Category: Musical Theatre

Impro, Musical Theatre, Review September 20, 2015

REVIEW: Impromptunes Presents PUPPETS! THE MUSICAL

This puppet show for grown-ups will have you in stitches!

By Claire de Freitas

The idea of being entertained by cheeky singing puppets is not an entirely new concept (who can forget the Tony Award-winning puppet musical Avenue Q?) but the Impromptunes have taken the puppet musicals to a whole new level. There’s no script, there’s no score, there’s not even set characters. In this year’s Melbourne Fringe Festival, the Impromptunes are presenting Puppets! The Musical – a completely improvised musical with puppets!

Although the audience was small the night I attended, the troupe of five talented performers had energy in bucketloads. From the moment they came bouncing onto the stage, puppets in tow, I knew they were committed to their craft and we were in for a good night.

To prove that the musical is completely improvised each night, the audience was asked to provide its name. We were given three beats to think of a title and then asked to shout out our ideas in unison. The winning title this evening was ‘The Dangerous Egg.’

Without even taking a moment to brainstorm, the cast began to construct a song and talented pianist David Peake began to accompany them. As the song continued, the cast selected puppet friends from the back of the stage and began to create characters.

For many people (myself included) the idea of improvising a musical is pretty terrifying. I have so much respect for how swiftly and wittily the cast created the characters, scenes and songs, all the while operating puppets and syncing the words with the puppets’ mouths PERFECTLY!

As is often the case with improvisational shows, the story got pretty crazy very quickly. In short, ‘The Dangerous Egg’ ended-up being about a young man named Jeremy who joins the Navy to escape his dull farm life and is put on a mission to rescue the last remaining dinosaur egg from the Nazis. Yep, told you it got pretty crazy.

It’s a well-known rule of improvisational theatre that performers need to always say “yes” to each others’ offers and the Impromptunes in Puppets! The Musical are experts in this. It was amazing to watch how the performers communicated ideas with each other without speaking about them and followed each others’ leads.

If you want to see something funny and fresh for Melbourne Fringe Festival 2015, you don’t want to miss Puppets! The Musical.

Venue: The Butterfly Club, Carson Place, Melbourne.
Season: Until 4th October | Wednesday – Sunday 7:00pm
Tickets: $28 Full | $25 Concession
Bookings: The Butterfly Club or Melbourne Fringe

Musical Theatre, Review, Whats On September 19, 2015

REVIEW: Watch This Presents COMPANY

Stunning performances in superb production

By Adam Tonking

Stephen Sondheim can be tricky. His shows seem to be full of pitfalls to trap the unwary theatre company into poor choices, and Company is no exception. With no linear narrative, just a series of vignettes centred on marriage and relationships in New York and his usual densely layered music and finely wrought lyrics, there are a myriad of ways for this show to go off the rails. Fortunately, the cast and creative team behind Watch This’ Company are more than up to the challenge.

The cast are sublime. The protagonist Robert is a difficult role to play; a mostly passive observer to the five married couples in his friendship circle, he still needs to build a rapport with the audience so they care when he stops for a moment of self-reflection. Nick Simpson-Deeks was perfect, engaged in every scene as the fulcrum around which the action takes place, charming and affable with a stunning voice: there could not have been a better choice for the dramatic lynchpin that carries the whole show.

But there were many beautiful performances from the rest of the cast also. Mark Dickinson as David in an early scene where he reveals a controlling side was absolutely chilling, Johanna Allen as Jenny brought a delightful schadenfreude and glorious voice to “Getting Married Today”, and Sally Bourne brought poignantly to life the difficult song “The Little Things You Do Together” as Joanne (a role which in another performer’s hands could have seemed like a mere mean drunk there simply to throw in the acerbic asides). These were a few of my favourite moments, but the whole cast were spectacular.

In fact, the creative team have likewise done a spectacular job. The choreography by Michael Ralph was inventive and finely detailed; in a show that doesn’t require big dance numbers, his choreography was clever and beautifully executed. Costume design by Zoe Rouse carefully managed a balance between current fashion and the 1970s era in which the show is set, while also cleverly colour-coding the married couples to help the audience manage visually the relationships between the characters.

