Category: Musical Theatre

Events, Musical Theatre, Review, Whats On

Review: ASSASSINS at fortyfivedownstairs

Musicals can be deadly…

By Bradley Storer

‘Everybody’s got the right to their dreams!’ With these deceivingly sunny words we are drawn into the grim world of Stephen Sondheim’s Assassins, a dark twisted carnival in which the murderers of history exist in a fantastical purgatory.

Assassins

The sinister message of the show is that these are the natural by-product of the American Dream – the malevolent reflections of the frustrated search for happiness, looking for fulfilment in the only way left.

Mark Dickinson as John Wilkes Booth brings a sonorous baritone and combination of Southern and Satanic charm to the role, quietly commanding every scene he enters.  Nadine Garner is pitch perfect as Sarah Jane Moore, one of the two ladies who attempted to kill Gerald Ford, and her scenes with Sonya Suares as Lynette Fromme are a comic delight. The rest of the cast deliver solid, if not outstanding, performances. Nick Simpson-Deeks as the strolling Balladeer unleashes a strong mellifluous tenor in his songs, but lacks the charisma that a character embodying the American Dream, in my opinion, should have – whether this is accidental or a directorial decision to demonstrate the hollowness of this concept is open to debate.  Simpson-Deeks does a far better job as the dual role of Lee Harvey Oswald, which makes it disappointing this character only has the chance to appear in one scene.

Director Tyran Parke is to be commended for his direction of the show, and his vision shines through strongly in the assassins’ individual songs and scenes – but in the big group scenes which bookend the show I felt the staging was static and a little awkward, in particular the scene in which the assassins en masse turn against the Balladeer lacked the menace and danger of mob mentality that I was looking for. I felt this was a problem with the production overall – although Parke and the cast do a fantastic job of humanising the characters and mining the comedic potential of the material, it feels as though ultimately it lacks the edge necessary to make the show truly exciting.

DATES: 10 – 21 April 2013

VENUE: Fortyfivedownstairs, 45 Flinders Lane, Melbourne

TIMES:    Tuesday to Saturday 7.30pm, Sunday 5pm, Wednesday matinee 1.30pm

ADMISSION: Gala opening night $49, Full $39, Concession $29, Group 8+ $35, Preview $25

BOOKING: 03 9662 9966, www.fortyfivedownstairs.com

Events, Festivals, Musical Theatre, Review, Theatre, Whats On

REVIEW: Slutmonster and Friends for MICF

You NEED to see this show

By Myron My

Wow.

That is all I can say after having seen Slutmonster and Friends. That, and “I need to wash my brain.” Returning to the stage for this year’s Melbourne International Comedy Festival, this is definitely the craziest show you will see.

Slutmonster and Friends

The lights come on and the music starts playing in this land of cheerful and brightly coloured trees and bushes. Upon closer inspection you notice that some of the flora is not quite right. To say more would be to ruin the surprise. Once Slutmonster (Jessie Ngaio) appears in all her glory and singing a happy song, you know you’re in for quite an adventure. The premise of Slutmonster and Friends is that two brothers, Bovril (Wes Gardner) and Larch (Lucas Heil) are lost in this forest and what happens once they encounter Slutmonster.

From then on, things happen that you cannot believe you are seeing. Despite the high sexual content and outright wackiness, it all seems very fitting in this environment and doesn’t seem crass. The great thing about Slutmonster and Friends is despite all the explicit sexual references there is actually quite a convincing storyline which Heil and Gardner (as writers) should be congratulated on. It’s also great to see the three performers fully committed and taking on the demands of roles that other actors might not have been so comfortable doing.

There is a lot of crazy and racy stuff in this show but the cast are smart enough to realise this and break up the hectic pace with the same story being projected on a screen periodically as a traditional fairy-tale that would be much more child-friendly. It’s quite amusing to watch this version and see how it refers to and re-imagines things that have happened on stage.

The costumes and set design, all by Ngaio, are superb, especially the full Slutmonster costume. No amount of describing it will do it justice so you really need to go and see this show and witness all of its charms and laughs yourself.

