Category: Musical Theatre

Musical Theatre, Review, Whats On

David M. Hawkins Presents CABARET: THE MUSICAL

Go like Elsie

By Bradley Storer

This production of Kander and Ebb’s Broadway classic Cabaret, opening in Melbourne after a sold-out Sydney season, left me with incredibly mixed feelings – a collection of fantastic elements that never quite coalesces into a satisfying whole. The set, itself a stylized stage surrounded by nightclub seating that neatly blends into the first few rows of the Athenaeum Theatre, suggests a blurring of the line between performance and reality but this is never capitalized on in the show itself. For a musical that should seem eerily relatable in our current political climate, it never becomes quite clear what message this production is trying to deliver.

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Australian cabaret and theatre legend Paul Capsis easily inhabits the role of the Emcee, here depicted like a grotesque ventriloquist’s dummy, and even though he spends most of the evening onstage watching and occasionally assisting in the action he feels oddly under-utilized – darting in and out of scenes, it feels as though we are never given the chance to savor and drink in Capsis’ unique stage presence.

As the central character Cliff Bradshaw, Jason Kos does a fine job in the first act of delineating the character’s stiffness melting away into sexual awakening but his performance became oddly disjointed and robotic towards the climax of the musical which robbed the more tragic moments of any poignancy. In contrast, Chelsea Gibb as Sally Bowles gives one of the best performances of her career, finding the desperation and insecurity lurking under the flightiness and affected ‘little girl’-ishness that Sally constantly projects as a way of escaping her problems. Even as she flees from reality and responsibility, you feel incredibly sorry for her.

The supporting cast as a whole are wonderful. Kate Fitzpatrick and John O’May as the elderly Fraulein Schneider and Herr Schulz had a lovely chemistry, making their ill-fated romance all the more heart-breaking. Deborak Krizak as Fraulein Kost brings her un-erring physical comic chops, and in the final scene even manages to bring a tragic dimension to the character’s fate. The ensemble execute Kelley Abbey’s choreography with ghoulish panache and deliver strong performances in small cameos throughout the show.

Sound issues plagued the entire performance I attended, with a few missed cues and microphones randomly switching off, which would be understandable on opening night – but immediately before she could start singing the title number of the show, Gibb’s microphone completely cut out. She was forced, with the loving insistence of the onstage Capsis and an off-stage yell from director Gale Edwards, to leave the stage completely mid-performance to have her microphone replaced. Capsis sweetly vamped onstage for time before he was given the cue to re-introduce Gibbs onstage, to overwhelming and supportive applause from the audience.  When Gibbs began her number again, the sound issues continued with wash-over from other mics backstage coming through – nevertheless, Gibbs rose above circumstance and knocked the ball out of the park with a performance of the titular song ‘Cabaret’ that not only demolished the hearts of the audience but, astonishingly, even managed to banish any memory of Liza Minnelli’s iconic rendition. It was one of the most electrifying moments I’ve ever experienced in the theatre, and generated a mid-show (and well-deserved) standing ovation.

While the production itself does not always rise to meet such lofty standards, theatre-goers should rush to see this performance for the ages!

Venue: Athenaeum Theatre, 188 Collins St, Melbourne

Dates: 27th April – 20th May

Times: Monday – Saturday 7:30pm, Matinees Wednesday 1pm Saturday 2pm

Tickets: ticketek.com.au, Ticketek outlets or at the venue.

Image by John McCrae

Musical Theatre, Review, Whats On

Melbourne Premiere of ALADDIN: THE MUSICAL

A show to grant all your wishes

By Jessica Cornish

Soaring into a world of imagination, music, sequins and rich Middle Eastern textiles, the iconic Disney-cartoon-turned-Broadway-musical Aladdin has hit the stage of Her Majesty’s Theatre, kickstarting Melbourne’s 2017 premiere season.

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Aladdin, under the clever direction and choreography of Casey Nicholaw, follows the fairy tale story of the street-wise orphan who unexpectedly finds himself master of a vivacious genie with the power to transform him into a prince and win Princess Jasmine’s heart.

