Category: Review

Musical Theatre, Performances, Review

Groaning Dam Productions Presents NED: A NEW AUSTRALIAN MUSICAL IN CONCERT

Musically stunning

By Bradley Storer

It had been a wonderful week for Australian music theatre, with a limited and critically acclaimed season of Jon English’s Paris and then a Melbourne remounting of the new original musical Ned after a successful Bendigo premiere just over two years ago. It seems inevitable that the two will be compared, but it can be safely said that both make a brilliant case for the vitality and necessity of new Australian musical theatre works.

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Ned tells the story of the famous (or infamous, depending on your viewpoint) bushranger from childhood to his death by hanging, and the book by Anna Lyon and Marc McIntyre firmly takes the view of Kelly as a good, honourable man driven to extremes by injustice and government  corruption. The opening choral number sets up the evening as an interrogation of the legend and the ambiguous figure at its centre.

Nelson Gardner brings a loveable larrikin-quality and charisma to the central role, making it easy to sympathize with him and the hardships we witness him first suffer and then rebel against. The first act grounds us in the reality of living in nineteenth-century Australia, and we’re allowed to witness the close and loving bonds between family and friends that will soon be stretched and torn apart.

As in Paris, we are treated to a veritable feast of young Australian talent amongst the cast of Ned. Robert Tripolino, Brent Trotter and Connor Crawford are fantastic as the trio of friends who along with Ned are drawn into conflict with the law, and their voices meld beautifully in the lyrical “White Dove”. Alana Trater and Hannah Frederickson are wonderfully girlish and infectious in their playful chemistry before bleak events force them into maturity, Trater in particularly growing in gravitas before unleashing the shattering “No Way Back” in the family’s darkest hour.

Nick Simpson-Deeks as the meek police officer Fitzpatrick, whose initial kind nature tips over into bitterness and violence, is adorably awkward and well-meaning and manages the character’s slide into darkness with palpable pathos. Anchoring the entire cast (and quite possibly the whole show) is Penny Larkins as Ellen, the matriarch of the Kelly family – grounding the character with determined optimism and joy, Larkins traverses the biggest arc of the show as Ellen watches one by one her family taken to prison, ending up there herself to protect her children and comforting her son in his last moments. When Ellen is pressured by the police in the second act to give up the location of Ned’s gang, Larkins unsheathes the steel hidden beneath the surface in the defiant “My Son”, almost bringing their audience to their feet mid-show roaring with applause.

Adam Lyon’s score is dazzling throughout, managing to find its own uniquely Australian identity in its sound, and under the masterful hand of musical director and conductor Kellie Dickerson every moment of music was truly epic.

The only criticism that could be levelled would be at the book – while the show’s dedication to exploring and individuating all the central characters is wonderful, it comes at the cost of losing focus on Ned as the centre of the piece. Oddly, Ned himself only has two solo numbers throughout the entire show, and while the optimistic and yearning “Hope of Australia” is a brilliant song at the beginning of Ned’s journey there is sadly not much besides dialogue with other characters to define the later stages of his trajectory. Director Gary Young did a stellar job of staging this piece in a concert setting, but on the night the second act of Ned felt slightly weaker than the first. This was quite possibly because of the long stretches of dialogue that would play more strongly in a fully-staged production, but in a concert tended to drag down momentum.

These small criticisms aside, Ned more than proved itself worthy of national attention and development, and we can only hope this piece receives the funding and further opportunities to grow it deserves – with time, Ned could be THE great Australian musical.

Venue: National Theatre, St Kilda

Time: 7:30pm

Date: Monday 17th July

Image by Marty Williams

Review, Theatre, Whats On

Boyslikeme Presents NEXT FALL

Fine performances in fragile love story

By Myron My

Being in love is never easy. Geoffrey Naufft’s Next Fall tells the story of Adam and Luke, a gay couple who begin a relationship spawning five years before tragedy strikes when Luke is hit by a car. Opening with Luke’s friends, family and Adam gathering at a hospital waiting room to hear news on his outcome, the story flashes back to various moments in the lives of both Adam and Luke and those closest to them.

