Popular music theatre star David Harris shows himself to be just as comfortable in an intimate setting as he is onstage in a musical blockbuster in this charming amble through his theatrical career.

With a wonderfully open, disarming style, Harris puts the audience completely at ease and quickly has them eating out of his palm as he recounts his key music theatre moments and milestones. The combination of his relaxed, natural singing voice and his cheeky smile allow the audience to just sit back and enjoy Harris’ amusing stories and cherished reminiscences.

Inextricably linked to these tales are the songs from the shows that Harris has lived and loved. Taking us from hometown talent shows (who knew he could tap dance with his mouth?) to the bright lights of Sydney, Harris’ journey is one dreams that have come true and wishes that have been fulfilled. Striking a deft balance between justifiable pride and beguiling self-deprecation, Harris makes it impossible not to love him and impossible to begrudge him an ounce of his success.

Switching effortlessly between chest voice, head voice and falsetto, Harris thrills with selections such as “Tenterfield Saddler” from The Boy from Oz, Thoroughly Modern Millie’s “What Do I Need With Love,” and his big Miss Saigon number “Why God, Why?” Another treat is the lovely “You Walk With Me,” an underappreciated gem from The Full Monty.

Harris is supported by marvelous musician David Cameron, who displays the lightest touch on piano and, at times, guitar.

Special guest Amanda Harrison joined Harris for the rousing Irving Berlin countermelody classic “You’re Just In Love.” Having separately played Elphaba and Fiyero in Wicked, the pair finally sing “As Long As You’re Mine” together, and the wait has been well worth it.

While the ambience would have risen a notch or two with an actual cabaret setting of tables and chairs, the Chapel Loft is an ideal size for audience and performer connection. A cozy setting, varied lighting and excellent sound added to the flair of the performance.

With a move to New York on the very near horizon, music theatre fans should take this chance to enjoy the talent and charm of David Harris.

David Harris performs Time is a Traveller plays at Chapel off Chapel until Friday 8 August. Performances in Brisbane and Newcastle follow later this month.

A tender, poignant celebration of love, loss and longing, William Finn’s Elegies: A Song Cycle brought a tear to the eye and a glow to the heart of the lucky few to fill Bennett’s Lane last night.

Like speed-reading a book of short stories, each as compelling as the last, Elegies gives us a bittersweet glance at a collection of keenly observed, readily engaging characters. There is a distinct sense of Jewish New York to the lives on show, but, like the best short story writers, Finn gives each of us moments of clarity and vision. A particular moment for me came with Anne Wood’s prickly school ma’am, a childless, unmarried woman who reflects that “Only One” student who has been touched by her teaching is enough.

Having just watched new telemovie The Normal Heart, I also found the sprinkling of AIDS-related stories to be particularly moving. Finn has clearly lived through, and been profoundly affected by, the crisis chronicled in The Normal Heart, a period he also portrayed so beautifully in Falsettos.

With six supremely talented performers (five singers and pianist/musical director Vicky Jacobs), there was little for director Stephen Wheat to do staging-wise other than let these singing actors bring their vocal flair and unique expression to this treasure chest of polished gems. As sole accompanist, Jacobs provided a lush sound while maintaining the lightest touch on the keys. Wheat coaxed natural, confident performances from the cast, resulting in renditions so personal they seemed to be the actors’ own stories.

As well as scoring tears from this reviewer with “Only One,” Wood brought her distinctly elegant, polished stylings to “14 Dwight Ave, Natick, Massachusetts,” in which a dignified Boston woman says goodbye to her cherished world and precious son.

Martin Croft’s warm expression illuminated “Mark’s All-Male Thanksgiving,” a song of memories of dear friends that Croft seemed unavoidably affected by as he sang one of its reprises. “Venice” was also an especially heart-rending number from Croft.

Impressing with his powerful vocals, John O’Hara also displayed his ability to switch from lively sparkle to serious reflection in an instant. “Mister Choi and Madame G” was an early winner from O’Hara, with upbeat “Joe Papp” (about theatre legend Joseph Papp) another welcome light moment amongst the more somber ballads.

Ed Grey used his cheeky grin to great advantage as he sang “My Dogs,” then broke our hearts later with “When the Earth Stopped Turning.”

Naomi Livingston did full justice to the tour de force “Passover,” later contrasting this beautifully with the gentle “Anytime (I Am There).”

A brilliant opportunity to see the raw talent of music theatre stars away from the overblown production values of their mega-musicals, Elegies: A Song Cycle was a highly memorable winter treat. If an encore performance is announced, attendance is strongly recommended for lovers of fine writing and gorgeous music.

Elegies: A Song Cycle played at Bennetts Lane, Melbourne, Monday 11 August 2014.

Photos: Emily Cascarin

Jerome Kern’s magnificent score is the highlight of this pared back presentation of enduring music theatre classic Show Boat.

The curtain rose for the world premiere of Show Boat at 8.30pm on November 15 1927, and came down at 12.40am the next day. Ever since then, the much-loved musical has been adapted and revised to the point that there is no definitive version. The Production Company’s decision to use this 2011 adaptation from Goodspeed Opera House makes sense on the basis of reduced length and streamlined staging, but the memory of the brilliant Hal Prince version from the mid-1990s looms large.

In this version, storytelling is brisk and clear, although the concept of miscegenation, a key factor in act one, seems a foreign and distant one to a millennial Australian audience. Unfortunately, the pace does not give the instant romance between riverboat gambler Gaylord Ravenal and blossoming performer Magnolia Hawkes any time to develop, making it hard to care when they are parted in act two. The lack of chemistry between Gareth Keegan and Alinta Chidzey, lovely singers both, exacerbates this problem.

The pair of second act montages from the Hal Prince version are missed, as is the rousing 11 o’clock ensemble number “Kim’s Charleston.” The wonderful song “Bill,” a constant in all productions of Show Boat, is sung exquisitely by Christina O’Neill as Julie LaVerne, but the heartbreaking aspect of Julie’s decline is absent. This means that the show basically stops for this number, lovely though it may be. This flaw is a reflection on the input of director Rodger Hodgman, with significant sharpening being clearly needed on the tension and atmosphere of this production’s performance overall.

It is acceptable that performers who played slaves are dressed glamorously to fill out crowd scenes at the Trocadero in act two, but the flagrant re-writing of history by having white and “coloured” folk dance together as couples at the act one wedding celebration of Gaylord and Magnolia is ludicrous, especially given that racial segregation is such an important theme of the show. Elsewhere, Dana Jolly’s choreography is perky, period-accurate and fun to watch.

Amongst the welcome touches in music director Kellie Dickerson’s adaption of the score are the banjo and choral opening of “Cotton Blossom” and the a capella harmony section of “Ol’ Man River.” Dickerson’s precision and careful control result in a sparkling performance from 25-piece Orchestra Victoria. System Sound’s sound design is reliably pristine, and some of the voices are so strong they are basically heard acoustically, at least in the front half of the stalls.

Isaac Lummis has designed a rather sumptuous set of costumes, with a range of elaborate, attractive outfits on display. The obvious amount of work that has gone into these costumes is extremely impressive. Juvenile leads Frank and Ellie have several spectacular sets of matching outfits, and Magnolia is dressed quite divinely in every scene.

Phillip Gould is in his element as Captain Andy Hawkes, giving an animated, engaging performance that demonstrates full understanding of the character and period. Gould’s frisky, crisp, vaudevillian dance moves in “Captain Andy’s Ballyhoo” make perfect sense for the role (and bring to mind his excellent performance as Buddy in Follies). With a stage full of performers all working at this level the audience would have been blown out of their seats.

Eddie Muliaumaseali’i fills the State Theatre with his glorious bass as he sings timeless hit “Ol’ Man River.” Judith Roberts provides moments of humour as crotchety Parthy Hawkes. Heru Pinkasova projects a genial warmth for the little she has to do as Queenie. Nicole Melloy and Glenn Hill are a likeable pair as Ellie May Chipley and Frank Schultz.

Show Boat was reviewed on 17 August 2014.

Show Boat plays at State Theatre, Arts Centre Melbourne until 24 August 2014.

From The Production Company’s Season 2014, Man in Chair also reviewed:

Martin Crewes and Verity Hunt Ballard in Guys and Dolls

Photos: Jeff Busby

Utterly charming in every regard, new musical Calvin Berger has warmth and wit to spare.

As an update of classic play Cyrano de Bergerac, the present day setting works perfectly. Playwright Edmond Rostand would have loved to know that one day his proboscis-ly challenged hero would deliver his poetry to tongue-tied Christian (Matt) through an earpiece via cellular phone. The cast is trimmed to a lean four characters here, as nerdy high school senior Calvin helps brawny new guy Matt win the fair Rosanna all the while not realising his best friend Bret is in love with him.

Such is his ear for authentic dialogue, writer Barry Wyner must have a house full of teenagers, or at least be a high school teacher. Wyner’s deftest touch is the layers of self doubt and even self loathing that plague each of the four lead characters, even, or perhaps especially, the “it” girl and the jock. Although there is perhaps a little too much talking on the phone (as opposed to instant messaging) for teenagers, the other aspects of teen culture are accurately represented. Body dysmorphia and bulimia, which could very easily be out of place in a musical comedy, are handled in a genuine and gently humorous way. There are no pat solutions; the characters have to struggle to accept their shortcomings and capitalize their strengths.

Director Casey Gould has brought out natural, believable performances from his cast. The story is instantly engaging, and deadpan delivery scores loads of laughs from the sly wit Wyner’s dialogue and lyrics. Committed, skillful performances, along with the edgy material, keep the piece well clear of an “after school special” vibe. There may not be the zing or complex psychological undertones of Sondheim, Brown or Lapine, but Wyner has written an accessible, entertaining score and script that is handled expertly in this production.

