So riotously colourful that it makes The Lion King look noir, SpongeBob SquarePants the Broadway Musical is a giddily gleeful confection of music and movement that rightfully takes its place as a fully fledged Broadway musical.

Given that SpongeBob is worth billions of dollars a year to Nickelodeon, the $US20 million or so to stage the eye-popping broadway spectacle is really just pocket change. This makes the real winners the audience, and the thought of what this production must look like to a child on potentially their first ever Broadway visit is mind-boggling.

SpongeBob SquarePants the Broadway Musical is the very rare show to make composition by committee work successfully. Each song is by a different composer – from Sara Bareilles to Cyndi Lauper, from John Legend to David Bowie. Broadway composer Tom Kitt has orchestrated and arranged the music to create a cohesive, toe-tapping sound.

While a good portion of the fun is seeing all the much-loved characters on stage, Kyle Jarrow’s book links the action with a solid story about a nearby volcano that threatens to destroy the sweet town of Bikini Bottom. Each of the leads get a story thread, with a series of feel-good payoffs by the finale.

Tina Landau, who conceived and directed the production, has a keen eye for what children enjoy. The full-length running time of 140 minutes (including interval) may be beyond toddlers, but to theatrically savvy kids, the time is sure to fly by in a haze of colour, music and witty invention.

Broadway choreographer Christopher Gattelli provides high energy moves for his athletic dancers, also creating quirky, stylistic movement for these live incarnations of zany animated creatures.

But the star of the show, apart from the cast, is David Zinn’s extraordinary designs. Zinn has crafted a spectacular underwater world in which everything is made from ocean detritus. Pool noodles, tyres, barrels, thongs, straws, boxes…there seems to be no limit to Zinn’s imaginative creativity. From the moment the audience enters the auditorium, there is a seemingly endless amount of colourful design elements to catch the eye.

Two of Zinn’s greatest creations are the installations flanking either side of the stage high overhead. Like the old board game Mousetrap, these constructions crank into operation to propel balls (boulders, in the storyline) onto the stage in the most entertaining way possible.

In a very clever touch, Zinn does not costume the actors in character suits; rather he captures the essence of each animated character in its human counterpart. Nowhere is this more successful than in the sensational performance of breakout star Ethan Slater as SpongeBob. The elastic, perky star makes an entirely adorkable SpongeBob, winning many hearts along the way.

As miserable cephalopod Squidward Q. Tentacles, relative veteran Gavin Lee tap dances with four legs (!!) in lavish production number “I’m Not A Loser.”

Wesley Taylor Is entertaining as toothless villain Sheldon Plankton. Jai’ Len Christine Li Josey sigs up a storm as starry-eyed whale, Pearl Krabs. Lilli Cooper is a vibrant presence as visiting squirrel, Sandy Cheeks.

I have to admit to initially thinking that this show was just for kids. Why should they have all the fun! The scale of production of SpongeBob SquarePants the Broadway Musical would be perfect for Melbourne’s Regent Theatre; hopefully we will see it there some day soon.

SpongeBob SquarePants the Broadway Musical was reviewed 6.30pm Sunday 8 April 2018 at Palace Theatre, New York where it plays an open run.

Photos: Joan Marcus

Disney has clearly spent a fortune on white hot property Frozen the Broadway Musical, and yet the new musical is lukewarm at best. 

While the massive success of recent Disney production Aladdin the Broadway Musical appears to have been a happy accident, the creative team working on Frozen the Broadway Musical seem to have tried too hard. For all the epic scenery, icy projections, cute costumes and magic tricks, there are almost no wow or how-did-they-do-that moments on par with, say the stage musicals of Beauty and the Beast or Mary Poppins.

More significantly, great slabs of Jennifer Lee’s book wallow in po-faced tedium, crushed under the weight of the characters’ solemn seriousness. Frisky cherub Young Anna (played with polished flair, at this performance, by Audrey Bennett) scores some early laughs, but when she promptly grows up, the laughs diminish. 

It seems against the rules of Disney stage adaptations for Olaf the snowman to be so identical to the movie character; this sort of pandering to audience expectations is usually reserved for character suits at the theme parks. To take nothing away from his excellent performance, Olaf puppeteer/portrayer Greg Hildreth even looks like Olaf’s movie voice artist, Josh Gad. 

Composers Kristen Anderson-Lopez and Robert Lopez have worked closely with Lee to integrate the score throughout the scenes, but the result is a show with only a handful of distinct songs and not many opportunities for the lively audience to applaud. Movie charm songs “In Summer” and “Do You Want To Build A Snowman?” are winners, and “For The First Time In Forever” remains the most hummable take-away tune.

Mighty power ballad “Let It Go” is well placed as the act one finale. Comparisons to “Defying Gravity” are unavoidable, and although Elsa achieves some tricky magic costume changes during the song, the impact is ultimately not as striking as Elphaba’s flight in Wicked. Elsa has a new mighty power ballad in act two, entitled “Monster,” which suffers from the law of diminishing returns by coming after “Let It Go.”

Designer Christopher Oram makes endless use of the signature colours of purple and green. Aided by the St James Theatre’s recent stage extension, the ever-changing scenery is on a grand scale. Impressive as the solid scenery is in appearance, the video projections (by Finn Ross) are the ice-ing on the cake.

Compared to the work of Tina Landau with hyperkinetic new musical SpongeBob SquarePants or the legendary work of Julie Taylor on The Lion King, respected director Michael Grandage may have been the wrong choice to guide this beloved animated movie to the stage. The musical follows the movie to the extent that there are no surprises, and characterisation is energetic but uninspired. 

Through a combination of focus and magnetic presence, Caissie Levy is a pleasure to watch as Elsa. There is no doubt that Levy’s singing voice is more than capable of the strong belt required, and the she pulls off her showy numbers while calmly staying true to character. 

As lovingly gullible sweetheart Anna, Patty Murin creates a nice contrast to Levy’s portentous Elsa, enjoying resonant chemistry with each of her male co-stars. 

Looking every bit the Disney prince, John Riddle cuts a dashing presence as Anna’s suitor, Hans. In an odd directorial choice, Grandage has Riddle portray the young man in an oh so modern way, making the character feel like a ring-in from Dear Evan Hansen rather than a stately citizen of the Southern Isles. 

Jelani Alladin brings vivacious energy to the likeable role of Kristoff. Unseen actor Andrew Pirozzi does a sterling job as friendly reindeer Sven. 

It will be interesting to see whether Frozen matches the success of Aladdin and Beauty and the Beast or whether it fades away after Broadway like Tarzan and The Little Mermaid. There is no doubt that Frozen is far superior to last year’s lamentable non-event Charlie and the Chocolate Factory, but on Broadway it is currently outclassed by Anastasia and SpongeBob SquarePants. 

Frozen the Broadway Musical was reviewed 7pm Tuesday 10 April 2018 at St James Theatre, New York where it plays an open run.

Footnote: When Arendelle is beset by endless winter, Kristoff complains that Oaken has raised prices in his store. Ironic, then, that some of the Frozen the Broadway Musical merchandise is 50% more expensive than similar items at other Broadway shows. 

Photos: Deen van Meer

Cherished classic Carousel returns to Broadway in this handsome, impeccably cast revival.

Rodgers and Hammerstein’s groundbreaking 1945 musical still resonates today thanks to its timeless theme of redemption and its rapturously beautiful score. More than 70 years on, society continues to struggle with the issue of domestic violence, a challenge to which Carousel offers no simple solutions. 

At a time when the Broadway musical was in its infancy, Rodgers and Hammerstein’s level of innovation remains an extraordinary achievement. The show begins not with a rousing chorus number but with an extended pantomime scene. The subsequent 12-minute bench scene (which includes immortal classic “If I Loved You”) is a miraculous, concise integration of drama and music. An extended ballet replaces the script for key scenes in act two. Treasured hymn “You’ll Never Walk Alone” has never been matched for the poignancy of its uplifting message of hope. 

While it seems that no revival of Carousel can top the 1992 version directed by Nicolas Hytner at London’s National Theatre (which transferred to the West End and Broadway), the merits of this new production include a sterling cast, generously sized orchestra of 25 musicians and thrilling choreography. 

In the biography Somewhere For Me (by Meryle Secrest), Richard Rodgers is quoted as saying that, due to the war, the main requirement for a dancing boy in Carousel was that he be alive. In this current era of professional arts training, choreographer Justin Peck has access to triple threat talent that original choreographer Agnes de Mille could only have dreamt about. Peck invigorates the production with high energy dance, which is notably imbued with a very strong sense of character and purpose.

