Category: Musical Theatre

Comedy, Events, Festivals, Musical Theatre, Review, Whats On March 29, 2015March 29, 2015

REVIEW: Trifle Theatre company presents AVENUE Q

An unplifting transition into adulthood

By Myron My

Having seen the West End production six years ago (and remembering it strongly), I had high expectations for Trifle Theatre Company’s production of Avenue Q. Furthermore, I had some reservations as to whether it could match the magic of my original viewing, but within the first few minutes that doubt disappeared. We may only be in March but I can confidently say that this will be one of the best shows I see this year.

The story follows a recent college graduate, Princeton (played by Jordan Pollard), who is a little wet behind the ears and entering the “real world”. Moving to Avenue Q (the best he can afford) he gets acquainted with the locals, including Kate Monster (played by Sarah Golding), Trekkie Monster (played by the wonderful Andy McDougall), married human couple Christmas Eve and Brian (Leah Lim and Michael Linder) and Gary Coleman (in a interesting casting choice, played by Zuleika Khan).

What follows is two hours of sharp and witty comedy and laughs as each character works towards finding their way in life. Despite the sexually charged innuendo and racy songs such as “Everyone’s A Little Bit Racist” and “The Internet Is For Porn”, there is much heart in these stories and that often-confusing transition into adulthood. The whole cast, including the ensemble, work seamlessly with the puppets and manage to create some human emotion through their movements, actions and speech.

Lighting work by Jason Bovaird captures the mood of the characters and the environment brilliantly and the stage design by Jacob Battista authentically replicates a shabby, down-town New York city block. The six piece band however, led by Musical Director David Wisken, are truly amazing in their unseen performance in a separate room to the small stage.

Avenue Q pushes boundaries between clever and lewd and the only way it succeeds is because puppets can get away with a lot more on stage than any actor could. With a big dose of disbelief, it perfectly blends the innocence of a childhood with the scary realisations of adulthood and creates an uplifting and affirming story about change and transition. Director Stephen Wheat should be congratulated on not only creating a show that is on par with its predecessors but also allowing it to form its own individuality and uniqueness.

I am strongly encouraging people to go and see this production, but the whole season has already completely sold out. Guess it really does suck to be you.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran

Season: Until 11 April | Tue-Sun 8:00pm, Sat 2:00pm

Tickets: $43.50 Full | $38.50 Conc

Bookings: www.chapeloffchapel.com.au or 8290 7000

Cabaret, Comedy, Events, Festivals, Musical Theatre, Review, Whats On March 28, 2015

REVIEW: Is it Flirting, Or is it Not?

Lots of flirtatious fun

By Narelle Wood

Kelly Rose Ryan deals with the hard topics and questions that affect us all through her musical investigation, seeking answers to Is it Flirting, or is it Not? From scenarios dealing with the timing of a text message, a pat on the arm, or a ‘hey’ from your local barrister, no stone is left unturned in examining whether a simple interaction is the blossoming of life-long-love.

Ryan is sassy in her portrayal of flirtatious women at all different stages of their lives. Beginning with the innocent schoolyard crushes to the more sophisticated negotiating of adult relationships, Ryan attempts to discover exactly what each potential romantic interaction means. The stories range from heart-breaking break-ups to Saturdays night in as a cat lady.

The musical numbers include R. Kelly and some suave Gershwin, each song adding another opportunity for some flirting analysis. In a fairly unobtrusive manner, Ryan asks for audience participation, requesting their opinions and advice on some of the more ambiguous flirting moments. On this particular night, there was no definitive answer and Ryan makes a very valid argument for us all to be much more like Prince Charming.

Is it Flirting, or is it Not? may not deliver the answers about what constitutes a flirtatious encounter but does deliver lots of laughs. A cute show that hits all the right notes resulting in a really fun and flirty show.

Venue: The Butterfly Club, Carson Place, Melbourne

Season: 2^nd and 3^rd April, 7pm

Tickets: Full $32| Conc $28

Bookings: http://www.thebutterflyclub.com/show/is-it-flirting-or-is-it-not

Musical Theatre, Review, Whats On March 1, 2015

REVIEW: Luckiest Productions Presents SWEET CHARITY

Your friends should see this now

By Bradley Storer

Luckiest Productions’ Sweet Charity has made its way to Melbourne after successful sell-out seasons in Sydney and Canberra. This Helpmann Award-winning production more than lives up to expectations with a dark revisionist exploration of this Broadway classic.