Choice of venue for Calvin Berger is interesting. The Southbank Theatre lends a certain sheen to the season, although it may have felt more at home at Melbourne’s boutique musical venue of choice, Chapel off Chapel. A distinct advantage of this venue is that rather than blasting the audience out of their seats, the singing is presented acoustically, with gentle accompaniment from a three-piece band. Under the musical direction of Loclan Mackenzie-Spencer, also on keyboard, the vocals and harmonies are excellent, and the fresh score is a pleasure to hear.

Set and costume designer Adam ‘Gus’ Powers facilitates a smooth, streamlined flow, and gives a unique look to the extensive wardrobes of each of the characters.

Just as Sutton Foster went without makeup effects in Violet, so Glenn Hill plays the terrific leading role of Calvin with no assistance from derma wax. The audience happily suspends disbelief, as Hill plays the large nose as very real to Calvin. In a score full of “I Wish” songs and yearning ballads, Hill is an endearing and affecting leading man.

Rebecca Moore lands some delicious humour as troubled nice girl Bret, dialing down her own beauty to play the wholesome girl next door.

Teagan Wouters is in top form as Rosanna, clearly conveying the doubts and demons of a gorgeous girl who seems to have it all. Wouters also shows that her singing voice is just as strong and impressive without amplification.

As shy jock Matt, who has the vocabulary of Kath and Kim and the memory of Dory, Robert Tripolino is perfectly cast, achieving similar success to Wouters in making self-doubt believable despite attractive looks.

All four performers work together superbly, enjoying great chemistry.

A great new find for musical theatre enthusiasts, Calvin Berger also deserves to be toured to secondary schools across the country.

Calvin Berger was reviewed at 2pm on 13 September at Southbank Theatre, The Lawler where it played 10-13 September 2014.

Photos: Blake Condon

The Australian professional premiere of harrowing musical drama Parade is blessed with ingenious staging and compelling performances from its superb cast.

Revered for Jason Robert Brown’s Tony Award-winning score, Parade has been a favourite of music theatre enthusiasts since its all too brief Broadway season in 1999. This production uses the streamlined cast and reduced orchestrations of the 2008 Donmar Warehouse version. Besides being a most welcome premiere from a brand new company, the production is set apart by its canny use of fortyfive downstairs to create an intimate staging that is all the more riveting for its immersive design.

A true “concept” musical, on par with Cabaret and Company, Parade is an unflinching examination of the variable forces that govern human nature. Alfred Uhry’s book presents society’s role in Leo Frank’s brutally unjust downfall as unthinkable and yet inevitable. A clever contrast in the two acts shows how bad news spreads like wildfire whereas truth and justice are a much slower burn.

Brown deliberately contrasts patriotic American music with a modern, occasionally dissonant, music theatre sound, at times seguing back and forth between the two as if an unseen musical DJ is controlling a pair of decks. Leo’s opening “I Wish” song “How Can I Call This Home?” takes place amidst a parade watched by a ardent crowd, whose jubilance will be replicated when he is later found guilty of murder. The musicalisation of the trial, played out over nine interwoven parts, is music theatre writing at its finest.

Performed between two opposite facing seating banks, the action may occasionally play like a tennis match, but Jason Bovaird’s intricate lighting draws the eye with reliable precision. The hero piece in Alexandra Hiller’s simple but effective set design is a large oak tree, which is not only highly evocative of the Deep South setting but also portentous of the tragic climax. The venue itself serves as a backdrop that is more atmospherically perfect than any money could buy.

Nerissa Saville’s costumes, mindboggling in number, are faithful to the period and blend together effectively. Given the number of shared roles, and despite the talents of the cast, some characters could have used a more distinctive point of difference in their “look” to tell them apart. In the lightning-fast onstage changes between contradictory characters of reporter Britt Craig and Leo’s lawyer Luther Rosser, Cameron MacDonald would have benefited from a trick like Liz/Beth’s glasses on/ glasses off in If/Then.

Director James Cutler has drawn sensitive, nuanced performances from his small cast of only 14 players. At all times there is a sense of the whole being greater than the sum of the parts, as the ensemble cast work together with clearly shared vision and focus. Unstinting in dramatic intensity, scenes such as young Mary’s funeral are painfully difficult to watch and yet one cannot look away. A strength of the sandwiched seating is that performers can form naturalistic connections by facing one another when communicating, eschewing the stagy, front-facing style of traditional proscenium arch music theatre.

Working seamlessly with Cutler, choreographer David Harford has deftly complemented the staging with choreography the sole purpose of which is to support the storytelling. Act two ballroom sequence “Pretty Music” is expertly realised.

Music director Cameron Thomas not only conducts the band in a pristine performance of the score but also somehow keeps the deceptively challenging music in tempo despite being unseen by the cast for the majority of the time.

In a towering achievement, Luigi Lucente portrays Leo Frank with every fibre of his being. Taking us on the journey of a repressed, fastidious man’s discovery of love and optimism in the worst of circumstances, Lucente’s achievement is both uplifting and profoundly heartbreaking. The gift of the venue is that Lucente can give an introverted, delicate performance that probably would not pass the footlights of the Regent Theatre and yet touches every heart at fortyfive downstairs. Lucente really reveals the depth of his triple threat talents in the extraordinary courtroom number “Come Up To My Office,” a fantasy scene in which Lucente channels the big bad wolf, by way of Bob Fosse, as we see the ludicrously villainous Leo Frank that the prosecutor is trying to convey.

The dream casting continues with Laura Fitzpatrick as devoted wife Lucille Frank. Fitzpatrick captures the “steel magnolia” essence of the South in a finely calibrated performance that conveys the gritty determination behind the gracious smile; the impassioned “You Don’t Know This Man” is a perfect example of this. In gorgeous voice as always, Fitzpatrick adds to the heartbreak in Lucille and Leo’s final duet “All The Wasted Time.”

Cameron MacDonald is mightily impressive in a number of key roles, demonstrating his commanding, unshowy stage presence and singing with stirring power.

Timothy Springs uses a sly smile to add to the intrigue of likely murderer Jim Conley. Tod Strike challenges our allegiances as the smooth but unconscionable prosecutor Hugh Dorsey. Amelia Christo neatly contrasts Mary’s downtrodden grieving mother with society wife Sally Slaton. Cle Morgan conveys housekeeper’s Minnie’s easy gullibility as a manipulated witness. The full cast all have their moment to shine and are inextricably linked to the quality of the piece. The further cast members are Paul Dawber, Andrew Doyle, Emma Jones, Bonnie Page, Jemma Plunkett, David Price and Michelle Smitheram.

By rights there should be queues of desperate ticket buyers lined up along Flinders Lane praying for returns. Music theatre fans cannot miss Parade.

Parade plays at fortyfive downstairs, Melbourne, until 28 September 2014.

The Parade program can be read online.

Photos: Angus Scott

Throwing a couple of pennies in the theatrical wishing well, Gods of the Theatre smile on us by fulfilling the following dreams:

Now that we’ve seen her as a brunette, please allow Laura Fitzpatrick to complete her JRB trilogy as Francesca in The Bridges of Madison County.

Could there be a more perfect follow up show for The Collective than Violet, with Luigi Lucente as Monty and Timothy Springs as Flick. As for Violet herself, I’ll have to get back to you on that one. Any suggestions?

An energetic cast of new talents comes to the fore as Carrie the Musical makes it long awaited Melbourne premiere.

While the chance to see an infamous Broadway flop might be seen as only having curiosity value, this revised version is actually a rather infectious musical in its own right. In saving their 1988 musical from oblivion, determined creators Lawrence D. Cohen (book), Dean Pitchford (lyrics) and Michael Gore (music) substituted half a dozen songs and balanced the elements of paranormal horror with comic energy and heart. An ideal musical for a boutique production, the new version of Carrie can be as much fun for the cast to perform as for the audience to watch. I have seen Carrie in New York (2012) and Sydney (2013) and confess to being a big fan of the show.

Making a highly memorable music theatre debut, Emily Milledge is outstanding as Carrie White. Perfectly cast, Milledge’s fragile stance and helpless myopic squint make the relentless bullying Carrie suffers almost unbearable to watch, and the tender joy she conveys at Carrie’s burgeoning womanhood makes the dramatic climax all the more shocking. That Milledge contrasts this endearing vulnerability with a blazing vocal performance is quite extraordinary.

Director Terence O’Connell plays the supernatural drama straight, keeping energy levels high while avoiding excess. Scenes between Carrie and her mother are strong, especially the act one finale when Carrie’s telekinetic powers give her the upper hand.

If there is a misstep in Cohen’s otherwise slick and entertaining new book, it is the clunky framing device as sweet Sue Snell provides snatches of narration as she is questioned by unseen authorities about the fateful night of the Prom. Connected to this begin-at-the-end concept is the idea that the show begins in the fire-charred school, so the whole show is subsequently set in the fire-charred school. Having seen this design brought to life three times, I categorically state that it does not work, as the fire introduction is too brief to be absorbed, and just results in an ugly setting (through no fault of the designers).

Prolific lighting designer Jason Bovaird has worked his magic on the production, creating multiple locations in Jacob Battista’s neat, multipurpose set. Cinematic dissolves and crosscuts complement the filmic style of Cohen’s fluid book (Cohen also penned the iconic 1976 movie, in turn based on Steven King’s 1974 novel).

Careful thought has clearly gone into the illusions that portray Carrie’s power as these are very well handled. The climactic application of blood to Carrie is also achieved most far more effectively by giving us the iconic image of blood-drenched prom queen Carrie as soon as she is crowned, rather than just using red lights for the initial effect. Nicholas J. Reich’s sound effects enhance the spooky vibe.