I have never seen anything quite like Slutmonster and Friends before and I think it will be a long time before I do again. It’s a great show when the worst thing is that it has to end. I overheard one audience member say this at the end of the show and I wholeheartedly agree with their statement: “Genius. Just genius.”

Venue: Northcote Town Hall, 189 High St, Northcote

Season: Until 20 April | Thus-Sat 10:00pm

Tickets: $20 Full | $17 Concession

Bookings: 9481 9500, www.northcotetownhall.com.au & at the door.

Events, Musical Theatre, Performances, Review, Whats On

Review: CHITTY CHITTY BANG BANG opens in Melbourne

All the fun of being a kid again

By Kim Edwards

I went to Her Majesty’s last night with every intention of being a theatre critic. But there was the excited boy behind me who chattered until the lights went down, whereupon he sat in rapt silence. And the little girl across the aisle who asked in a horrified whisper, “Doesn’t that mean lady like children?!” And the preschooler in front who crawled into mum’s lap at a crucial moment and exclaimed, “Oh no!!” And the audience spontaneously clapping along throughout, and booing the villain, and applauding the over-excited dog who lost his way…

And my inner child kicked my shins and pulled my pigtails, and I succumbed to the joyful fun of a good family musical, and caught my breath in sheer child-like wonder at that spectacular magical moment closing Act One.

chitty-chitty-bang-bang

Written by the creator of James Bond, scored by the musical talents behind Mary Poppins, and starring a who’s who of Melbourne celebrities and theatre stars, this production of Chitty Chitty Bang Bang where a magic car takes a little family on a wild ride into adventure, is full of action, colour, verbal wit and slapstick comedy, and delightful music. My first compliments go to the deliciously dynamic men’s chorus whose spinning dance in Toot Sweets, infectious energy in Ol’ Bamboo, and hilarious elderly antics in Roses of Success won my heart completely. Rachael Beck does a charming job as love interest Truly Scrumptious, Tyler Coppin was wonderfully creepy as the Child-Catcher, and Alan Brough as the Baron and Jennifer Vuletic as ‘that mean lady’ the Baroness were superb comic chemistry.

It was the scene-stealing clowning of the Vulgarian spies played by Todd Goddard and George Kapiniaris however, who most pleased grownups with ribald humour and the kids with their buffoonery.

David Hobson as lead Caractacus Potts does an admirable job, and it is my nostalgic affection for Dick Van Dyke that made this genteel, velvet-voiced portrayal harder to appreciate. It is a shame the theme of overcoming class boundaries therefore gets lost, however.

So the prolonged exposition in the opening scene is clunky, the romance a little flat and unconvincing, the English accents sometimes dubious, and the ‘defeat’ of the bad guys in the finale clumsy – but who cares? Chitty Chitty Bang Bang is thoroughly entertaining and the perfect introduction to the marvels of musical theatre – your kids are simply going to LOVE it.

Playing until March 17 at Her Majesty’s Theatre – book at Ticketek or call 1300 795 012

Events, Musical Theatre, Performances, Review, Whats On

REVIEW: StageArt Presents HAIR

This is the dawning of the Age of Aquarius! With these famous words I experienced the ‘new age’ movement of StageArt’s production of Hair at Chapel Off Chapel.

Hair

From the second you walk into the venue, you feel like you have transported back in time with hippies scattered throughout the space and mingling – in character – with the audience. These guys don’t just break the fourth wall: they smash right through it! There are many moments where the cast runs into the audience singing their songs, speaking directly to us and generally including us in the show. Costume designer Hazel Green has also perfectly encapsulated the essence of the era with her pieces for the cast.

The level of energy the cast had and maintained throughout Hair was quite phenomenal. During the rousing final number of Let The Sun Shine In, I could hear the breathlessness of some of the performers as they stood beside me having given the song all they had.

