Category: Musical Theatre

Musical Theatre, Review, Whats On

REVIEW: The Collective Presents PARADE
You don’t know this man
By Bradley Storer
New Melbourne company The Collective make their theatrical debut with the first professional production in Australia of Jason Robert Brown’s modern classic Parade, a tale of injustice, prejudice and murder in early 20th-century Atlanta.
Parade
Luigi Lucente as Leo Frank, the Jewish factory superintendent who is accused of murdering young Mary Phagan (Jemma Plunkett), turns in a performance perfect from head to toe. Lucente portrays Frank as a man whose alienation from the community has left him a lonely sensitive soul with a icy, defensive exterior – not shying away from the more strident aspects of Frank’s personality, Lucente intertwines them in such a way that they strike a delicious note of ambiguity over whether Frank is capable of committing murder. His plain-spoken appeal to the jury, ‘It’s Hard to Speak My Heart’, is heartrendingly beautiful.
Laura Fitzpatrick brings a subdued gentle air and a sweet, touching voice to Frank’s wife, Lucille. She takes a quieter, less belty approach to Lucille’s big numbers ‘You Don’t Know This Man’ and ‘Do it Alone’ than some interpreters, but this means we never lose sight of Lucille as an ordinary woman driven by an immense inner strength which blossoms over the course of the story. The delicacy and chemistry which she and Lucente bring to the couple’s penultimate love duet ‘All the Wasted Time’ is electrifying, sending shivers up the spine.
The supporting roles are filled out admirably – Cameron MacDonald has charisma to burn as reporter Britt Craig. who whips the South into a media frenzy over the controversial trial, and turns in solid work as Governor Jack Slaton. Tod Strike is a commanding presence as amoral prosecutor Hugh Dorsey, and Andrew Doyle brings an impish charm to Frankie Epps, the teenager who spearheads the mob violence which leads to the musical’s tragic conclusion. The ensemble overall are top quality, bringing fierce commitment to a variety of roles and levels of moral ambiguity.
The performance space, which has the audience split in two on either side with action playing out in the middle, is used to thrilling effect in the first act. The isolation of husband from wife in ‘Leo at Work/What Am I Waiting For’ is illustrated perfectly as they stand at the separate ends of the stage echoed later by the chillingly emotional image which closes Act One. The cleverly staged trial sequence symbolically and physically makes the audience implicit in the condemnation of Leo, as well tapping into the inherently theatrical nature of a trial itself. However, this fades in Act Two where the staging is used less imaginatively and begins to impede the effectiveness of the show instead. The split staging and somewhat confusing direction of the last scene dilutes the impact of its final revelation, reducing the poignancy of what should be the emotional sucker-punch of the musical.

These small issues aside, this is a strong debut from the emerging company with a challenging and immensely satisfying piece that should be a ‘must see’ for all Melbourne music theatre enthusiasts!

Venue: fortyfivedownstairs, 45 Flinders Lane, CBD
Date: 17-28 Sept, 2014
Times: Tues–Sat 8pm, Sun 7pm
Tickets: $45, Conc $40, Groups (8+) $40
Bookings: Ph 03 9662 9966 or www.fortyfivedownstairs.com
Festivals, Musical Theatre, Review, Whats On

REVIEW: Isabella Valette in MEDIA RELEASE

The turn on of reality TV

By Myron My

Media Release for this year’s Fringe Festival is a cautionary tale about the follies of fame, the foibles of being popular and the extent people to which seek such fantasies. The story revolves around a young woman April (Isabella Valette) who is at a audition and is asked to deliver her lines like specific Hollywood celebrities, such as Britney Spears, Emma Watson, and Mischa Barton – and to be sexier. From there, we witness her demise – in a lighthearted way – as she betrays family members, friends and herself in succumbing to the lure of being a reality star.

Media Release

 Spanning a two-year narrative time period, a lot is covered in this 55-minute show – so much in fact, that I feel there was too much going on to let the story feel fully organic and believable. It would have been nice to see the story driven by the actions of the characters, rather than the characters going through the motions to tell the story.