Battista begins with the company dressed in black before adding splashes of colour. A clever angle is played by having Carrie look as though her mother has dressed her as a “mini me,” complete with high-buttoned black dress, gold cross and severe hair bun. The students’ prom costumes are individualistic but not as polished as they might have been. Carrie’s ill-fated prom dress, however, is truly gorgeous.

Gore’s score ranges from peppy light rock to gentle gospel to soaring power ballads, and all expertly handled by music director Andrew Leach, playing alongside four other musicians. It is testament to the mighty musical skill of cast and band, as well as excellent preparation by musical supervisor David Piper, that the vocals are perfectly synchronised despite the fact that the singers cannot see Leach.

Sound design, by Dave Kelly, is well achieves excellent balanced and clear without being too loud. Special mention of the fact that only surreptitious head mikes are used rather than invasive mouth-front mikes.

Chelsea Gibb reveals layers of emotional damage in Margaret White, drawing sympathy for a woman whose psychological repression of her daughter could be looked at as monstrous. Looking perhaps too attractive for the downtrodden puritan, Gibb nonetheless captures the mania bubbling just below the surface. Given some of the very best music, Gibb sings the role beautifully, making the most of emotional ballads “And Eve Was Weak,” “I Remember How Those Boys Could Dance” and “When There’s No One.”

Blessed with a warm, twinkling smile, Kathleen Amarant projects a welcome ray of sunshine as kindly PE teacher Miss Gardener. Despite being close in age to the actors playing the students, Amarant projects a knowing maturity. Her singing of classic duet “Unsuspecting Hearts,” with Milledge, is liltingly lovely.

Hollie James brings a sincere and wide-eyed appeal to Sue Snell, skillfully ensuring that the snippets of recap do not become tedious. Jack O’Riley has the ideal mix of dreamboat looks and sympathetic soul to play Sue’s true love, sensitive jock Tommy Ross. O’Riley makes Tommy taking Carrie to Prom totally believable, and his strong chemistry with James makes “You Shine” one of the sweetest sequences in the show.

Chernae Howlett has a ball as original mean girl Chris Hargensen, the spoilt bitch who seems to take any kindness to Carrie as a personal offence. Ross Chisari captures the brutish, testosterone-fueled aggression and lust of a perpetual high school failure.

James, O’Riley, Howlett and the six other members of the talented ensemble each play a distinct character, harmonise superbly and perform Lisa Minett’s tightly drilled choreography with great flair. The ensemble is rounded out by Kristyn Bilson, Haydan Hawkins, Emily Mercurio, Ben Nicholson, Kiane O’Farrell and Rhys Velasquez. Solid support also comes from music theatre stalwart Stephen Wheat in the somewhat thankless role of Mr Stephens.

Music theatre fans will find plenty to enjoy in Carrie.

Carrie plays at Chapel off Chapel until 12 October 2014.

Man in Chair also reviewed Squabbalogic’s Sydney season of Carrie the Musical.

Photos: Christopher Parker

The premiere Melbourne has been waiting for all year has finally arrived and it’s an absolute gem. Its status as the only new musical to open in Melbourne this year is far from the only factor contributing to the heady appeal of Once. A distinctly Irish celebration in a city with a healthy Irish background (my mother was a Murphy), Once combines the charm of the blarney with a pared back, post modern music theatre aesthetic that is as raw as it is charming. The adjective musical in musical theatre is generally bandied about quite freely, but in this case it could not be more apt. Here is a story about music, told through music that the performers completely create themselves. Music is the lifeblood of these characters; it’s in their DNA. In an age of programmed synthesizers and click tracks, Once gives us the thrilling experience of live music played with verve and gusto right before our eyes. As in the 2006 movie, an Irish musician, simply referred to as Guy, meets a Czech musician, Girl, and so begins a tumultuous week as their unconventional love story plays out. Girl meets Guy just as he despondently decides to throw in his music and settle for a small life of vacuum repairs. Enda Walsh’s book swings between briskly economical and deeply ponderous. Back-stories deftly come to light by way of lightning fast exposition, giving breathing time for the central love story to blossom and resonate. The humour is delightful, and is used cleverly to draw in the audience in the opening scene. An amusing thread that links the characters is their interest in the Irish soap opera Fair City, which Girl and her Czech friends watch to learn English. In a clever touch, dialogue in Czech is indicated by Czech surtitles, which is inverted in a glorious act two moment where the audience alone is privy to Girl’s confession of her true feelings. Director John Tiffany has created that rare Broadway musical that draws us in rather than knocking us over the head. Respecting the audience’s intelligence, Tiffany allows the facial expression and body language of his actors to speak volumes. A spontaneous, impromptu vibe adds to the immediacy and believability of the story. A rapid pace is facilitated by actors passing props to those in the scene, a device which also provides laughs for the Theatresports feeling it suggests. It is not just for expediency that designer Bob Crowley has placed the action on a single set. That set is a pub, and, with the performers sitting side stage with their instruments throughout, there is a strong sense that we are being regaled in a session of grand story telling. Glen Hansard and Markéta Irglová have expanded upon the music and lyrics they wrote for the film, crafting a score that feels as inevitable and unforced as the rest of the show. The trump card of Oscar-winner “Falling Slowly” is played very early, a clear component of ensuring the audience fall quickly for the lead characters. After an entertaining opening to act two in which the band almost implodes before it even begins, we are treated to wonderful ensemble number “When Your Mind’s Made Up.” A true highlight comes later in act two when the company sing an a capella reprise of “Gold” in heavenly near-whispered tones. Lighting designer Natasha Katz draws the eye with pinpoint accuracy and paints the towering rear walls in gorgeous, mood-enhancing shades. To say that the integration of live music, song, storytelling and dance requires a troupe of performers with a broad set of unique, finely honed talents would be something of an understatement. The cast works together with camaraderie and trust that belie the early stage of the season, and the music is so skillfully played that it is all too easy to forget that the performers have no sheet music and no conductor. Madeleine Jones gives a star-making performance as the wide-eyed, straight-shooting Girl, winning every heart with her earnest, deadpan performance and her lovely singing and playing of piano. Jones successfully conveys Girl’s every emotion despite the character’s defensively impervious exterior. Her joyful reaction to the onstage audience’s reaction to Guy’s music during act one finale “Gold” is priceless. While it remains a disappointing and puzzling decision to import an actor, it cannot be denied that Tom Parsons fits the scruffily handsome and sweetly underplayed role of Guy. Parsons’ confident proficiency on guitar and highly impressive vocal range make Guy’s musical success completely believable. Parsons draws us towards the troubled, self-doubting character, making us yearn for his success in music and love. Redoubtable stage veteran Anton Berezin is superb as the reluctantly supportive Bank Manager. Colin Dean tears up the stage as raucous musician Billy. Amy Lehpamer plays the role she was born to play as she puts her highly accomplished violin skills to perfect use as the assertively sexual young Czech woman Reza. Brent Hill is unrecognisable as loutish young Czech Švec, a hilarious role he plays with infectious gusto and abandon. As Girl’s weary but resilient mother Baruška, Susan-ann Walker scores with a perfectly judged monologue about not living in fear. Summer Moore was utterly adorable on opening night as dear little Ivanka. Paul Watson, Gerard Carroll, Keegan Joyce, Jane Patterson and Greg Stone completed the opening night on-stage cast Not the show for theatregoers who prefer liberal servings of sequins and tap shoes, Once is the thinking fan’s musical. Arrive early for a wee tipple on stage, then sit back and prepare to be mesmerised by the magic of Once.

Once plays at Princess Theatre, Melbourne. Bookings, through Ticketmaster, are currently on sale to 31 December 2014.

Man in Chair also reviewed the original Broadway production of Once.

Photos: Jeff Busby

The boutique musical boom received a boost from an original Australian musical this weekend as Matthew Lee Robinson’s Happy People was presented as a star-studded concert staging.

A cheeky gem that appeals to our inner schadenfraude, Happy People charts the chaotic implosion of a successful but past-their-prime children’s group who succumb to mounting internal and external pressures. The brisk, comedic tone of Happy People contrasts with the epic scope of Atlantis in Concert; together, the pair demonstrates the breadth of talent of writer Matthew Lee Robinson, who again pulls triple-threat Meredith Wilson-style duties in writing the book, music and lyrics. All this, plus musically directing the concert and accompanying the performance on keyboard!

The Happy People team are first seen in action merrily chirping their “Happy People” anthem, but it is quickly evident that the wheels are falling their successful empire. The brilliance of Robinson’s writing here comes from taking a clever concept for a musical and then twisting it further in unexpected ways. The characters’ dreams, disillusionments and deceptions are gradually introduced and teased out in developments that are both surprising and satisfying.

Giving each of the six performers a chance to shine, Robinson’s score is an instantly accessible delight, with lyrics that are as witty as the music is hummable. In a sequence reminiscent of the great farce Noises Off, Robinson gives us a straight version of “The Orchid Songlet (Just One Day)” before a later version is underscored by the backstage egos and foibles of the team. An epilogue of sorts, set three months later, neatly ties up the various threads and allows the Happy People team to bow out on a gracious, only slightly bittersweet high rather than end on a depressing note of finality.

Gretel Scarlett shows a far deeper level of talent than she is able to demonstrate when performing the simple level of direction she has been given in Grease. Looking absolutely gorgeous as the Barbie-like Sally, Scarlett enhances the character’s Pollyanna outlook with a delicately vulnerable undercurrent. Her performance of “Nice” is nothing short of sensational, and is a song she should surely take in to her cabaret/recording repertoire.

Tom Sharah, as vain vocalist Benny, nails terrific comic number “Boyband,” a song that will readily be a breakout hit when the show has a full commercial season.

Suave Bobby Fox puts a cheeky twinkle in the eye of aging good time guy Bobby. Sun Park contrasts Sunny’s smiling veneer with her resilient approach to moving up and out of the group. In strong voice throughout, the pair sine together in “Easy For You.”

