Category: Musical Theatre

Festivals, Musical Theatre, Review, Whats On

REVIEW: Seussical – The Musical for MICF

Cute  and crazy musical comedy

By Deborah Langley

The Athenaeum stage was at bursting point last night for the opening of Seussical: The Musical when the 25+ cast from Old Carey Performing Arts Club brought all your high school musical fantasies to bear in this larger-than-life production.

Seussical

Based on the extraordinary children’s books by Dr Seuss and after the runaway success of the Broadway version of this magical tale, the show is a song-and-dance feast for the little people in your life.

The story follows the adventures of Horton the Elephant (Sam McPartlan), who one day hears voices coming from a speck of dust. He soon discovers that within this tiny speck exists the smallest planet in the sky and on this tiny planet is a race of creatures, known as the Whos, that need his help. Horton does everything in his power to save them because ‘a person’s a person, no matter how small.’

While the premise of the production relies on a clever lighting design by Giancarlo Salamanca and a childlike imagination,  we are introduced to many new creatures and jungle animals – some easier to envision than others – as we get thrown around from story to story in this crazy Seuss world.

The highlight by far is the vocals of the amazing cast: Eleanor Horsburgh gave a cute and comically infectious performance as Gertrude with her lovely voice and characterisation, and Elise Cavallo was appropriately amazing as Mayzie with her powerful vocals and brilliant back-up birds (Charlie Helliwell, Samantha Paulin and Sarah Cuthbert). Andreas Katsiroubas as Jojo sang well and gave a solid performance, but Cat in the Hat (Mark Yeates) only came into his own in his audience interaction in Act Two (although some of his antics seemed to verge on inappropriate for a family show). Professional musical theatre performer Nicholas Renfree-Marks (The Wind In The Willows) was the stand-out as Sour Kangaroo, channeling both Freddy Mercury and Aretha Franklin in his memorable performance.

Playing at the Athenaeum Theatre from Monday 7 April, OCPAC’s Seussical: The Musical will inspire your children to imagine anything is possible, even if the second act leaves them a little dumbfounded as to how. It’s just a shame they can’t appreciate the amazing orchestra directed by Daniel Donovan who are hidden away behind a scrim until curtain call.

Venue: Athenaeum Theatre, 188 Collins St, Melbourne
Dates: Monday 7th through Monday 21st April (for times, see below)
Tickets: $30 adult, $19 children under 16. $79.80 Group of 4 ($19.95 per ticket)
Bookings: Ticketek, Comedy Fest Box office, at the door
Info: http://www.comedyfestival.com.au/2014/season/shows/seussical

Times: Monday 7 April 6:00PM, Monday 14 April 11:00AM
Tuesday 8 April 2:00PM, Tuesday 15 April 2:00PM
Thursday 10 April 11:00AM, Thursday 17 April 11:00AM
Friday 11 April 11:00AM, Saturday 19 April 11:00AM
Saturday 12 April 11:00AM, Monday 21 April 6:00PM

Comedy, Festivals, Musical Theatre, Whats On

REVIEW: The Shuffle Show for MICF

Playlist roulette makes for wonderful musical comedy

By Narelle Wood

1000 songs in 60 minutes that The Shuffle Show promises seems like a completely implausible task. I have no idea whether the musical comedy duo of Elena Gabrielle and Grant Busé achieve this monumental task, but even if they don’t, I don’t care, because what they do provide is a witty, energetic musical extravaganza.

The Shuffle Show

Rather than just sing, and provide a useful, but clichéd, count of all the songs they sing, Gabrielle and Busé merge the idea of a Mac Genius Bar experience and shuffling through an Ipod playlist. As a consequence the show covers a plethora of musical styles and makes some commentary on the familiar experiences of Apple’s highly controlled customer service regime and the domination of Apple devices on the world market.

The playlist choices were unconventional and the resulting musical compilations were so diverse and skilfully constructed that it is far too difficult to pick one favourite moment; I would end up listing the whole show. For Melbournians it might be the ode to Melbourne weather, or for those with more eclectic tastes perhaps the rock and rap medley. Whether it’s big butts or big divas are your thing, the construction of the medleys and their execution was flawless.

