious energy.

Voldemort and the Teenage Hogwarts Musical Parody is a haven of in-jokes, subtle winks and overt nods for Potterverse Potterheads, who will lap up every reference and expert impression this packed extravaganza offers. Writers Fiona Landers, Reuben James and Richie Root rely on the bottomless well of Potter tropes to effectively expedite their exposition, and propel the audience through an upbeat hour of boisterous musical parody.

Miranda Middleton (Director and Choreographer) ensures that clear storytelling rockets us through dozens of vignetted scenes and songs, building a slapstick, melodramatic world, filled with wild lines from wild characters. Middleton’s heightened direction helps the show to especially lift off in the second half, with converging plot lines, elements of murder mystery, and appearances from classic Potter characters.

The cast of seven are a slick ensemble, and it is clear they are having enormous fun in every moment. David Youings’ Musical Direction lifts the show from parody to professional, showcased with tight, delicious harmonies in songs like ‘Foreshadowing’, and the catchy opening/closing numbers. Every individual is given ample opportunity to showcase their finely honed, powerhouse vocals, and there are sensational highlights from Mel O’Brien as doting Hufflepuff Muffin Rows, and Jonathon Shilling as complicated Derald Bacon. Ellis Dolan’s frustrated Professor Al (“another day, another child’s body”) is a ferocious tour de force of rowdy wit and scene-stealing lines (“I’m going to go stick my dick in the sorting hat.”)

The Battle Of The Bands sequence gives moments to shine for Stephanie John as Hogwarts’ own ‘Mean Girl’ Genevieve Griffyndor, and Emily Hansford as ostracised Myrtle Warren – whose journey from caterpillar to butterfly is sweet and hysterical. Jonathon Shilling plays every sweep of Derald Bacon’s 180 degree character arc with glee. All three must be commended too for special appearances as well-known core Potterverse characters – these expert, over-the-top impersonations are an unquestionable highlight of the show.

Jay Haggett as Hagrid, and Alex Donnelly as Tom Riddle are audience favourites, brilliantly exploiting measured moments of subtlety amidst the raucous chaos. Haggett’s featured operatic vocals are especially impressive, and Donnelly’s paradoxically sweet but cruel disposition keeps us invested at every turn, finding the joy within every evil intention.

Theatre Works’ unique approach to COVID safety involves raised plexiglass booths that seat small or large groups, arranged in the round. While these reflective, non-absorbent surfaces may have hindered clear Sound Design, their arrangement has thankfully inspired a genius Set Design from Madeline Nibali. Detailed paintings of crests hang above our booths, denoting which Hogwarts house your section belongs to, further immersing and engaging us as we are encouraged to campaign for our allocated house throughout the show.

Gorgeous, precise Lighting Design (Caidan De Win) transforms the space into a colourful, exaggerated menagerie of hallowed Hogwarts halls, and highlighted explosions of musical theatre.

Salty Theatre are welcomed fresh faces on the Melbourne independent theatre scene, striving to bring “the culture of workshop musicals to Australian audiences”. They have delivered another powerhouse production with this imported gem, and I eagerly await their future festival circuit discoveries and cultivated local originals.

Potterheads who adored Puffs or A Very Potter Musical are strongly encouraged to grab their broomstick and fly to this frantic, frenetic Hogwarts frenzy. Running for a limited season until 10 April (they have started adding extra matinees and late shows for some dates!), there are very few tickets remaining at https://www.theatreworks.org.au/program/voldemort/

Review: Come From Away

Moments of levity and uplifting human connection set against a backdrop of tragedy

By Narelle Wood

With the return to live theatre also comes the return of Come From Away. Directed by Christopher Ashley, the production captures all the fear, joy, heart-break, break-ups and friendships of spending time in an unfamiliar place, plagued by the uncertainty and fear watching the aftermath of a terrorist attack.

The story begins in the town of Gander where the townsfolk are going about their business like any other day. There are people chatting in the local diner, a reporter starting her first day for the local TV station, teachers negotiating the first day back at school, and the town’s Mayor negotiating with the local bus drivers who are on strike. But it isn’t any ordinary day; it’s the morning of September 11th 2001. With an unprecedented number of planes being diverted to Gander airport, the townspeople rally together to work out how a small town in Newfoundland, in the far reaches of Canada, can accommodate 7000 guests.