One glaring problem with this production is the choice of venue. Unfortunately for a portion of the audience, the action was obstructed from view by poles or railings, which is a shame because the direction and staging was flawless. A sparse and economical set by Eugyeene Teh was transformed under the direction of Kat Henry into the multitude of locations required, and Henry’s tight direction kept the momentum going through the quietest of scenes. The creative team also made the brave choice to have the performers work without microphones, with mixed results. There is something so much more engaging and compelling, particularly in an intimate show like Company, to hear the performers under the musical direction of Lucy O’Brien without the filter of amplification, and in many moments in this production it was magnificent. Until the performer turns away from you and you’ve missed what they’re saying. Again, I confess I blame the choice of venue.

That said, I would dearly love to see this exact production again, preferably in a different venue, or at least in a better seat. This is Sondheim, after all, and Watch This have presented a brilliant production of Company. My suggestion is, see it, but make sure you choose your seating carefully. Actually – see it anyway. Because even from my seat next to the band where I couldn’t see half of the stage, I still loved it.

Watch This presents Company by Stephen Sondheim and George Furth is on at fortyfivedownstairs, 45 Flinders Lane, from September 16 till October 4. Tickets available at www.fortyfivedownstairs.com or by calling 03 9662 9966.

Events, Musical Theatre, Performances August 19, 2015

REVIEW: Twisted Broadway 2015

“Broadway in a Brand-New Key”

By Bradley Storer

Oz Showbiz Cares/Equity Fights AIDS brought together a stunning ensemble of Australian music-theatre talents last night for Twisted Broadway, a gender-bending re-interpretation of musical theatre’s greatest hits, to raise money for research and developmental programs for people living with HIV/AIDS. The sense of community and giving was palpable, all the performers and creative team donating their time and energy – even the set for the show was donated by The Production Company‘s current show Nice Work if You Can Get It.

Kate Ceberano, one of the evening’s hosts, began the show as a literal MC – the classic character from Kander and Ebb’s Cabaret, spiritedly singing ‘Wilkommen’ and showing some impressive high kicks as she introduced us to the ‘twisted’ male and female ensembles and the Twisted Broadway orchestra, under the direction of James Simpson. She was followed by the glorious tenors of Blake Bowden and Josh Piterman, both bringing lead man charisma to the Jekyll and Hyde duet ‘In His Eyes’, before fellow host Eddie Perfect joined Ceberano onstage to introduce the evening officially.

The first half of the show was dedicated mainly to ensemble numbers, highlights including a cheeky ‘Gee Officer Krupke’ by the female ensemble of West Side Story, a campy male version of ‘Make Him Mine’ by Ed Grey, Alex Given and Drew Weston, a bevy of showgirls accompanying Melissa Langton as she charmingly crooned ‘All I Care About is Love’, a trio of male Lion King ensemblists bringing Motown realness in ‘Little Shop of Horrors’ all the way to Nathan Pinnell leading the ensemble of Anything Goes in a joyous ‘I’ve Got Rhythm’. A few choice solo performances were dotted throughout, Akina Edmonds‘ soulful take on the Schwartz classic ‘Lost in the Wilderness’ standing out in particular.

After a fantastic ensemble opening of ‘On Broadway’ choreographed by Michael Ralph, the second act brought spectacular solos from a variety of performers. Rob Mills hilariously sent himself up in a re-vamped version of the audition sequence ‘Climbing Uphill’ from The Last Five Years, Tom Sharah stole the show with his ‘Don’t Rain on my Parade’, and Queenie van de Zandt brought the audience to their feet in a roof-raising ‘What Kind of a Fool Am I?’. Perfect debuted a charming song from his unseen musical version of the classic Australian film Muriel’s Wedding with help from Casey Bennetto, and the male ensemble delivered a testosterone-charged ‘Be Italian’ led by Mike Snell before Josie Lane closed the evening with a thunderous ‘Goodbye’.