Verity Hunter-Ballad in the title role of Charity Hope Valentine brings a refreshing touch of normality and relatability. The audience is always aware, beneath the zany and perky exterior, of the real flesh and blood human that Charity is. She also dances up a storm and brings exquisite vocal mastery to all of Charity’s songs, unleashing a full-throttle and soul-rending performance in the despairing ‘Where Am I Going?’. Martin Crewes shows surprising versatility as the various men in Charity’s life – at first showing seductive charm and gallantry as the charismatic Italian movie star Vittorio Vidal, then later morphing into the neurotic but lovable Oscar Lindquist, with a similar vocal transformation from operatic tenor to contemporary character singing.

The bare-bones production, under the direction of Dean Bryant, is unafraid to show the darkness that lurks beneath the surface of this seemingly comedic musical. The female ensemble are depicted closer to the prostitutes of Fellini’s original film than the taxi dancers of the Broadway musical, stuck in an eternal cycle of degradation and poverty that they’ve given up on escaping – most touchingly rendered in Nickie (Debora Krizak) and Helene (Kate Cole)’s by turns cynical and hopeful duet ‘Baby, Dream Your Dream’. Even Charity’s Act One comedic tour de force, ‘If My Friends Could See Me Now’, is performed in a single light surrounded by darkness, as if suggesting the continual threat of the despair kept at bay by Charity’s hopefulness and optimism.

Cy Coleman’s classic Broadway score and Bob Fosse’s signature choreography are both thrillingly modified here to service the new production – new arrangements of music bring in such contemporary sounds as electric guitar, drums and synthesizer that drastically shift the feel of Coleman’s music to the modern. The famous ‘Hey Big Spender’ becomes less of a brassy Broadway belter and more like the guttural, dirty rock music of a strip club in the early hours. The ‘Rich Man’s Frug’ is transformed through the wonderfully imaginative choreography of Andrew Hallsworth into an angular and frenetic vision of a hideously modern New York party, and the psychedelic hippy celebration of ‘The Rhythm of Life’ into a rock-gospel revivalist meeting that sees most of the cast naked by the end.

The most drastic change is the very last scene, stripping away any pretensions to Broadway brightness with Hunter-Ballad’s achingly vulnerable and raw performance and an ending so shocking and unexpected that it leaves the audience dumb-founded. Such a dark and revelatory vision of a classic Broadway musical make this production of Sweet Charity a must see!

Venue: The Playhouse, Arts Centre, 100 St Kilda Rd, Melbourne.

Dates: 25th February – 7th March

Times: Wednesday – Saturday 8pm, Tuesday 7pm, Matinees: Thursday 26 February, 1pm, Saturday 28 February, 2pm, Sunday 1 March, 3pm, Saturday 7 March, 2pm

Tickets: Tickets from $79.90, Under 30s concession pricing $30

Bookings: www.artscentremelbourne.com.au, 1300 182 183, at the box office.

Image by Jeff Busby

Musical Theatre, Review, Whats On February 26, 2015February 26, 2015

REVIEW: Melbourne Premiere of SEXERCISE THE MUSICAL

Working out the kinks

By Myron My

Who ever said that sex and exercise have to be mutually exclusive? This is definitely not the case with the new musical comedy directed by Sara Grenfell and presented by Aleksandar Vass and Malcolm C. Cooke, Sexercise, where we follow a married couple’s journey to rediscovering the fun and sexy times in their relationship.

The strength and success of Sexercise lies very much with its talented group of actors. Despite two solid hours of acting, singing and dancing, the small cast all manage to keep their energy levels up and the further we progress with the story the more this dynamism is visible. Clearly there is much fun to be had on stage, with the audience and with each other.

Nicole Melloy and Lyall Brooks are both extremely likeable as married couple Sam and Joe. They could easily have been pigeonholed as the annoying nagging wife and the insensitive, ignorant husband but they are able to expose a vulnerability to their characters that is natural and subtle whilst still bringing on the laughs and delivering the jokes.