Opening prelude “The Carousel Waltz” dispenses with actual carousel horses (save for one that Billy places Julie upon), a move which allows for a more flexible approach to the chorus characters’ interaction. Half a dozen of the show’s principal characters are established in the prelude, and the three leads receive a star’s entrance to audience applause. 

The lively dance section of “June is Bustin’ Out All Over” is re-orchestrated to great effect. The women express conjugal longing through dance in “Mister Snow (reprise)” before the men bring down the house with a sensational hornpipe after “Blow High, Blow Low.” Even though audiences are now accustomed to triple threats, it is incredible to hear the quality of singing from artists who have just performed ballet-level dance.

Amar Ramasar, a principal dancer at New York City Ballet since 2009, gives an electric performance as Jigger, the cowardly, bad influence on central anti-hero Billy. Likewise, Brittany Pollack, a soloist with New York City Ballet, impresses mightily with her work as Billy’s troubled teenage daughter Louise, a character that Pollack successfully establishes and, crucially, endears to the audience in an all too brief period late in the show. 

Director Jack O’Brien establishes a respectful tone towards the material, eschewing any potential for camp melodrama with sincere, committed performances and straightforward clarity of storytelling. While the staging does not shy away from Billy’s struggles with his tendency towards violence, O’Brien simplifies Julie’s response to a state of acceptance, removing the exchange between Julie and Louise about a slap feeling like a kiss. 

Another interesting decision is the ominous, and rather heavy handed, placement of The Starkeeper (John Douglas Thompson) into scenes where Billy makes ill-advised decisions.

The production opens with a brief glimpse of the starry heavens before focusing on an New England town of the late 19th century. Santo Loquasto’s scenic design is attractive but rather simple by Broadway standards. One of the more successful settings is the misty wharf and docked ship where the robbery unfolds; a high pier gives O’Brien the location to stage a dramatic death fall.

It is very disappointing to note that O’Brien has cut a pair of songs in act two. After “This Was A Real Nice Clambake,” O’Brien hits the fast forward button and takes us straight to Julie’s “What’s The Use Of Wond’rin’,” skipping Enoch’s “Geraniums In The Winder” as well as Jigger and the chorus’ “There’s Nothing So Bad For A Woman.” Perhaps the audience members who might have lost attention during those numbers could have stayed home and watched reality television instead.

While the early 1990s revivals incorporated colour blind casting in the secondary couple of Carrie and Enoch Snow, this new revival sees a more extensive integration of varied nationality backgrounds, with the key casting decision being African American actor Joshua Henry as Billy Bigelow. It is a credit to O’Brien that this casting retains an entirely colour blind feel. Henry performs as the premier Broadway leading man that he is, and brings great dignity to the stage. Henry’s powerful, expressive rendition of “Soliloquy” is absolutely thrilling, leaving the audience on a real high as the act one curtain falls. 

Broadway favourite Jessie Mueller makes the natural progression from playing Carrie in the 2013 New York Philharmonic filmed concert of Carousel to starring as Julie Jordan here. An expert in conveying tender vulnerability, Mueller reveals an exquisite, bell-like soprano on Julie’s high notes. Mueller shows integrity to the character by giving her an independent, introverted persona rather than a more showy leading lady style.

Lindsay Mendez is highly amusing as Julie’s dear friend Carrie, nailing the comic timing and singing with infectious warmth and gusto. As successful fisherman Enoch Snow, Alexander Gemignani is in superb voice, making the loss of “Geraniums In The Winder” all the more disappointing.

World famous operatic soprano Renée Fleming extends her repertoire in the supporting role of Julie’s generous cousin Nettie. Portraying Nettie as somewhat more golden and slender than usual, Fleming nonetheless proves a valuable asset an a natural to the musical theatre stage, developing cheerful camaraderie with the ensemble, managing her involvement in choreographed moments with ease and, of course, singing the role with pristine beauty. 

This new revival of Carousel is as close a connection as we have to the dawn of the golden age of Broadway. Any eyes not clouded by tears in the finale belong those with hearts of stone.

Carousel was reviewed 8pm Tuesday 3 April 2018 at Imperial Theatre, New York where it officially opens on 12 April 2018.

Photos: Julieta Cervantes

In its world premiere season at charming New Jersey venue Papermill Playhouse, Broadway-bound musical The Sting is a slick, classy affair.

Mounting a musical adaptation of the classic 1973 film The Sting proves to be an inspired idea, and incorporation of the modern trend of diverse casting pays substantial dividends. The writing team have proven credits on Broadway: book writer Bob Martin co-wrote The Drowsy Chaperone, while composers Mark Hollmann and Greg Kotis penned the score of Urinetown. The result is what is always desired in a screen to stage adaptation- a new product which respects the original material but also significantly enhances it. 

Likewise, the creative team are blue chip Broadway veterans. Director John Rando and choreographer Warren Carlyle have clearly worked in close collaboration to achieve a lively integration of dance and action. 

Even lovers of the original movie may find the details a little blurry after this many years. Fortunately, storytelling here is crisp and clear, starting with a terrific opening number, in which exposition is punctuated by fierce ensemble tap beats. 

Choreography is is incorporated in scene transitions, with designer Beowulf Boritt’s simple but handsome scenic elements danced into place by the cast. Paul Tazewell’s costume designs use smoky tones on slinky gowns and sharp pin striped suits, finished off with spats for the men and curled bobs or marcel waves on the women. 

The change of one of the lead pair of con men to African American is incorporated into the plot. Successful younger grifter Johnny Hooker seeks revenge on vicious Irish mob figure Doyle Lonnegan for the murder of his beloved mentor Luther. Hooker convinces Lonnegan to place a crooked bet for him on the basis that the gambling establishment will not accept such a bet from a man of colour. Charismatic young triple threat J. Harrison Ghee is sensational as Hooker, beaming with leading man magnetism. 

Hooker moves to Chicago to work with infamous huckster, and part time pianist, Henry Gondorff. Harry Connick Jr displays a mischievous sparkle behind the weary hooded lids of Gondorff, using his musical skills on stage as well as making a contribution to the score’s music and lyrics. 

With the first phase of the long con in place, the company performs a cleverly conceived rhythmic rap to the calling of a horse race. This device returns at the show’s climax, by which point canny writing has increased the tension with a number of interwoven threads. 

Scott Joplin’s iconic piano rags are deftly, and sparingly, threaded through the score, mainly used for scene transitions and the occasional dance break. The fact that the new score holds up next to tunes as well known as “The Entertainer” is testament to the quality of the writing. 

The combination of adult-oriented storytelling and spectacular choreography are bound to lead to ongoing success for The Sting.

The Sting was reviewed 1.30pm Thursday 12 April 2018 at Papermill Playhouse, New Jersey, where it plays until 29 April 2018. Details of the upcoming Broadway season are yet to be announced. 

Photos: #1, #5, #6 Evan Zimmerman, #2, #3, #4 Jerry Dalia

Bursting with vibrant colour and spectacular dance, CLOC Musical Theatre’s new production of Strictly Ballroom the Musicalis a visual feast.

Top marks to CLOC Musical Theatre for putting their impressive resources into staging another Australian musical. The benefit, in return, is the allure of the title, which is now know not just from the beloved 1992 movie but also from the extended 2015 Melbourne run of Strictly Ballroom the Musical.

While the musical was judiciously edited after its initial 2014 Sydney season, the surprise here is that the book and score have received further significant rewrites. Gone are the music and lyrics of Elliott Wheeler and the lyrics of book writers Baz Luhrmann and Craig Pearce (snappy flashback number “The Looks, The Charm” being the sole holdover). In their place, Eddie Perfect’s contribution has increased from two numbers to eleven, bringing this version closer to a cohesive score.

The revised book, by British playwright Terry Johnson, retains the breathless inner mythology of Luhrmann’s original fable and recrystallises the storytelling in a way that is more suited to the stage. The arch, biting tone of the film is still softened to a gentler form of camp theatrics, but the riot of colour and movement is what we have come here to see.

Director Craig Wiltshire complements the streamlined book with clearly drawn characters and easy to follow downstage action. Energy is so high that it is almost unimaginable that the cast members also work day jobs.

In the best Broadway tradition, Wiltshire performs double duty as choreographer. Blessed with a gifted cast, Wiltshire has been able to stage a mind-boggling array of dance, keeping the cast in almost constant motion. The ballroom competition scenes, in particular, feature so much dance performed so well that it is basically impossible to decide where to look. In an uncharacteristic piece of miscommunication, Wiltshire’s scene change choreography is mostly performed in the near dark; this may very well be remedied as the season progresses.