Producers Michael Benge and Kate MacDonald informed the audience at the end of the show that over $50,000 had been raised for Oz Show Business Cares/Equity Fights AIDS, making a perfect end to this marvellous night of music theatre all done in the name of a good cause.

Venue: State Theatre, Arts Centre, 100 St Kilda, Melbourne.

Date: 17th August, 2015

Time: 8pm

http://www.twistedbroadway.com.au/

Image by Kayzar Bhathawalla

Musical Theatre, Performances, Review July 22, 2015

REVIEW: The Songs of Mackenzie-Spencer and Strano

Once was not enough…

By Adam Tonking

Do you remember the musical revue? Not the latest incarnation where the greatest hits of a deceased or retired composer are swept together so the paying audience get to hear their favourites. I’m talking about an evening where a composer and lyricist team get to showcase their collection of stand-alone songs. Maltby and Shire come to mind. An evening with The Songs Of Mackenzie-Spencer and Strano was just like those glory days.

And what’s glorious about this format is that each new song is its own story: a new character to meet, a new dilemma to be faced, and resolution in six or so minutes. This allows for the exploration of characters and situations that probably wouldn’t be sustainable over a longer work. And boy, did Mackenzie-Spencer and Strano explore some unchartered territory. From addiction to babies, to making incest work, to coping with discount airlines; the quirky situations seldom strayed from the continuing theme of overcoming obstacles. Mackenzie-Spencer and Strano just found them in places Maltby and Shire never dared.

And it was hilarious. Strano has a strong understanding of comedy in song, and Mackenzie-Spencer’s playful yet carefully crafted music elevates the bawdiest of joke to something golden. There were a few tender, more emotional moments, and the team were more than up to the task, to show that they are more than a comedy duo.

The cast were sublime. This was essentially a showcase for the brilliant creations of Mackenzie-Spencer and Strano, but I couldn’t leave without mentioning the cast. Rob Tripolino with his deft handling of incest, Andrew Broadbent with his gorgeous bass voice in “Weekend Getaway,” Stephanie Jones’ sweet awkwardness in “Sandwiches,” Mike McLeish selling the slow-burn story of “Crack Babies,” Keagan Vaskess – a last-minute replacement – who nearly stole the show with “Scientific View” a song about love as science fiction and “Still Waiting” about the expections of becoming an adult after reading Harry Potter, and finally Fem Belling who absolutely rocked the audience with “Kabaret,” a parody of the tropes of cabaret performance. I did feel like the cast could have used more time with the material, but I understand that a concert performance of new songs by new Australian writers would have limited resources to allow this. More’s the pity; the cast were more than capable, and the songs would have shone brighter.

Since this was a one-night only performance, and you won’t have the opportunity to see this show, I insist you take down the names of everyone involved and see everything that they do. Particularly Lochlan Mackenzie-Spencer and Andrew Strano, for there is a limited amount of support for original material for musicals in Australia. And they deserve the chance to become at least as famous as Maltby and Shire.

The Songs Of Mackenzie-Spencer And Strano played at Chapel Off Chapel on June 20th 2015 at 8pm. Since I’d normally give you details where to buy tickets, this time I thought I’d give you details to follow them. Twitter: MS&S (@MS_and_S) or Facebook: Mackenzie-Spencer & Strano

Musical Theatre, Opera, Whats On July 19, 2015July 19, 2015

REVIEW: Victorian Opera Presents SWEENEY TODD

Loved it!

By Jessica Cornish

In celebrating their 10th birthday, Victorian Opera have chosen to end their Stephen Sondheim trilogy that began in 2013 with the famous musical horror Sweeney Todd: the Demon Barber of Fleet St, directed by Stuart Maunder.

Sweeney Todd (Teddy Tahu Rhodes) is a man seeking revenge on Judge Turpin (Philip Rhodes) for the wrongful imprisonment that separated him from his beautiful wife and child, Johanna (Amelia Berry). Escaping colony convict life, Todd returns an obsessed and disillusioned man, and in a cruel and unforgiving society crumbling into filth and poverty, loses his humanity and becomes a serial killer alongside his infatuated accomplice, Mrs Lovett (Antoinette Halloran). They promptly make a business of slitting the throats of barbershop customers and baking them in to pies. Meanwhile, Todd’s estranged daughter is locked away by her adopted guardian the Judge, and a lovesick boy Anthony Hope (Blake Bowden) tries to free Johanna from the lecherous man planning to marry his ward.