The rest of the cast consisting of Fem Belling, Cameron MacDonald, Kristin Holland and Lulu McClatchy display their ability to support the protagonists but also command the stage when required. It almost reached the point where I wanted to learn more about these people than Sam and Joe: what exactly is going on in Andy’s marriage and who is this woman that has broken Tania’s heart? Writer Derek Rowe does well to feed the audience just enough information that we eagerly await the return to the stage of these characters.

While there may be some funny and touching moments in Sexercise, there are scenes that are too long and seem to drag to their conclusion and others that apparently don’t even need to be included. At a running time of over two hours, I felt some editing is required to allow the story to stay snappy and constantly moving forward at a pace that allows our attention to not falter.

While the musical numbers, also by Rowe, are on the whole enjoyable, there are some that seemed unnatural and awkward but due to the talent of the performers, were still fun to watch. Sexercise’s musical highlights )directed by Trevor Jones and choreographed by Dana Jolly) included ‘Mates For Life’, ‘Are We Done Yet’ and ‘36 not 23’ but by far my favourite song of the evening would be MacDonald and McClatchy singing ‘It Might Be Different This Time’, a wonderful number which could have been the signature song for every characters’ journey in this production.

Sexercise is more than just a story of 30-somethings wanting to have sex. It is cheeky, it is fun and it is naughty but it’s also about a group of individuals trying to connect with someone else. By cutting down the running time and undertaking some rewriting, this new musical has the potential both to make that theme more meaningful and create greater enjoyment for the audience. Nonetheless, this production of Sexercise is still worth seeing for the stellar effort by the excellent cast.

Venue: Alex Theatre St Kilda, 135 Fitzroy St, St Kilda
Season: Until 15 March | Tues-Sat 8.00pm, Wed 1pm, Sat 2pm, Sun 3pm
Tickets: From $50.87
Bookings: http://sexercisethemusical.com

Musical Theatre, Review, Whats On February 21, 2015February 21, 2015

REVIEW: Stage Art Presents IN THE HEIGHTS

Exhilarating

By Bradley Storer

Melbourne music theatre company Stage Art score a major win this year with the Australian premiere of In the Heights, the musical which opened on Broadway in 2008 and introduced the world to the lives and vibrancy of the urban Latin community in New York City.

This fresh and modern approach to music theatre is cemented in the opening image, a spectacular hip -hop combination from Graffiti Pete (Peter Sette), as well as the musical’s titular opening number which combines extensive rap and lush Latino music and Salsa rhythms that, under the musical direction of Cameron Thomas, throbs with energy and passion. The incredibly talented ensemble handle Yvette Lee‘s complex and pyrotechnic choreography with astonishing ease, although the group numbers tended to blur together towards the end of Act One before roaring back to life in ‘The Club’ sequence.

The cast as a whole should be congratulated, delivering strong performances on nearly every front. Stephen Lopez as Usnavi, the emotional centre and sometimes narrator of the show, brings both charisma and an adorable awkwardness to the role, as well as amazing vocal dexterity and diction in Usnavi’s many rap-based streams of consciousness. As his love interest Vanessa, Bianca Baykara showed off thrilling vocal power and confident dancing, but seemed a little unsure of herself in the role at times. Anna Armenia as Nina had an inexhaustible belt and a sweet stage presence, and James Elmer as Benny made a comic masterpiece out of ‘Benny’s Dispatch’ as well as revealing a lovely pop tenor voice in the character’s more romantic moments with Nina.

Francesca Arena was stunning in the role of Abuela Claudia, the grandmotherly figure who embodies the strength and determination of the Washington Heights community – her tour-de-force story of her journey from her home country, ‘Pacienca y Fé’, was an Act One highlight, Arena unleashing roof-shaking vocals and a gospel-like intensity. Laura Marcucci owned the stage as Daniela, the ballsy local salon owner, in the gossipy ‘No Me Diga’ and as the rousing ring leader of ‘Carnival del Barrio’. Andrew Doyle was cheeky and heart-warming as the frenetic Sonny, Usnavi’s shop assistant.

Director James Cutler and the entire creative team should be incredibly proud of this show and bringing this wonderful story to our shores, which even on opening night had the audience almost leaping to their feet in pure exhilaration and joy.