Bert LaBonte creates the most sympathetic character in loveless Jeff, who plays lovable Edison the Elephant. A master at underplaying inner turmoil, LaBonte gives a neatly understated reading of Jeff’s simmering ambition and disappointment.

Robyn Arthur is luxury casting as Happy People’s firm but fair production manager Poppy. Arthur clearly relishes the role, and brings her significant stage experience to bear in a focused, driven performance.

Chris Parker’s direction keeps the energy high and the humour sharp. The actors all face front for their microphones and scores, but the personal interactions and connections are all clearly established. While there are some cute movements, it is clear that there is scope for a substantial amount of choreography in a fully staged production.

Tom Willis’ rosy lighting complements the perky, bright costumes. Marcello Lo Ricco reliably provides pristine sound.

Happy People in Concert was reviewed 2pm Sunday 19 October 2014 at Chapel off Chapel, where it played three special performances.

Photos: James Terry Photography

“Where did we go right?” Well, OSMaD, let me count the ways…

From the highly talented, carefully chosen cast, to the sumptuous, pristine staging, with witty, tightly drilled direction and choreography and lavish 24-piece orchestra, OSMaD’s The Producers is a superb night at the theatre.

Famous for returning laughter to the Great White Way, and sweeping away all before it with a record 12 Tony Awards, Mel Brooks’ love letter to Broadway remains a daffy delight. Act one is especially well crafted, as the menagerie of manic characters is progressively introduced. The delirium of “Keep it Gay” whipped Thursday night’s audience into a frenzy, leaving them happily clapping in time through the ensuing scene change.

From the very first swell from the orchestra it is clear that music director Ben Hudson’s exacting standards are as high as ever. Achieving a special quality that transcends the mere playing of the score, Hudson creates a rich, glorious sound that surpasses the increasingly tinny tones heard on Broadway. The orchestra deservedly receives a full page listing in the program, befitting the players’ status as artists of the theatre.

Hudson’s Midas touch extends to the vocals, and, thanks to excellent work from sound engineer Sam Horstein, these are heard with crisp clarity over the orchestral music, allowing the audience to just sit back and enjoy the show.

Given the range of ages and “character”-type performers in the opening scene, it is a wonderful surprise when the company breaks into sharp choreographic moves as they celebrate Max Bialystock’s past as “The King of Broadway.” Louise Mitchell’s choreography samples just enough from the original while including plenty of wit and originality. The abundance of tap is appreciated (although floor mikes would have further enhanced this).

Just as tightly choreographed are the sprightly scene changes, which are tied closely to the exact lighting cues of Danny Issko’s lighting design. Issko’s lighting, aided by pinpoint accuracy from spotlights, also draws the eye to follow the action around the large stage, and his gorgeous use of colour makes the rear ruched curtain look a million dollars.

Ros Turnley’s splashy costume design adds to the fun and spectacle. The ensemble cycle through a dizzying array of characters, all with full costumes and often with wigs. Highlights include the coterie of little old ladies, the pastel rainbow of feather boas of Leo’s imaginary dancing girls, the full lineup of Nazi uniforms for Springtime for Hitler and Roger’s Princess Anastasia/Chrysler Building dress.

In the same sense that opera productions are credited to the director, this is Richard Perdriau’s show. As director, his focused, exacting approach has brought the colourful characters roaring to life and has wrung every laugh from the book; there is not a wasted word or gesture all night. I am sure that many, like me, have heard the jokes before, and yet we laughed at them all over again.

Perdriau’s set design makes clever use of a full width, sweeping pair of steps, which easily represent scenes such as Franz Liebkind’s roof, Roger de Bris’ elegant Upper East Side apartment, and the Springtime for Hitler stage. Perdriau’s backdrop with grand cityscape and searchlights frames the action perfectly, and neatly ties in with the graphic design of the show’s marketing.

Making a welcome return to the stage, Phil Smith plays the weary, greedy, unscrupulous Max Bialystock with élan. Although a tad young for the role, Smith has a highly expressive face and still manages the plastered comb-over look of the leering lothario. In an unusual achievement for actors playing this role, Smith lands the humour without upstaging or overshadowing his fellow performers.

Another welcome return comes from Robbie Smith as wide-eyed, dithering accountant Leo Bloom. With a splendid character voice and nuanced mannerisms, Smith proves utterly adorkable, and his incredible dancing skills are an added bonus.

Patrick O’Halloran nails the plummy voice and affected mannerisms of Roger de Bris with flair, and his Judy at the Palace moment in Springtime for Hitler is spot on. James Davies takes flight as Carmen Ghia, scoring plenty of additional laughs with his perpetual dance motion. Davies and O’Halloran’s spark of chemistry enhances their scenes as the devoted pair.

Dolled up as sexy Swedish nymphet Ulla, Alana Lane brings some much-needed feminine beauty to the lead cast. Lane sparkles with Ulla’s comedy and dance, but it is her belt, in “When You’ve Got It,” that really blows the roof off.

Warren Logan keeps a merry sparkle in his eye as deranged playwright Franz Liebkind, driving the action along with the character’s manic energy. Logan deftly tempers his considerable singing and dancing skills in keeping with the spirit of the role.

Special mention goes to talented ensemble members Phil Lambert, Kristy Griffin and Jeremy Russo, who particularly shine in their range of delightful cameo roles.

Wonderful music and sound along with Perdriau’s scenic elements and Turnley’s glittering costumes, set off by Issko’s lighting, create a slick, highly polished combined effect that makes the $45 ticket price seem an incredible bargain.

The Producers was reviewed 23 October 2014 at Geoffrey McComas Theatre, Scotch College, Hawthorn where it continues until 25 October 2014.

OSMaD is Old Scotch Musical and Drama Club.

The 2014 boutique musical boom reaches its zenith with Miracle City, which has the additional credential of being a full production of an original Australian musical.

Focusing on a family implosion as devastating as those in classics such as Long Day’s Journey into Night and A Streetcar Named Desire, Miracle City grabs the heartstrings and does not let go for 85 stomach-churning minutes.

Like HBO television series Veep, Miracle City hits the ground running, eschewing laborious exposition by trusting that the intelligence of the audience will be sufficient to glean the facts along the way. The drama transpires in real time as we witness the live Sunday morning transmission of a gospel program, run by the seemingly flawless Truswell family.

Finally revived 18 years after a legendary initial workshop/production back in 1996, the musical boasts a book by revered playwright Nick Enright and music by prolific musician Max Lambert. The gaudy evangelical setting may be unique to America’s South, but the family dynamics and power plays are universal.

Theatre fans chase the perfect musical in the same way surfers pursue the perfect wave. One of the key measures of success is the ability of a show to provoke thought and feeling. Toe-tappers are pleasant enough, but Miracle City delivers a twist that induces audible gasps of shock and disgust from the entire audience. And I am sure I was not the only audience member who yearned to run on stage and hug the last remaining character (no spoilers here).

If regular music theatre characters do not know they are on stage, the perky Truswells certainly know they are on television. They move in perfect unison with the changes of camera, and their painted smiles glow with unwavering brilliance. Part of the uneasy thrill of watching the show is the way the subtext ramps ever higher as side-stage dramas chip away at the gilded facade.

In a deliberate, knowing inversion, the songs provide a breath of relief rather than propelling the story. Listen closely though, as the lyrics have a touch of Cabaret‘s ingenious commentary on the action. As the backup trio sings about miracles, there are miracles happening either side of the stage. Most strikingly, in “Doing the Work of the Father,” the Truswell children depict Moses’ willingness to sacrifice his son while Ricky Truswell seals his own daughter’s fate.

Director Darren Yap achieves something of a Feeding of the 5000 miracle of his own by creating theatrical magic from a few simple props in a tight space with nowhere to hide. A mark of Yap’s success is the final line up, in which the full set of nine characters have been so clearly established that their reactions to the concluding on-air revelation are as believable as they are compelling.

Kelley Abbey’s energetic choreography lampoons cheesy television studio moves with a knowing wink. Michael Hankin’s set design somehow creates multiple playing spaces within the tight confines of the Hayes stage. The costumes of acclaimed designer Roger Kirk bring witty sprinklings of glamour (even the visibility vests for the construction site sequence are studded with sequins). Ben Moir’s teased, towering wigs add authentic sheen to the female characters.

In a towering achievement, Blazey Best gives a performance of such wattage that it would not be out of place in a 2000 seat theatre. Clutching to what she holds dear with all her might, Lora-Lee Truswell is held together by eyelash glue and wig pins. Straight play actress Best reveals her terrific singing voice in a performance that is as thrilling as it is heartbreaking.

Mike McLeish has the polished everyman look that holy rollers such as Ricky Truswell use to gain, and abuse, the public’s trust and confidence. McLeish’s expert creation of Truswell’s wholesome facade makes the character’s duplicitous desperation all the more shocking.

Fast rising star Hilary Cole is perfectly cast as Loretta Truswell, who proves to be a cross between Zaneeta Shinn and Lolita. As with McLeish, Cole creates intrigue by suggesting a darker side below her wholesome looks.  As Ricky-Bob Truswell, significantly experienced performer Cameron Holmes captures the percipient maturity of a young boy who has seen too much too soon.

Esther Hannaford makes a welcome return to music theatre in the well-written role of troubled young mother Bonnie-Mae. While many of the songs feature snippets of action and dialogue, Hannaford is given centre stage for gorgeous torch song “I’ll Hold On,” in which she reminds us of her exquisite vocal control as she coos key phrases in exquisite, falsetto-like whispers. Eyes frequently brimming with tears, Hannaford expertly portrays the fragility and vulnerability of the ashamed young woman.

Marika Aubrey (looking strikingly like Jodie Foster) conveys the true sense of a true steel magnolia as steadfast singer Eulella. Under a head full of cascading curls, Josie Lane shines as heart-on-her-sleeve singer Charlene.