Victorian Opera debutant but Melbourne music-theatre favourite Teddy Rhodes has a beautiful rich voice, and his strong brooding frame demanded attention at all times; however, for the first act he seemed a little wooden and detached (even for Todd) when delivering his few lines. Halloran was a triumphant highlight of the show: her singing was always clear, well-executed and perfectly acted, providing black humour throughout the night. Her Mrs Lovett was all at once funny, revolting, and greedy yet still managed to gain the sympathy of the audience. Another standout performance was soprano Berry as Johanna, who effortlessly and accurately glided through her notoriously difficult songs and had amazing vocal clarity and control. Finally, Kanen Breen as Beadle Bamford definitely needs a mention for his hilarious performance as the snarky Judge’s companion, with a killer falsetto that reared itself spectacularly in the second act.

The ensemble are highly participatory throughout the performance, reminiscent of a Greek chorus narrating and commentating on the action unfolding. In this production, the ensemble’s well-executed diction was truly impressive because of the rapid-fire of lyrics and intense musical and narrative demands, whereupon for the most part every word was heard even amongst the complex rounds of verses. The famous Sondheim score is lyrically rich, metrically unstable, dissonant and riddled with constant tension. Under Phoebe Brigg‘s astute musical direction, even songs seemingly beautiful and sweet were laced with vengeance and murder, always leaving the audience deliciously uncomfortable and on edge.

The clarity of the audio designed by Jim Atkins was excellent: however the balance between the orchestra and the vocals was often slightly off, leaving the occasional vocal lines difficult to hear, while the infamous eerie factory whistle was literally painful to listen to and, with patrons covering their ears, really needs to be turned down. Philip Lethlean‘s atmospheric lighting was harsh, using cool washes, up-lighting, and at times, one dimensional angles to give a real horror feel, and adding to the unease of Fleet St. The sets by Rodger Kirk were simple yet adequate, and were easily and smoothly manipulated on a scene-to-scene basis (with just the one bed that seemed to be stuck on stage for a little extra time than required).

Sweeney Todd is a thrilling and enthralling musical, and with a difficult score for the regular music-theatre or operatic performer, it is not often as vocally perfected as it is here by the Victorian Opera. The opening night performance was an absolute pleasure to see and hear, and as the ‘Demon Barber’ isn’t a steady theatre standard, I warmly suggest everyone go see this musical operetta. (Just make sure that if you are purchasing or picking up ticketson the day to arrive at least half an hour in advance due to very long lines, and even more importantly make sure you are in the correct venue! Many people, including myself were ushered into the wrong theatres within the Arts Centre, so I almost saw West Side Story, another Sondheim classic, last night!)

Victorian Opera’s Sweeney Todd is playing at the Playhouse in The Arts Centre until July 25, 2015. Tickets from $50, bookings via http://www.artscentremelbourne.com.au/whats-on/opera/sweeney-todd

Image by Jeff Busby

Musical Theatre, Review, Whats On July 17, 2015

REVIEW: The Production Company’s WEST SIDE STORY

Simply impeccable

By Narelle Wood

There were two things: the fact that The Production Company was responsible; and the recreation of Jerome Robbins’ original choreography by Michael Ralph. It did not disappoint, in fact with this production of West Side Story, The Production Company has set a new bar for itself and for theatre in Melbourne.

The storyline is a mostly faithful reinvention of the Shakespeare classic Romeo and Juliet, set on the streets of New York’s Upper West Side. Two gangs, the Jets and the Sharks are engaged in a turf war, more to do with cultural prejudices and nothing better to do, than an actual place to hang. Of course when Tony (Gareth Keegan), a boy from the Jets, and Maria (Anna O’Byrne), a girl from the Sharks, meet, dance and fall in love, the cultural tensions go from casual street rumblings, to choosing weapons at a war council. And, as per the original, tragedy ensues, but not before some of the most spectacular renditions of some of Broadway’s most iconic songs.