The other stand-out numbers would have to be the famous Aquarius, Hair as wonderfully performed by Ashley Rousetty and Sam Kitchen and What A Piece of Work Is Man sung brilliantly by Mitchell Sanfillipo and Gina Mets. However, and this is my main qualm with the show, the sound production was not up to scratch. There were moments throughout where it became difficult to hear what was being sung or spoken as the mics would drop in and out.

With eighteen performers and a brilliant five-piece band – led by musical director Cameron Thomas – on stage the whole time you would be right to assume that it is a large space. Upon inspecting the stage and seeing that it is in fact a very tight place I appreciated how much precision and care was needed for the choreography to work and the level of awareness the actors needed at all times.

Famously ending with that powerful final scene and its strong message regarding war which remains relevant in today’s society, you have two more weeks to “come to the orgy” that is Hair and revel in this wonderfully colourful, vibrant and trippy production.

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

Season: JAN 31st – FEB 17th, Wed – Sat 8pm,  Sat & Sun 2pm

Tickets: $46.50, $41.50 Conc

Bookings: www.chapeloffchapel.com.au

Events, Musical Theatre, Performances, Review, Whats On

Review: MARGARET FULTON – Queen of the Dessert

An exciting new Australian musical takes the cake

By Bradley Storer

The atmosphere on the official opening night of Margaret Fulton: Queen of the Dessert, a new Australian musical written by Doug Macleod and Yuri Worontschak, was overflowing with enthusiasm and national pride.

Greeted at the door of the Theatreworks performance space by members of the cast offering Anzac biscuits and mini-Australian flags, the anticipation of seeing a brand new musical intermingled with a sense of coming together as a community to celebrate the life of an Australian icon (heightened by the presence of the lady herself).

We are taken on a whirlwind ride through episodes of Fulton’s life, from her beginnings as a country girl moving to Sydney, her life in the bohemian underground and her (at the time) unconventional choices of lifestyle, several marriages marred by misery and disaster, on to the heights she gained through her own industrious, strong-willed nature and ingenuity, changing the cultural landscape of Australia forever.

Amy Lehpamer brings to the title role a simultaneous combination of delicacy, refinement and inner strength, a beautiful flower tipped in steel. This is backed up by a powerhouse of a voice which can move as easily from a caress of a whisper to a roof-raising belt. Although illustrating Fulton’s strength and poise to great effect, in the show’s more emotional moments her restraint was frustrating – I wanted Lehpamer to let down the character’s walls and yield to the full power of her passions, even if only for a few moments.

The Present Tense ensemble, under the direction of Bryce Ives, are all strong performers in their own right. Josh Price and Laura Burzacott in particular provide the most side-splitting moments of the evening, Price as a series of grotesque caricatures of Fulton’s various lovers and industrial misogynists, and Burzacott as Bea, Fulton’s long-time friend from her bohemian days, who embodies the character with good-hearted ribaldry.

The book is well-crafted if at times clumsy – it feels at points as though Fulton’s achievements are being ticked off on a list, simply being pointed out rather than explaining how these achievements emerged from her life and circumstances. After one of the best and highly emotional scenes in the narrative, the show unfortunately peters out in its last few moments as though it has lost even a glimmer of narrative.

Overall though, this is an exciting, inspiring and highly entertaining production which pays tribute to the incredible achievements of a true national icon in glorious and gut-bustingly funny song.

Date: 16 Nov 2012 – 01 Dec 2012

Venue: Theatreworks, 14 Acland St, St Kilda Time: Tue, Wed, Thu at 8pm, Fri & Sat 7pm & 9.30pm

Price: $45 full / $30 conc, under 30s & groups 10+/ $25 preview [plus booking fee]

Bookings: www.theatreworks.org.au or 03 9534 3388

Events, Musical Theatre, Performances, Review, Whats On

REVIEW: Elaine Paige In Concert

Everything the fans could have wanted

By Adam Tonking

It’s Elaine Paige. ELAINE PAIGE!

A surprising number of friends to whom I bragged to about seeing this concert weren’t familiar with her. For those who were not fortunate enough to grow up with her records on high rotation in their homes, she is the Queen of British Music Theatre, particularly around the 1980s when she originated leading roles in shows such as Cats, Evita and Chess.