Over the next 100 minutes we’re introduced to a range characters, from the town and the planes, whose stories interweave and overlap. There is a couple whose relationship is becoming increasingly strained, while new relationships and friendships are steadily forging. Some characters are confronted by racial stereotypes, while others are facing language barriers, or trying to reconcile the destruction caused by the terror attacks with the city that they love. Buelah (Emma Powell) jumps to action at the local school organising everything from spaces to sleep, to food, telephones and televisions, as well as offering emotional support to a number of the plane people such as Hannah (Sharriese Hamilton) whose son, a New York fire fighter, is missing. Beverley (Zoe Gertz), Captain of one of the planes, shares her concerned for her passengers, her plane, her colleagues, her family, and the approaching storm that may keep them grounded for even longer than expected.

It’s a true ensemble piece, each character stands out but doesn’t over shadow the others. It’s hard not to adore Bonnie’s (Kellie Rode) passion to care for the animals trapped on the planes or Bob’s (Kolby Kindle) gradual acceptance of Gander and the surrounding towns as a place he can feel safe. Each actor plays multiple characters, seamlessly transiting from one to another, and it is a testament to the quality of the book (by Irene Sankoff and David Hein), direction and performances that no one story is lost along the way. The effortless transformations are complimented by the simple staging (Beowulf Boritt) which quickly transforms from planes to buses, to a diner, bar, school cafeteria, a cargo hold of the plane, and back again.

It’s really hard to fathom how a story, set against so much tragedy, can capture the fear, sadness and terror of September 11th, whilst finding moments of levity and uplifting human connection. But Come From Away does exactly that, helped along in no small way by a powerful and gutsy soundtrack (music and lyrics by Irene Sankoff and David Hein, musical direction by Luke Hunter).

Come From Away made me both laugh and cry, sometimes at the same time. It is quite possibly one of the best shows of all time, and it’s just as good the second and third time as it was the first.

Come From Away is on now until 21st March at the Comedy Theatre. Tickets for the Melbourne performance are available via the link below.

Review: Jack Frost: The Musical

A timely fairy-esque tale

By Bradley Storer

Despite the industry wide instability currently decimating the Australian theatre scene, opening night of new Australian musical Jack Frost luckily proceeded. A fairy-esque tale that follows the journey of a young girl travelling both backwards into her past and headfirst into her future, the tale feels eerily appropriate for the current global situation. A small town facing environmental chaos, a political struggle between a conservative past and the pull of progress, and the rise of a charismatic but underhanded leader.

The absolute crowning glory of the piece is composer/writer Joseph May-Dessmann’s score, a lush and inviting affair under the musical direction of Jayla McLennan. While no specific number stands massively above the rest (with the possible exception of Frost’s solo number ‘Take Care’) the songs of Jack Frost are truly a wonder, lifting the cast and audience towards musical theatre magic.

The script and book need some further work, with some character motivations and plot points still a little unclear textually. A little more exploration and explanation of the world in which the characters inhabit may also solve some tonal and linguistic shifts from scene to scene that felt slightly jarring. Despite this, director Lauren McKenna has done a wonderful job of crafting the dramatic journey and stage imagery to a polished gleam.

Tayla Muir as Stella Forte, the heroine of the story, is the guiding light of the production. With an exquisite voice and a lovely stage presence, Muir is absolutely captivating – when the stage lights go down to focus on only her face and voice, it is almost impossible to turn away. As her best friend Michael, Ben Hallam is adorably campy, and stage veteran Samm Hagen rounds out the central trio as mayoress Violet Flowers. Hagen commands the stage from her very first moment, wielding her massive voice with finesse and lifting the performances of everyone around her with her presence alone.

As the ostensible antagonist Leo, Joseph Spanti offers both incredible singing and a refreshingly natural and truthful performance of the agonized character, flowing with ease into the charismatic showmanship of the second act. Callum Andreas, in a very grounded and gentle performance, has only one song as the mystical Jack Frost but easily turns it into the highlight of the show with his stunning voice. Ambrose Steinmetz and Penny Larkins, as Stella’s mother and grandmother respectively, radiate warmth and love, lifting the mood in the second act with their charming comedic duet.

While the rest of the season has been cancelled in light of recent developments, with as amazing a cast and an sublime a score as this Jack Frost definitely deserves a wider audience and further development and we can only hope it will return.

Venue: St Martin’s Youth Theatre, 28 St Martins Lane, South Yarra

Bookings: No longer available

Preview: The Secret Garden

A favourite musical returns to Melbourne

By Samuel Barson

The Phantom. Daddy Warbucks. Doctor Zhivago. The list goes on for national treasure Anthony Warlow and the endless list of memorable musical theatre characters he has played. None however, in his own words, will ever reach Archibald Craven in The Secret Garden. 

And in November 2020, after 25 years since he first played the role, Warlow’s Craven will be reintroduced to Australian audiences, alongside an exciting and fresh Australian cast for a national tour of The Secret Garden.