Byrne’s voice is incredible and had the potential to overpower the rest of the cast. However, under the direction of Gale Edwards, it perfectly complimented all the other voices, especially Keegan’s and Deone Zanotto (Anita). Byrne and Keegan seemed to fit so naturally together that I found myself genuinely hoping things would somehow work out; something that I’ve not experienced before in any production of West Side Story or Romeo and Juliet. The whole cast was brilliant, but Zanotto was spectacular in absolutely everything she did.

Sets and costumes were exactly as I expected from The Production Company: simple, effective and impressive. In fact, what made this production so remarkable was how flawlessly everything came together. It was a highlight for me to hear the music to West Side Story played live, at speed and with every nuance. But the star of the show was the choreography. It was truly a privilege to watch how Ralph and the cast were able to recreate the original choreography and make it their own. I would have happily sat and watched them dance every number over and over again.

I don’t think I will ever risk seeing this musical again. The Production Company’s West Side Story is perfection.

Venue: The Arts Centre
Season: Until 19th July
Tickets: Tickets between $21 – $126
Bookings: www.artscentremelbourne.com.au/whats-on/musicals/west-side-story

Musical Theatre, Performances, Review July 13, 2015

REVIEW: Flourish Productions Presents THE SONGS OF ALAN MENKEN

From immortal Disney blockbusters to rare musical gems

By Adam Tonking

Alan Menken has a singular talent for writing beautiful songs about longing to be somewhere else. On a bleak winter afternoon, there was nowhere I’d rather have been than at Flourish Productions’ The Songs Of Alan Menken. And clearly I wasn’t alone. A packed Toff In Town necessitated more chairs being brought in to accommodate the enthusiastic crowd for this cleverly staged and brilliantly performed revue show.

The song choices were particularly inspired: some incredible showstoppers from little-known or unproduced works, some more obscure choices from the famous ones, and a sprinkling of favourites simply impossible to omit. A few more obvious choices were neatly packed into a cleverly arranged overture by accompanist Lucy O’Brien. With its simple and effective staging, slick transitions, and some snappy choreography, this show was the perfect package. Add the brilliant music of Menken, and all you need is the cast.

And what a cast. Six performers of such skill that not a moment was lost, not a song failed to hit the mark. Vanessa Menjivar opened proceedings taking the lead in “Zero To Hero,” before blowing us away in “Growing Boy,” handling the food-related innuendo with great style. “Watch What Happens,” a surprisingly complex and difficult song from Newsies, was artfully delivered by Emily Paddon-Brown. Jeff Van De Zandt’s passionate and emotive rendition of “Out There” almost brought me to tears, and Zuleika Khan’s flawless “Mother Knows Best” had them pouring down my face in awe. Khan wowed again in “Suddenly Seymour,” a gorgeously tender moment with an exquisite Liam O’Byrne as Seymour. And Josh Ellwood’s “Need To Know” was a perfect gem of a song. Although it didn’t show off the impressive notes that Ellwood would consistently deliver in the rest of the show, his storytelling was perfect.

Throw in a few group numbers, such as “I Wanna Be A Rockette,” which was so good I can’t believe I’ve never heard of it, and “Lady In The Long Black Dress,” a ridiculous comic song for the men, and the afternoon was perfect. A perfect homage to a composer so beloved for his work with Disney, and so much more to fall in love with. And with a performance of such calibre, I’ll definitely be attending any future shows from Flourish Productions.

Flourish Productions presented The Songs Of Alan Menken at The Toff In Town, Level 2/252 Swanston Street, Melbourne, on Sunday 12th July 2015 at 3pm and Monday 13th of July 2015 at 8pm.

www.flourishproductions.com.au

Musical Theatre, Review, Whats On June 1, 2015

REVIEW: Opera Australia and John Frost Present ANYTHING GOES

This production is oh so easy to love…

By Amy Planner

This Cole Porter theatre classic has smashed audience expectations with its all-singing, all-tap-dancing stage spectacular. Bursting with maritime hilarity and whimsical choreography is the latest production of the stupendous Anything Goes.