Peter Kowitz bravely and powerfully embraces the villainous role of epic hypocrite Millard Sizemore. Relative newcomer Jason Kos gives strong support in the non-singing role of stagehand Billy Trengrove, remaining clearly in character at all times as Billy undertakes his backstage duties.

Polar opposite of the derivative revivals proffered by commercial producers, Miracle City is absolutely not to be missed.

Miracle City was reviewed at 2pm Saturday 25 October 2014 at Hayes Theatre, Sydney where it plays until 16 November 2014.

Photos: Kurt Sneddon

A rapturous meditation on the transient vagaries and redemptive power of love, the rare and exotic bloom of Passion graces the stage but once in a blue moon.

A richly complex and darkly psychological piece, Passion throws the music theatre rulebook out the window. On the one hand a Broadway Best Musical Tony Award-winner, on the other, an intricate chamber opera written for a company of only ten. Marching to its own beat, Passion slowly unfurls an intricate love triangle that continually tests and resets our sympathies and allegiances.

Virile Captain Giorgio Bachetti enjoys a blissful love affair of passionate afternoon trysts with gorgeous married lover Clara. Transferred to a provincial military outpost, Giorgio finds himself alternately drawn towards and repulsed by the sickly Fosca. Told at a gentle, unforced pace, the spellbinding story is far from predictable and is never in danger of a trite happy ending. Clara may have the superficial beauty, but Fosca’s intense, blind devotion has a highly believable impact on Giorgio’s emotional state.

Based on 1981 Italian film Passion d’Amore, the musical achieves an even greater juxtaposition of time and place as book writer James Lapine continually overlaps scenes and characters on stage at once. Director Neil Gooding immediately and clearly establishes the simultaneous settings conceit, enhancing the subtext by placing developing action literally under the noses of characters who are actually miles away. Gooding delivers a production of sterling clarity, illuminating the intricate text but never pandering to simplicity. The end result is tenderly affecting, leaving plenty for the audience to ponder.

Stephen Sondheim’s exquisite score reaches operatic heights through the use of elements such as recurring character motifs, quasi-recitative and seamless musical scenes. The music is not there just for melody, but to reflect and heighten the tension and mood. The rare musical to have more players in the pit than on stage, the orchestra of fifteen, helmed by renowned musical director Guy Simpson, is a luxury indeed. Simpson’s deft and agile touch brings a deceptive level of effortlessness to the fiendishly difficult score.

A challenge in presenting Passion, as with many musicals based on films, is the preponderance of scenes. Benjamin Osborne’s choreography sees the Officers set and strike furniture with regimental precision. Although this undertaking becomes a little tedious, the use of glossy period furniture certainly creates a lush look that was absent in the 2013 New York staging, which did away with props to the point that Giorgio and Clara sat on the ground for their bed scenes.

Costumes are similarly lustrous, achieving a strong visual appeal and a solid level of period detail. Curiously, no costume designer is listed, although assistant stage manager Wendy Findlater is credited for “wardrobe.”

The officers’ hair may not meet true military standards, but Clara’s wig may be the most beautifully styled hairpiece to be seen on the Melbourne stage this year.

Aided by sheer curtains and plenty of haze, Rob Sowinski and Tom Warneke’s shimmering lighting design creates the cinematic feel of dissolves and crossfades. If faces are occasionally shadowed, the noir undertones allow for this.

The production boasts an exemplary cast of highly talented performers. It has been far too long between drinks for leading man Kane Alexander, who made such a memorable debut in MTC’s 2004 season of Urinetown. Genuinely handsome, Alexander suits the role of the dashing captain perfectly, all the more so given his open, expressive countenance, which clearly reflects Giorgio’s inner sensitivity and self-doubt. In superb voice, Alexander creates an empathetic, intriguing character whose downfall is keenly felt.

An all too rare leading role, too, for beloved singing actress Silvie Paladino, who, by rights, should never have a night off the stage. Looking radiantly beautiful, Paladino is a pristine Clara, whose status as a prized lover is crystal clear. Given some of the loveliest music, Paladino’s singing is reliably wonderful, and the depth of her acting talent brings an added dimension to the role.

Theresa Borg dresses down to create a believably plain Fosca, by turns capturing the defeat and fire of the intensely troubled soul. Exuding the crippling self-doubt that has hindered Fosca’s emotional development, Borg effectively juggles our sympathy, distrust and affection. Soprano Borg reveals a surprisingly strong lower chest voice that suits the dramatic flourishes of the role’s music.

Seasoned Sondheim interpreter John O’May provides a particularly classy presence as compassionate Doctor Tambourri. Dependably strong actor Mark Dickinson gives a deliberately impenetrable performance as rigid leader Colonel Ricci.

Tod Strike, poster boy for the 2014 boutique musical boom, provides some very welcome moments of relief to alleviate the unstinting drama. Troy Sussman also adds touches of humour to his role of suspiciously substandard cook Lieutenant Torasso. Glaston Toft proves there are no small parts as stern compatriot Lieutenant Barri.

Jolyon James misses the opportunity to add a devilish gleam to deceitful charmer Count Ludovic, seen in the illuminating flashback sequence about Fosca’s ill-fated first love. Cameron MacDonald gives solid support as Private Augenti, and brings dignity to the Mistress in the flashback scene, in which all the roles are played by the male ensemble.

Lovers of Sondheim cannot miss the opportunity to catch this lovingly polished gem.

Passion plays at Playhouse, Arts Centre Melbourne until 8 November 2014.

Photos: Ben Fon

Radiating charisma and chemistry, star duo Simon Burke and Todd McKenney fit La Cage aux Folles like it was written especially for them.

Just over thirty years old, the musical retains all its zest, sparkle and timeliness. The shudder and laugh that swept through the opening night audience at the mention of Dindon’s “Tradition, Family and Morality Party” illustrates the ongoing relevance of Harvey Fierstein’s gently provocative book. Long before it was a hot button issue, Albin and Georges had the very model of a modern gay marriage, child and all. In this regard, the decision to set the show in present day makes good sense.

Amidst the glitter and be gay merriment, director Dean Bryant has successfully focused on the heart of the story, creating believable, affecting family connections between the gaggle of endearing characters. The choice to allow traces of Australian accents is questionable and some “meta” ad-libs are unnecessary, but when Fierstein’s original zingers are trusted the show really flies. The comfort, warmth and affection that Bryant has facilitated certainly belie the short rehearsal period.

Choreographer Andrew Hallsworth has outdone himself with wit and invention. Eschewing the usual Can-Can theme, Hallsworth has completely re-invented the big act one “La Cage aux Folles” number with an aquatic theme that is not only spectacular, delightful and downright funny, but also makes perfect sense with the St Tropez location of the club. Hallsworth also adds an effective layer of history as Georges reminisces about his youth with Albin while Jean-Michel sings “With Anne On My Arm.”

Infused with his trademark sunny optimism, Jerry Herman’s infinitely hummable score is as appealing as ever. The full Orchestra Victoria treatment would have been appreciated, but if the eight-piece band is an aspect of staging the show in the relatively more intimate Playhouse then the trade off is worth it. All of the audience are afforded a clear view of the eye-popping wigs and sequins, and the climactic sight of the “disguised” Dindon family packs its full comic punch.

Musical director Mathew Frank keeps Herman’s infectious score peppy and bright, cleverly replacing some of the missing instruments with a very well programmed synthesizer. On the basis of the concept from the 2008 Menier Chocolate Factory revival, the reduced band sound makes sense in terms of the nightclub being a somewhat seedy, smaller budget venue rather than a flashy, glamorous nightspot.

With the band housed upstage, the numerous set changes of Dale Ferguson’s scenic design brings the production far closer to a fully staged show than a concert. Matt Scott’s luscious lighting design significantly enhances the stage picture, bathing the space in deep delicious shades of blue, pink and red.

Owen Phillips has put together a cavalcade of costumes that are lavish, witty and attractive. In keeping with the scaled-down vibe, these are not the massive showgirl ostrich-feathered numbers, but Phillips makes up with invention anything that is missing in scale. Zaza’s clam dress is a scream and her mermaid gown is divine. With all the focus on glamour, it would be easy to neglect daywear, but Phillips gets this right as well.

Benjamin Moir’s mighty wigs are practically a star in their own right. Immaculately coiffured, these stylings add the perfect finishing touch to the presentation. The selections for the final “disguise” sequence are hilariously outlandish.

In a powerhouse performance brimming with warmth and heart, McKenney is a superb Albin. Keeping his characterisation far away from stereotype and caricature, McKenney wins our hearts and lands all the emotional notes. His wonderful singing in the role is an added luxury.

Burke exudes a twinkling charm as Georges, subtly allowing McKenney, in the showier role, to enjoy more of the spotlight. The pair enjoys terrific chemistry, and they successfully create a knowing shorthand and deep affection between Georges and Albin. Burke appears very ill at ease as Georges acts as Emcee in the opening sequence, put proves much more at home for the remaining scenes. Also a truly gorgeous singer, Burke’s rendition of “Song on the Sand” is a tender highlight.

As the effervescent Jacqueline, Rhonda Burchmore is the next-door neighbour everyone would love to have. It is always a party when Jacqueline is on the scene. Garry Sweet and Marg Downey are great sports as the conservative Dindons. Sweet embraces the full spectrum of ugly sexism and homophobia of the role. Downey displays a surprisingly fine soprano.

In the tradition of The Production Company discovering and exposing significant new talent, it is great to see two very impressive relative newcomers in featured roles. Robert Tripolino (seen earlier this year as an insecure jock in Calvin Berger) gives a breakout performance as Georges’ son Jean-Michel. An ideal young leading man, the handsome Tripolino has a natural, unaffected presence, and particularly impresses with his fine singing voice. Unrecognisable from her starring role as Carrie, Emily Milledge is delightfully sweet and winsome as Jean-Michel’s fiancée Anne.