Her recordings of hit songs from these shows are often among the first, the highest selling, and the best. Even though this was her most celebrated era, she’s repeatedly won plaudits for her performances from the late 1960s, all the way to her most recent role in Follies.

For a veteran performer, one tends to expect some deterioration of vocal talent. In this concert of her most classic songs, Paige delivers perfectly on numbers she has been performing for three decades, as fresh and lovely as those recordings I grew up with. Her delightful presence on stage had the oldest members of the audience cheering like teenagers, as she showed us how “I Dreamed A Dream” should be done, as she channelled Piaf even when sung in English, as she proved me wrong in that the awful songs I detest from Sunset Boulevard could be the most moving and incredible moments in an already spectacular evening.

Any complaints I have are purely selfish: I wanted more and more and more. I wanted to call out requests, I wanted her to throw in a few Sondheim numbers, I wanted her to stay on stage and sing back-to-back for me for the entire two hours. Selfish, particularly when her onstage band were so wonderful, and especially when her supporting singer Nic Kyle was ridiculously good. Giving Paige a moment to change costumes, Kyle performed a few numbers, and completely astounded us all with his rich tone, gigantic range, and accomplished performance. His rendition of “Gethsemane” was mind-blowing.

Clearly, I cannot say enough good things about this concert. And from the way the audience leapt to their feet and applauded while Paige took bow after bow, I’m not alone. Paige is a music theatre icon, and a successful recording artist. The chance to see her perform live is not to be missed. This was her only show in Melbourne, but head to Sydney, Brisbane or Canberra to catch her before she leaves Australia.

Elaine Paige performs at the State Theatre in Sydney on Friday 26th October, tickets through Ticketmaster 136 100; at the Canberra Theatre in Canberra on Sunday 28th October, tickets through Canberra Ticketing 02 6275 2700; and at QPAC Concert Hall in Brisbane on Monday 29th October, tickets through QTIX 136 246.

Events, Musical Theatre, Performances, Review, Whats On

Review: THE PRODUCTION COMPANY presents Promises, Promises

A rare chance to see a superb show

By Adam Tonking

The Production Company’s Promises, Promises stars Matt Hetherington as Chuck Baxter, a low-level accountant in a huge corporation, struggling to be noticed both by his bosses while the girl of his dreams, waitress Fran Kubelik is played by much-loved Marina Prior in ever-reliable form. The show itself is genius, taking a filmic masterpiece in Billy Wilder’s The Apartment, and adapting  it to the stage with glorious music from Burt Bacharach, complete with his exciting and idiosyncratic shifts in meter and harmony. Add to this Neil Simon’s witty and skilfully crafted dialogue, and Hal David’s heartfelt lyrics – how could this show not be amazing?

Hetherington turns his Jack-Lemmon charm on the audience from overture to finale, particularly in the number “She Likes Basketball.” The supporting leads, Chelsea Plumley and Robert Grubb, also gave stellar performances. Plumley was either sorely underused, or used to perfection, playing a small cameo role in one of the most entertaining scenes in the show. She trod a beautiful line between dignity and a complete shambles, all delivered with perfect comic timing and fully-realised characterisation. Grubb was perfectly cast as Dr. Dreyfuss, turning something of a sourpuss into a loveable curmudgeon.

I was delighted to see the orchestra on stage. Half the joy of music theatre for me is the visceral experience of live musicians, and watching them under the tight direction of Guy Simpsonwas pure bliss. The ensemble were spectacular – and aren’t the ensemble the most underappreciated aspect of any show?

Here though, “Turkey Lurkey Time” and “A Fact Can Be A Beautiful Thing” were beautifully executed, and two of the best numbers in the production thanks to the energy and enthusiasm of the ensemble. Particular mention should be given to Hester Van Der Vyver, who with her small but pivotal role as Miss Olsen, came close to stealing the show.