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Each flashback builds on 40-year-old Adam’s (Darrin Redgate) frustration over where his life is heading, and Luke’s (Mark Davis) attempts to reconcile his sexuality with his Christian faith. Redgate does a capable job as the neurotic candle-seller who seems to be subconsciously attempting to self-sabotage his chances at ever finding happiness, even when it’s staring at him right in the face. Davis evokes a naive self-assuredness in Luke with regards to his dogmatic beliefs, but he is also able to bring out a warmth and kindness to him as his relationship with Adam grows.

Kaarin Fairfax simultaneously brings fragility and strength to Arlene, Luke’s mother. A touching scene between her and Adam displays Fairfax’s ability to convey the deep emotions her character is feeling without resorting to overt dramatics. Sharon Davis as Holly delivers a solid performance as the supportive friend for both Adam and Luke, with her subtle comedic timing allowing us to momentarily forget the impending tragedy.

Unfortunately I felt Paul Robertson‘s performance as Luke’s homophobic father Butch needed further development in allowing us to understand the nuances of the character. Throughout the story Luke has an intense fear of his father finding out about his sexuality – and yet nothing eventuates from this, even when Butch comes across Adam and Luke during a moment of intimacy, which I found very unsatisfying. Similarly, the character of Brandon (James Biasetto) in this production feels more like an outsider looking in and even during his flashback scene with Adam, Brandon doesn’t reveal anything to the audience that we are not already aware of.

Peter Blackburn takes care in his direction to not rush the story and otherwise allows the characters and their relationships time to develop organically. The set design by James Lew is interesting in that it suggests that the past and present are inextricably linked, however the set changes where an actor appears in the waiting room for a few seconds for no other purpose than to give time for the crew to prepare the stage for the next scene feel very much like filler rather than substance.

While religion and getting old are major themes explored in Next Fall, it is ultimately a touching love story between two people. As such, Naufft’s script may be a formulaic play with no real surprises, but the dedicated performances from this cast are what turn this production into a story worth sharing.

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran
Season: until 30 July | Wed – Sat 8:00pm, Sun 5:00pm
Tickets: $39.50 Full | $29.50 Conc
Bookings: Chapel Off Chapel

Review, Theatre, Whats On

MTC Presents NOISES OFF

Superb production of an hilarious classic

By Myron My

It’s been 34 years since playwright Michael Frayn penned his farcical comedy Noises Off and I have patiently waited decades to see this production on the stage. As part of its 2017 season, Melbourne Theatre Company has fulfilled my wish and the production does not disappoint with this wild and witty play-within-a-play.

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While this is a fast-paced farce, one of the strengths of Frayn’s script is that we are still provided with time to get to know the characters and understand the relationships between them all. Once these are established, the laughs begin to build until the absurd and ridiculous circumstances the cast get themselves into hit peak hilarity. The second act where we are privy to the goings on behind the scenes offers the most entertaining moments of the show, as the actors struggle to separate the drama of their personal lives with the drama happening on stage.

The hugely talented ensemble of this production deliver superb performances and there is an energetic chemistry between them all. Ray Chong Nee as the pompous Gary has brilliant timing and literally throws himself into his character. As one of the more “straight” characters, Nicki Wendt as Belinda still captures our attention in all her scenes. Louise Siversen as Dotty is sensational and fully embraces the wackiness of both characters she plays.

Meanwhile, Libby Munro as Brooke is delightful to watch as the actor who will not go off script no matter what, as is Hugh Parker as the sensitive but consummate thespian Freddie. Steven Tandy as Selsdon is great comedy relief as he exasperates the cast with his tendency for drinking on the job.

Simon Burke as Lloyd the director of sex farce Nothing On – the play-within-a-play – finds a serenity and calm in the character who yet simultaneously speaks through gritted teeth to his frustratingly inept cast. James Saunders and Emily Goddard as stage managers Tim and Poppy bring some hilarious moments as they try to keep everything on track despite the mishaps along the way.

Sam Strong’s attentive and considerate direction in the real world ensures that despite all the relationships being portrayed (in Noises Off and Nothing On), we never feel overwhelmed or confused by what we are seeing. While there are moments that seem to stretch themselves for laughs, such as the axe-fight scene and watching each actor constantly sneak across backstage to avoid being spotted by the audience, he manages to keep those laughs consistent and plentiful.

Set designer Richard Roberts has done a truly marvelous job in creating the two-storey interior of the Brents’ house as well as the backstage area. The detailing in both, particularly the backstage area, is well thought-out and the rotating stage is highly impressive and used effectively.