Experienced musician Malcolm Fawcett makes an auspicious debut as a musical director for CLOC. Performing Simon Hale’s new orchestrations, Fawcett leads a band with more players than that of the original Australian production, and the music consequently sounds superb. Given that focus must have been placed on dance in rehearsals (and perhaps even auditions), it is testament to Fawcett’s exceptional work with vocal preparation that the singing sounds as strong as it does, with clear diction and sweetly blended harmonies.

Wearing a third hat in the production team, Wiltshire also contributes the splendid set design. The somewhat ungainly thrust stage of the National Theatre has bested some other designers, but Wiltshire makes great use of the space to create a vast cohesive performance area. The general concept for the sets may be based on the original Australian production, but it remains an impressive feat to see the sets constructed and operated so professionally by the mighty CLOC team.

Speaking of mighty CLOC teams, there has clearly been a veritable army of sewers on hand to bring the incredible creations of costume designer Victoria Horne to life. Long-term audience members will be well aware that Horne does not mind a sequin, so Strictly Ballroomreally places her firmly in her element. The truly dazzling costumes features an abundance of sequins, feathers, ruffles, beads, fringes and more, all constructed to the highest standard with characteristic panache along with a healthy serving of wit.

With such spectacular attire on display it is difficult to choose highlights, but a clear fashion favourite seems to have been Shirley Hastings, who sports a knockout array of gowns and daywear. The ballroom judges are outfitted as glamorously as the dancers, and enjoy just as many changes. The entire company contrasts the sparkle and glitz when they switch to dark, earthy tones for the Spanish backyard scene, which remains the heart of the show.

Further enhancing the level of glossy glamour, David Wisken contributes wig and make-up design that are delectably over the top. Ken Railing’s tiger-toned hairdo is a perfect touch, and all of the flashback wigs are wonderfully outrageous.

Dylan Henry captures the boyish innocence and unflappable confidence of rebel dancer Scott Hastings. Clearly having a background that is more ballet than ballroom, Henry delivers aerial moves with flair and polish.

Kristen Mihalos gives a charming performance as ugly duckling Fran, impressing with both her talent for dance and the strength of her gorgeous singing voice. With a petite face that seems to consist solely of a pair of saucer-like eyes, Mihalos is as endearing as she is accomplished.

Elizabeth Garnsworthy captures the shrill desperation of driven stage mother and dance instructor Shirley Hastings. Robert Harsley breaks hearts as downtrodden dad Doug Hastings.

Lee Threadgold is luxury casting as Barry Fife, complementing his comic performance with that powerful singing voice. Likewise Elizabeth Matjacic delivers quality vocals as part of a warm characterisation of Fran’s feisty Abuela.

Melanie Ott captures the self-centred mania of Tina Sparkle to great comic effect. Lauren Edwards crackles with charisma as self-serving dancer Liz Holt. Thomas O’Reilly is lovably dorky as Wayne Burns.

At this performance, adorable starlets Charlotte Barnard (Kylie) and Isaac Pearson (Luke) left the audience wanting more of their precocious talent.

A show to sit back and enjoy, Strictly Ballroom the Musical is in secure hands with the high production values and terrific cast that are trademarks of CLOC musical theatre.

Strictly Ballroom plays at National Theatre, Melbourne until 26 May 2018.

Footnote: it is interesting to note that both the new book by Terry Johnson and the new songs by Eddie Perfect were jettisoned for the West End production, which opened a mere two weeks ago. Apparently, a multitude of pop songs have been added, along with the radical idea of having one male narrator-type character sing every song. Fingers crossed that the season will last until January so that Man in Chair can check it out in person.

Photos: Ben Fon

Ever-emerald classic The Wizard of Oz gleams with the polish of new designs, new humour and even new songs.

Revived to capitalise on the mania for Wicked, this 2011 London Palladium production is faithful to the movie (and original stage show), whilst also bringing the pacing, humour and staging in line with modern taste. The tedium and bombast of the current Broadway mega-production of Frozen could have been avoided with an adaptation conceived with this much flair and creativity.

Only prolific musical theatre composer Andrew Lloyd Webber would have the confidence to tamper with such a well-established and well-loved show, but his machinations are very well placed indeed. All the cherished Harold Arlen and E. Y. Harburg songs from the 1939 film remain in the show, even the stirring background music of Herbert Stothart is still heard. Working with his original lyricist Tim Rice, Lloyd Webber has simply added new songs in select moments, giving musical voice to Professor Marvel, The Wizard, Glinda and Wicked Witch of the West.

New songs range from serviceable (Dorothy’s opening lament “Nobody Understands Me”) to upbeat (Wicked Witch and Winkies rock the “Red Shoes Blues’) to sweetly sentimental (Glinda farewells Dorothy with hummable anthem “Home Is A Place In Your Heart.”) The cleverest lyrics come in Professor Marvel’s patter song “Wonders of the World,” which implants the rainbow of colours into Dorothy’s heretofore monochrome psyche.

A feature of the music is the rich orchestral sound. Although a couple of the 13 musicians are on keyboards, there is a distinctly “live” sound to the music, with the suite of instruments well utilised for their range of expression. Highly capable musical director Laura Tipoki presides over a well-integrated performance, benefiting from additional support from master musical supervisor Guy Simpson.

Lloyd Webber and director Jeremy Sams are co-credited with the new adaptation. With Lloyd Webber on musical structure, Sams is presumably responsible for the nimble pace and the laugh-out-loud humour. As the Australian tour begins its final leg, the cast have their comic timing finely honed. Characters such as Glinda and Scarecrow score plenty of the new laughs, all of which come as a welcome treat considering the completely well-known nature of the story.

Arlene Philips’s sharply regimented choreography is also seen at its best at this point in the tour. A real highlight is the rhythmic baton chorus line of “Hail-Hail! The Witch Is Dead,” which is probably the best percussive number of its kind since the clinking tankards in Beauty and the Beast’s “Gaston.”

Beginning in sepia-toned Kansas before embracing the technicolor of Oz, designer Robert Jones has taken inspiration from the rainbow theme to create a signature colour for each land. The Munchkins sport floral designs in cornflower blue, Emerald City’s green art deco cityscape towers overhead, and Wicked Witch favours blood red for her Winkie’s uniforms as she rules from her crooked gothic tower.

Jones’ physical designs are enhanced by Jon Driscoll’s video designs. The twister effect is surely the best of its kind ever seen in a stage production of this show. The large scale projection of The Wizard’s sinister face ends act one on an ominous note.

Given that most touring productions that reach Australia can be dwarfed by the mighty Regent Theatre stage, it is very pleasing to note that the scenic elements and special effects of The Wizard of Oz fill the space with terrific impact.

The Australian season lands a nifty Wicked link with its casting of leading ladies Lucy Durack (Glinda) and Jemma Rix (Wicked Witch) in roles they have already played in the alt-Oz universe. The undertones of Shiz sisterhood allow sparks fly whenever the ladies face off. Durack nails Glinda’s ditzy humour, and avoids over-sentimentalising final anthem “Home Is A Place In Your Heart” by grounding her lovely singing with heartfelt sincerity. Rix immerses herself in Wicked Witch’s gleeful nastiness, creating such an engaging characterisation that there is a tinge of tragedy to her melting at Dorothy’s hands.

Australia’s leading man Anthony Warlow is luxury casting as The Wizard. Famed for his superb voice, Warlow has the chance to display the versatility of his acting dexterous acting talent.

Rather than discover a teenaged performer, the production casts a young adult as troubled teen Dorothy. Samantha Dodemaide captures the chipper pluck of the feisty young woman, underpinned nicely with an edge of vulnerability. Ostensibly the lead but actually the least showy role, Dorothy benefits from Dodemaide’s open expressive face and well-judged energy. Dodemaide’s success in the role is seen in the farewell to Oz, which feels more poignant than previously seen.

The friends of Dorothy are a redoubtable trio of talents, each making their own stamp on well-established roles.

Rising from ensemble work to give a terrific lead performance, Eli Cooper is delightfully daffy as Scarecrow, conveying the floppy physicality and continually bringing fresh angles to the same no-brain joke as the show unfolds.

Charming tenor Alex Rathgeber makes a welcome return to the commercial musical theatre stage, bringing lashings of heart to a character who supposedly has none. Rathgeber spices up the Tinman’s I wish song with a nimble tap dance.