The Production Company has enjoyed a brilliant year with its inspired choices, and their production of Promises, Promises ends it beautifully. In excitedly looking forward to their 2013 program, I can only suggest that you quickly rush to see this too-seldom performed, absolute gem of a show.

Promises, Promises is on at the State Theatre, October 3 to October 7. Book at artscentremelbourne.com.au or call 1300 182 183.

Events, Musical Theatre, Review, Theatre, Whats On

Review: MADEMOISELLE by Michael Dalley

Behind closed doors is where camp comedy begins

By Myron My

I was not sure what to expect from the world premier season of Mademoiselle, advertised as “a gothic camp music theatre revue” with two satirical manservants singing tunes about what could have been, but I knew I would be in for a treat.

Our two manservants, played by creators Michael Dalley and Paul McCarthy, sneak into their employer’s boudoir and let loose some glitzy musical numbers revolving around fantasy, regret, power and servitude.  The very opening song relaxed the audience and assured us that we were in for a night of cheeky laughs.

Mademoiselle is a very wordy and witty revue with just a few jokes falling flat. However, the characters had such an air of assumed superiority that you had to second-guess yourself when you didn’t laugh – was it because the joke wasn’t that funny or because you were just too lower class to get it?!

The banter and bitchy retorts between the two servants as they try to gain one up on each other was a joy to watch and Dalley and McCarthy have a great rapport together. You can clearly see they are having a ball with this. However, I would have liked to see the pair push themselves more with volume and vocal projection – at times, their speaking voices were louder than their singing ones, as if they were holding back during the songs. Also, there were moments during the duets when the performers were not in time with each other, but they were far and few between.

Composer John Thorn on piano was delightful to hear and played with great precision. Favourite numbers of the night were “The Passive Aggressive Filipino Amway Lady” which had me in stitches when the title character met the articulate call centre operator from Dubai, and “The Nasty Queen From Menswear” made delightfully scarier by the fact that I too was once a victim of such a person in previous employment.

The sets and costume, while minimal, added so much to this revue. The constant presence of the toilet was a constant reminder that despite their airs, these two manservants were just that and nothing more. The single props for their impersonations were well-chosen and clearly distinguished their changing characters: from Indian call-centre workers and Filipino Amway ladies to bitchy sales assistants, they were spot on, which is no surprise given Dalley and McCarthy’s established performance backgrounds in comedy and theatre.

Mademoiselle is certainly cheeky good old-fashioned camp fun that will see you leaving the theatre with many belly laughs having been had.

Venue: fortyfivedownstairs, 45 Flinders Lane
Season: Until 19 August 2012 | Tues to Sat 8:00pm, Sun 5:00pm
Tickets: $35 Full | $28 Conc
Bookings: 03 9662 9966 or http://www.fortyfivevdownstairs.com

Events, Festivals, Musical Theatre, Performances, Review, Whats On

REVIEW: The Musical of Musicals: The Musical

Hilarious for everyone, but a special theatre treat for the real fans…

By Meg Richardson

This is one musical that lives up to its name, for this satirical parody has been crafted to satisfy even the most obsessive musical theatre fans. As part of MICF this year, The Musical of Musicals: The Musical takes one simple plot line and tells it 5 times over in completely different styles, so while never repetitive, it is entirely hilarious.

The plot follows a young woman (Emma Hoy) who can’t pay her rent, her boyfriend (Jack Brown) and her older confidant (Bianca Bruce) and their constant battles with their demanding landlord (Josiah Lulham). Audiences also enjoy a one-man ensemble/narrator (Michael Leaver). The 5 famous composers that are acknowledged are Rodgers & Hammerstein, Stephen Sondheim, Jerry Herman, Andrew Lloyd Webber and Kander & Ebb. For reasons obvious to anyone that has seen any of the works of these artists, each time the story is repeated in another of these styles, there is a totally different outcome.