The fast-paced musical closely mirrors the nostalgic cartoon in look and feel. The stage was luxuriously draped with backlit silk drops, hanging pendent lights and texturally rich Arabian rugs and patterns designed by Bob Crowley. A series of appropriately-themed new songs were composed for the stage musical that successfully complimented the original score maintaining the song’s original themes and overall feel, while the well-known favourites (composed by Alan Menken with lyrics by Tim Rice, Howard Ashman and Chad Beguelin) from the original score were all present. “Arabian Nights”, “One Jump Ahead”, “Prince Ali”, “Friend Like Me” and of course “A Whole New World” all dazzle on stage, with the latter successfully incorporating the illusive magic carpet effortlessly flying through a darkened backlit stage of speckled light.

The musical was well cast with impressive leads and a vocally and visually strong ensemble. Ainsley Melham (Aladdin) fit the build and imagination as the lovable lead: he was vocally precise with a solid appealing stage presence and when coupled with his petite co-star Hiba Elchikhe (Princess Jasmine), their characters had a beautiful chemistry together, (although I sometimes wasn’t sure if Jasmine was from the Middle East or the Bronx – there were a few inconsistencies across the board with accent choices).

Hands down Michael James Scott’s larger-than-life presence as the sassy blue Genie stole the show. Shaking the audience to life with topical Australian-tailored comedic references and oozing with glitter and energy, he riveted the audience with his songs and consistently provided comic relief for the narrative, which was well counter-balanced by evil doo-er Adam Murphy (Jafar), who literally seemed to be a delicious reincarnate of the cartoon character.

The sound quality, similarly to the lighting design by Natasha Katz, was vibrant and punchy however periodically Elchikhe’s voice was lost in the mix, overpowered by her male counterparts voices and instrumentation. Similarly, there were a couple of lyrics that were lost in the Genie’s numbers: however, I’m sure these minor sound issues will be quickly ironed out by opening night.

Overall, this musical has it all and is a perfect night out for children big (yes, even the adults won’t be able to resist) and small. This pacey, high-energy musical is gloriously bursting with colour and pyrotechnics and upbeat music. It opened in Melbourne this week, so take advantage of this while you can!

Where: Her Majesty’s Theatre, 219 Exhibition Street, Melbourne 3000

When: April 20- October 22

Wednesday- Saturday evening performances 8pm

Sunday evening performance 6:30pm

Wednesday and Sunday matinees at 1pm

Ticket prices range from $50-$195.00

Bookings: Call Ticketek agency 132 849, visit the website Tickettek.com.au or any Tickettek agency or the Box Office in Her Majesty’s Box Office opens two hours prior to all performances for door sales and ticket collections.

Festivals, Musical Theatre, Whats On

Melbourne International Comedy Festival 2017: ASSISTED SUICIDE – THE MUSICAL

Seriously funny

By Joana Simmons

From turning dirty thirty, to having a poke at their nationality, to everything in between, this year’s Melbourne International Comedy Festival has artists with all sorts of reasons to put on a show. In Assisted Suicide, The Musical, the motive for putting on the show here is a very important one. Described as “a TeD Talk with show tunes” UK’s disability rights campaigner and actor Liz Carr (Clarissa Mullery in the BBC’s Silent Witness) and her cast of upbeat cheesy chorus members sing, dance and shed light on what can be seen as a dark issue, especially at this time as our Victorian Premier pushing for a parliamentary conscience vote on euthanasia this year.

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Opening with a classic kick-line chorus number “Choosing Choice”, we are warmed up for a night of musical messages and edgy issues. Liz Carr graces the stage in her glitter-filled hair and sparkly boots and is engaging and relaxed. She speaks with eloquence and passion, peppering facts with comedy, piece by piece revealing how assisted suicide is not black and white: there is a fine line between terminally ill and disabled. We see how by making it legal will eventually mean that people like her will feel like there is an exit sign hanging over their heads. The show is humorously and well written, including some wonderfully cringe-worthy puns and catchy tunes.