Venue: Chapel off Chapel, 12 Little Chapel St, Prahran.
Date: 18 February – 8 March
Time: 7:30 Tuesday – Sunday, 2pm Matinee Saturday and Sunday
Tickets: A Reserve $59 Full, $55 Concession / B Reserve $49 Full, $45 Concession
Bookings: www.chapeloffchapel.com.au , Phone: 03 8290 7000, Email: chapel@stonnington.vic.gov.au , at the door.

Image by Belinda Strodder.

Festivals, Musical Theatre, Review, Whats On January 27, 2015January 28, 2015

REVIEW: Midsumma Festival’s THE BIG GAY CRUISE

All aboard this maritime musical

By Myron My

What could be more fun than a gay cruise? Nothing, according to engaged couple Alex and Ben and their best men, Stephen and Anthony, as they board a gay cruise ship for one final hoorah before their nuptials. Being performed as part of the 2015 Midsumma Festival, it’s fun, sexy and camp laughs in David Peake‘s original musical The Big Gay Cruise, directed by Leigh Barker and presented by Adam J. Lowe.

With Alex and Ben (Brenton Cosier and Will Atkinson) soon to be married and their wedding day approaching, insecurities and fear are heightened for the characters. I would have loved to see more focus on this storyline in Peake’s script and an exploration of the secret that is revealed in the second act rather than splitting off to various sideline stories for the support cast. These characters may have had some genuinely funny moments, but I was not as emotionally invested in their story as I was about Alex and Ben’s. I felt more focus on the central couple would have kept the narrative more entertaining, with a stronger pay-off at the end.

The impact of the music raises a similar issue, with many songs not progressing the story, and creating the impression they are mostly filler, such as “The Locker Room” and “My Suite”. Despite being saddled with these unnecessary numbers, most of the cast are strong singers and do exceptionally well with their solo songs. Cosier in particular does an exemplary job when singing, and seems to be in his element during these moments.

The funniest part of The Big Gay Cruise would belong to Ben Paine as the sexually adventurous Anthony, and his song “Strength Inside of Me”, which Paine performs with great comedic expression and timing. However, it is Samuel Kitchen as Stephen who steals the show with “That Happy,” his emotional song of love lost and missed opportunities. This is where Peake’s songwriting skills excel, alongside other striking numbers about life and love such as “There’s A Boy” and “Just A Little Bit”.

Overall, there is little clarity on whose story this is, and thus the relationship between the audience and the inferred “hero” of this musical, Alex, needs to be strengthened. The Big Gay Cruise definitely has enough laughs and a committed cast to prevent this ship from sinking but the script and score do require more fine-tuning.

Venue: Theatreworks, 14 Acland St, St Kilda.
Season: Until 1 February | Tues – Sat 7:30pm, Sat 3pm, Sun 6pm
Tickets: $39 Full | $35 Concession
Bookings: www.midsumma.org.au, http://www.theatreworks.org.au, or 9534 3388

Events, Musical Theatre, Whats On December 14, 2014

REVIEW: Melbourne Return Season of GREASE

It’s still got groove!

By Jessica Cornish

Grease is the word, haven’t you heard? Following a 2013 sell-out season at Her Majesty’s Theatre, the hand-jiving musical is back by popular demand, this time playing at the beautiful Regent Theatre. Bert Newton opened the show as Vince Fontaine with some audience banter which confused my theatre companion, but he was followed by a punchy overture musically directed by Peter Casey and played out by the band of men clad in silk pink shirts. From the moment the music kicks in you can’t help but get excited and dance around, possibly a little too much in your seat.

This production of Grease directed by David Gilmore was one of the most enjoyable and high-energy musicals I have seen in a long time. Rob Mills and the relatively unknown Gretel Scarlett have returned to the stage as the Rydell High heart-throbs Danny and Sandy. They were pitch perfect throughout the entire night, and slipped into the teen roles perfectly. The show was sleek and well-polished, and the cast really nailed their parts (however if I’m going to nitpick, it probably wouldn’t hurt the ensemble to brush up on their American accents.) I did feel the only performers who really had to work that little harder to hit those highs were the famous Aussie icons themselves, including John Paul Young, Todd McKenney and Newton himself. But don’t get me wrong: the audience was overjoyed to see these guys do their thing – they could have spoken their songs, and the opening night crowd would still have been thrilled.