Apart from Valette, the rest of the cast (Oliver Waters, Maddie Chaplain and Luke Chaplain) perform a variety of characters, some of which are brought to life convincingly and others that don’t seem as realistic. Surprisingly, the latter appear more often to be the “straight” roles, rather than the over-the-top but more plausibly portrayed characters of producers, narcissistic “actors” and talent agents.

However, Valette brings April’s innocence and naivety to the surface with conviction and believability, as well as  exploring her desire to achieve her dreams. The well-paced and cleverly re-written musical numbers performed by Valette showcase her voice and are definitely a highlight of Media Release.

Media Release is an entertaining hour of song and laughs for audiences that have been surrounded by and obsessed with reality TV “stars” for almost two decades, and there is definitely potential for this to develop into something bigger and generate an even more dynamic response .

Venue: Court House Hotel, Cnr. Errol & Queensberry St, North Melbourne

Season: Until 26 September | Tue–Sat 6:00pm, Sun 5:00pm

Tickets: $21 Full | $16 Conc

Bookings: http://www.melbournefringe.com.au

Events, Musical Theatre, Review, Whats On

REVIEW: Australian Premiere of HIGH FIDELITY The Musical

Spin the record

By Narelle Wood

High Fidelity the musical, the latest production by Pursued by Bear, is a fun look at the ups and downs of relationships, making mix tapes and coping with becoming the-most-pathetic-man-in-the-world.

Set in ‘the last real record store on earth’, the musical follows Rob (Russell Leonard), the record store’s owner, through his break-up with girlfriend Laura (Simone Van Vugt). In amongst the heartbreak, Rob finds himself slapped by female friend Liz (Lisa Woodbrook), haunted by girlfriends past, and having to work with his two quirky staff members Dick (Liam O’Bryne) and Barry (Scott Mackenzie), not to mention dealing with Laura’s new love interest, Ian (Jason Bentley).

High Fidelity

In typical Nick Hornsby-style, High Fidelity has lots of quips and sarcasm, and director David Ward has guided his cast to deliver their lines with superb comedic timing. Not only do the leads provide laughs in their dialogue but there are also some brilliant comedic moments subtly delivered by the chorus; at times it was difficult to know where to look, there was just so many character idiosyncrasies to take in. Comedy aside, there are some amazing singing performances, most notably Van Vugt, Mackenzie, Woodbrook and Anisha Sanaratine as Marie La Salle

There were some small opening night issues with what appeared to be some first-performance nerves at the start of the show, and some technical issues with the microphones and some lighting cues. The biggest problem was the choreography; with such a small stage and a fairly large cast there were times when there was too much going on and the dancing seemed to be there unnecessarily. That being said, when the choreography had a purpose it was brilliant, for instance at the start of the show and when Ian visits Rob: these moments ended up being amongst my favourite parts.

This is the Australian premier of High Fidelity and the program acknowledges the risk that Pursued by Bear has taken with this production, but the risk has definitely paid off. Between the music, the funny moments and the storyline, this is not just a must see, but a must see twice.

Venue: Chapel off Chapel,
Season: 11 – 21 September, Thursday – Saturday 7.30pm, Sunday 5pm
Tickets: $37.50 Full | $32.50 Conc
Bookings: http://chapeloffchapel.com.au/ticket-sales/

Events, Musical Theatre, Review, Whats On

REVIEW: The Production Company’s SHOWBOAT

Difficult classic musical beautifully re-staged for modern audiences

By Narelle Wood

Off the back of Guys and Dolls, The Production Company have put together another brilliant production, this time bringing to the stage Show Boat, directed by Roger Hodgman.

Mostly set in the Deep South during the late 1800’s, the story follows the characters of the Show Boat over the best part of 30 years. The show mostly centres on the cautionary love story of Captain Andy’s daughter Magnolia (Alinta Chidzey) and the no-good-river-gambler Gaylord Ravenol (Gareth Keegan).