Aljin Abella practically steals the show as outrageous butler maid Jacob. Consistently working at his energy level possible, Abella lands all his laughs and earns plenty of spontaneous rounds of applause along the way.

The six Cagelles are impeccably cast, each of them not only stunning in appearance but also accomplished dancers and singers in their own right. The control and precision of the near-nude feather ballet in “La Cage aux Folles” could not be bettered on Broadway. Brava to Josh Gates, Wil King, Adam Noviello, Taylor Scanlan, Anthony Sheppard and Kyle Stevens.

La Cage aux Folles plays at Playhouse, Arts Centre Melbourne until 7 December 2014.

From The Production Company’s Season 2014, Man in Chair also reviewed:

Martin Crewes and Verity Hunt Ballard in Guys and Dolls

Gareth Keegan and Alinta Chidzey in Show Boat

Photos: Jeff Busby

Grease is back in Melbourne, and this time it is looking to fill the massive Regent Theatre.

For the final leg of a long and successful season, Grease returns to Melbourne for a limited time only.

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Such is the ongoing demand for Grease, Producer John Frost proclaimed that it will be back again in seven years.

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The cast gave a preview of the show today, with a festive theme to celebrate the season.

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Santa even dropped in on the media call.

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Rob Mills returns as Danny, with Gretel Scarlett as Sandy

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Stephen Mahy continues as Kenickie, singing the popular hit “Greased Lightning.” Lucy Mauder also return as bad girl Rizzo.

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Duane McGregor as Roger and Laura Murphy as Jan

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Fresh from his triumph in La Cage aux Folles, Todd McKenney is back as Teen Angel

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John Paul Young joins the cast as Johnny Casino

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Val Lehman leads the Grease sing-a-long

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The full cast and crew

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Grease plays at Regent Theatre, Melbourne until 25 January 2015.

Photos: Simon Parris

Performed by a cast who have now been in senior year almost as long as Sonny, Grease is in absolute peak form for the final season before its talented players finally graduate Rydell High. Any cynicism about whether we actually need this revival of a revival is quickly swept away by the blistering energy, terrific singing and infectious humour emanating from the stage. Full credit to resident director/choreographer Natalie Gilhome for keeping the action so fresh and entertaining and the dancing so precise and lively. Terry Parsons’ light-studded set looks spectacular on the Regent stage. Conductor Luke Hunter has a blast as the band rocks out those classic tunes. Andreane Neofitou’s costumes are as colourful and characterful as ever. Arlene Phillps’ choreography may not feature the wit and story-centric angle of more recent musicals, but it is a key attraction here, being as much fun to watch as the cast appears to be having as they perform it. The chief pleasure is seeing how the cast have grown in polish and assurance over the tour. The central T-Birds and Pink Ladies have a palpable camaraderie and authentic shorthand of communication that matches the closeness of an actual set of long-term classmates. Having only lost a couple of boys (to the barricade) and a couple of girls, the cast knows the material intimately, landing the comedy and hitting the emotional beats with ease while also singing and dancing up a storm. Gretel Scarlett, in particular, has blossomed as a leading lady, acquitting herself with grace and class as Sandy. In a quiet moment amidst the colour and movement, her rendition of “Hopelessly Devoted To You” is brilliant, revealing layers of meaning in the very well-known song as she effortlessly swoops from chest whisper to belt to falsetto-like head voice and back again. Rob Mills remains a charming, charismatic Danny, and his goofy laugh is a hoot. Mills’ dancing skills are great, especially in “Born To Hand Jive,” washing away any memories of his somewhat awkward movement way back in Wicked. Lucy Maunder is still the best actress on stage, although the rest of the cast have certainly risen to meet her quality. Maunder makes the motivation Rizzo’s of callous lie to Kenickie crystal clear, and break hearts with “There Are Worse Things I Could Do.” As lead roles go, Kenickie is one of the least well developed in terms of the script. Stephen Mahy looks great and delivers “Greased Lightnin’” with a legitimate rock sound. Scott McConnell is a terrific addition to the cast, making an adorable Doody. Duane McGregor remains an unabashedly goofy Roger. Francine Cain is appealing as the wide-eyed, well-meaning Frenchy. Laura Murphy captures the lovable dagginess of Jan. Karla Tonkich sizzles as the curvy Marty. Andrea Arena lights up the dance floor as the irrepressible Cha Cha. John Paul Young shows that he is still in impressively strong voice as Johnny Casino. Val Lehman, who has curiously lost her Prisoner gags from the opening, has a ball as our Miss Lynch. Todd McKenney camps it up to the maximum as Teen Angel. Bert Newton adds a sprinkle of stardust as Vince Fontaine. A note to parents: if you take your children to Grease and they do not fall irrevocably in love with music theatre, maybe get them a cricket club membership or a pony. Grease plays at Regent Theatre, Melbourne until 25 January 2014. See many more photos of Grease on stage in Melbourne HERE. Man in Chair also reviewed the Grease Sydney season. Photos: Simon Parris

Boutique musicals blossomed, new companies multiplied and program prices rose, in the 2014 year of musical theatre.

Of 155 live theatre performances I viewed this year, around one third were musicals. Trips to the West End and Broadway helped the total reach 56 musicals for the year, and would have been even higher if I had been able to regularly visit Sydney, where the independent scene is thriving.

Starting off with that trend, it must be noted that the burgeoning boutique musical boom was in full strength during 2014, further adding to Melbourne’s entertainment choices, and practically revolutionising the Sydney theatre scene. New companies and new venues added to the variety and expertise on show.

After making a terrific splash with Sweet Charity, the newly formed Hayes Theatre Company were off and running. I finally had the chance to visit the Hayes in October, for their production of riveting 1996 Australian musical Miracle City, a drama about a televangelist family on the brink of implosion. Having missed Squabbalogic’s The Drowsy Chaperone and Darlinghurst Theatre Company’s Falsettos, I was pleased to have the chance to enjoy Theatre Division’s hilarious presentation of camp classic Ruthless! The Musical. Sweet Charity’s February 2015 Melbourne season is highly anticipated.

Meanwhile Melbourne’s independents continued to provide diverse, high quality, low cost offerings, which went a very long way to offsetting the drearily safe revivals of commercial music theatre. Manilla Street Productions made another quality offering with Blood Brothers. Watch This and Manilla Street Productions presented rarely-seen Sondheim musical Pacific Overtures. Audiences seeking new Australian work were treated to well-cast concert stagings of Matthew Robinson musicals Atlantis in Concert and Happy People in Concert. Edward Grey organised a moving presentation of William Finn’s Elegies.

Rubix Productions presented quirky musical Calvin Berger, based on Cyrano de Bergerac. New company Ghost Light made their presence felt with cult teen horror musical Carrie. The Collective hit gold with their premiere season, stirring Jason Robert Brown musical drama Parade. Fellow newcomers Life Like Company were impressively bold in heading straight into Playhouse, the Arts Centre Melbourne, with their opening season of Passion, another rarely seen Sondheim musical.

While I have long been one of the staunchest advocates of Melbourne treasure The Production Company, their model did seem to falter somewhat this year in comparison all these interesting, well-cast, low cost shows. Despite impressive design and talented cast, Guys and Dolls was edited in script and scale to a hollow facsimile of the original. A dreary adaptation made it difficult for Show Boat to really take flight. Charismatic leads, a classic score and a more intimate venue helped La Cage aux Folles end the year on a more positive note.

As the lovingly revived The Lion King continued in Sydney, it was joined by high profile, big budget, brand new Australian musical Strictly Ballroom. The concept and designs were world class, but Strictly Ballroom’s bloated book and lack of a unified score undermined it as a musical. Hopes are high for Strictly Ballroom to reach its full potential in the coming Melbourne season.

John Frost showed a disappointing lack of imagination in continuing to trot out past hits. Rocky Horror Show featured some big stars, but design and direction were pantomime level. And using an ensemble performer rather than a villainous guest star as the despised Narrator was a particularly cheap, unimaginative move. Wicked, in its Melbourne return was at least bearing the signs of careful polish and strong casting. Reg Livermore, in particular proved a strong addition to the cast, with newly promoted cast members Steve Danielson (Fiyero) and Edward Grey (Boq) also proving to be valuable finds. Out of mothballs after 23 years, The King and I was a classy if uninspired offering from Frost and Opera Australia. Glossy though the old production is, it was disappointing to miss out on the brand new Bartlett Sher production of The King and I by only a year. Whether we wanted it back or not, Grease at least arrived back in tiptop, highly energetic shape. Finally, Frost brought back another guaranteed money-spinner when Dirty Dancing opened in Sydney in December, ahead of a national tour

Victorian Opera gathered an interesting cast of music theatre and opera performers for Into the Woods, the second installment of their Sondheim trilogy. The production was all but sold out before it opened, and while there was a great deal to admire, the production polarized lovers of the show, with devotees of the Broadway original (widely seen as a filmed recording) finding the production somewhat difficult to accept.

After a massive wait from the initial announcement, back in 2013, Les Misérables finally roared back onto the Melbourne stage. Enhanced by a new design and new orchestrations, Les Mis featured a wonderful cast, brimming with experienced performers and talented newcomers alike.

Sole new Broadway musical of the year was 2012 Tony winner Once, a charmingly quirky, chamber-sized musical that was somewhat dwarfed by the three-tiered size of the Princess Theatre. Although inexplicably featuring an imported male lead, the remainder of the cast of Australians were (are) superbly talented quadruple threats, acting, singing, dancing and playing the score themselves on hand-held instruments in place of a traditional pit band.