Many theatrical elements were used to make this discussion entertaining and compelling. Carr and director Mark Whitelaw have got in our faces and pushed us to think harder. The set is simple and effective, and space used well by all the cast. The choreography and singing is relatively basic: initally I was unsure if the chorus were meant to be taking the mickey or just giving a tacky delivery, but as the show went on there were some standout moments that left us chortling, such as the marking meeting meeting to ‘jazz up’  the idea of euthenasia with a new brandname, or the raunchy number to make end-of-life care more appealing (“Palliative Claire”). Composer Ian Hill’s music follows the famous showtune formula that we love, and the sound was good as expected in a venue like Malthouse. The lighting however was not as coherent, with some cast members being in half darkness or cues being missed the night I attended.

Amazing work and thought has gone into this show to deliver a complex and controversial subject in a comedic and highly digestible way. It’s meaty, it’s memorable, and sometimes it melts your heart. My eyes were opened and shows like this remind us how powerful theatre can be. If you are looking for something to sink your teeth into this comedy festival, or even have a nibble and then think a little; this is the show for you.

Assisted Suicide, The Musical

30th March- 9th April

6.00pm

Beckett Theatre, The Coopers Malthouse

Southbank

$17.50 – $25’

http://malthousetheatre.com.au/whats-on/assisted-suicide-the-musical

Musical Theatre, Review, Whats On

StageArt Presents THE FULL MONTY

Yes, they do

By Tania Herbert

StageArt‘s production of the Broadway version of The Full Monty with book with Terrence McNally and score by David Yasbek opened to a full house and enthusiastic audience, and a vibrant cast and impressive production team certainly gave it their all.

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That said, there is a reason that The Full Monty doesn’t get regularly produced in Australia – unfortunately the show is, overall, fairly awful. The same storyline as the wonderful 1997 British film is more or less followed, however by Americianising the storyline and approach, nothing is gained but so very much is lost. Lacking depth, sensitivity, and self-insight, it’s inherently a limited script which doesn’t even get close to doing justice to the range of social and emotional issues that the original film touched upon.

That said, this cast certainly performed the heck out of it– managing to bring likeability to a series of fairly unlikable American stereotypes. Scott Mackenzie took on the lead of Jerry and did an admirable job of pulling the story along, and sidekick Dave, played by Giancarlo Salamanca, sang beautifully. However, the somewhat dragging first act was well and truly saved by the character roles-  Wem Etuknwa as ‘Horse’, Barbara Hughes as Jeanette and Ana Mitsikas as Vicki all enter the show quite late, but really added the comic element and brought about a much needed lift.

It said something that the musical’s showstopper was the filler number Jeanette’s Showbiz Number– although the better-paced second act not only brought a lot more laughs, but really built a sense of anticipation of the finale as the other big and highly enjoyable showstopper moment (and in case you’re wondering- yes, they do).

The music is neither memorable nor particularly interesting, with the exception of the exquisite funeral song You Walk With Me, touchingly performed here by Montgomery Wilson with Adam Perryman. Despite this, the musical direction (by Nathan Firmin) was superb, utilising the very vocally strong ensemble to the fullest.

The staging under the direction of Drew Downing was interesting and contemporary- a minimalist construction site set brought in lots of movement and levels, and the onstage band added a bit of a rock-musical feel.

The Full Monty is, unfortunately, not a great musical,- but StageArt’s production was still a highly enjoyable evening with a rocking cast, slick production and plenty of talent on show (pun intended).

The Full Monty is presented by StageArt and is playing at The National Theatre from March 3 until March 19.

Tickets: $49-$74 from www.stageart.com.au

Image by Belinda Strodder

Musical Theatre, Review, Whats On

Australian Premiere: THE BOOK OF MORMON

Truly crass, highly sophisticated, and utterly sensational

By Tania Herbert

Taglined as ‘The Only Book that Matters’, The Book of Mormon is the Tony-Award glutton and Broadway spectacular written by Trey Parker and Matt Stone (of South Park and Team America fame), joined by songwriter Robert (Bobby) Lopez (of Avenue Q and Frozen fame). The opening night of the long-awaited Australian premiere certainly met the definition of ‘gala’- prequelled by a cocktail party filled with every identifiable face in Melbourne (particularly if you’re a fan of The Bachelor), and concluded with a standing ovation as Trey and Matt joined the cast onstage for the final number. Even the actual Mormons are taking advantage of the hype, with giant posters currently framing Southern Cross Station.