While Nothing On is an absolute shambles of a show (but one I would still like to see), Noises Off is a slick production of the (in)famous play with a cast and creative team that has clearly put in much effort and thought into its creation. Melbourne Theatre Company presents a guaranteed crowd-pleaser with this, and rightfully so.

Venue: Arts Centre Melbourne, 100 St Kilda Road, Melbourne, 3004 
Season: Until 12 August | Mon – Tues 6.30pm, Wed 1pm, Wed-Fri 8pm, Sat 4pm and 8.30pm 
Tickets: $39 – 99
Bookings: Melbourne Theatre Company

Image by Stephen Henry

Musical Theatre, Performances, Review

Jon English’s PARIS: A ROCK ODYSSEY

A legend lives on

By Bradley Storer

Music Theatre Melbourne makes a volcanic debut with their powerhouse concert production of Jon English and David MacKay’s Paris at Melbourne Recital Centre. Assembling a phenomenal cast and combining them with the directorial talents of Neil Gooding and the musical direction of Isaac Hayward, this epic and ancient love story comes to life with incredible vivacity.

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The show has been staged in a very simple style, befitting the concert format, which brings the dynamic performances and the electric, pulsating score to the forefront with no need for distracting spectacle. Gooding has cleverly used projected text and images above the stage to fill in gaps between scenes, flowing seamlessly and provided enough detail for the audience to follow without being distracting or unnecessary. Under Hayward’s baton, the orchestra bring every bar of the score to full-bloodied life.

With such a treasure trove of actors bringing every single character to life in thrilling fashion, it can be hard to pick standouts! The princely handsome Matthew Manahan as the central character Paris brings youthful exuberance and charm to the role, as well as a voice of shocking power and range. The character of Helen of Troy is given a surprisingly sympathetic and complex portrayal in Paris, which gives Madeleine Featherby the chance to range from delicately wistful and lovestruck in one scene, to fiercely intelligence and bravery in the next, showcasing maximum control over her wide vocal range. Kerrie Anne Greenland as the princess and prophetess Cassandra is so ferociously charismatic and commanding that it can be hard to take your eyes off her whenever she appears onstage, and her belting as the city of Troy burns around her is jaw-dropping. The chorus, who remain onstage for most of the evening, are first-rate and sing magnificently in all their numbers.

Truly this production can’t be praised enough – on their opening night, the entire company received an overwhelming standing ovation that couldn’t have been more well deserved. With only four performances, you’ll be sorry if you’ve missed  out on seeing this production that showcases the best of what Australian music theatre has to offer!

Paris: A Rock Odyssey played at Melbourne Recital Centre, 31 Sturt St, Southbank, from 13 – 15th July 2017.

Cabaret, Review, Whats On

Jenny Wynters is FULLY MADE UP

Comedy cabaret off the cuff and on a roll

By Jessica Cornish

Welcome to a twilight zone: saddle up and grab your favourite flaccid, furry, stretchy squid for one hour of random and ridiculous improvised musical comedy. Fully Made Up is an improvised cabaret performance entirely based on suggestions written from audience members prior to the show.

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The cabaret presumably follows the same core story every performance in following the life of a mystery lady (in our performance she was known as Glenda from Toowoomba), covered in red plastic diamantes and flowing grey curls, living in a yet-to-be-determined location, and on a quest to secure a lead role on Broadway. After many trials and tribulations our leading lady of the evening scores her long-awaited dream job, only to find it’s not all she imagined it would be…

The evening began with a disclaimer from the talented and animated pianist Greg Munrow purported to lower our expectations: but of course unnecessarily so. Veteran comedian Jenny Wynter’s continuous quick wit was able to transform abstract themes and suggestions adroitly into a discernable and hilarious narrative.

The cabaret also featured guest artists: Pasquale played the part of the Glenda’s daughter performing poetry, but unfortunately the duo were not successful in conjuring up some witty words and rhymes under the pressure of our particular evening’s performance. However, Wynter’s male guest Rik Brown featured in one song and here the impro worked like a charm, as the pair were able to skillfully and spontaneously create a one-hit wonder song ‘Bring It On’ which had the audience in hysterics.

Fully Made Up was incredibly funny and Wynter continued to weave in reference material mentioned earlier in the evening to tie the performance satisfyingly together. It was impossible not to be drawn in as we waited to see if the next suggestion from the up-turned black hat would in fact be ours!