The lighting was crisp, bright and replete with red LED strips and Elvis images that framed the show all evening. Fluro-pink love hearts flew in and out, adding to the 1950’s feel of the show as designed by Terry Parsons, and accompanied by the occasional pings of colour from the hanging mirror balls. The show seamlessly transitioned through all the scenes, and had a really quick pace across the evening. The famous hit songs such as “Greased Lightning” and “Summer Loving”, staged and choreographed by Arlene Phillips, were satisfyingly well-done, and I literally had to stop myself from singing along.

It was a thoroughly enjoyable night’s entertainment, and no matter how many times you may have seen the movie, I promise you won’t be disappointed seeing this musical live on stage.

Grease is playing at The Regent Theatre until January 25, 2015. Tickets start from $60.

http://greaseistheword.com.au/tickets/

Musical Theatre, Review, Whats On November 23, 2014November 23, 2014

REVIEW: The Production Company’s LA CAGE AUX FOLLES

A little more mascara

By Ross Larkin

La Cage Au Folles began as a play in the 70’s by Jean Poiret until it was later remodelled into a musical by Jerry Herman. In 1996, Hollywood created the well-known film version, renaming it The Birdcage. Melbourne’s The Production Company last night opened their version of the musical at The Arts Centre, with Todd McKenney and Simon Burke as gay lovers Albin and Georges and a familiar supporting cast including Rhonda Burchmore, Gary Sweet and Marg Downey.

When Georges’ son Jean-Michel (Robert Tripolino) announces his engagement to Anne (Emily Milledge), matters accelerate to hysterical at the prospect of his fiance’s highly conservative and political parents (Sweet and Downey) coming over to meet Jean-Michel’s family.

Decidedly flamboyant transvestite Albin is deemed by Jean-Michel too risky and controversial to meet Anne’s parents and is advised to make himself scarce for the evening. When Jean-Michel’s birth mother fails to show, Albin steps in in all his convincing drag glory under the pretence of being mother himself, and hilarity ensues.

As with any famous and celebrated show, there are unavoidable audience expectations. In the case of La Cage Au Folles, it is safe to assume that giant laughs, flashy songs, spectacular dancing and tremendous energy are all somewhat anticipated.

Regretfully, The Production Company only gently hit the mark, waxing and waning in pace and stamina. The occasional musical number is quite impressive while too many others are underwhelming and forgettable.

The two leads are undoubtedly well performed, with McKenney in particular delivering much of the needed laughs and glamour, and Aljin Abella as the butler a consistent source of humour and force.

However, director Dean Bryant’s decision to merge La Cage Au Folles into pantomime territory with actors speaking to and interacting with the audience for extended periods (presumably to cover costume changes) was an ill-fated one, breaking from the struggling momentum even further.

Sweet as Anne’s father might have looked the part but was typically miscast, yelling every line with farcical irritation and further contributing to the pantomime domain. Downey and Burchmore were reliably enjoyable but sadly appeared all too briefly.

Essentially, Bryant and The Production Company have found most of the ingredients necessary to make La Cage Au Folles the dazzling spectacle it deserves to be, however, its current state feels underbaked, in need of increased pace, energy, stakes and more bold choreography.

La Cage Au Folles is playing at The Arts Centre Playhouse, Melbourne, until December 7, Wednesday-Sunday at 7.30pm and Tuesday December 2 at 7.30pm, with 2pm matinees each Wednesday, Saturday and Sunday. Bookings 1300 182 183 or visit www.artscentremelbourne.com.au

Musical Theatre, Performances, Review October 20, 2014October 23, 2014

REVIEW: Australian Premiere of HAPPY PEOPLE IN CONCERT

Marvellous home-grown musical

By Bradley Storer

Australian music theatre composer Matthew Lee Robinson, after the acclaimed concert production of his musical Atlantis earlier this year, returned to Chapel Off Chapel with the presentation of his original work Happy People, a behind-the-scenes examination of the world of children’s entertainment.