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The plot is the usual musical-esque small-town boy heading out into the world to make it big. Less usual though is the setting of the Church of Latter Day Saints. Elder Price (Ryan Bondy) is a newly-minted Mormon missionary, ready to change the world and fulfil his dream of ringing doorbells throughout Orlando Florida. However, his hopes are challenged once he finds himself paired with the goofy and inept Elder Cunningham (A.J. Holmes) and shipped off to remote Northern Uganda. Once there, the Brothers discover that The Lion King was way off the mark, and it’s all up to them to save the village from insurgent rebels.

The show is approachable for a range of audiences- 10-man acapella for the musicians, continual nods to musical comedy classics for the genre fans, and enough excessive costuming and production value to please any contemporary Broadway hedonist. However even those with no prior experience will be well entertained by the true hilarity of this piece of comedic genius that barely pauses for breath. Perhaps one of the most unique elements of the show is the working of humour into every element of production- set changes, exits, and lighting all feature as jokes and the humour ranges from the outright crass to artful parody.

The cast are universally stunning. Both leads come to Melbourne as Mormon veterans (Bondy performing in all three US companies, and Holmes in ‘every company.. thus far’), and the polish and passion shows in the truly flawless performances. The leads are backed up by two mostly separate ensembles- the Mormon brothers and the Ugandan villagers. The contrast in music, dance and characterisation styles for the two ensembles was one of the most rewarding parts of the production for me- adding more variety to an already exceptionally catchy bunch of tunes. Many of the cast also come from international productions of the show, along with the best of local talent. VCA graduate Zahra Newman was the particular standout as the adorable (yet still with a very impressive belt) Nabulungi, the chief’s daughter looking for a life ‘less shitty’.

Whilst only vaguely reminiscent of the of South Park episode All About Mormons (Season 7, Episode 12), fans of Matt and Trey are still rewarded, with South Park’s Jesus Christ making an appearance, and lead characters not so vaguely reminiscent of the pair themselves as they appeared in Baseketball.

For a show that spends so much time spoofing, The Book of Mormon is also truly unique, and covers a massive amount of ground in politics, comedy and moral ambiguities. The comic timing is flawless, the dancing immaculate, and the vocals spine tingling.

In typical Matt-and-Trey style though, the show is horrifyingly offensive and nothing is sacred. It’s a little like the Broadway version of Cards Against Humanity as you find yourself laughing at religion, African poverty, FGM and AIDS. If you don’t cringe at least once, you probably need to work on your politically correctness. Given all the inappropriateness, the show is also strangely sensitive, and a timely reminder that with a bit of tolerance, imagination and community, we can all be a lot happier.

The show is certainly not friendly for families, the politically sensitive or the easily offended, but if you don’t fall into one of those categories, it’s fair to say you’re going to have a pretty good night out with The Book of Mormon. With the new world of Brexit and Trump, it may seem like things are pretty grim at the moment, however this musical is the ultimate reminder that in the end, the world can still be a pretty funny place– as long as you don’t take it too seriously.

THE BOOK OF MORMON is currently playing at the Princess Theatre, Melbourne. Tickets are on sale until June 25, and can be purchased at bookofmormonmusical.com.au

Warning: Adult themes and coarse language!

Image by Jeff Busby

Cabaret, Festivals, Musical Theatre

Midsumma 2017: A NIGHT AT THE MUSICALS

Merrily murdering music theatre for Midsumma

By Myron My

Who doesn’t love the glitz, glamour and grandness of a musical showtune? Presented as part of this year’s Midsumma Festival, A Night at the Musicals starring Le Gateau Chocolat and Jonny Woo showcases the vocal talents of these two world-famous artists, as they take us through a select number of songs from some of the finest musicals that have existed – but with an added shake of camp and a shimmy of cheek.

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We are advised at the very beginning that this is a performance where musical theatre goes to die. The two have a highly energised presence and through rather tenuous links of somewhat aimless banter, introduce us to each song. Dressed in some shiny and often dazzling outfits, they take clever advantage of their differences in physical appearance and singing style, as each is given the opportunity to shine (and outshine the other) through their chosen repertoire.