If the witty comedic interludes and the extensive songs choices are not enough to entice you, then go for the sublime singing voices of both Gabrielle and Busé. These are two phenomenally talented musicians whose voices I could have continued to listen to well in to the wee hours of the morning. Gabrielle hits all the high notes of some of all the iconic divas, and Busé has a bluesy rock voice that is simply divine.

If you love music, have an assortment of musical tastes, are a little embarrassed by some of the music on your playlists, or are looking for a good laugh, this show is for you. And failing all of that then go for Gabrielle and Busés’ lycra-clad, Apple Store geek dance moves.

Venue: The 86, 185 Smith St Fitzroy
Season: Thurs 10th – Sat 12th April, 10pm
Tickets: full $20 | Conc $18
Bookings: http://www.the86.com.au/micf2014.html or at the door

Comedy, Festivals, Musical Theatre, Whats On

REVIEW: Centrelink the Musical for MICF

Dance for the dole!

By Narelle Wood

They say any good comedy is based on truth and anyone who has ever tried to deal with any aspect of Centrelink, or any other government agency for that matter, will find that Centrelink the Musical provides good comedy based on circumstances that are eerily familiar.

Centrelink the Musical

Centrelink the Musical, directed by Greg Ulfan and conceived by Rohan Harry, follows a day of queues and queries at the Centrelink office, detailing the frustration of disabled Ed (playwright Adam Willson), long-term unemployed Gary (Dylan Lloyd), expectant mother Janine (Artemis Ioannides), the harrowing blank canvass Thyme (Harlene Hercules) and the long-suffering Centrelink employee Janine (Jacqueline Cook). The humour at times is delightfully inappropriate as it pokes fun at some of the truths of the people and their circumstances that lead them to the protocol-bound welfare office.

Out of all of the character it is Gary, the perpetual loser with all the inside know-how necessary to circumnavigate Centrelink’s protocols, that provides the most hilariously cringe-worthy lines and Lloyd’s delivery of Willson’s script is priceless.

Although there was the occasional flat note during some of the songs, overall the cast was exceptionally strong and Hercules’ portrayal of the recently graduated artist was as brilliant as her poetry was ridiculous. It was nice to see the matriarch of the Centrelink office was able to provide a justification for both her Gestapo-like and condescending approach to those in the unemployment queue, and Cook seamlessly transitions between these aspects of her character’s personality.

While there was a minimalist approach to sets and musical accompaniment, the costuming was trashy and completely appropriate, none more so than the bulging pregnant belly of Ioannides’ character Janine and Gary’s almost obscenely short shorts. The songs by Nathan Leigh Jones were clever and really spoke to the heart of each character’s frustration with life and dealing with the changing and more demanding welfare system.

This show provides some great laughs and although the humour seems to be only at the expense of the less-fortunate characters, the show does point to some of the inadequacies of our welfare system. Both the employed and unemployed alike will find something to delight them in Centrelink the Musical.

 
Venue: The Mechanics Institute, 270 Sydney Rd, Brunswick
Season: Sun 6th April 5pm, Tue 8th April 8pm, Wed 9th –Sat 12th 9pm
Tickets: full $28 | Conc $15
Bookings: http://www.comedyfestival.com.au/2014/season/shows/centrelink-the-musical

 

Cabaret, Festivals, Musical Theatre, Theatre, Whats On

REVIEW: Backwards Anorak Presents WINTER IS COMING

When you play a game of thrones, you sing or you lose…

By Margaret Wieringa

In hopes of getting work on the popular HBO series, a group of musical theatre graduates stage a musical interpretation of the television series Game of Thrones. Is that the plot or is that what is actually happening? Both, perhaps?

Crated and performed by Michelle Brasier, Vince Milesi, James Baker, Laura Frew and Leo Miles, Winter is Coming for this year’s MICF opens, appropriately, with the television theme played and sung with intense and hilarious gusto. We the audience are included as ensemble, though the real casting battle is between the five on stage. Who will be Ned Stark, Jon Snow, Hodor, though most importantly: who will be Khaleesi?