2014 was the year in which musical programs rose to $25, a charge inflicted by shows such as Wicked and Les Mis. The rise comes some 18 years after $20 was charged for programs way back in 1996 for Sunset Boulevard.

The line-up was a little disappointing in the West End last January. Andrew Lloyd Webber’s Stephen Ward the Musical and Tim Rice’s From Here to Eternity the Musical were both basically dead on arrival. Tori Amos musical The Light Princess was beautifully produced at National Theatre but struggled to capture audience enthusiasm and affection. Charlie and the Chocolate Factory may have eye-popping designs (and a blue chip title) but is let down by a fairly pedestrian book and score, despite the songs being by Hairspray’s Marc Shaiman and Scott Wittman.

While movie adaptations The Bodyguard and The Commitments were not overly exciting, new musical American Psycho: A New Musical Thriller was certainly worth a trip out to the Almeida. The pending Broadway season of American Psycho, with music by Spring Awakening scribes Sheik and Sater, is eagerly anticipated. New venue St James Theatre housed generally satisfying seasons of Sondheim’s Putting it Together and Webber’s Tell Me on a Sunday. Ever-reliable boutique venue Menier Chocolate Factory presented a rousing, gorgeously sung version of Bernstein classic Candide.

The new Broadway season introduced a couple of new hits along with a couple of duds. A riot of colour and gorgeous melodies, Aladdin is sure to succeed wherever its magic carpet takes it. A Gentleman’s Guide to Love and Murder is a hilarious, tuneful, original show, very well deserving of its Best Musical win. A few months before its Melbourne premiere, the new staging of Les Misérables was seen when it re-opened on Broadway.

Broadway never disappoints in the generous sprinkling of stardust. Beloved belter Idina Menzel carried high-concept new musical If/Then. Neil Patrick Harris shone in cult musical Hedwig and the Angry Inch. Audra McDonald was incredible as Billie Holiday in Lady Day at Emerson’s Bar & Grill (technically a play). Michelle Williams was cute but underwhelming as Sally Bowles in Cabaret, in which Sam Mendes’ 1993 staging is the real star. In a boutique staging, by Broadway standards, Sutton Foster soared as brave, devastatingly deluded heroine Violet.

Dance musical After Midnight featured incredible choreography, but its lack of a book did not help to attract audiences. Created in the old-fashioned Broadway musical style, Bullets over Broadway should have been a hit but seemed to be this year’s show that was the target of bad press. The Bridges of Madison County also floundered, despite a rapturously beautiful score sung superbly by its two stars, Kelli O’Hara and Steven Pasquale. Heathers the Musical failed to live up to the potential of its source material. As a Broadway musical, the presence of Rocky was surely due to a drunken dare.

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Best Musicals 2014:

Boutique: Parade

Commercial: Les Misérables

Broadway: A Gentleman’s Guide to Love and Murder

West End: Candide

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Most Disappointing Musicals 2014:

Boutique: Showboat

Commercial: Rocky Horror Show

New York: Heathers

West End: From Here to Eternity

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Heavenly Performances 2014:

Boutique: Luigi Lucente (Parade); Blazey Best (Miracle City)

Commercial: Simon Gleeson (Les Misérables); Lisa McCune (The King and I)

Broadway: Jefferson Mays (A Gentleman’s Guide to Love and Murder); Kelli O’Hara (The Bridge of Madison County)

West End: Ashley Day (The Book of Mormon); Scarlett Strallen (Candide)

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Photos: #1 Matt Murphy, #2 Kurt Sneddon, #3 Angus Scott, #4 & #5 Jeff Busby, #6 Oliver Toth, #7 Jeff Busby

The cast of Strictly Ballroom the Musical has been hard at work in the rehearsal room as they prepare for next week’s Melbourne opening.

Associate Director Kelley Abbey introduced the cast and the two numbers to be performed. Thomas Lacey (Scott Hastings), Phoebe Panaretos (Fran) and ensemble members performed a gentle version of the classic ballad “Love is in the Air.” . . . . . .

Natalie Gamsu (Abuela) and Rico (Fernando Mira) joined Lacey, Panaretos and company members for “Love is a Leap of Faith,” one of the stage musical’s original songs by Sia Furler (with Neff-U, Isaac Hanson and Baz Luhrmann). . . . . .

Following its Sydney season, Strictly Ballroom the Musical has been tweaked and re-rehearsed, with twenty minutes reportedly trimmed from its running time. Hopes are high that these amendments will allow Strictly Ballroom to reach its potential to be a smash hit. Next stop Melbourne, then the rest of the world!

Strictly Ballroom begins previews at Her Majesty’s Theatre, Melbourne on 14 January 2015 before the official opening night on 17 January 2015.

Man in Chair reviewed the Sydney season of Strictly Ballroom.

Stay tuned for production photos from the theatre next week, as well as the review of the Melbourne season of Strictly Ballroom. Photos: Simon Parris

The rags and grime of Les Misérables have been cast aside at Her Majesty’s Theatre, Melbourne prepares for opening night of Strictly Ballroom the Musical.

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The auditorium is decorated in the style of a Dance Sports arena.

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Global Creatures CEO Carmen Pavlovic spoke of the exciting challenges of staging new work compared to re-mounting productions from Broadway and the West End.

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Strictly Ballroom creator Baz Luhrmann spoke about the background for the show and his love for Melbourne.

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The first number performed was the Samba, which is introduced by JJ Silvers, played by Mark Owen-Taylor.

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The talented cast includes Melbourne favourite Rohan Browne as Ken Railings.

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Shirley Hastings, played by Heather Mitchell, is proud of her students from Kendall Dance Studio.

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Luhrmann was joined on stage by wife and creative partner Catherine Martin.

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“Time After Time” dissolves from an intimate rooftop scene to a fantastical dance number.

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Thomas Lacey plays Strictly Ballroom’s hero, Scott Hastings.

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Phoebe Panaretos plays Fran, just Fran.

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Drew Forsythe plays downbeat dad Doug Hastings.

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The full cast in front of the signature red curtain.

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The company also performed “A Life Lived in Fear.” Fernando Mira plays Rico, and Natalie Gamsu plays Abuela.

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Luhrmann had nothing but praise and admiration for his hard working cast.

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Official opening night of Strictly Ballroom is this Saturday, 17 January 2015.

Click here to view Melbourne rehearsal photos of Strictly Ballroom.

Photos: Simon Parris

Boasting lavish designs and sensational choreography, Strictly Ballroom the musical arrives in Melbourne a polished, pristine panoply of pleasures.

Benefitting immensely from judicious nips and tucks since its out-of-town tryout up north, the more streamlined musical is now around twenty minutes shorter, and all the better for it. Musical purists will miss a unified score, but if this is the chief complaint, the musical will surely survive on its heart and pluck, its energy and passion, its incredibly dazzling designs and its terrifically talented cast.

A student play that became a beloved hit movie, the story comes full circle by retuning to the stage, benefitting from the flair, confidence and ingenuity that creative dynamos Baz Luhrmann and Catherine Martin have accrued in the ensuing years.

The cherished story sees restless young dancer Scott Hasting yearn to move beyond the confines of the strictly ballroom by dancing his own steps. Scott finds a willing accomplice in wallflower Fran, attaining further advantage from the guidance and inspiration of her passionately rhythmic family. While malevolent dancesport president Barry Fife plots to eradicate the nightmare of original steps, Scott and Fran’s love slowly blossoms.

The production values imbued by Bazmark and Global Creatures are nothing short of world class. The only recent current international musical that comes close to the scope and quality of design is the West End’s Charlie and the Chocolate Factory. And there is no way you would ever see forty performers on stage in a Broadway show.

Multi Oscar-winner Martin’s skills as a theatrical designer are quite extraordinary. Her delectable ballroom gowns not only feature a rainbow of vivid colours, but also sway and bob with fluid beauty. This explosion of colour is cleverly contrasted by the creation of an entire second company of characters, with their subdued palette of blacks and browns, when we meet Fran’s extended family and friends. Sprinkled with intricate, witty details, Martin’s sets are as spectacular as they are fully functional and effortlessly adaptable.

Working from an intricate mythology of his own wondrous creation, Luhrmann has created a cornucopia of colourful characters, which, despite his tendency towards breathless excess, are all mostly grounded in identifiable, empathetic reality. Energy is kept sky-high, and storytelling is sharper than before, thanks to a stronger integration of music and dialogue. For example, “Time after Time,” in which Scott and Fran’s dance and personal relationships begin to take root, is as strong an integrated sequence as can be found in any modern musical.

Choreographer John O’Connell has worked beyond the usual requirements for music theatre choreography, threading dance throughout the entire show. Dance, in a multitude of forms, is as vital to the story as the title suggests, and there seems to be barely a moment without movement. When all the couples really take flight, it is almost impossible to decide where to look, such is the uniform quality of the dance and the dancers.

Orchestrator Elliott Wheeler and musical supervisor Max Lambert have done their best to bind the music into a cohesive score. While the overall sound of the music is quite consistent, the lyrics vary in clarity. Sound design, by Peter Grubb, is richly detailed, but it is hard to tune one’s ear to some of the words. Barely given two seconds’ break all night, music director Daniel Edmonds handles the wide range of styles and tempi with consummate flair.

The overall staging is notable for the particularly strong collaboration between the creative team. The replication of cinematic dissolves and crosscuts is achieved by the combination of tight scripting, rotating scenery and flowing curtains, fast costume changes, flowing music, strong character work, continuous dancing and the superb work of lighting designer Hugh Vanstone, whose masterful work draws the eye with pinpoint accuracy.

A perfect example of this seamless creative alliance is the brilliant act two sequence that begins with “The Looks, The Charm,” in which the devious Barry Fife spins Scott an elaborate furphy about his parents’ past. From a simple setting at the dance school, a heightened world pours forth, featuring infectious music, cute dance steps, multiple mirror balls, outrageous characterisation from the cast’s best actors, deliberately over the top costumes and even bigger wigs, before the scene melts back to the dance school.