As per the show’s cheeky premise, there are times where Gateau and Jonny hum or mumble their way through the “powerful” parts of the song, or will interject a quick comment while the other is singing, thus attempting to “murder” the song. In context these devices worked well, but within the actual performance it sometimes pulled me out of the moment and I confess I would almost have preferred to just have them sing the songs for me to enjoy, and leave those comic opportunities for between numbers.

However there are still a number of real vocal highlights from the evening, including their captivating duet “I Know Him So Well” from Chess; and while I am not a Disney fan, the performance of my favourite-ever Disney song, the titular title from Beauty and the Beast was orchestrated brilliantly with the right level of cheekiness and arrogance.

I admit A Night at the Musicals might not have got me jumping off my seat ready to belt out some show-tunes but it was certainly a fun and entertaining show from Le Gateau Chocolat and Jonny Woo who will perform a variety of musical show-stoppers for you with great panache and plenty of charm.

Venue: Arts Centre Melbourne, 100 St Kilda Rd, Southbank
Season: Until 22 January | Thurs – Sat 8pm, Sun 5pm
Tickets: $44.90 A-Reserve |Premium $49

Bookings: Midsumma Festival

Cabaret, Musical Theatre, Review, Whats On

Vic Theatre Company Presents THE GATHERING

Plenty of charm and intrigue in new Australian musical

By Rebecca Waese

Vic Theatre Company’s The Gathering, directed by Chris Parker, is an original Australian musical about friendship, love and loss inspired by the spirit of the Millennial generation. A group of twenty-somethings reunite in a haunted house to see their friend Tom (Joel Granger) who has surfaced after five years. When Tom runs away again, the friends stand by one another, (think of an Australian Rent meets Scooby-doo and the gang), and Tom begins to emerge from the shadows of his mysterious past.

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There is plenty to applaud in this production (with book, music and lyrics by Will Hannagan and Belinda Jenkin) and in this company of young performers who are promising, self-possessed and leave their hearts on the stage. Outstanding vocals are delivered by Luke (Daniel Assetta), playing the camp best friend of Tom’s foster sister Kelly, (Shannen Alyce Quan), who is another strong talent to watch. Quan shows power and vulnerability in “Sweet December Feelings” with subtle and nostalgic references to the particular qualities of an Australian summer. Daisy, (Hannah Sullivan McInervey), shines in her solo, “Hair So Long” and Sullivan McInvervy’s voice brings a refreshing and unexpected Missy Higgins-type quality to the ensemble.

The vocals, however, under the musical direction of Daniel Puckey, are far superior to some of the lyrics, and there are a few weak plot points in the show. A handful of too-obvious rhymes calls out for the guiding hand of an experienced dramaturg. Yet, the open spirit of the young company made me forgive some of the clangers and the performers did well to shroud them with humour and ironic deliveries. Luke’s memorable line to Kelly, “I apologize profusely/ by making you muesli,” struck a playful note as the friends negotiated their path to adulthood amidst the chaos that growing up and apart brings.

There is some enjoyable comic work by Mia (Olivia Charalambous), and a compelling dramatic moment when Tom asks why Luke didn’t help him when he needed it most. Heartbroken Joe (Daniel Cosgrove) was delightful when Daisy’s line, “we’re on a break”, lead to a sudden realisation.

The Gathering captures a sense of the moment today for young Australians out in the world, released from share-houses and uni and beginning to make their way as adults. The big company numbers are exuberant with “Never Ever” re-living the classic drinking game, “Haunted” lit by Iphone-wielding ghost-busters, and “A Different Kind of Love” bringing resolution to Tom and his friends as harmonies fill the space. There is a distinct sense of Australian place in this musical, which, despite some awkward lyrics and plot holes, speaks openheartedly and with comic self-awareness of this moment in time for the Millennial generation. Whether this is your tribe or you want to eavesdrop on their moment, The Gathering is uplifting and has much to offer.

Venue: fortyfivedownstairs, 45 Flinders Lane, Melbourne

Season:
Nov 30 Dec, 2, 6, 8, 11, 7.30pm
Nov 26, 4pm, Dec 3,10, 8.30pm
Nov 27, Dec 4, 3pm

Tickets: $38 – $42

Bookings: 03 9662 9966 or online

Image by James Terry Photography

Rebecca Waese is a Lecturer in Creative Arts and English at La Trobe University.