The cast were announced yesterday by John Frost OAM and Opera Australia. They include Georgina Hopson (Ragtime, West Side Story), Rob McDougal (Assassins, Les Misérables) and Gold Logie winner Rowena Wallace (Sons & Daughters, Neighbours).

The musical originally premiered on Broadway in 1991, with an Australian tour following in 1995. It tells the story of Mary Lennox, an orphaned 10 year old girl who is sent to live with relatives who she has never met. She learns about herself and her family as she tends a neglected garden that has, yes you guessed it, secrets.

The 2020 25th anniversary will see the production at Sydney’s Lyric Theatre from 2nd August before moving to Melbourne’s Her Majesty’s Theatre on 13th November.

Tickets for the Melbourne season are on sale from February 28th via secretgardenmusical.com.au or by calling 1300 795 267.

Photography by Samuel Barson

Review: Billy Elliot

A celebration of communal desires and the importance of relationships

By Joanne O’Mara

Billy Elliot: The Musical is a stunning piece of musical theatre that lifts us out of our everyday lives and takes us beyond ourselves.

When the curtain opens we are immediately plunged into the darkest depths of the 1984/85 coal miner’s strike in Durham, England. We are placed in a time when the miners’ collective unionism and shared sacrifices are threatened by Margaret Thatcher’s push to weaken the union system. Immersed in an empathic narrative that leads us to understand both the politics and lived experience of the miners— we meet Billy Elliot (played in Melbourne by Omar Abiad, River Mardesic, Wade Neilsen, and Jamie Rogers)—a boy who falls in love with ballet when he is meant to be boxing. Like many heroes, the odds are stacked against him—poverty, a toxic masculine culture and lack of social capital. We are inspired, moved and exalted as we travel the inspirational journey with him as he negotiates all of this to transcend his life and circumstances through his engagement with the arts.

The show is a celebration of communal desires and the importance of relationships. Billy is supported on his journey by three women—Mrs Wilkinson, a local B-grade ballet teacher (played by Lisa Sontag); Grandma (played by Vivien Davies) and Dead Mum, his mother, who has died several years before (played by Danielle Everett). All three of these women uplift him to enable him to rise above the toxic masculinity.

Billy’s Grandma describes her complex, oppressive, violent 33-year marriage to his alcoholic grandfather in a song describing how “your life ended when you had a ring around your finger” and the brief reprieve she and her husband both felt from the industrialised environment and their noxious lives when they went dancing. In another moving scene Billy recites and Mrs Wilkinson reads Dead Mum’s letter to Billy, where she pleas, “You must promise me this, Billy, in everything you do, always be yourself, Billy, and you always will be true”.

Through all of this, it is the male chorus, that set up the scenes so effectively as the strike and clashes between police and miners are ever-present in every moment of the play, most notably when the dance classes is so surrounded by the circumstances that the young girls and Billy merge with the strikers.

The most delightful rendering of the “Be yourself” theme is when Billy and his friend Michael dress in Michael’s mother’s clothes and sing a song about expressing themselves, asking “Cos what the hell is wrong with expressing yourself/ For wanting to be me?”. This celebratory number joyfully concludes, “The world’s grey enough without making it worse: What we need is individuality”.

The recently renovated Regent Theatre was sparkling and the lighting and sound in the play were incredible as a team of gifted designers worked effectively with some of the constraints of this beautiful venue, which was purpose-built as a movie theatre. I was most moved in the scene where Billy dances with his future self (played by Aaron Smyth). In this scene the scale of the boy dancing with a much larger male dancer and the use of effective lighting transports us into his imagination and dreams of his future self.

The heart of Billy Elliot: The Musical is about personal freedom—to choose your own path and live your own life. It is also about struggle and loss, and, while set in 1984, is incredibly contemporary, speaking to the circumstances that led to Brexit, to current conversations about male violence and redefinitions of what positive masculinity looks like. It is a stunning, inspirational, emancipatory piece of musical theatre.

Billie Elliot is playing at the Regent Theatre until the 19th April. The running time is 2 hours and 55 minutes with a 20-minute interval.

Show times and tickets at https://billyelliotthemusical.com.au/

Photography by James D. Morgan

 

Review: Shrek

A warm and lovely treat

By Bradley Storer

Based on the beloved film with a score by modern Broadway legend Jeanine Tesori, Shrek opened last night at Her Majesty’s Theatre to rousing response and standing ovation. Despite some minor technical issues and a slightly overpowering sound balance from the band pit, it is easy to see why this production has been charming audiences around Australia.