When the ocean liner SS America sets off from New York to London with a few lovers, a night club evangelist and a couple of criminals on board, anything goes! This group of unlikely travellers set off in search of the ultimate destiny, true love; but who can find true love without a little help from a bunch of singing sailors and a little criminal activity?

Caroline O’Connor should be marvelled at for her audacious performance as Reno Sweeney, the club performer moonlighting as an all-hailing all-saving evangelist. O’Connor brought the house down with her slapstick humour, formidable voice and step-perfect dance routines.

Todd McKenney was almost unrecognisable as the seemingly pompous but all-round fun loving, Lord Evelyn Oakley. His outrageous wig and goofy demeanour made for a truly amusing performance, and when McKenney’s dancing there’s nowhere else you can look.

Other more than notable performances included the criminally hilarious Wayne Scott Kermond as Moonface Martin, the suave and charming Alex Rathgeber as Billy Crocker, the seductive yet comical Debora Krizak as Erma and of course Gerry Connolly and Josh Gates as The Captain and Purser.

The large ensemble cast was brilliantly talented and each performer just as entertaining as the next; any one of them could have danced alone on the stage under a single spotlight for two hours and the audience would never complain.

From the glorious gowns of the pre-show on-stage bar mingling to the effortless poolside swing shorts, the costumes were impeccable. Dale Ferguson had such a theatrical and applaudable vision for this Broadway classic despite countless productions before it. Visually this cast would stand out from any revival; the team deserves huge amounts of praise for their nautical flair.

Unique choreography by Andrew Hallsworth paired with this impressive cast has resulted in good honest entertainment that leaves you clapping after every toe tap. Musical Director Peter Casey delighted with a truly refreshing and soulful interpretation of Cole Porter’s most wonderful songs.

Opening night had a couple of lengthy scene crosses and a lost line or two but it took nothing away from this production, receiving a standing ovation that demanded several bows. Be amazed by the spectacular nautical explosion that is Anything Goes. You’ll get a kick out of this one.

Venue: Princess Theatre, Spring Street, Melbourne
Season: Until 119 July, Tues/Wed 1pm, Wed-Sat 7.30pm, Sat 2pm, Sun 3pm.
Tickets: From $50.54
Bookings: www.ticketmaster.com or www.anythinggoesmusical.com.au

Image By Jeff Busby

Musical Theatre, Review, Whats On May 31, 2015

REVIEW: Stageart Presents DREAMGIRLS

Star-struck and star-studded

By Amy Planner

This month, a Tony, Grammy and Oscar-winning classic is being presented to much awaiting Australian audiences for the first time by Stageart. Dreamgirls is the timeless story of an all-girl singing group with dreams to make it big – to sing their way to the top and be important. When car salesmen and all-round business enthusiast Curtis Taylor Jr (Winston Hillyer) meets The Dreamettes, things begin to change and fame starts to become a difficult reality.

Directed by Terence O’Connell, musically directed by Tyson Legg and choreographed by Darren Stack, this production plays host to a myriad of Australian talent and style. The opening night audience, filled with Melbourne’s theatre-scene elite and a celebrity or two, waited anxiously for the toe-tapping extravaganza and the cast didn’t leave anything behind.

The simplicity of the set designed by Jacob Battista was refreshing; it allowed the performers to be the focus of your attention at every moment. The simple levelled scaffolding construction gave the actors room to move and creative freedom for the little things, like exits and entrances.

Expectations on costumes for a glamorous production like Dreamgirls were high and the sparkling vision was definitely evident. The execution however was a little off with a few ill-fitting garments that stole your eye away. On the other hand, the costume team led by designed Daniel Harvey does deserve major kudos for the quantity alone, with a new outfit appearing after almost every stage exit and for the quick change moments that thrilled and dazzled.

The cast was superb. Effie White is a notoriously difficult character to handle with her bossy demeanour, diva-like presence and huge vocal range; Thando Sikwila blew the audience away and received a standing ovation to prove it.