In the star-making role of Scott, fresh-faced young triple threat Thomas Lacey proves an engaging and endearing leading man. Lacey is confident without being brash, a highly capable dancer without being showy, and his sweet tenor voice (which has significantly improved) is a pleasure to hear. Scott’s big I wish number, “Shooting Star,” is a great showcase for Lacey’s talents, in that it features the unique twist of switching from words to dance halfway through.

Just as Fran grows into her talents in the story, Phoebe Panaretos has blossomed and thrived in the role. Her beauty enhanced by an inner joy of being on stage, Panaretos impresses with her lovely voice and graceful dance skills, and her performance is capped off by the perfection of her comic timing.

Lacey and Panaretos enjoy solid chemistry, and are clearly comfortable performing with each other. Their commitment and focus wards off any danger of cheesiness from the central love story. The humour of Fran’s first attempts to dance with Scott is delightful, as is Scott’s hurt pride when Fran’s family laughs at his rhythm. If a few of the scenes in the show still seem a little superfluous, it is partly because Scott and Fran’s are so enjoyable that distractions or interruptions are unwelcome.

Heather Mitchell gives an extraordinary performance as Scott’s mum, Shirley Hastings, a woman who seems to be barely held together by her last few remaining nerves. Drew Forsythe is heartbreaking as despondent ditherer Doug Hastings. Forsythe and Mitchell are superb as their flamboyant younger selves in “The Looks, The Charm.”

Fernando Mira as Rico and Natalie Gamsu as Fran’s Abuela bring plenty of warmth and heart to the tale, their gentle underplaying contrasting very neatly from the colourful circus at the Kendall Dance Studio.

Robert Grubb clearly relishes the juicy role of lecherous, self-serving Barry Fife, playing him not as a villain but just as a man who staunchly believes he is right.

Laine Hastie as Scott’s little sister Kylie Hastings and Campbell MacCorquodale as her partner Luke show maturity beyond their years in comprehending the heightened, jocular tone of the show and matching the adults’ achievements with lashings of verve.

Bob Baines gives strong support as Shirley’s longtime dance partner Les Kendall. There is, in fact, a veritable army of performers giving strong support and having the time of their lives along the way: the redoubtable Rohan Browne as drunken buffoon Ken Railings, Mark Owen-Taylor as JJ Silvers, Tyler Coppin as Terry Best, Sophia Katos as Liz Holt, Nadia Coote as Tina Sparkle, Andrew Cook as Wayne Burns, and the list goes on. When the full company is assembled for curtain calls, the character created by each and every cast member can be clearly recalled.

I missed the official opening night of Strictly Ballroom due to a trip to London. As I sit on the plane writing this review, I find it hard to imagine that I will see a more lavish, heartfelt, uplifting musical on the West End. Perhaps not until Strictly Ballroom moves there itself.

Strictly Ballroom the musical plays at Her Majesty’s Theatre, Melbourne.

Man in Chair also reviewed Strictly Ballroom [Sydney].

View photos of Strictly Ballroom in rehearsal.

View photos of Strictly Ballroom on stage from the Melbourne media call.

Photos: Jeff Busby

The West End’s hottest music theatre stars shine in a production as ingenious as the source material.

City of Angels features the rarity of a jazz-infused score, with music by Cy Coleman and crisp, witty lyrics by David Zippel. Larry Gelbart’s intricate, highly amusing book for this 1989 musical is far more intelligent than pretty much anything currently seen, or likely to be seen, on Broadway today.

Successful crime novelist Stine may control his lead character, Private Eye Stone, in his books, but movies are a whole other business. Stine battles studio interference and female distractions, but his greatest challenge may come from his very own creation, as Stone becomes ever more confident in his value.

Director Josie Rourke has respected audience intelligence whilst also ensuring the complex double-barreled plot is clear and accessible. Robert Jones’ dual-level set is backed by a wall of manuscripts towering over a wall of movie reels. Stine’s movie plays out in monochromatic film noir tones while the real world goes on in colour. Judiciously used projections show Stine’s type-written text, a device that allows for humorous moments when the deletion of text causes the cast to move and talk backwards as the scene is “rewound.” Another clever touch is the dynamic tussle between colour and grayscale as Stone and Stine battle it out in act one finale “You’re Nothing Without Me.”

Each of Stone’s fictional screen characters are based on characters in his real life, providing a range of delicious dual roles for the cast, and audience, to enjoy. Stone’s helpful assistant Oolie is based on ambitious studio secretary Donna (Rebecca Trehearn). Stine’s forthright wife Gabby is the inspiration for Stone’s past lover Bobbi (Rosalie Craig). The director’s wife Carla plays alluring femme fatale Alaura (Katherine Kelly). Vacant starlet Avril Raines plays the mysterious Mallory (Samantha Barks).

The casting of this formidable quartet of leading ladies is quite a luxury, and the combination of their talents, the close proximity of the intimate Donmar stage and Jones’ delectable, distinctive costume designs mean that the complex dual narrative has never been clearer. Each of these actresses gives a superb performance, and all appear to be thoroughly enjoying the gorgeously feminine 1940s dresses, wigs and make-up.

Craig nails two of the very best ballads: Bobbi’s sensuous torch song “With Breath You Take” and Gabby’s snippy number “It Needs work.” Barks purrs through Mallory’s kittenish vamp “Lost and Found.” Kelly enjoys Alaura’s double entrendres in “The Tennis Song.” Trehearn gives a knowing wink in Oolie and Donna’s swinging, pre-feminism ditty “You Can Always Count On Me.”

The male leads are just as strong. With so many stars in the one show, it actually seems incredible that the rest of the West End is still operating. Hadley Fraser is scruffily lovable as Stine, and his singing is a dream. Tam Mutu embodies Stine’s dream version of himself as Stone, a bit taller and broader, with matinee idol cleft chin and wavy hair. Masculine actor Mutu is highly believable as the hard-bitten, fast-loving private eye.

Peter Polycarpou scores plenty of laughs as blustering studio chief Buddy Fidler. Marc Elliott, as bitter police detective Munoz, brings down the house with his big number “All Ya Have To Do Is Wait.”

Coleman’s music, as played by a swinging band of eleven, sounds wonderful, and a cast recording would be a joy.

This is music theatre at its very finest. Watch out for a West End transfer (if the incredible, in-demand cast can possibly be kept together).

City of Angels plays at Donmar Warehouse, London until 7 February 2015.

City of Angels was reviewed 2pm Saturday 17 January 2015

Photos: Jonah Persson

If someone that young and beautiful needs travel up, up, up to the Heaviside Layer then I am afraid that there is no hope left for me.

Apparently known for her previous feline incarnation as a Pussycat Doll, Nicole Scherzinger may be younger and prettier than the traditional diva playing Grizabella, but boy can she sing. In a production that’s already pretty high volume, Scherzinger’s piercing belt is rather awesome, especially her rock solid high notes in the climactic “Touch me,…” finale of perennial hit “Memory.”

Cats is back, whether we wanted it or not. And while it easy to be cynical about a bunch of dancers prancing about in legwarmers in a single-set show with no storyline, there is no denying that this is as lavish and epic a staging of Cats that could possibly be desired. For a season that was originally going run 12 weeks, the set design/decoration is really on a massive scale, with the set stretching well beyond the proscenium arch and string of festive coloured lights strung up throughout the auditorium. Compared to its original home at the original New London Theatre, this London Palladium staging is surely the biggest production of Cats that London has seen.

Original Designer John Napier has returned, and according to the number plate on the car, this is his 70^th design for record-breaking musical. Updated elements include projected animated clouds on the rear screen and improvements to the magic of the journey to the Heaviside Layer.

To freshen up proceedings, Andrew Lloyd Webber has made some alterations to his score. The dance break for Jennyanydots’ beetle tattoo, in “The Old Gumbie Cat,” has been re-written and extended as a fabulous tap number for Jennyanydots and the beetles. Almost all of the Rum Tum Tugger’s song is now sung about him by the other cats, with Rum Tum Tugger (Antoine Murray-Straughan), now in dreadlocks and bling, just contributing a rap break in the middle.

“Growltiger’s Last Stand” has been re-conceived in a groovy jazz/soft shoe style. Disappointingly, the duet between Growltiger and Griddlebone has been excised completely. This reduction, coupled with the very basic mast and sail for Griddlebone’s ship, makes this once great section fall flat.

Director Trevor Nunn and associate director/choreographer Gillian Lynne have revisited their masterwork. An interesting development in the time since Cats premiered, and a good reason to re-visit the show, is the proliferation of training courses for young performers. Music theatre performers once had talent and passion, now they also come fully trained. Along with the quality of the singing in this production, the ability of the ensemble to create quirky, interesting characters is very noticeable and adds to the overall quality on show.

David Hersey’s lighting is practically a show in its own right.

Given the wildly varying quality of lyrics in modern musicals, it is striking to hear again just how beautiful, intricate and satisfying T. S. Eliot’s poems are in these songs. Unlike his later shows, which focused on repetitiously recycling of a small number of tunes, Webber’s score features an abundance of melodies and is certainly one of his very catchiest.

It is difficult to select highlights from the cast given the uniform quality, energy and commitment. Nicholas Pound exhibits a superb operatic tone as Old Deuteronomy. Callum Train is an exciting, polished young performer as Munkustrap. Joseph Poulton dances up a storm as Mistoffelees.

The prospect of a young theatergoer seeing Cats as their very first is almost too magical to imagine.

Cats plays at Palladium Theatre, London until 25 April 2015

Kerry Ellis plays Grizabella from 9 February 2015

Cats was reviewed 2.30pm 21 January 2015

Photos: Alessandro Pinna