Musical Theatre, Review, Whats On

Vic Theatre Company Presents THE LAST FIVE YEARS

A performance to fall in love with

By Bradley Storer

A woman enters her apartment after a long day of work, placing her bag on the table and letting her hair down before spotting a letter left on her bed, along with a set of keys. With this heart-breakingly simple image, the complex narrative of Jason Robert Brown’s off-Broadway classic The Last Five Years begins to unwind in this production by Vic Theatre Company.

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The Last Five Years is a musical that presents many challenges – along with balancing the audience’s sympathy for two people shown at their respective worsts, the concept of each character’s story unfurling in opposite directions (his forwards, hers backwards) means there is normally no direct interaction between the two characters, eliminating the chemistry needed to make the central love story work. Director Chris Parker has chosen to have both characters present in relevant scenes, which is effective in some scenes (‘See I’m Smiling’ and ‘If I Didn’t Believe In You’ in particular) but less so in others where the apparent silence of one character for the entire time doesn’t always work. Brown’s wonderful score however remains entrancing throughout, beautifully played by the band under Daniel Puckey, with the simple but intricate set by Daniel Harvey unfolding in a multitude of ways to enhance the action.

Verity Hunt-Ballard is nothing short of brilliant in the role of Cathy. She wrenches the heart in her opening song, ‘Still Hurting’, manages to make the character sympathetic and delivers pure musical comedy gold in her ‘A Summer in Ohio’ and ‘Climbing Uphill’ – even in the scenes where she doesn’t speak, Hunt-Ballard conveys powerful emotion with just a look and a cheeky smile. Her performance alone is more than worth the price of admission.

Josh Piterman as the charismatic wunderkind writer Jamie ably handles the early parts of his character’s journey, his whirlwind romance with Cathy blossoming alongside his literary career, and sensitively performs the emotionally ambivalent ‘If I Didn’t Believe in You’ before losing his footing towards the end. The character’s final songs don’t have quite the impact they could (despite a nice symbolic touch involving a memento from earlier in the piece), and the last few moments of the show lose their full weight.

A problem with the musical itself is that it never seems to fully suggest what conclusion or meaning we should draw from watching Cathy and Jamie’s relationship disintegrate – but the final image of Cathy, her face lit up by the elation of newfound love as she retreats into darkness, remains haunting nevertheless.

Venue: 45downstairs, 45 Flinders Lane, Melbourne VIC 3000

Dates & Times: Nov 25, 27, 29, Dec 1, 4, 7, 9, 7.30pm / Nov 26, 8.30pm / Dec 11, 3pm / Dec 3, 10 4pm

Prices: Preview $43, Full $50, Concession $45, Group 8+ $43, Double Bill $80 (with The Gathering)

Tickets: www.fortyfivedownstairs.com , (03) 9662 9966

Image by James Terry Photography

Musical Theatre, Review, Whats On

RL Productions Presents REEFER MADNESS

Satirical cult show challenges modern audiences

By Myron My

Reefer Madness was originally a 1939 film intending to dissuade youth from smoking cannabis and highlighting the risks linked to this “pastime”. In 1999, Kevin Murphy and Dan Studney opened their musical version of the show in Los Angeles and 17 years later it is being presented by RL Productions, and the entire time watching, I’m sorry to confess I just kept wondering – why?

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While I understand the tongue-in-cheek humour and the satirical nature of the cult show, I simply cannot find any laughs in rape or domestic violence narratives. I will admit that I am not familiar with the film and unsure to what extent it makes these references, but stating women will be raped if they are stoned and watching a female character being physically and verbally assaulted by a male – and played for laughs – is not on. Yes, you can argue that it was in the musical’s book (from 1999), but these issues are so problematic for today’s audience that I felt this production needs to consider and address this in some way.

It is said that Murphy and Studney wrote the first song for Reefer Madness in under five hours, and for me, it shows. The lyrics are simple and obvious, and many of the songs themselves feel more like filler than actually showing us something more of the characters or situation. So “The Brownie Song”, “Romeo & Juliet “and “Lonely Pew” failed to engage me in any way, but that said, under the able musical direction of David Wisken, there are some great songs in there as well, including “The Orgy” and “Listen To Jesus, Jimmy”, in which the performance by Ed Deganos is just brilliant. The choreography by Yvette Lee is also quite noteworthy here and the use of the ensemble in all the musical pieces is well thought-out.