Other notable peformances were Anna Francesca Armenia as Deena Jones, Zenya Carmelloti as Lorrell Robinson and Hillyer as Curtis Taylor Jr. But perhaps the crowd favourite, and rightly so, was Gareth Jacobs as the soulful Jimmy ‘Thunder’ Early. Jacobs was energetic, hilarious and insanely talented in more ways than one. He gave Jimmy all the sass and flair he deserves and so much more; Jimmy got soul!

Dreamgirls is dazzling, witty, exciting and full of miraculously remarkable Australian talent – and you, and you, and you, and you’re gonna love them.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran
Season: Until 14 June, Tues-Sun 8pm, Sat & Sun matinee 2pm
Tickets: A Reserve $59, $55 Concession (+ transaction fee)
B Reserve $49, $45 Concession (+ transaction fee)
Bookings: www.chapeloffchapel.com.au or 8290 7000

Musical Theatre, Performances, Review May 25, 2015May 25, 2015

REVIEW: Manila Street Productions Presents SONDHEIM ON SONDHEIM

Musings of the man on his music

By Bradley Storer

With Sondheim on Sondheim, Manilla Street Productions assembles a star-studded cast to perform a revue of Broadway’s most prolific living composer, an evening of Stephen Sondheim’s music intercut with projections of the man himself with a variety of anecdotes and details relating to his life and song-writing. Among the cast were leading lady of Australian music theatre Lucy Maunder, Rob Guest, Endowment winner Blake Bowden, Martin Crewes, Delia Hannah, Michael Cormick, Lisa-Marie Parker, Anton Berezin and Australian theatre legend Nancye Hayes.

The structure of the show itself, songs and scenes from Sondheim’s oeuvre presented alongside exclusive interviews with the composer himself, is problematic – none of the songs can gain enough momentum to hold the audience before they are interrupted by snatches of interviews, and thus the flow of the evening drags. Sondheim himself is a charming and engaging presence onscreen, and hearing him speak on various topics is one of the joys of the performance. By the second act, the portions of Sondheim’s interview are more smartly dispersed alongside longer numbers which allow some much-needed momentum, leading to wonderful group songs like the self-parodying ‘God’, ‘Opening Doors’, ‘The Gun Song’ and ‘Smile Girls!, an Ethel Merman number cut from Gypsy.

The all-star cast seemed surprisingly tentative, too unsure to invest themselves in their individual numbers enough to perform a ‘star turn’ – which unfortunately is what revues such as this need to stay afloat. Maunder’s Act Two strip tease, ‘Ah, But Underneath’, was the closest the evening came to a show-stopper and allowed Maunder (who earlier delivers a touching performance of ‘Take Me to the World’) to unleash scintillating dance skills and charismatic sexuality, but was undercut by the entrance of the male ensemble and an oddly dissatisfying climax to the number. One of the greatest moments of the evening was the simplicity of watching Hayes grabbing a stool and taking centre stage to sing with heart-breaking simplicity the famous ‘Send in the Clowns’.

The orchestra, under the capable direction of Kellie Dickerson, were in great form, performing the new arrangements with great zest and skill – one mistake however was the choice of a slower tempo for the explosive ‘Franklin Shepherd Inc.’, a show-stopper that requires manic and frenetic energy to work, leaving Crewes’ valiant attempt to deliver the number underwhelming.

Sondheim on Sondheim unfortunately fails to deliver on the promise of its incredible cast and rich material, finding only moments here and there which capture the deep well of emotion and beauty within’s Sondheim work – the show itself has structuring issues which certainly don’t help the creative team and need more time and finesse to overcome.

Venue: Melbourne Recital Centre, Elisabeth Murdoch Hall, corner of Southbank Boulevard and Sturt St.

Date: Saturday 23rd May, 2015

Time: 2pm & 7:30pm

Tickets: A Reserve – $69, $59 Concession, B Reserve – $59, $55 Concession

Booking: www.melbournerecitalcentre.com.au, 03 9699 3333, at the box office.