I laughed all night and thoroughly enjoyed myself. I can’t think of a better way to spend a cold drizzly night In Melbourne, so grab your ticket before Fully Made Up is packed up for this season.

When: Wednesday 5th of July- Sunday 9th of July, 8:30pm every night!

Where: The Butterfly Club, 5 Carson Place, CBD

Cost:$28 (concession) and $32 (full)

Bookings: 03 9663 8107 or https://thebutterflyclub.com/shows or at the Box Office.

Musical Theatre, Review, Whats On

Watch This Presents MERRILY WE ROLL ALONG

Fine performances in a challenging musical

By Bradley Storer

Merrily We Roll Along, currently being presented by Watch This at the MTC, is one of Stephen Sondheim’s most beloved scores but was regarded in its original Broadway incarnation as a critical and commercial flop. Part of this is due to the challenging structure of the show, moving backwards in time to unravel the complexities of the characters depicted, but also since we begin with the central character at his most morally corrupt it can be hard to generate sympathy for him.

WatchThis Productions

As this character, Franklin Shephard, Lyall Brooks faces an uphill battle trying to make him sympathetic. He acts and sings the part very well, but feels stronger as the older Frank more than the younger one. Nelson Gardner is charmingly nerdy and goofy as Charley, bringing wonderful physical comedy to the role. Completing the central trio in the role of Mary is Nicole Melloy, and she is so brilliantly funny and heart-breakingly transparent in every moment that it feels like the role could have been written for her – watching her in the part makes a compelling case that the show’s central journey is actually Mary’s instead of Frank’s.

Sophie Weiss as Beth ably handles the show’s biggest ballad, ‘Not A Day Goes By’, and her character’s transition from a haunted and heart-broken woman to the sunny naivety of youth. As the famous Broadway star Gussie, Cristina D’Agostino nails her big dance number but doesn’t manage to find the humanity under the glamourous façade, directed to play the character so over the top that it comes off a caricature. The ensemble, playing a wide variety of characters across the twenty-year time lapse, are marvellous with too many standout moments to recount here, and their united voices as they sing ‘Our Time’ are a truly beautiful conclusion to the evening.

Sara Grenfell’s direction and staging feels slightly confused which is a problem with a show such as this where there is already a complex structure, and the minimalistic set (consisting mainly of a large staircase and a set of curtains) tends to blur the scenes together. Cameron Thomas does a wonderful job as the sole musician in this production, and while it is lovely to hear the voices of the cast and ensemble unamplified in the space, the score loses much of its potential power when played only on the piano.

While not entirely successful on all fronts, the collection of strong performances and Sondheim’s magnificent score make this new production of Merrily a worthwhile visit.

Venue: The Lawler Studio, Melbourne Theatre Company, 140 Southbank Boulevard, Melbourne VIC

Dates: 29th June – 15th July

Times: Tues – Sat 7:30pm

Prices: $39 – $49

Bookings: 8688 0800, MTC tickets online

Image by Jodie Hutchinson 

Dance, Kids Theatre, Review

CoisCéim Dance Theatre Presents THE WOLF AND PETER

Winning fans of all ages

By Zachariah (Age 9)

“The story was about a boy named Peter who wanted to discover the meadow and on his time when he was exploring he came across a wolf and he ran away and the wolf was really good at break-dancing.

My favourite character was the person who played the piano because his hair was really crazy and cool. The dancing made me feel energetic.

I liked it because it was really funny and… I can’t explain it, but I just love it. Awesome, awesome, awesome.”

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By Tania Herbert (Aged more than 9)

Brought to Melbourne by Ireland’s CoicCéim Dane Theatre, The Wolf and Peter by David Bolger is a contemporary re-imagining of the classic Prokofiev children’s symphony, Peter and the Wolf. Set in a stylised forest, it’s a surrealist journey into Peter’s little world with lots of modern twists to tell the story in a meaningful way for today’s modern tech kids.

As Peter (played by a woman – Ivonne Kalter – in classic pantomime style) journeys into the forest, he comes face to face with his own fears and fantasies, played out through contemporary dance, from jazz to breakdance.

