Quin Kelly – Theatre Press

You’re in Urinetown and it’s a wee bit of fun!

By Sebastian Purcell

Urinetown the Musical premiered on Broadway in 2001 with music by Mark Hollmann and lyrics by Hollman and Greg Kolis. Soundworks’ production is distinctly set in rural Australia, on the backdrop of a 20-year drought highlighting a way of life that may be more closer to reality if the effects of climate change continue on our current trajectory. Urinetown parodies a number of musicals and Soundworks’ has offered a contemporary take some of these parodies along with the musical format itself.

Due to the severe water shortages, Caldwell B Cladwell (Quin Kelly) has established Urine Good Company (UGC) to control water consumption. The towns’ officers Lockstock (Dom Hennequin) and Barell (Ashlee Noble) ensure the town-folk pay to pee under the harsh eye of Penelope Pennywise (Maddison Coleman). If the laws are broken, then offenders are sent to Urinetown, never to return. The oppression leads to an uprising from former UGC employee Bobby Strong (Finn Alexander) with the support of Caldwell’s daughter Hope Cladwell (Amy McMillan), only for the town and its people to realise freedom might not be the savour they were hoping for.

This is an absolute laugh out loud performance. It is superbly directed by Mark Taylor, with the support of choreographers Sophie Loughran and Aadhya Wijegoonawardena. The production is lively, energetic and borderlines ridiculous but never crosses the line; and while the show doesn’t take itself seriously the cast and creative team absolutely do. The cast, as an ensemble excel, especially in dancing in unison, with a personal favourite the Act Two opener What is Urinetown? – a homage to Fiddler on the Roof.

This is a tight-knit cast, each shining and getting applause throughout, but there are some absolute scene stealers in this show. Finn Alexander as Bobby Strong demonstrates a polished vocal performance in a Sister Act inspired Run Freedom Run. Alexander leads the ensemble who transform into a garbage bag clad chorus while his defying gravity run, mop in hand (not broomstick), is terrific. Amy McMillan as Hope also soars but my favourite is her acapella start to, I See a River. McMillan brings such depth to a role that could easily be a one-dimensionsupplementary character. Chloe Halley as Little Sally plays deadpan against the goofy and solid Hennequin. However, it is Ashlee Noble as Officer Barrell that steals the spotlight in every scene. She has the audience eating out of her palm. Not only is her comedic timing superb but she is an all-round performer bringing a physicality that’s unmatched.

The staging is minimal and effective, ensuring the large cast are able to fill the small stage available at Chapel off Chapel. The use of milk crates as major props from barricades (think Les Miserable) to love heart props within a corrugated iron outhouse puts you immediately in the Australian Outback. Aron Murray’s lighting design is vibrant and a clever use of toilet plungers as handheld lights is used to good effect.

The subject matter may be doused in toilet humour, but what better way is there to get audiences to consider important themes of sustainability and climate change and their impact on the world around them.

Urinetown the musical is playing at Chapel off Chapel from 28 October until 6 November 2022 with tickets via Urinetown | Chapel Off Chapel.

Photography by Benjamin Gregory (BG Group)

Engrossing and innovative musical theatre

By Sally McKenzie

Tick Tick Boom is a cleverly-written one act musical which beautifully illustrates the struggles of the composer Jonathon Larson (who also composed Rent) to ‘make his break’ in the world of musical theatre. In this new production presented by Pursued By Bear, I was captivated from beginning to end. I doubt you will find a better portrayal of this autobiographical piece by Larson.

TFHI-1238

Upon entrance to ‘The Loft’ performance space at Chapel Off Chapel, we are immediately immersed in the ‘chaos’ of Larson’s musical mind as we walk on a floor covered in pages of sheet music, and are surrounded by a clutter of suitcases and neglected musical instruments randomly stacked against walls.

In the middle of this there is a floor-boarded stage, slightly raised with a piano as the centre piece. Three wooden chairs are the only other set pieces on this stark performance space. A dozen hanging exposed light bulbs also frame the space, helping to bring a distinct realism to the set.

The role of Jonathon Larson is played by Luigi Lucente. He is simply brilliant. The audience immediately empathizes with the heightened anxiety of his character and – through the passing of time (which is likened to the strict timing of the metronome) – are captivated with his journey as an artist. Lucente is compelling as he delivers his soliloquies to the audience. Through superb timing and natural alliance with the character, he is able to bring out the comedy in an otherwise ‘serious’ plot. Moreover, Lucente is perfectly cast as he also is an impressive musician/pianist and rock vocalist. His playing of the piano is interwoven superbly into the music of the show. His performance of ‘Why’ was particularly moving, and the ‘out of tune’ piano was a perfect vessel for his emotions.

Angela Scundi gives a solid performance of the role of Jon’s girlfriend Susan, and effectively doubles as other characters throughout the show. Her rendition of ‘Come To Your Senses’ was very well-received by the audience. Quin Kelly depicted the more conservative character of Michael, which was an apt juxtaposition to the spirited nature of ‘Jon’. Although his voice didn’t quite seem suited to the more contemporary style of the show, but he brought a lovely energy to the ensemble-style cast. Mitch Roberts and Rebecca Heatherington provided extra vocal harmonies for songs and portrayed their cameo roles with conviction. Their presence in the Sondheim parody ‘Sunday’ was particularly engaging.

Paul Watson’s direction is stunning and completely fitting for the venue. The multiple uses of the piano as a set piece and the ‘domestic’ lighting doubling as the perfect tools to create the needed intimacy of such a personal story are just two examples of his stylish creative choices. His ability to convey the different tensions in the space with the positioning of actors alone is impressive.

The musical direction by Jess Barlow is well-executed. Vocal harmonies are tight and the band is well-balanced with the vocalists. There was the occasional imbalance of vocal harmonies (the men sometimes overpowering the women), but this did not deter from the enjoyment of such a fabulous score.

Tick Tick Boom is playing in The Loft at Chapel Off Chapel until May 2^nd. Tickets can be booked online at http://chapeloffchapel.com.au/ticket-sales/