Showboat - Alinta Chidzey and Gareth Keegan

But the show is about more than just the clichéd moral tale for good girls who meet bad boys and fall in love at first sight. The setting also allows for exploration of race relationships, the changing nature of entertainment (especially with the advent of new technology) and, perhaps most poignantly, the idea that no matter how much things might change, things also stay very much the same.

Chidzey and Keegan were tremendous in their roles as Magnolia and Gaylord, although Chidzey’s wig did seem a little too blonde for her darker features. Philip Gould was charming as Captain Andy, who, along with Ellie May (Nicole Melloy) and Frank (Glenn Hill) brings much needed light-heartedness to temper the darker side of the show. Judith Roberts provided some straight-laced humour as Parthy, and the exceptionally strong cast is rounded off with Christina O’Neill as Julie, Heru Pinkasova as Queenie and Eddie Muliaumaseali’i as Joe. While the performances of all the cast members including the ensemble were brilliant, Muliaumaseali’i’s performance of Ol’ Man River gave me chills, and it can only be described as sublime.

My expectations of any show from The Production Company is extremely high and I never walk away disappointed. Once again the costuming was great, from the 1800’s dresses complete with bustles to the asymmetrical raised hemlines of the 1920’s. Hodgman cleverly addressed the need to have a boat on stage through some stunning use of digital imagery. And given that I overheard a number of people singing on the way out of the theatre, I’d say that the orchestra did a pretty good job too.

If you didn’t see Guys and Dolls then Show Boat is an absolute must; the production value is priceless, the performances flawless, and, once again, Muliaumaseali’i’s rendition of “Ol’ Man River” is something not to be missed.

Venue: State Theatre, Arts Centre, Melbourne
Season: 21st to 23rd July 7.30pm, 20th August 1pm, 23rd August 2pm and 24th August 3pm.
Tickets: Full $48-$119 | Conc $24-$105
Bookings: http://artscentremelbourne.com.au/whats-on

Cabaret, Events, Musical Theatre, Review, Whats On

REVIEW: The Production Company’s GUYS AND DOLLS

High-rolling fun

By Narelle Wood

What more can you ask for in a musical than gangsters, gambling, broads and the promise of salvation? Guys and Dolls, this year’s first of The Production Company’s annual three-show season, delivers all the cheek, humour and charm that this musical needs and a whole lot more.

The premise of the story is that Nathan Detroit (Adam Murphy) needs find a place and some funds in order to hold his ‘oldest established, permanent floating crap game’. Opportunist Detroit takes advantage of Sky Masterson’s (Martin Crewes) gambling nature and bets Masterson that he cannot persuade Sarah Brown (Verity Hunt-Ballard), the sergeant of the Save-A-Soul Mission, to go with him to Havana, Cuba.

Chelsea Plumley and Adam Murphy in Guys and Dolls

While Masterson’s in pursuit of Sarah, Sarah’s in pursuit of souls to save her mission, and Detroit is trying to save himself from getting married to his long-term fiancée, Miss Adelaide (Chelsea Plumley).

The casting is superb. I did find it initially difficult to see Hunt-Ballard as Sarah Brown rather than Mary Poppins, mainly due to both characters having similar attributes of refinement. However once Sarah and Masterson meet, the Poppins-ness completely dissolves. The character of Miss Adelaide has some of the best material of the show, including iconic songs such as “A Bushel and A Peck”, “Adelaide’s Lament”, and “Marry the Man Today”. It is Plumley’s ability to pull off the unique intonation of the Miss Adelaide character in both dialogue and song, along with the embodiment of a desperate doll in love, which makes Plumley’s performance a show-stealer.

Supporting the main cast is an equally strong chorus and production team, including stunning costume design by Tim Chappel and musical direction by Guy Simpson. The dancing throughout the instrumental version of “Luck Be Our Lady”, provided by the male members of the chorus, is exceptional, as is the performance of “Sit Down, You’re Rocking the Boat” which also showcases how effectively director Gale Edwards and choreographer Nathan M. Wright utilise the space.