The music is lead by an onstage piano – which itself plays a central character, with jokes from both pianist (composer Conor Linehan) and piano bringing a lovely integration between the dancers and the music. The stylised animal characters (Lance Coburn, Jonathan Mitchell, Emma O’Kane, Mateusz Szckerek and Matthew Williamson) make sure kids were able to give their imaginations a great workout, and the shift from animals being represented by musical instruments to the animals being defined by their dance style was a clever catch.

While the show is touted as being for 6+, the audience had kids from toddlers to tweens, and the simplicity of the physical comedy yet the complexity of the dancing meant there was something to please all ages – adults included.

Kids in the audience were spellbound, even through the later parts of the show which was largely emotive contemporary dancing as Peter wrestled with the consequences of his actions and his feelings of conflict about the well-being of the wolf (Szckerek).

The Wolf and Peter is a great piece of kids’ entertainment, but also held a lovely and humanising message that we all value the same things – fun, family and freedom.

By Livi (Age 5)

“I went to the theatre and I saw The Wolf and Peter.

My favourite was Peter because he was hiding from the wolf. They did handstands and cartwheels (which I can do) and I loved the head stands.”

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CoisCéim Dance Theatre’s The Wolf and Peter was performed on 1 & 2 July at Arts Centre Melbourne.

http://coisceim.com/

Opera, Review, Whats On

Victorian Opera Presents CUNNING LITTLE VIXEN

Wonderfully weird and charming

By Caitlin McGrane

Victorian Opera’s production of Leoš Janáček’s Cunning Little Vixen is a deeply moving portrayal of youth, the passage of time, and the pain of loss. Janáček’s immense skill is clearly evident in the juxtaposition of the soaring score and the conversational libretto. It struck me as a kind of fever dream combination of Animal Farm and the 1996 live-action film of Wind in the Willows featuring most of the Monty Python cast – a wicked combination of socialism, humour and fuzzy critters keeping the sting in the tail of the Vixen.

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I adored the score, and conductor Jack Symonds and his orchestra masterfully kept the production moving even during some slow moments. In fact, as much as I enjoyed the libretto, the opera could have been performed entirely without words and I admit I would have enjoyed it just as much. Despite the serious subject matter, the production is playful and light; director Stuart Maunder has clearly had a great deal of fun during the creative process, and it shows most clearly during the moments when the animals and insects are on stage.

The opera opens with a whole forest of animals and bugs anthropomorphised by the Adult and Children’s Choruses beautifully setting the stage for the feverish weirdness that is coming. The animal costumes (Roger Kirk), particularly the frog (Lisha Ooi), are magnificent, and are honestly one of the highlights of the show. The eponymous young Vixen (Ruby Ditton) plays with her mother (Celeste Lazarenko), and is captured by the Forester (Barry Ryan) as a pet for his children. She grows up, and the adult Vixen (Lazarenko) transforms into a Marxist feminist – taunting the other animals for their backwards views and yearning for her freedom. After a wildly funny hen massacre (RIP the marvellous Cockerel) she flees, meets a charming Fox (Antoinette Halloran) and falls madly in love.

Meanwhile, the Forester basically falls into melancholy drinking with his friends the Schoolmaster (Brenton Spiteri) and the Parson (Jeremy Kleeman), ruminating on the missing Vixen and mercilessly taunting the Schoolmaster for loving a local gypsy woman Tyrenka (Danielle Calder). Frankly, I could have done without the weird human subplots: the Vixen’s story was far more interesting than all the male human characters combined, and I really didn’t need the inclusion of Tyrenka’s wedding to the unfortunately sappy Harašta (valiantly portrayed by Samuel Dundas).

The whole ensemble performed wonderfully and with a sense of mischievous playful fun, particularly Lazarenko and Halloran (who I was secretly hoping would be an anthropomorphised lesbian fox duo). Despite such misgivings, there’s so much to be charmed by in this opera: the choruses perform their animal alter-egos with inventive physicality, and the singing from every cast member is an absolute delight.

Overall, I thoroughly enjoyed the weirdness of Cunning Little Vixen, and it seemed the opera’s playfulness transferred to the audience, as they suppressed giggles both times the cast sang ‘Looks like she has a new muff’. I’d recommend this show for anyone who enjoys inventive costumes and/or subtle proto-feminism: it was a beautifully crafted ride.