Winter is Coming

The war is being waged between the performers: the quietly spoken musician, James, (spending his off-time in the performance catching up on his Game of Thrones reading) and the understudies, Laura and Leo, but ultimately it is the two leads who must contest the final battle; Vince vs Michelle, and the winner will be the mother of dragons.

The show seems to break so many rules; but in breaking them, the humour flows. Often, the five actors talk over each other, and the hilarity comes in when a single line or even a single word is distinguished. There are “in” jokes galore, yet as someone not in the know, I felt included. I found myself laughing at comments without really knowing what was funny. Throughout the show the focus was split, sometimes up to five different ways. That shouldn’t work; but here it does.

And, don’t forget, it is a musical. The Music Room at Trades Hall is small, but these adorable performers fill up every space with their ridiculous antics, including some pretty impressive dance routines. The choices for the songs were at times unpredictable, including the duet of Khaleesi and Samwell.

Highlights? So many. The baby in the blanket, the dragons, the totally cringe-worthy yet magnificent representation of Tyrion, the foray into Narnia, the swordfight… If you have seen Game of Thrones, and especially if you love it, then you must get yourself to this show.

Venue: Trades Hall (The Music Room)
Season: Thursdays, Fridays and Saturdays from March 27-April 19 at 10:45pm
Tickets: $22/$17

Bookings: http://www.ticketmaster.com.au/ or call 1300 660 0131300 660 013

Musical Theatre, Performances, Review, Whats On

REVIEW: Manilla Street Productions Presents BLOOD BROTHERS

Tragic tale impeccably told

By Bradley Storer

Blood Brothers, the award-winning West End musical about a tale of twin brothers separated at birth, has come to Chapel off Chapel in a strong new production by Manilla Street Productions. This modern tragedy, directed by Chris Parker, explores the classic ‘nature versus nurture’ debate and the great divide between the English upper and middle class.

Blood Brothers

Chelsea Plumley in the crucial role of Mrs Johnstone is the emotional touchstone of the entire piece, producing a portrait of a flawed, poverty-stricken woman of fierce maternal love and indomitable spirit, slowly bowed down under the tragic consequences of an impulsive decision. Her expressive and earthy singing voice perfectly captures the essence of the character, and she is to be applauded especially for flawlessly maintaining the extremely challenging Liverpool accent for the entire show. Glenda Linscott as Mrs Lyons, the rich housewife whose adoption scheme sets the plot in motion, turns in a compelling and complex performance that travels the gamut from heart-warming to bone-chilling as the character’s initial sweetness and good nature crumbles frighteningly under the pressures of anxiety and guilt.

The central triangle of the piece, the two brothers Mickey (Gareth Keegan) and Eddie (Matthew Bradford), and Linda (Lisa-Marie Parker), the woman who comes between them, are a powerhouse trio – their chemistry is palpable, and they perfectly embody each stage of their character’s respective journey from child to adulthood (kudos to them for avoiding cringe-inducing caricature while playing children). The second act, where the harsh realities of life begin to take their toll on the three and their relationships, is wrenching to watch after the honest simplicity of the actors has won our love. They are ably supported by a small but talented ensemble who swap between multiple roles. Simon Wilton as the Narrator does his best with a role that is essentially one-note and continuously repetitive, but the fault lies with the character rather than the actor in this case.

This dark, tragic tale is engrossing theatre, and the catastrophic finale which ties together all the themes of class division and destiny proves the overall success of the production, leaving the audience with a gut-wrenching sense of loss that won’t fail to bring tears to the eyes of anyone who sees it.

Venue: Chapel off Chapel, 12 Little Chapel St, Prahran.

Dates: 20 March – 6 April (Preview 19 March)

Times: Tues-Sat 8pm, Sat (5 April) 3pm, Sat (29 March) 3pm,  Sun (30 March) 3pm, Sun (6 April) 2pm

Price: $49 Full, $45 Concession, $40 Group 10+, $40 Preview (19 March), $40 Tuesday Performances, $60 Opening Night (20 March)

Tickets: www.chapeloffchapel.com.au, Phone: 03 8290 700003 8290 700003 8290 700003 8290 7000, Email: chapel@stonnington.vic.gov.au, at the venue.