John Xinatavelonis plays Lion by way of Pumba, adopting an adorable broad Nathan Lane-like voice. Xinatavelonis shines in the crowd-pleasing role, remaining fully immersed in character through any and all singing and dancing.

The versatile ensemble play any number of roles, each of which benefits from their triple threat talents.

While jaded musical theatre purists might prefer Fun Home or The Band’s Visit, this production of The Wizard of Oz is a simple, family friendly pleasure. The music and spectacle would make an extraordinary impact as a young person’s early experience with the theatre.

The Wizard of Oz plays at Regent Theatre, Melbourne.

Photos: Jeff Busby

Venerable Melbourne institution The Production Company begins their landmark twentieth season with a concert staging of Rodgers and Hammersten’s Oklahoma!that is simply as good as it gets.

Capturing the sunny optimism and sweeping scope that have characterised the cherished musical for 75 years, The Production Company has crafted a knockout staging of Oklahoma!in which each element is at the highest standard. In a piece of magical synergy, the whole is even greater than the sum of the parts.

While casting, music, setting, wardrobe, sound and lighting are all at a premium, the lynchpin in the show’s success is Chris Parker, who makes a highly auspicious debut as director. Parker projects a mighty confidence in his use of space, and his seamless flow of scenes tame the sprawling musical to a compelling and highly entertaining running time of 170 minutes (including interval).

The foundation of Parker’s success is his utter respect for the material. Stereotypes may abound in the writing, but Parker trusts that the intelligent audience will accredit this to accepted norms of the day. Beneath the caricatures, Parker finds an authentic humanity. In the hands of such stellar actors, the humour lands with fresh appeal, chemistry abounds and, even more impressively, the moments of pathos and danger are authentically affecting. The finishing touch is the quality of the ensemble work, with every cast member being fully engaged in the action at all times.

In his fifteenth engagement at The Production Company, masterful musical director Guy Simpson leads The Production Company Orchestra in a delightful performance of the beloved score. Much as the ensemble members are terrific dancers, they are equally skilled singers, and lush vocal harmonies are achieved with deft balance. Simpson adds to the quality of the lead performances by bringing out carefully considered dynamics and phrasing, which add fresh expression to the well-known songs.

In her first engagement as choreographer for The Production Company, Amy Campbell works with unbridled confidence and flair. Matching Parker’s excellent use of space, Campbell’s key achievement is adding dance that derives so organically from the action that it does not even feel like choreography.

Production numbers such as “Kansas City” and “The Farmer and the Cowman” feature dance that is lively and polished as it is witty and infectious. The jewel in the crown is the riveting “Dream Ballet,” in which Campbell is blessed to have Stefanie Jones as Dream Laurie. Recent productions of Oklahoma!have veered towards the lead actors dancing the dream roles, but with Jones, Daniel Roberts (Dream Curly), Jared Bryan (Dream Jud) and equally wonderful ensemble dancers, Campbell embraces the opportunity to push the spectacle to its limits.

For a concert staging, Oklahoma!is a visual feast. Isaac Lummis’ costumes are a delectable confection of pastel floral prints contrasted with masculine plaid. The degree of construction in the costumes illustrates The Production Company’s progress in budget over the years. Beautifully styled wigs (Trent Whitmore) add to the period look, with pristine millenary (Phillip Rhodes) completing the picture.

In an inspired concept, set designer Dale Ferguson frames the action with soaring calico arches that give the appearance of a covered wagon. Metal cattle fencing makes for a practical and flexible staging element at ground level. Lighting designer Matt Scott adds layers of atmosphere with rich colour, and successfully draws in the focus for the more intimate scenes.

As big-hearted cowboy Curly opens the show with “Oh, What A Beautiful Mornin’,” versatile leading man Simon Gleeson captures all the sunshine and splendour of the plains in his sumptuous vocal tone. Gleeson proceeds with a neatly understated performance that balances charisma with naturalism and is imbued with his trademark generosity.

Leading lady Anna O’Byrne makes a welcome return to The Production Company, blessing Laurie with her silvery soprano. As the feisty yet feminine farm girl, O’Byrne underpins Laurie’s blossoming maturity with fragile vulnerability, creating an endearing characterisation. O’Byrne and Gleeson enjoy genuine chemistry and sound wonderful together in duets.

Given the striking similarity between the frisky roles of Ado Annie in Oklahoma!and Meg in Brigadoon, it is a credit to the range of Elise McCann that she gives such distinctive performances in subsequent seasons. McCann conveys Annie’s romantic predilections as guileless charm, keeping the character well clear of comic stereotype. McCann’s powerhouse vocals are an additional treat.

Bobby Fox is perfectly cast as high-spirited cowboy Will Parker, with early number “Kansas City” a fitting showcase for his characterful dance ability. In a magnetic performance, Fox drives the secondary romance of Will and Annie, making Will all the more endearing by highlighting his hapless innocence.

Australian stage royalty, Robyn Nevin makes her The Production Company debut as crotchety sweetheart Aunt Eller. Having been bitten by the musical theatre bug in My Fair Lady, Nevin takes a step forward this time in a role that requires her to sing, a facet she pulls off with great aplomb. Proving herself a great team player, Nevin breathes fresh life into Aunt Eller while bringing clear authority to the dear woman’s pearls of wisdom.

Looking grizzled and grimy, Ben Mingay does not shy away from the darkness of festering farmhand Jud Fry. Jud’s lament “Lonely Room” comes at a point when act one can start to feel a little long, but Mingay’s rich baritone makes for a compelling rendition.

Grant Piro makes the most of the comedy of seductive peddler Ali Hakim. Piro is somewhat undermined by the blandness of his costume, which bears no sign of the flim flam of the ostentatious fellow. Nonetheless, Ali’s romantic entanglements are a key feature of the comedy.

Veteran stage actor Richard Piper is a very welcome addition to the cast as gruff patriarch Andrew Carnes. Glaston Toft lends reliable support as Slim. Greta Sherrif is a delight as giggling Gertie Cummings.

Oklahoma!has an energy that is set to catapult The Production Company onwards for their next twenty years. Lovers of traditional musical theatre must not miss Oklahoma!.

Oklahoma! plays at State Theatre, Arts Centre Melbourne until 3 June 2018.

Photos: Jeff Busby

A sensational cast of rising talents get vertical til they get vertigo in the Melbourne professional premiere of Bring It On the Musical.

As Broadway increasingly takes itself seriously, an example of a teen-based guilty pleasure is all too rare. Following a US tour, Bring It Onplayed five months on Broadway in 2012, and was nominated for the 2013 Tony Award for Best Musical.

Book writer Jeff Whitty (Avenue Q) based the musical loosely on Bring It On’s second direct-to-video sequel Bring It On: All or Nothing. After a killer opening number, the first third of act one comes across as tame and predictable, but once devoted cheerleader Campbell is re-districted from white bread Trueman High School to edgy, racially diverse Jackson High School, the show sets off on a far more interesting path.

Composers Tom Kitt and Amanda Green (Next to Normal) are joined by Broadway prodigy Lin Manuel Miranda, and anyone who has heard In The Heightseven once will be able to pick Miranda’s contributions instantly. Highlights include “Do Your Own Thing,” as Campbell assimilates to Jackson High School, and act two opener “It’s All Happening,” as Campbell convinces the Jackson crew to become a cheerleading squad.

Producer David Venn has assembled an excellent creative team and attracted a sensational young cast, resulting in a production that transcends the source material and belies the all too short season. Bring It Onhas energy and creativity that many big budget shows would kill for, not to mention an authentically diverse cast that most local commercial productions cannot seem to manage.

Aware of the simplicity of the book, Director Alister Smith keeps the scenes moving briskly and loudly from song to song. Contrasting culture at the competing high schools is clearly defined and a large set of key characters are brought vividly to life.

Nathan Weyers’ set design is an abstract collection of lockers, bleachers, cyclone fencing and overhead lamps, yet Smith is able to create every scene with clarity, relying on the actor’s conviction to sell the locations. Declan O’Neil’s dynamic lighting design is a significant part of the spectacle, often incorporated into the scenic design to create a stadium feel.

Michael Ralph, the industry’s most exciting young choreographer, excels himself again, filling the show with tight, witty, innovative dance that is a joy to watch. Ralph uses heights, angles and a broad dance vocabulary to distinguish the proliferation of dance numbers and to delineate the clash of cultures. Supported by cheerleading coach Natalie Commons, and working with some experienced cheerleaders in the cast, Ralph creates spectacular cheerleading sequences, peppered with several jaw dropping lifts and tosses.