As the titular character, Ben Mingay offers a refreshingly truthful performance that helps to ground the cartoonish surroundings in emotional reality. Tapping into the loneliness and awkwardness that lies beneath the character’s abrasiveness, Mingay showcases a beautiful vulnerability alongside his gargantuan voice and stage presence. Nat Jobe has a harder time as Donkey, dealing with a role whose humour doesn’t translate as well from screen to stage but manages with good-natured cheek and bombastic energy.

In contrast to her earlier work as high energy fairytale ‘princess’-esque characters, Lucy Durack plays the stereotype-shattering Princess Fiona in a slightly more laid back and chilled manner than one would expect. This characterization can leave one wanting more in certain moments but pays off handsomely in her comic and romantic chemistry with Mingay, and she still sells her big Act Two opening – ‘Morning Person’ – with charm and cheer.

Todd McKenney as the walking visual gag Lord Farquaad steals every scene he is in, proving the very definition of a ‘star’ by milking what is essentially a one joke character to maximum effect. The ensemble are an absolute joy, shifting through various roles throughout but truly providing the heart and soul of the show as a ragtag bunch of displaced fairytale characters – watching them let loose during the ridiculous and empowering ‘Freak Flag’ is quite possibly the best moment of the entire performance. (Special mention to Denise Devlin, stepping in for Marcia Hines on opening night in the role of the Dragon, and unleashing some truly astonishing vocals during the finale)

A warm and lovely treat for children and parents alike, it would be hard to leave this show without a smile on your face!

Venue: Her Majesty’s Theatre, 219 Exhibition St, Melbourne

Dates: February 19th – April 12th

Times: 7:30pm Wednesday/Friday/Saturday, 6pm Sunday, 1pm Wednesday/Thursday/Sunday, 2pm Saturday

Bookings: ticketek.com.au

Photography by Brian Geach

Review: Chicago

Full of razzle dazzle

By Rebecca Waese

The sizzling Jazz-age musical, Chicago, opened at the State Theatre at the Arts Centre in Melbourne last night, satirizing the idea of the celebrity criminal, the corrupt justice system and the media that glamourizes American criminals, and especially, gorgeous female murderesses. Based on a 1926-play written by crime reporter Maurine Dallas Watkins on historical female murderesses who used their feminine wiles to get away with murder, this revival of the 1975 American musical is eerily resonant today in the age of ‘fake news’ where phoney celebrities dominate the headlines and Insta feeds. It was sultry, and full of ‘razzle dazzle’ with some fine moments of comedic timing and satire, and extraordinary talent.

Alinta Chidzey as Velma Kelly brought her outstanding talents in dance and voice to the stage, with vertical leg extensions and a vocal range and power that took my breath away. Having toured alongside Hugh Jackman in The Boy from Oz and winning an impressive collection of awards for Musical Theatre, Chidzey is one to watch. The casting of Casey Donovan as Matron ‘Mama’ Morton was bang-on. The former Australian Idol winner was a powerhouse to behold, owning the space with intensity and adding a sexy physical confidence to the role which was fabulous to see. Natalie Bassingthwaighte brought engaging comedic timing and physicality to the role of Roxie Hart, particularly in the press conference scene where the lawyer, Billy Flynn, played by Jason Donovan, uses her as his ventriloquized dummy to construct a new narrative and re-frame her as innocent. Donovan was slick, charming and humane in his dramatic portrayal of the celebrity lawyer and connected well to the Melbourne audience who welcomed him warmly. The vocals of Jason Donovan and Bassingthwaighte, however, were just not on the same level as Chidzey and Casey Donovan, whose voices filled the vast theatre and were in a league of their own.

Highlights of the show included the onstage orchestra (directed by Daniel Edmonds) who stole a few celebrity moments after interval with some upstanding jazz solos that got the crowd roaring. Understated cuckold Amos Hart, played by Rodney Dobson, had the best jazz hands in the show in his compelling, ‘Mr. Cellophane’ and the ensemble was extraordinarily strong with salivating sexy moves from Fred Casely, played by Andrew Cook and Fosse-inspired choreography by Ann Reinking and Gary Chryst that popped and pulsed with impressive synchronicity.

Opening on the historic night of Donald Trump’s impeachment, this Chicago production voices a timely and ironic message on the decline of justice and truth in America. Velma comments, “You know, a lot of people have lost faith in America and what America stands for’ and Billy Flynn’s response is to ‘Razzle Dazzle them… How can they see with sequins in their eyes?” A self-aware musical production such as this exposes our collective desire for both glamour and truth. With home-grown stars and a formidable ensemble, you will be entertained on a number of levels by this Australian production of Chicago.

Until 23rd February, tickets at http://www.artscentremelbourne.com.au/whats-on/2019/musicals/chicago

Photography by Jeff Busby