MoMTM provides its fair share of laugh-out-loud, slaptstick moments that any audience would enjoy, but it is the true musical theatre fans that will really appreciate this show. Each section is full of references to the composers’ works from obvious musical cues to subtle dialogue references that only tickle the funny bones of those in the audience with the most astute theatrical knowledge. There is also a risky amount of blatant criticism of some of the trademark indulgences of the legends that almost invites a gasp of horror at the delivery.

The cast work seamlessly together as all but Lulham have worked together on the show previously. While they were all a joy to watch, Bruce’s stage presence is hard to tear your eyes from. Her comic delivery of diva Abby in Dear Abby (the Jerry Herman tribute) was enough to have viewers in stitches. The whole cast performed the show without microphones, but due to their ample talent, this was never an issue. Along with this finely-tuned cast, musical director Simon Bruckard uses only a single piano to provide fantastic support to his players and created some magical moments for the audience to enjoy.

Technically, the show could have had more support. There were times when it wasn’t clear if the follow spot was lagging behind as a gag or if the operator had actually fallen asleep but aside from that, it all moved quite smoothly.

Overall MoMTM was a performance worthy of the deafening applause it received that can only be created by a true musical theatre audience.

Venue: The Open Stage @ The University of Melbourne
757 Swanston Street, Parkville, VIC, 3010
Dates: 18th April – 21st April
Times: Wednesday – Friday 7.30pm, Saturday 2.30pm & 7.30pm
Tickets: Adults $22, Concession $18, Groups (5 or more) $15
Bookings: www.themusicalofmusicals.com

Events, Musical Theatre, Performances, Review

REVIEW: La Cage Aux Folles

A lavish revisit to a classic musical

By Dean Arcuri

I knew La Cage aux Folles as the show on which The Birdcage was based: a gay couple are shocked when their son announces his pending engagement into a politically traditional family, and a hilarious dinner party filled with mistaken identity, muffled flamboyance and an abundance of cross-dressing ensues. Quirky Productions’ latest approach to the famous musical at the National Theatre had a cast and production team that do not disappoint in presenting a fantastic show.

I particularly tip my hat to the production’s stunning costumes (Isaac Lumins), wigs (David Wisken), lighting (Brad Alcock) and set design that really transformed the space from Parisian streets and a Mediterranean home to the La Cage stage. The simple flamboyance succeeded in elevating the comedy without overshadowing the campness.  In particular, working with depth on the stage of the La Cage allowed the lighting and costumes to really augment the performances.

John O’May’s portrayal of George was a perfect juxtaposition to David Rogers-Smith’s Albin/Zaza, with both deserved the standing ovation they received.  O’May’s voice is hauntingly beautiful, and he played out the emotion in the character with a powerful calm, allowing me to understand, empathise and still be entertained with what is honestly a pretty insensitive plot device used to channel the story along.  Meanwhile Roger-Smith embraced every moment in the spotlight, while never letting us forget the man behind the makeup. His performance of the classic I Am What I Am that closes the first act was filled with raw passion and vocal power, leaving the hairs on the back of my neck to only subside sometime during Act Two.

Juggling camp comedy and emotional empathy is never easy, but both the leads portrayed the passion of their characters and their tender relationship with such strength that it carries their “straight man” son (Reece Budim) whose singing voice certainly counteracted his character’s two-dimensional paternal relationship. Unfortunately the variety of accents of the lower-tier leads distracted from their performances, really leaving these stronger characters to take centre stage.

Special mention must be made of  the ‘ladies’ or Les Cagelles, who really kept us entertained throughout with their energy, passion and ability to move. From the opening the show we soon saw there was more than meets the eye: not just because of what was “tucked away” but because even in visual uniformity their individual performances shone out. It’s a shame their scenes were drowned out by the orchestra leaving great character moments and punch lines by the wayside.  Still, their dance numbers had us transfixed, and applauding along with an abundance of energy and exuberance.

Minor issues aside, the entire musical was thoroughly entertaining, powerful and beautifully performed. If you missed this one, be sure to keep an eye out for Quirky Productions’ future shows.

La Cage aux Folles was performed at The National Theatre from March 16 – 24, 2012