Events, Musical Theatre, Performances, Review, Whats On

REVIEW: Theatre Works Presents PACIFIC OVERTURES

Sondheim, samurai, and scintillating theatre

By Bradley Storer

Out of nowhere a figure dashed onstage, the lights suddenly cutting out accompanied by a sudden strike of the drum. The lights slowly return to reveal a painted emblem emblazoned on the floor of the stage, the ensō – the Buddhist circle which expresses the moment of creativity uninhibited by the conscious mind. Into this symbolic void enters the ensemble of Pacific Overtures, clad entirely in white, taking their places around the ensō and beginning their first song: a choral ode to the cyclical serenity of feudal Japan, undisturbed by the outside world.

PACIFIC OVERTURES Photo Credit Jodie Hutchinson

Pacific Overtures, one of Stephen Sondheim’s more modest and lesser-known masterpieces, is an imaginative exploration of the moment in history when Japan was first forced into contact with Western civilization. Sondheim’s score, a minimalistic collection derived from the structures and principles of Asian music, is a distant cousin to the operatic scope of his work before and after, but is nevertheless a theatrical tour de force.

The cast are so strong both dramatically and vocally that it is extremely difficult to pick an outstanding performance. As a whole they perfectly capture the stylized but intensely emotionally and characterful style of kabuki theatre, and in their individual solos they all unveil beautiful and powerful voices – in the ensemble numbers they blend together in wondrous harmony. The closest would be Adrian Li Donni as Kayama, the samurai whose meteoric rise to power and subsequent corruption strings the plot together both narratively and emotionally. Donni’s open and expressive face (along with a golden singing voice) flawlessly captures the innocence and good nature of this warrior catapulted into diplomatic office.

Director Alister Smith, along with choreographer Michael Ralph, have done an exemplary job of building the striking dramatic images that make up this epic tale. A terror-stricken mob of villagers gathering as they spot the oncoming American armada, a hilarious pageant of prostitutes preparing to welcome American sailors, a traditional Kabuki dance exploding into a demented vaudevillian cake-walk danced by a demonic Uncle Sam. In a quieter moment, the song ‘Poems’ spins together the heart-meltingly lyrical tenors of Donni and Nick Simpson-Deeks into a sequence of heart-ravishing loveliness.

This production of Pacific Overtures is a seamless meeting of dramatic intensity, musical beauty and compelling story performed by a highly skilled company of actors and handled by an endlessly inventive creative team!

Venue: Theatreworks, 14 Acland St, St Kilda

Date: 19 Feb 2014 – 09 Mar 2014

Time: Tue to Sat 7.30pm, Sun 5pm

Preview: Wed 19 Feb 7.30pm & Thu 20 Feb 2pm

Price: $39 / $35 8+ / $29 conc

Bookings: Online at www.theatreworks.org.au or phone 03 9534 338803 9534 338803 9534 338803 9534 3388

Events, Musical Theatre, Performances, Review

REVIEW: Lucy Brien and Matilda Dixon Smith’s DEVOTED – A MUSICAL

Grease isn’t the word…

By Ross Larkin

Funded with campaign entity Pozible, Matilda Dixon-Smith’s contemporary take on 1978 musical Grease (this production was originally titled Grease: A Tragedy – later changed for legal reasons), Devoted is an intimate yet potentially alienating experience, not dissimilar from attending a party where one might feel included but, at times, ostracised.

Staged in a music venue, the curious space, in which the action occurs on the outskirts of the centrally placed audience, usually works well in providing an affectionate environment where one feels part of the story.

Devoted

Re-imagined as, what feels like, a combination of Grease, Romeo and Juliet and Brokeback Mountain, Devoted charts the young love of Daniel and Sally played by Zak Pidd and Hannah Denison. Daniel’s love for Sally is compromised by his feelings for best pal, Nick (Eamonn George), while Nick has impregnated Raff (Sera Duff). After some endearing encounters and stacks of awesome original music by composer and MD Lucy O’Brien, the love square eventually turns sour with tragic consequences.

Utilising the garden of the Northcote Social Club, where actors play through glass windows works beautifully, almost filmic in feel. Other scenes require the audience to turn 360 degrees to focus on the action, keeping the pace active save for some clumsy blocking hindering sight lines.