Cunning Little Vixen is now playing at the Arts Centre. For tickets or more information visit: http://www.victorianopera.com.au/season-2017/cunning-little-vixen/

Musical Theatre, Performances, Review

Flourish Productions Presents THE SONGS OF ALAN MENKEN

A warming and appealing tribute

By Narelle Wood

The name Alan Menken is synonymous with so many Broadway and Disney productions: it is hard to capture the gamut of his career, especially in a 2-hour performance review. But the ensemble cast of the review The Songs of Alan Menken certainly did their best to show the range of styles and shows that Menken has contributed to.

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The ensemble of seven singers (Seth Drury, Josh Ellwood, Zuleika Khan, Vanessa Menjivar, Liam J. O’Bryne, Emily Paddon-Brown and Jeff van de Zandt) treated us to songs from wonderful movies and musicals such as Beauty and the Beast, Newsies, Hercules, The Hunchback of Notre Dame, Tangled, and Sister Act.  The accompanying choreography (by Rhys Velasquez) and staging (Matthew Lockitt) was simple and seamless, and the lighting was flawless. The only distracting thing was the occasional ‘off-pitch’ note, which was perhaps less about the very talented singers, and more to do with the demanding range needed to perform some of Menken’s more complicated scores. (That, and the appearance of some stuffed animals, which seemed a little bit corny in light of the rest of the show.)

More important were the number of standout moments. “Need to Know” from Weird Romance has become my unofficial ‘geek’ anthem and the duet of “I Can Read You” (Leap of Faith) performed by O’Byrne and Menjivar was brilliant. In saying that, one of my favourite moments came courtesy of Drury and Van de Zandt’s duet of “A Whole New World”: hands down one of the cutest duets of all time. The showstopper though was the ensemble singing one of Menken’s perhaps lesser-known songs, “Sailing On“. It was not a big upbeat number, but an understated and moving arrangement by musical director Lucy O’Brien, with stunning harmonies adroitly performed.

Ultimately, The Songs of Alan Menken was the perfect way to spend a cold Saturday afternoon, with the music of Menken lingering on way after the performance was over.

This production of The Songs of Alan Menken was performed on June 24, 2017 at The Southbank Theatre.

Image by James Terry Photography

Cabaret, Circus, Review, Whats On

Strut & Fret Present BLANC DE BLANC

A toast to the highlights

By Myron My

Set inside the Aurora Spiegeltent, Strut & Fret’s Blanc de Blanc is the newest blend of cabaret, circus and burlesque to make its way to Melbourne. A stream of scantily-clad men and women present a variety of acts intended to titillate and dazzle, and while there are certainly some thrilling moments, this is unfortunately rarely the case. As such, the show ultimately comes across as a relatively mediocre variety night of dance and clowning, which over two hours begins to feel repetitive and even tiresome.

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Spencer Novich is absolutely hilarious as the right hand man to maitre d’ Monsieur Romeo. His clowning and physicality kept the entire audience bellowing with laughter and his mime montage of various sound bytes all thrown together was the highlight of the evening. His later pairing with J’aiMime for a second dose of this was even more impressive. Unfortunately the same cannot be said for his Romeo, whose entire presence throughout the show felt awkward and at times unnecessary.

Of the limited circus acts performed, it must be noted Hampus Jansson and Milena Straczynksi’s double aerial act showed strength and sensuality, while the bellhop acrobatics by Masha and her spinning hotel luggage cart displayed strong skill and real concentration.

Despite the glaring presence of champagne throughout, there was neither a strong, fluid (pun intended) theme running between each act or an overarching narrative to make Blanc de Blanc a cohensive whole. The use of the spa felt tacky and as if it was imposing on the show rather than working as a character. Meanwhile, towards the end of the show audience members are given five minutes to take selfies with the performers, and while the intentions might be to connect with us, the overt self-promotion meant the show unfortunately lost any charm for me it may have garnered along the way.

Strut & Fret delivered an amazing show with LIMBO during Melbourne Festival in 2015. Unfortunately they have failed to re-create that magic for me with Blanc de Blanc, with its lack of a clear purpose and the dearth of exciting acts.

Venue: The Aurora Spiegelent, Jacka Boulevard, St Kilda (next to Palais Theatre) 
Season: Until 30 July| Tues – Thus 7:30pm, Fri – Sat 7pm and 9:30pm, Sun 7pm
Tickets: between $38 and $78
Bookings: Map 57