There are some scenes in Reefer Madness that are genuinely entertaining, such as when Jimmy takes his first hit and the penultimate scene in the reefer den. The intelligent direction by Stephen Wheat and lighting design by Jason Bovaird (in particular during the latter scene) was quite effective in creating some emotion from the drama and chaos that was being acted out.

The entire cast is full of energy and committed to their roles, but with all the characters being very one-dimensional I found myself struggling to care for them. Rosa McCarty however, as Mae, has some great moments on stage and manages to bring life to a character that could easily have become another cliché. James Cutler is also great as The Lecturer, bringing laughs to some very dry material with some comedic good timing and body language.

In 1999 Reefer Madness may have had its cult fans and garnered some favourable critical reviews, but for me, in 2016 – and in Australia – this is just a dated and troubled musical that has no redeeming history or context here. There are certainly some laughs to be had, but I was ultimately left mystified as to the reasons for choosing to put on such a show.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran
Season: 4 December | 7:30pm Tue- Sat, 6pm Sun
 Tickets: $49 Full | $55 Conc
Bookings: Chapel Off Chapel

Musical Theatre, Review, Whats On

Life Like Company Presents THE LIGHT IN THE PIAZZA

Beautiful and beguiling musical of love

By Bradley Storer

A twinkling of strings on the harp, cascading into a glorious swirl of orchestral sound under the swell of a soaring and mellifluous soprano voice – from the very first moments of the opening night of The Light in the Piazza, Adam Guettel’s sumptuous score (gorgeously conducted by Vanessa Scammell) instantly swept us into the magically romantic landscape of Florence, Italy.

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The entire cast, under the capable direction of Theresa Borg and in Kim Bishop’s stunning costumes, are close to flawless. Genevieve Kingsford as the childlike Clara Johnson has the unenviable task of depicting a character with a mental disability that is never fully explained, but Kingsford is a marvel in the part, sensitively balancing Clara’s innocence and openness with a fog of anxiety and confusion but never tips over into caricature. Her rich youthful soprano manages the difficult score with ease and her beautiful rendition of the eponymous song whipped the crowd into a roaring applause on opening night.

As Clara’s ardent suitor Fabrizio Naccarelli, Jonathon Hickey brought a bright and piercing tenor and a refreshing adolescent sincerity to the part – while his ‘Il Mondo Era Vuoto’ came off a touch too anguished, he harnessed a touching sensitivity in ‘Love to Me’. Anton Berezin was commanding and charming as Fabrizio’s father, while Josh Piterman as the older brother Giuseppe exuded charisma and flashy charm. Madison Green as Giuseppe’s long-suffering wife Franca managed to find the heart and kindness in a deeply wounded and embittered woman, as well as ably handling the trickiest moments of Guettel’s music.

The heart of this musical, however, is the central role of Margaret Johnson, the mother of Clara whose journey through the show embodies the conflict between the human search for love and the fear that true lasting love is nothing but an illusion. Chelsea Plumley sometimes pushes into moments of slight performativity as Margaret, but overall she nails the character’s charm, intelligence and courage, giving glorious voice to Margaret’s inner conflict as she addresses the audience in both direct dialogue and dramatically compelling song.

The backdrop of paintings and sculpture that fly in and out seamlessly, designed by Tom Willis, make a wonderful set and illustrate the libretto’s constant correlation of the characters’ plights with the figures of renaissance art, but at certain points they blocked the view of the action – physical transitions between scenes were sometimes made awkward by lighting that highlighted instead of concealing the cast and crew moving the scenery.

These small concerns aside, Life Like Company has produced an outstanding production that wonderfully captures the magic of this modern musical, captivating the audience from start to finish with its magnificent score and achingly-rendered story – heart-meltingly lovely and heart-breaking all at the same time. 

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

Times: 8pm Friday and Saturday, 6pm Sunday

Dates: October 28 – November 6

Tickets: $65 – $135

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

Image by Ben Fon