The stage energy is complemented by a rocking band of seven musicians led by music director Daniele Buatti. Given the focus on dance, and the non-musical theatre cheerleaders that round out the cast, the singing is first rate. Harmonies and balance are at a premium, aided by crisp sound design by Greg Ginger.

Costume designer Rhiannon Irving successfully creates the familiarGleehigh school look for patriotic red, white and blue Trueman High School before completely switching vibes to streetwise, inner-urban campus Jackson High School, where the diverse student population sport individual looks in darker shades highlighted with orange and green. Jackson’s neon cheerleading outfits, wittily finished with homemade insignia, create a neat visual finale.

Barely leaving the stage, Nadia Komazec maintains a fresh, endearing presence as Campbell, bringing clear likeability to a girl who could have come across as simply forthright and entitled. Komazec has the kind of talent that it is all too easy to take for granted, tirelessly juggling song, dance and scenes with nary a drop of sweat.

Fellow triple threat Elandrah Feo captures feisty Danielle’s guarded defence of her territory. A strong team player, Feo displays her powerful voice and terrific dance skill without upstaging her castmates. In the spirit of Glinda and Elphaba, Danielle and Campbell take the best of each other to forge a firm friendship; Feo and Komazec work together to make this relationship as involving as any traditional musical romance.

Nicola Bowman is a delight as plump, plucky Bridget, colouring the adorkable teen with layers well beyond a comic stereotype. Bridget’s gradual adoption of Jackson street language is some of Whitty’s best writing, and Bowman nails the daffy comedy with characteristic flair.

A decidedly heinous teen villainess, Eva machinates the entire plot to her egomaniacal advantage. Karla Tonkich conveys the young girl’s utter belief that she is in the right, eventually revealing Eva’s “Killer Instinct” in a rather lavish production number with a wicked climax. Tonkich takes on the cheerleading choreography like a pro, convincingly showing Eva at her nervous worst and arrogant best.

The Jackson crew includes haughty Nautica, played with sassy verve by Samantha Bruzzese. In what could be described as a bold move, Nautica’s BFF La Cienega is a transgender teen. The show sends a powerful message in that this status is not remotely an issue to any of the students. Marty Alix plays La Cienega with charismatic confidence, expertly managing the blend of gender traits shown by the poised young woman.

The Jackson crew includes handsome sweetheart Randall, played with laidback flair by Thomas McGuane, aspiring basketballer Cameron, played by natural Miranda performer Ashley Rousetty and infectiously awkward Twig, played with buoyant exuberance by Tarik Frimpong.

The Trueman teen scene is ruled by Skylar and Kylar. Emily Thompson nails Skylar’s ice queen bitchiness, while Hollie James amuses with Kylar’s perky Texan twang.

It would be all too easy for musical theatre snobs to roll their eyes at Bring It On, but when a show is done this well the only choice is to sit back and enjoy. For teens and parents, especially those involved in the ever-growing local cheerleading scene, this show is heaven-sent.

Footnote: it is disappointing for the young cast that programs are not being sold and that the cast list is not even included on the website. While it can readily be acknowledged that producing a musical involves an infinite number of tasks, this situation should be rectified as soon as possible.

One more thing: with freshly minted star Maggie McKenna departing our shores for an extensive US tour of Dear Evan Hansen, surely Nicola Bowman is the natural successor to star as Muriel Heslop when Muriel’s Wedding plays its eagerly anticipated commercial season.

Bring It On plays at Athenaeum Theatre, Melbourne until 23 June 2018.

Photos: Nico Keenan

Mutual love flowed back and forth between stage and audience as Melbourne musical theatre aficionados were treated to a thrilling display of pure talent from Ramin Karimloo and Special Guest Anna O’Byrne.

International musical theatre star Karimloo scored massive applause from the adoring crowd before even singing a note, a terrific achievement for a stage performer without a crossover movie or television profile. As much as the capacity audience came along predestined to love Karimloo, admiration and adoration increased with the opportunity to hear the great man live on stage.

Performing at the front of the stage, and backed by six hardy musicians, Karimloo effectively transformed the grand concert hall to an intimate venue, cultivating the relaxed, amiable vibe of a pub gig. Offsetting a dark three-piece suit with a pale, open necked shirt, Karimloo moved with ease from storytelling to singing to accompanying himself on guitar.

Mixing trademark songs with ones that got away, along with a smattering of his original compositions, Karimloo amazed the audience with vocal heft and soaring high notes. Switching deftly from tender chest voice to exquisitely controlled head voice, the constant characteristic of Karimloo’s singing is the depth of expression he brings to the lyrics. Well-known songs are heard as if for the first time when given his intelligent, nuanced treatment.

Ramin Karimloo (left) in Anastasia

Karimloo teased the local audience with a couple of songs from Broadway musicals that Melbourne is yet to see, opening the show with jaunty balled “Neverland” from Finding Neverland and later sharing the rousing “It All Fades Away” from The Bridges of Madison County.

Early musical theatre favourites included “High Flying Adored” (Evita) and “Anthem” (Chess), both from roles Karimloo has played. From his higher profile roles, Karimloo showed the full beauty of his voice in “Bring Him Home” (Les Misérables) and earned an early standing ovation with spine-tingling act one closer “Til I Hear You Sing” (Love Never Dies).

Melbourne-born actress Anna O’Byrne was an ideal choice for special guest, and not just for having her own background starring in Love Never Dies. An exquisite soprano and stellar actress, O’Byrne matched Karimloo in vocal flair, and the pair enjoyed a warm stage relationship.

Beginning with “Blue Moon,” from her debut album Dream, O’Byrne brought a breathtaking freshness to signature tune “Love Never Dies” and joined with Karimloo for sweet Love Never Dies duet “Once Upon Another Time.” Dressed in a slinky pale blue gown, O’Byrne beamed with pleasure to be singing in her hometown to an audience that included family and friends.

Anna O’Byrne in Love Never Dies

O’Byrne paired with Karimloo again to tell the story in Jason Robert Brown’s “I’d Give It All For You.” In an act two bracket, O’Byrne switched the gender in the title song of She Loves Me, before taking her high notes to the stratosphere with a crystalline rendition of “The Sound of Music,” dedicated to mentor, director and friend, Julie Andrews.

After the shocking admission that Karimloo has never seen the movie “The Sound of Music,” the pair duetted again on a gentle arrangement of “Edelweiss,” simply accompanied by Karimloo on acoustic guitar. Final duet “Muddy Water” was a rockabilly throwback to late 1980s Melbourne favourite Big River.

An expert storyteller in song and speech, Karimloo interspersed his own compositions, enhancing the performances with highly personalised introductions. The full extent of Karimloo’s talent was shown when, at the prompting of audience member Matt from Melbourne, he gave an impromptu solo performance of “Murder in the City.” With a final encore of Andrew Lloyd Webber standard “Music of the Night,” Karimloo was gone, leaving a grateful crowd with a set of memories to cherish.

Ramin Karimloo and Anna O’Byrne played at Hamer Hall, Arts Centre Melbourne 8pm Wednesday 20 June 2018. Ramin Karimloo and Anna O’Byrne play at State Theatre, Sydney Saturday 23 June 2018.

Photos: Joan Marcus, Jeff Busby

Having endured a decades-long wait, Sydney finally has a revival of revered golden age masterwork Gypsy. Stripped back to its grimy blackest, the courageous production takes grasp of the audience with unflinching intensity. 

At the forefront of director Richard Carroll’s achievements with Gypsy is the searing desperation of the characters as they flail against the tide wrought by the death of vaudeville. While Mama Rose is long established as the stage mother from hell, most other characters here also display a range of vile traits, with no attempt to soften or sugarcoat proceedings. 

Carroll has corralled a troupe of musical theatre actors into subverting their every tendency to shimmer and smile. At every turn, the actors transmit looks of desperation, panic, resentment, fear and disbelief. The highpoint of this approach comes at the end of act one, when Rose’s decision to turn her ill-conceived ambition upon Louise draws the sort of audible gasps that are usually heard only at horror movies. 

Alicia Clements’ well-conceived staging makes terrific use of the tight space, introducing a proscenium arch and velvet curtain for stage scenes. A piano, table and chairs create most scenes, and performance props are hewn with the appearance of the homemade ingenuity made necessary by Rose’s limited resources. Lighting designer Trent Suidgeest brings a gorgeous glow to the overhead art deco arches, working with Clements to achieve a truly brilliant design element for “Rose’s Turn.” 