The Production Company‘s shows are always a treat, and this production of Guys and Dolls is simply delicious.

Venue: State Theatre, Arts Centre, Melbourne
Season: 23rd to 26th July 7.30pm, 23rd July 1pm, 26th July 2pm, and 27th July 3pm.
Tickets: Full $48-$119 | Conc $24-$105
Bookings: http://artscentremelbourne.com.au/whats-on

Musical Theatre, Performances, Review, Whats On

REVIEW: Victorian Opera’s INTO THE WOODS

Stunning cast in superb production

By Adam Tonking

Into The Woods is admittedly one of my favourite musicals. With the movie adaptation due out at the end of the year, now is the perfect opportunity to see Stephen Sondheim’s masterful exploration of fairy tales in all its original glory, and fortunately, Victorian Opera have staged an immensely enjoyable production of this wonderful show.

Victorian Opera 2014 - Into the Woods © Jeff Busby

The amazing cast deftly handle all of Sondheim’s tricky score and dense lyrics. Truly impressive, in that even at its most tongue-twisting, not a single syllable was lost on the audience, allowing us to enjoy every witty line and every beautifully crafted lyric. Sondheim writes wonderful characters for women, the three main ones in Into The Woods being The Baker’s Wife, The Witch, and Cinderella , and the three actresses in these roles were more than up to the task.

Christina O’Neill was perfect as The Baker’s Wife, never missing a single moment in the character’s development, bringing energy to some of the weaker spoken scenes, and providing blessed relief in the challenging, exposition-heavy second act with her stunning rendition of “Moments In The Woods.” Queenie van de Zandt was in usual glorious form as The Witch, bringing an engaging pragmatism to the role’s more obvious malice, allowing a clearer understanding of the character. Her skilled handling of The Witch’s rap was awe-inspiring, but she was truly breathtaking in my favourite song “Last Midnight.” Lucy Maunder as Cinderella was spectacular, and her duets with O’Neill were some of the most touching of the night. Among the men, particular praise should go to John Diedrich as the Mysterious Man for bringing one of the weakest characters and a terribly awkward part to life.

Clearly I cannot lavish enough praise on Victorian Opera’s Into The Woods. This is simply a magnificent production of a gorgeous show. Don’t miss your chance to see it. It’s playing from now until Saturday 26 July at the Arts Centre in Melbourne. Book tickets at www.victorianopera.com.au or by calling 1300 182 183.

Events, Musical Theatre, Whats On

EVENT: Melbourne Season Launch of STRICTLY BALLROOM: THE MUSICAL

Taking new steps

By Narelle Wood

There was love in the air for the launch of the Melbourne season of Strictly Ballroom: The Musical. While the Lonsdale Ballroom of the Sofitel seemed a little too classy and a little low on glitz for the garish and over-the-top ballroom dancing world created by the film, the night provided an exciting glimpse of all that this stage show promises to deliver.

Strictly Ballroom

The relatively new and Australian production company Global Creatures is responsible for the collaborative effort with Baz Luhrmann in moving this iconic Australian film to the stage. Directed by Luhrmann, and with costumes by Catherine Martin, the show promises to deliver on the visual extravaganza the duo have become famous for; approximately one million Swarovski diamantes were hand-sewn onto the costumes to provide just a touch of the dance world glamour.

Throughout the night, hosted by Barry Fife himself (Robert Grubb), we were treated to a preview of the talents of some of the cast including the vocal stylings of Thomas Lacey and Phoebe Panaretos (Scott and Fran), the incredible Flamenco dancing of Fernando Miro (Rico) and the dancing talents of Rohan Browne and Nadia Coote (Ken Railings and Tina Sparkle). While the Flamenco dancing (Paso Doble and Flamenco infusion) and the performance by Ken and Tina are clearly recognizable moments from the film, the song “Beautiful Surprise”, performed by the characters Scott and Fran, pointed to some of the new musical numbers that have been especially written for the show.