This is, perhaps, why director Justin Nott opted to endow the entire cast with radio microphones for both song and dialogue. Sadly, however, this was a mistake. While being appropriate for certain musical numbers, the otherwise cosy and interactive context was far from requiring amplification, sometimes depleting ones bearings and detracting from the engagement of plot and emotion.

Thankfully, Pidd plays Daniel with commitment and charm, providing much of the show’s laughs and sincerity, while Duff is attitude personified and Kelly Cupo as Penny has a singing voice to die for and presence to match.

Accentuated by excellent songs, Devoted generally makes it difficult not to feel included in the colourful ‘party’, and engaged in this often funny, tragic story. Emerging young talent of this ilk deserve their efforts to skyrocket and hopefully grace larger spaces where microphones will suit just fine.

Devoted: A Musical played last night at the Northcote Social Club, 301 High Street, Northcote. Future performances to be advised.

Events, Musical Theatre, Review, Whats On

REVIEW: Gordon Frost’s GREASE THE MUSICAL

New production of the rom-com musical classic hits Melbourne

By Bradley Storer

After an impromptu greeting by the ensemble cast of Gordon Frost’s Grease led by Principal Lynch (Val Lehman) welcoming us to the halls of Rydell High School, the lights go down and a brief love duet between romantic leads Sandy (Gretel Scarlett) and Danny (Rob Mills) leads into the electrifying opening ‘Grease is the Word’.

Grease-the-musical

The cast emerges from the smoke, each character instantly distinguishable in the tight and precise ensemble, and all is right with the world. ‘Grease is the Word’ is exciting, characterful and taps immediately into the hot-blooded vivacity of 50’s youth culture.

What is so disappointing is that very little that follows matches the opening number. The classic score is still fantastic, under the musical direction of Stephen Amos, but the energy in both the musical numbers and scenes never reaches the level it should be at. (Act I song ‘These Magic Changes’ led by Chris Durling as Doody comes the closest to achieving the strength of the first number).

Scarlett and Mills are perfectly believable as the lead couple. Mills uses his cheeky charm to good effect as bad boy Danny, and Scarlet gives off an aura of sunny innocence as Sandy, and shows off a surprising range in her number ‘Hopelessly Devoted to You’. Danny’s gang, the T-Birds, tend to blur together with their similar hair colours and identical outfits, although Duane McGregor as Roger does get to display some impressive vocals in his duet ‘Mooning’ with Jan (Laura Murphy). Stephen Mahy as Kenickie is oddly restrained to the point of being underpowered, displaying the rock stylings necessary for the biggest number in the show ‘Greased Lightning’ but none of the rock star sexual charisma.

The female characters as a whole fare better. Lucy Maunder as Rizzo is the highlight of the entire show, grabbing attention as soon as she struts out in her dark sunglasses and by the end delivers a commanding performance of ‘There Are Worse Things I Could Do’. The first-rate ensemble are to be commended for performing with complete energy and commitment in everything they appear in, with special mention to ensemble member Euan Doidge for the onstage acrobatics he pulls off at various points in the show.

Melbourne season: 5th January – 16th March, 2014.

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

Tickets: Online at http://premier.ticketek.com.au/shows/show.aspx?sh=GREASE14

Musical Theatre, Performances, Review, Whats On

REVIEW: Malvern Theatre’s THE LIGHT IN THE PIAZZA

Mi è piaciuto molto!

By Bradley Storer

The overture of Tony Award-winning musical The Light in the Piazza starts and instantly we are swept away into the wondrous world conjured up by Adam Guettel’s magnificent score (aided massively by David Dare’s fantastic set). As the sun rises on Florence, an American woman and her daughter wander onstage, eyes filled with wonder at the beauty that surrounds them as the inhabitants begin their early morning rituals, sparking one of the most beautiful openings in musical theatre.

Light in the Piazza

The smaller dimensions of Malvern Theatre suit this piece perfectly, allowing the audience to approach the performance on intimate terms that draw us deep into this exploration of the human heart. Under the musical direction of Shirley White, Guettel’s score is performed immaculately and given full justice, and in particular the ensemble numbers (especially in the second act) are outstanding.