Clements uses a deliberately depressing palette of dark greens, greys and browns for the costumes, reserving the sheen of pink and red for Louise’s climactic rise to fame as stripper Gypsy Rose Lee. As with props, the characters’ clothing has a threadbare, hand-me-down, makeshift feel, with Gypsy’s ever more glamorous gowns coming in sharp contrast. Clever use is also made of wigs (Carla Dannunzio) to really show the underbelly of the difference between on stage and off. 

Cameron Mitchell’s choreography completes the fly-by-night feel, with Rose’s young charges desperately seen counting aloud as they struggle through inane routines Rose has conjured for them. 

Choice solo routine “All I Need Is The Girl” is performed with deftly polished flair by Mark Hill as Tulsa, giving a clear sign of what could have been achieved by these kids if Rose was not strangling the life out of them. 

Led by music director Joe Accaria, a tight band of five musicians provide crisp accompaniment in new reduced arrangement’s of Julie Styne’s score. Just as the actors occasionally supplement the music, so too do the band members occasionally portray background roles. Camden Young’s sound design delivers bright clear vocals, and yet the proliferation of percussion and programmed keyboard rhythms tend to interfere with the ear’s ability to tune into Stephen Sondheim’s wickedly ingenious lyrics. 

Underpinning the success of a streamlined staging of Gypsy is Arthur Laurents’ acclaimed book, widely considered one the very best in the musical theatre canon. The involving story hurtles along, with key plot points transmitted with deft economy and razor sharp insights into human nature delivered with unapologetic brutality. Under Carroll’s direction, the production matches and even deepens this brutality in ways that bigger scale productions cannot help but blur and soften. 

The most frightening aspect of Blazey Best as Rose is the way Best casts aside the usual conceits of musical theatre performances; for those two and a half hours she simply is Mama Rose. With Shirley Temple curls and white lace collar, this Rose harks clearly back to the abandoned child who never grew up. Best conveys Rose’s every machination; for example, in what should be an all too rare moment of happiness for Rose as she dances with dear Herbie, Best looks out of Herbie’s shoulder to transmit Rose’s look of quiet desperation, the wheels always spinning ahead to the next plan of action. 

Louise enjoys an extraordinary arc, going from mousy tomboy to struggling performer to world famous ecdysiast. Her hair cut boyishly short, Laura Bunting initially blends into the ensemble, her Louise suffering and stunted for lack of affection. In an expertly calibrated performance, Bunting reveals more of her talents as Louise slowly comes to the fore, ultimately emerging from chrysalis a fully coutured and coiffured butterfly. 

Sporting scruffy combover and drab, ill-fitting suits, Anthony Harkin neatly underplays the introverted persona of unwilling agent Herbie. Harkin’s Herbie is so piteously vulnerable that his eventual heartbreak seems sadly inevitable. 

Sophie Wright maintains a distant coldness in June’s eye, and clearly shares June’s struggle to perform the humiliatingly childish vaudeville acts. 

The company of nine is filled out by Rob Johnson, Matthew Predny, Jessica Vickers and Jane Watt, each ably demonstrating the breadth of their talent by playing a variety roles.

Full credit to Luckiest Productions, One Eyed Man Productions and Hayes Theatre Co for Ethel vision and persistent in bringing this production of Gypsy to the stage. With just over a week of the season remaining, attendance is very highly recommended. 

Gypsy plays at Hayes Theatre, Sydney until 7 July 2018
Photos: Phil Erbacher

Melbourne musical theatre cognoscenti made their adoration of Patti LuPone clear, giving the first of many standing ovations the moment she stepped on stage. Part lovefest, part masterclass, Don’t Monkey with Broadway celebrated LuPone’s mighty career along with a generous serving of the songs that got away.

The concert’s title comes from opening song “Please Don’t Monkey with Broadway,” in which LuPone laments the commercialisation, Disneyfication, overcrowding and outrageous prices of Broadway.

Joined by masterful accompanist Joseph Thalken on grand piano, LuPone magically transformed cavernous Hamer Hall into an intimate cabaret venue. Extending the magic, at times we were taken back to LuPone’s childhood home, where she sang along to her mother’s Broadway albums.

Having developed an all-encompassing love of Broadway, LuPone shared songs that she loves to sing, happily ignoring, as she did as a child, the age/gender/race of the intended characters. Selections stretched all the way back to Rodgers and Hart (“I Could Write A Book” (Pal Joey) and “There’s a Small Hotel” (On Your Toes)), on to Rodgers and Hammerstein (“Happy Talk” (South Pacific) and a very funny “I’m Just A Girl Who Cain’t Say No” (Oklahoma!)), and through the decades to Hair(“Easy to be Hard”) and Sweeney Todd(“Not While I’m Around”).

Even duets were part of the young LuPone’s living room repertoire, and the adult LuPone amusingly sang both roles in Bye Bye Birdie’s “A Lot of Livin’ To Do” and West Side Story’s “A Boy Like That/I Have A Love.” Professing West Side Storyto be her favourite Broadway musical, LuPone also gave tender renditions of “Something’s Coming” and “Somewhere.”

Joined by the sumptuous sound of Melbourne choral group Polyphonic Voices, LuPone expanded her repertoire to rousing chorus numbers, beginning act two with “Trouble” (The Music Man) and “Sit Down, You’re Rockin’ The Boat” (Guys and Dolls).

As with her 2009 Melbourne concert with Mandy Patinkin, the key thrill of Don’t Monkey with Broadwayis LuPone’s extraordinary acting ability through song. She can take a lyric that has been sung countless times and make it compelling, surprising, moving, amusing in ways never heard before.

Telling an audition story, LuPone gives us a delectably droll performance of “Hey, Big Spender” (Sweet Charity) that was an absolute riot. The music and monologue of “Millworker” (Working) were performed with startling realism. The swelling crowds of “Another Hundred People” (Company) seemed to be there before our eyes, and the title song of Anyone Can Whistleplaysed out like spontaneous musical musings. Powerhouse anthem “Being Alive” (Company) brought a tear to many an eye.

Over and above the warm nostalgic glow of LuPone’s musical reminiscences, the evening’s most thrilling moments came from hearing signature tunes from her iconic Broadway roles.

The Baker’s Wifewas to have been LuPone’s big Broadway break, but, alas, the show never made it into town; it did, however, give us the gorgeous ballad “Meadowlark.” LuPone belted “Some People” (Gypsy) out of the arena, and ended act one with eternal classic “Don’t Cry for Me, Argentina,” (Evita), which was worth the price of admission alone.

Polyphonic Voices backed LuPone for the hypnotically lovely “Sleepy Man” from LuPone’s first Broadway musical, The Robber Bridegroom. LuPone brought down the house (again) with “The Ladies who Lunch,” a number LuPone will soon be belting again, in the imminent West End revival of Company.

LuPone ceded the spotlight to Polyphonic Voices for their glorious a capellaperformance of “Over The Rainbow” (The Wizard of Oz). The choir rejoined LuPone for the moving finale, an acoustic rendition of tender prayer “Some Other Time” (On The Town).

A single encore brought another chance to hear LuPone’s vocal power without amplification. Reflecting on the timeless treasure of the evening’s songs, LuPone ended with “A Hundred Years from Today.” The roaring crowd was left with memories to treasure from a mesmerising evening of the best of Broadway.

Patti LuPone: Don’t Monkey with Broadway played at Hamer Hall, Arts Centre Melbourne 8pm Saturday 30 June 2018.

Note: Don’t Monkey with Broadway was conceived and directed by LuPone’s frequent collaborator Scott Wittman, Broadway lyricist famed for Hairspray and Catch Me If You Can.

It may be winter in Melbourne, but inside the newly refurbished Princess Theatre there is nothing but idyllic Greek island sunshine as Mamma Mia! returns in a new production.

Australia has long benefitted from the concept of return seasons of musicals. In New York and London, long-running shows wither away as faded tourist attractions, while Australia is blessed by fresh productions with enthusiastic cast and creatives. The third Australian tour of Mamma Mia! takes this a step further, replacing the well-worn franchised production with an entirely new staging that originated here.

The undoubted stars of the show remain the ever-infectious ABBA songs of Benny Anderson and Björn Ulvaeus, gloriously re-purposed to fit the featherlight concept of Catherine Johnson’s simple but effective book.

Director Gary Young retains the sky-high energy needed to sell the show, underpinning the heightened theatrics with plenty of warmth and heart. The well-matched cast exudes dynamic verve as they spread musical theatre joy to the far reaches of the auditorium.