With any re-creation of an icon there is a risk that some of the fans (the diehard Strictly Ballroom fans who know ‘where the man goes, the lady must follow’ and that ‘there are no new steps’) may find the new aspects to the musical difficult to deal with, and early reviews were mixed. However, if the quality of performance, music and lyrics of “Beautiful Surprise” are any indication, the new elements of the script will only embellish the stage adaptation.

I personally cannot wait to see what the combination of Luhrmann, Martin and Global Creatures have produced and I look forward to Strictly Ballroom; The Musical fulfilling the promise that the audience will walk in and dance out come its season premier in January 2015.

Venue: Her Majesty’s Theatre
Season: Begins January 2015
Bookings: https://premier.ticketek.com.au to register for the Strictly Ballroom: The Musical ticket waitlist

Events, Musical Theatre, Review, Whats On

REVIEW: Melbourne’s Opening Night of WICKED

Return to Oz…

By Bradley Storer

The atmosphere was electrifying at the opening night of Wicked, returning to Melbourne for the first time since the original Australian production in 2008. As the lights dimmed and the first strains of music began, the audience erupted in enthusiastic applause for the musical which, for better or worse, has defined contemporary music theatre for the past decade.

Elphaba (Jemma Rix) and Glinda (Lucy Durack) in WICKED

Jemma Rix reviving her role as Elphaba is brilliant, marking Elphaba’s journey from a down-trodden outsider to a self-determined revolutionary but never letting us forget the wounded loner that lurks beneath the exterior. Her voice is extraordinary, a technical marvel which she employs to maximum effect throughout but whose full power she only unleashes, to spine-tingling results, in her Act One showstopper ‘Defying Gravity’.

Lucy Durack returning as Glinda the Good Witch, Elphaba’s truest and eventually only friend, was a little unsteady vocally at the beginning of the evening but found plenty of times to show off her bright sunny soprano. While Durack nails the bubbly, air-headed side of Glinda’s personality, she doesn’t fully convey the burgeoning intelligence which shapes Glinda’s journey in the second act.

Steve Danielson as Fiyero, both Elphaba and Glinda’s central love interest, is charming and competent but a little forgettable. Reg Livermore (The Wizard) and Maggie Kirkpatrick (Madam Morrible) both find opportunities to steal the show with their smaller but significant roles.

The show itself is compelling throughout the first act, the extravagant sets and costumes brought to life by the enthusiastic and skilled ensemble, but the pace begins to droop in the second act as the plots takes a darker twist. The musical’s weaknesses begin to show at this point, the cutesy and twee tone of the musical’s book ill-matched with the dramatic events that transpire. Stephen Schwartz’ score does its best to liven events, in particular Elphaba’s emotional breakdown in ‘No Good Deed’, but the true emotional impact of the show is saved for the final moments, with the last image slamming home the heart-breaking toll of what has transpired.

VENUE: Regent Theatre, 191 Collins St, Melbourne.
DATES: 10th May – 20th July
TIMES: Wednesday – 1pm & 8pm, Thursday & Friday – 8pm, Saturday – 2pm & 8pm, Sunday – 1pm & 6.30pm.
BOOKING: www.ticketmaster.com.au, Phone 1300 111 011, Ticketek Outlets or at the venue.

Comedy, Events, Musical Theatre, Review, Whats On

REVIEW: Richard O’Brien’s ROCKY HORROR SHOW

Give yourself over to absolute pleasure…

By Myron My

I will confess: I have never before seen The Rocky Horror Show on stage. Yes, shocking, I know. In fact, the only time I have even seen the film was three years ago at an outdoor cinema event. So I was filled with much antici…pation when attending the Melbourne opening night of this new production, celebrating 40 years of Richard O’Brien’s outrageous musical creation.

To cut to the chase; I simply loved this show. Everything about it is flawless and fun. From the performances to costumes to the sets and lighting and of course, the music: I just could not fault it.