As a whole the cast don’t seem to have the operatic vocal size that the music calls for, but their acting under the direction of Alan Burrows is of such a high quality that this actually doesn’t detract from the show as a whole. Gabrielle O’Brien turns in a delicate and heart-breaking performance as Margaret Johnson, a mother on vacation in Florence with her daughter, and her ‘The Beauty Is’ perfectly fuses together speech and singing into a seamless dramatic whole. Alexandra Clover as Margaret’s daughter Clara tackles this incredibly difficult role with a portrayal that deftly balances the childishness and pure innocence of the character, and her struggle to reconcile the desires of her heart and the limitations of her mind.  Daniel Mottau gives the best performance, both vocally and dramatically, as Clara’s Italian suitor Fabrizio, finding innocence that perfectly matches that of Clara along with an aching passion and youthful exuberance in a dark-hued tenor.

The members of Fabrizio’s family, his father (David McClean), sleazy brother Giuseppe (Ian Frost), and his sad-eyed sister in law Franca (Leonie Thomson) are all played wonderfully, with special mention to Sherryn Kew as Fabrizio’s mother who manages to communicate all of the character’s open-heartedness without ever speaking in English!

The quality of production and performance in this show are astonishing, and the intellectual and emotional depth summoned would be hard to beat, even by a professional production! A stunning and beautiful performance of one the great new works in musical theatre.

Venue: Malvern Theatre, 29A Burke Rd, Malvern East VIC

Dates: 1 – 16th November

Time: 8:15pm Tue – Sat, Matinees Sat 2nd Nov/Sunday 10th Nov 2pm, Gala Night Sat 9th Nov 8pm.

Price: $20/Groups (10+) $18/Gala Night $5 extra

Tickets: 1300 131 552 or at the door

Events, Musical Theatre, Review, Whats On

REVIEW: Kin Collaborative’s GAGA & ASSANGE

Cheeky musical mayhem as celebrities collide

By Christine Moffat

“A hypothetical romp laced with club hits, Europop anthems and moving piano ballads in the style of Mother Monster herself, drawing on themes of hypocrisy, tolerance, censorship and the cult of celebrity, all the while holding its tongue firmly in its cheek.”  This extract from the program is an apt description; this is indeed an old-fashioned romp, set in the world of modern notoriety.

kin-collaborative-gaga-assange

The story of Gaga & Assange revolves around the imagined reasoning for the pair’s real meeting at the Ecuadorian Embassy in London in 2012.  Writer William Hannagan takes this scenario and runs with it to create a stylish mash-up of morals, media and music.  At one and a half hours, the show seems a little long, and some of the most elegant plot points appear to be tacked on as an afterthought in the last 25 minutes.  That being said, there is a lot to like about this show.  Hannagan manages to create a world where the audience doesn’t just accept Gaga and Assange as confidentes, but relishes their stilted frisson.

Laura Raiti and Christopher Runciman are entertaining as the awkward, mismatched lovers with ethics as big as their egos.  Both are great comic performers.  Runciman is painfully unhip as Assange, the counterbalance for Raiti’s outrageous, over-the-top (and therefore uncannily accurate) Gaga.  Raiti’s musical performance was so close to the real thing that it made the original songs seem like Gaga anthems.

The concept and writing were entertaining and unusual, but the script needs a little polishing, as currently it seems to have a natural ending, and then an epilogue.  This loosely-defined conclusion is the main flaw in what is otherwise a show with great promise and appeal.  The costuming by Hannah Cantwell, Sabella Dsouza and Sooah Jee was fantastic, created character and added to the comedy greatly.  Although the staging was basic, it was designed to be versatile and effective.  The original songs (Hannagan) were a great addition to the show, and deserve full musical production in any future seasons.

New work can be difficult to review, as it is often raw.  It wears its heart of its sleeve, for good or for bad.  This is the case with Gaga & Assange: there were a few areas that needed work, but many highlights.  Overall, it was fresh, engaging, intelligent and gave the audience a good laugh.

Gaga & Assange was performed on Friday 23rd & Saturday 24th August at The Guild Theatre, Univeristy of Melbourne as part of MUDfest 2013.