The titular group, ‘Happy People’, are a Hi-5/Wiggles-style collective of children’s entertainers who, after ten years working together, are falling apart. Bobby (Bobby Fox) and Sunny (Sun Park), formerly married and recently divorced, are conflicted over residual bitterness and Bobby’s self destructive tendencies. Flamboyant Jewish boy Benny (Tom Sharah) seeks to re-invent himself as a member of a boy band pop star. Jeff (Bert Labonté), the elephant-suited mascot of the group, wants nothing more than to move to his recently-bought new home and settle down with the fifth member of the group, Sally (Gretel Scarlett) – a bright bouncy blonde with the sugary sweetness and rigidity of a Stepford housewife.

The show as a whole is fantastic – Robinson, doing double duty as composer and librettist, crafts hilarious sendups of songs that seemed almost ripped from a real-life children’s TV show, as well as some emotional ballads and duets that throb with the complexities and heartaches of adulthood, alongside well-crafted scenes that had the audience in tears from laughter.

In the cast, there are no weak points – even from behind music stands and carrying books, they delivered fully committed and individuated performances. Scarlett as the manically cheerful Sally shows off some fantastic comedic chops, as well as her stunning voice of both range and power. Sharah as Benny comes close to stealing the show with every line, and his song ‘Boyband’ is a comedic and physical tour de force of every 90’s boyband stereotype. Robyn Arthur in the small but crucial role of the band’s manager Poppy brought a solid and earthy maturity to the part, as well as a rafter-shaking belt in the touching penultimate song ‘Young’.

Happy People stands as a strong work from an established Australian composer, and is great evidence of the vibrancy and originality of the emerging Australian musical scene.

The premiere of Happy People in Concert took place at Chapel off Chapel, 12 Little Chapel St, Prahran on the 18 – 19th October, 2014.

Musical Theatre, Review, Whats On September 28, 2014

REVIEW: Ghost Light and Moving Light Productions’ CARRIE: THE MUSICAL

Things will get bloody…

By Margaret Wieringa

Initially, the tale known by most as a horror film from the seventies seems like an odd choice for a musical. But, at the heart of Stephen King’s novel Carrie is the story of a girl who is oppressed by her mother and tormented by her peers until she breaks. The twist, as most people know, is that she has telekinetic powers, and wreaks a brutal revenge of those who have hurt her. Carrie: The Musical deals a story so epic it could have been an opera.

The show begins with a musical number that shows off the talents of the strong supporting cast. The busy and eye-catching choreography by Lisa Minett draws the audience into the world of the musical as well as the angst of high school. When Emily Milledge enters, she brings all of the awkward misfit elements of Carrie and even when the beautiful swan emerges, she retains a hint of the fearful girl within. The duets between Carrie and her mother, played by Chelsea Gibb, are intense and passionate. It really is a cast of strong female performers, with Chernae Howlett also capturing the deep nastiness of Chris Hargensen as she manipulates those around her, and sets out to ruin Carrie’s life.

The stand-out performance, however, came from Hollie James as Sue Snell. Easily able to hold the stage on her own, she showed all the poignant sweetness and kindness the character required. Her duet with Jack O’Riley playing Billy Ross at the start of the second act was delightful.

Clearly, it was going to be a challenge to have objects flying around and the utter destruction of a whole town shown on stage – especially the small stage at Chapel Off Chapel. However, director Terence O’Connell and his excellent production crew really make a little go a long way. While the explosive scene at the prom is quite short, the combination of the sound and lighting with clever choreography gave it the intensity to be extremely effective. The solid musical accompaniment of the band helmed by David Piper allowed the cast to shine throughout, especially during this dramatic finale.

Carrie: The Musical is the debut production for Ghost Light, a company that aims to present premieres of musicals locally, as well as creating new musical and physical theatre. They have certainly started with a bang, and will be worth keeping an eye on.

Venue: Chapel Off Chapel,
Season: 25 September – 12 October, Wednesday – Saturday 8pm, Saturday matinee 4th and 11th October 2pm, Wednesday matinee 8th October 1pm, Sunday 6pm
Tickets: $49.50 Full, $39.50 Concession and groups of 10+
Bookings: http://chapeloffchapel.com.au/