When crafting a new staging, it helps when one of your three producers is also a highly accomplished set designer. Linda Bewick replaces the original abstract set with a versatile, handsome design that includes a two-story villa (with much needed balcony) and crumbling rock wall. White walls are offset by rich Mediterranean blue trim and lush, realistic foliage to create an attractive stage picture.

Suzy Strout’s costumes pick up the breezy holiday shades before adding vibrant splashes of colour as the buck’s party and hen’s night ramp up the energy. The retro ABBA homage outfits remain as spectacular, and funny, as ever. In an interesting touch of realism, this is the first musical seen in many a year where there is not a wig in sight.

Working closely with Young’s refreshed direction is the terrific choreography of Tom Hodgson. The boys’ flipper dance in “Lay All Your Love on Me” is a highlight, and act two’s “Does Your Mother Know” absolutely brings the house down.

Young and Hodgson’s most striking new staging is for act two opener “Under Attack.” In place of fluorescent beachwear under UV lights, Sophie has her own elaborate version of “Tevye’s Dream,” complete with fiancé Sky as Fruma-Sarah. Lighting designer Gavan Swift magically covers the transition back to the villa with dozens of tiny beams of light.

Stephen Amos, musical supervisor of the original Australian tour of Mamma Mia!, returns to recreate that smoothly blended vocal sound. It is clear that the ensemble members are capable of singing more than just “ooh” and “ahh,” but that is largely their lot in this show. While Michael Waters’ sound design is clear and well balanced, the sound is often so processed that there is a distinct lack of character in the vocals, an aspect that even the lead singers are not really able to overcome.

The beating heart of this production is the superb performance of Natalie O’Donnell as Donna Sheridan. While the rest of the cast is in a colourful, energetic fantasy, O’Donnell appears to be actually living and breathing Donna’s story, underpinning the frivolity with high stakes humanity. A master at bringing the audience to her, O’Donnell eschews all the usual leading lady conceits to give a natural, highly affecting performance, and the show is all the richer for it.

Sarah Morrison grounds frenzied bride Sophie in sincerity, developing lovely chemistry with O’Donnell. The mother and daughter wedding dress scene of “Slipping Through My Fingers” is the most beautiful and touching version seen to date.

Alicia Gardiner captures the gregarious warmth of Rosie, scoring laughs as Rosie brings out her voracious romantic side in “Take A Chance on Me.” Jayde Westaby plays glamour girl Tanya with glossy flair, tearing up the stage in “Does Your Mother Know.”

Ian Stenlake efficiently captures the laidback manner of Sam. In a somewhat odd choice, Sam is basically in darkness while O’Donnell sings her heart out in choice power ballad “The Winner Tales It All,” robbing Stenlake of one of Sam’s key acting scenes. Josef Ber brings a hearty energy to world traveller Bill Austin. Philip Lowe is delightfully amusing as fastidious ex-rocker Harry Bright.

Lumbered with a brittle toffy London accent as Sky, Stephen Mahy nonetheless allows the young groom’s down to earth charm to shine through. Sam Hooper gives a breakout performance as perky Pepper, performing some spectacular dance moves.

Spending much of their time in the thankless task of off-stage back-up singing, the ensemble expends abundant energy when onstage, especially when performing Hodgson’s exuberant choreography.

Mamma Mia! is Melbourne’s theatrical party of the year. Happiness is guaranteed.

Mamma Mia! plays at Princess Theatre, Melbourne until 30 September 2018 before touring to Adelaide 9 October – 11 November 2018.

Photos: James Morgan

Rohan Browne deservedly Gets His Name In Lights as he takes centre stage in this spectacular new production of much loved Australian musical The Boy from Oz.

Celebrating both their own 20^th birthday and the 20^th anniversary of the original production of The Boy from Oz, The Production Company is presenting a whopping 17 performances of the warmly nostalgic, decidedly upbeat musical. Given that the company’s early seasons were a scant three nights long, this growth is remarkable. This confidence is reflected in the lavish scale of production, with creative elements at a level of achievement that completely belies the much-chronicled short rehearsal season.

As with his canny production of Brigadoon last year, director Jason Langley reinvigorates The Boy from Ozwhile still respecting the original material. Peter Allen’s catchy, personal, emotional songs are golden, and Nick Enright’s book is arguably the most succinct, creative and entertaining ever written for a bio-musical.

Framed around reminiscences at an indeterminate Peter Allen concert, the show is essentially a fantasia on the life of the outlandish Australian entertainer. Langley pushes the conceit further with some postscript interpolations for today’s audience.

Gone is the rather twee Qantas-themed number on the steps of Sydney Opera House for iconic anthem “I Still Call Australia Home;” in its place is a multi-national representation of the world’s people who now call Australia home, simultaneously singing the song and performing it in sign language. Allen’s iconic Australian flag shirt is now backed with the Australian Aboriginal flag. Did this happen in Allen’s lifetime? No. Is it conceivably something he would have embraced? One can only imagine that the answer is a resounding yes.

Similarly, climactic showstopper “I Go To Rio” is embraced as a Pride anthem, sung by white-winged angels bearing rainbow flags.

In Langley’s capable hands, the Peter Allen concert setting remains clear throughout the night. If any storytelling moments are rather brisk, well, that just Allen’s style. The Over the Rainbow take on Allen’s life also plays strongly, especially with international musical theatre star Caroline O’Connor making a welcome Australian appearance as Judy Garland.

Complementing the intelligent direction from Langley is terrific musical direction from Michael Tyack and world class choreography from Michael Ralph. Tyack leads eleven musicians (playing some 22 instruments!) in an expertly realised performance of the hit-studded score.

Ralph utterly defies the short rehearsal period, achieving incredible levels of sophistication in his choreography. Dancers work hard for Ralph, and he makes the most of this large, skillful ensemble to spectacular effect. Making brilliant use of the expansive space, Ralph nimbly switches styles, from peachy 1960s teenybopper in  “Pretty Keen Teen” to Fosse-esque Studio 54 in Liza Minnelli’s “Sure Thing Baby” to fabulous Rockettes in “When Everything Old is New Again.”

Playing an extensive range of characters, the ensemble members have more costume changes than some of the leads, and costume designer Tim Chappel has them looking dazzling at every turn.

Set designer Christina Smith works closely and graciously with lighting designer Trent Suidgeest, delivering a setting that is basically all lights. Eight thin rear vertical strands of lights are an artistic installation, creating an extensive variety of looks for the wide range of locations. The stage is flanked by mighty walls of stage lights, and even Smith’s glossy staircase is internally lit, allowing each step to light up, in a range of colours, as characters ascend to the heavens. The spectacular lighting is a significant aspect of the production, and shows Suidgeest at his confident, creative best.

Giving the role everything, and yet never out of breath nor raising a drop of sweat, super-fit star Browne is in his element as Allen. The role is a massive one, and yet Browne is never less than entirely magnanimous to his co-stars, beaming with joy at all manner of collaboration as the story progresses. Browne’s flair for dance is well utilised, and he sings the multitude of songs with ease. If there is an aspect that has room to develop as the season progresses, it is in Browne’s portrayal of the arc of Allen’s life; perhaps it is the fact that the story keeps coming back to the same concert, but his acting levels are a bit similar throughout each scene at present. With much to enjoy in Browne’s career-topping performance, this is a relatively small aspect.

O’Connor is in superb form as Garland, tottering about with aching vulnerability tinged with unshakeable showbiz style. Having played Garland before elsewhere, O’Connor immerses herself in the role, masterfully channeling the great star’s persona while avoiding any hint of a caricature. The role of a mentor is a charming one for O’Connor in this production; when she and Brown take flight in “Only An Older Woman,” the result is magical.

Replacing an indisposed Matthew Manahan during the rehearsal period, emerging leading man Maxwell Simon makes the kind of impact that brings to mind the young(er) Amy Lehpamer in The Production Company’s Dirty Rotten Scoundrels back in 2009*. As sultry Texan Greg Connell, Simon establishes a strong character with little stage time. While the scene of Greg’s revelation of his AIDS status is rather rushed, Simon’s subsequent performance of “I Honestly Love You” is an absolute standout.

Loren Hunter matches O’Connor’s acting style in terms of capturing the essence of Liza’s Minnelli’s bubbly personality without any degree of exaggeration. A terrific dancer, Hunter shines as Liza emerges from her mother’s shadow to blossom from awkward teen to iconic superstar.