Rocky Horror Show

Tim Maddren and Christie Whelan Browne are perfectly cast as newly engaged couple, Brad and Janet. They radiate naivety and innocence, their  singing ability throughout the show was highly impressive, and their interaction with each other is a joy to watch. In fact, every single person on stage clearly loves their characters, but none more so than Craig McLachlan as Frank-N-Furter. From his initial grand entrance in those trademark fishnets, he has everyone hanging on his every word and movement and makes every new crazy development feel like it’s the most memorable scene in this rock ‘n’ roll musical. McLachlan’s improvised moments with the full house on opening night were particularly hilarious and he even managed to break his fellow actors into unavoidable laughter on more than one occasion.

The musical numbers are a thrill to watch and you can’t help but fight the urge to get up to sing and dance along to the well-known classics such as ‘Touch-a Touch-a Touch Me’ and ‘The Time Warp’, the latter which allows Kristian Lavercombe (Riff Raff) to show off his brilliant vocal talents.

The costumes by Sue Blane and wigs by Darren Ware are – pardon the pun – out of this world. From the initial simple and modest costuming of Brad and Janet to the wondrously crazy outfits for Riff Raff and Magenta (beautifully played by Erika Heynatz), the creation of these gems showcases dynamic design and visual excitement.

There are many more flamboyant, funny and fantastical moments throughout The Rocky Horror Show that make the event special – but instead of listing them all here, I just encourage you to go and witness them yourself. It will be a strange journey indeed, but it will also be an unforgettable evening of dazzling fun.

Venue: Comedy Theatre, 240 Exhibition St, Melbourne
Season: Until 13 July | Tues – Sat 8:00pm, Sat 2pm, Sun 1.30pm and 5.30pm
Tickets: From $59.80 – $109.90
Bookings: http://www.ticketmaster.com.au

Events, Musical Theatre, Review, Whats On

REVIEW: DreamSong for MICF

Redemption is not at hand

By Narelle Wood

I like clever, witty, well-constructed comedy and unfortunately I found DreamSong to be absolutely none of these. While the premise of the show (a money-hungry evangelist constructing a second coming of Jesus) certainly had potential, what ensued was two hours of clichéd cheap shots at a whole range of issues, religions and minorities that I felt were extremely offensive, and I’m not easily offended.

DreamSong

Pastor Richard Sunday (Ben Prendergast) has realised his church is in financial peril, and along with the help of his wife Whitney (Chelsea Gibb), the prime minster (Mike Mcleish), the prime minster’s advisor (Alana Tranter) and a wannabe actor (Connor Crawford), he stages a fraudulent resurrection of the son of God. Meanwhile the pastor’s daughter April (Emily Langridge) is trying to talk the real Jesus Christ (Brent Hill) out of a crisis of confidence. Prendergast certainly looked the part of evangelic preacher but his character lacked charisma and charm that was needed to make the deception believable. Evan Lever as Neville Gruber was fabulous as the eager-to-please church follower, but it was Hill’s portrayal of Jesus Christ that actually provided the only comical parts to the show: it was pity that his character had less than twenty minutes of stage time.

Author of DreamSong, Hugo Chiarella, seems unsure about what faction of society he takes issue with. His supposedly black comedy (in my opinion it’s rarely funny) about a non-specific church mocks soldiers dying in Afghanistan, the mentally disabled, Judaism, Christianity, Islam, abortions, people suffering and dying from AIDS, homosexuality, victims of paedophilia and animal cruelty. Excluding the cast, the one redeeming feature of this musical is in fact the music provided by Robert Tripolino. I can’t say I’m a fan or have that much knowledge of Christian pop, but the range and style of music seemed perfectly matched to the premise of the show.

Perhaps a warning at the show about the offensive content may have placated how offended I was, and this then may have enabled me to see beyond those cheap shots to a concept that is worth exploring and what attracted me to the show in the first place.

Venue: Theatre Works, St Kilda
Season: Tues-Sat at 7:30pm, Sat at 2:00pm, Sun at 5:00pm, until 20th April
Tickets: Full $35| Conc $30
Bookings: http://www.theatreworks.org.au/