Robyn Arthur brings lashings of warmth and heart to Allen’s dear mother Marion Woolnough. Earning a spontaneous round of applause for Marion’s hardy acceptance of her son’s homosexuality, Arthur goes on to bring a tear to many an eye with “Don’t Cry Out Loud.”

On opening night, Hudson Sharp played Young Peter with prodigious polish and pizzazz.

Special mention to Belinda Hanne Reid, who earns a warm round of exit applause for her delicious delivery as worldly Valerie Anthony, talent-spotting wife of Allen’s agent.

The Boy from Oz is a celebration of Australian spirit. If you think you have already seen the show, think again.

The Boy from Oz plays at State Theatre, Arts Centre Melbourne until 26 August 2018.

*While I am unable to link to my 2009 review of Dirty Rotten Scoundrels, here is an excerpt: “The most exciting discovery of the night is Lehpamer. With a sensational voice that truly filled the State Theatre, Lehpamer made a massive impact with her acting singing and dancing (she is also a brilliant violinist!) and will surely be seen in further lead roles. Kudos must also go to Hodgman for the having the wisdom to elevate Lehpamer in the cast when the role of Christine became available. What a masterstroke.”

Footnote: Broadway had Lunt and Fontanne, and Melbourne is currently served by two such couples. While Browne goes to Rio in The Boy From Oz, over in another theatre in the same building his wife Christie Whelan Browne stars in An Ideal Husband. Whelan Browne’s co-star in An Ideal Husband is Simon Gleeson, whose wife Natalie O’Donnell stars in Mamma Mia! in Melbourne’s East End theatre district. Bravi!

Photos: Jeff Busby

The biting satire of Tom Lehrer’s Tomfoolery retains its ever-amusing freshness, especially as performed by a quartet of well-seasoned comic actors.

Shaped into a successful musical revue by Cameron Macintosh, Tomfoolery harks back to London’s West End and off-Broadway almost 40 years ago. American songwriter, and mathematician, Tom Lehrer originally wrote and performed his satirical songs in the 1950s and 1960s.

While a great many attempts have been made to replicate Lehrer’s satiric style, hearing these highlights of his body of work is a reminder of his brilliance. A particular feature of his writing is that he has no need to use profanity to shock or offend; Lehrer is fully aware that innuendo is far more sophisticated.

There is a degree to which the issues Lehrer satirised are somewhat dated, for example fear of being wiped out by nuclear holocaust, but society lives with ever present fear, it is just the names and faces that change with each generation. A good number of the songs are quite familiar to theatrical cognoscenti, but if there is going to be a revival of Tomfoolery, this is the cast you want to see.

Facilitating the freshness is director Theresa Borg, who shows a canny hand in guiding the revue into a natural flow and rhythm. With all manner of props and percussive instruments hidden within the set, there is a new focus for basically every song. The work is clearly well planned, but the performers successfully bring an authentic air of spontaneity that adds to the enjoyment. The running time of 60 minutes fairly flies by, with each song feeling funnier than the last.

The props are laid out across a wide stage in front of a lush red velvet curtain, which is matched by the red bow ties on the performers. Tables and chairs at the front of the auditorium provide a late night cabaret vibe. Given the significance of Lehrer’s witty lyrics, sound design was not at its best on opening night; this may well be remedied as the season progresses.

Not just a nimble pianist, Peter Hurley also demonstrates excellent comic timing and exemplifies the power of underplaying, coming out from behind the piano a couple of  times for numbers such as “I Got It From Agnes.”

Susan-Ann Walker has flair to spare, performing the wicked works with an equally wicked sparkle in her eye. Accompanying Hurley when he sangi, Walker proves a treat on piano as well, and her Irish folk song piano accordion solo is priceless.

Having finely honed his own special brand of comic timing, Michael Dalton retains a twinkle in his eye while bringing an ostensibly straight-faced façade to set off the comedy to delightful effect.

Sean Weatherly captures the eccentricity that was such a hallmark of Lehrer’s own performances. In Weatherly’s capable hands, the mania of the music is all too convincing.

With an adult evening time slot of 9.30pm, Tomfoolery is well placed to end an evening out on a smile.

Tomfoolery plays at Gasworks Arts Park, Melbourne until 22 September 2018.

Photos: Kate Arnott

A perfect match of star and show, Evita benefits mightily from the powerhouse vocals and intense presence of Tina Arena. 

The fact that Evita has not been seen in a professional production locally for 30 years has given this return season added allure (I was left home with a babysitter the last time Evita played Melbourne nearly 40 years ago). Arguably Andrew Lloyd Webber’s very best score, the through-sung drama is a veritable hit parade of hummable tunes. Act two boasts an extraordinary number of melodies, with precious little of the endless regurgitation of music that mires much of Lloyd Webber’s later work. 

A return to the original staging to mark the show’s 40th anniversary, the production is a window into the time when concept shows were in vogue over book musicals. Company, Follies and Cabaret are other examples, all directed, as is Evita, by legendary Broadway artist Harold Prince. There is a timeliness to Evita’s warning of the perils of dictatorships, but the show may not necessarily be the right fit for a theatre where recent seasons have been glorious revivals of Golden Age Broadway musicals such as South Pacific, The King and I and, the crowning achievement, My Fair Lady.

Even the presence of a generously sized orchestra of 29 musicians does not have the quite same impact as these other recent revivals, much as Guy Simpson’s musical direction is reliably marvellous; the nature of the music just does not lend itself to a lush orchestral sound. 

Loosely chronicling the rise and untimely death of Argentinian first lady Eva Peron, this version of Evita gives little or no respite from Eva’s searing ambition nor from the tragic inevitability of her deteriorating health. Without book scenes to advance the story, pertinent action happens visually within songs, such as when militial thugs beat and remove opposers during Eva’s public appearances.

There is a sense of The Emperor’s New Clothes to the sparse staging, credited to original designer Timothy O’Brien. Above a black box stage, a large, mobile screen shows enough footage of the Perons and their people to fill a documentary. Small pieces of scenery occasionally come and go (quite clunkily), and most costumes favour realism over theatricality.

Eva scores the best of the costumes, which are cleverly used to tell her story. In “Goodnight and Thank You,” the increasing glamour of Eva’s nightgowns reflects her brisk trajectory of her financial and social status. This song also sees Eva’s hair change from brown to bottle blonde. Another clever use of costume is when the wealthy elite are stripped of their apparel, merging inconspicuously with the descamisados they have previously feared.

Segments where the show comes alive are enthralling, a prime example being act one finale “A New Argentina.” Ruling from their bedroom, the number begins with Evan and Peron and gradually builds to a thrilling company number, the stage filled with bold protest placards, banners and even fiery torches. The orchestra is at a premium in this number, and it is another song to benefit from pristine harmonies from the ensemble. 

Scenes that are particularly undercooked include Magaldi’s nightclub performance of “On This Night of A Thousand Stars” and act two’s camp classic “Rainbow High.” In the absence of scenery, much of the action happens in something of a vacuum, a situation not helped by Richard Winkler’s dark lighting design in which lead actors are mostly picked out by spotlights (apologies to the chorus members). I am all for respecting adult audience intelligence, but I am also a fan of the modern capabilities of stage design. 

An entertaining and well realised creative aspect of the production is the sensational choreography of Larry Fuller. When shown in full lighting, the ensemble can be seen to be performing with crisp precision and rousing gusto. 

Such a star is Arena that her fame upstages her own first entrance, when Eva is meant to come forward from the anonymous throng of mourners. Beginning with gentle vocals as the young Eva, Arena builds up through “Buenos Aires” and really lets loose in “A New Argentina.” Rounding out a two-show day straight after the official opening night, Arena showed not the slightest hint of vocal tiredness, producing a glorious sound at all registers and volumes. 

A highly accomplished actress, Arena inhabits Eva’s skin completely and compellingly, making Eva’s downwards spiral in health all the more affecting. Arena puts her own stamp on mega-hit “Don’t Cry for Me, Argentina,” meticulously wringing full pathos from the song. Arena demonstrates the triple threat skills her life’s work in show business have given her when she nimbly dances with the ensemble during “Buenos Aires.”

A good physical match for revolutionary Che Guevara, Kurt Kansley maintains a focused presence in the everyman/narrator role and his singing is strong and clear. An aspect that is missing at this point, however, is the spark of chemistry between Che and Eva. Without a taunting sparkle in the eye of Che, there is an overall lack of tension in the show. When Che and Eva eventually come together (fictionally) in “Waltz for Eva and Che” it should be absolutely electric, but at the moment there is not even a spark.

A high quality stage partner for Arena, world-renowned Brazilian baritone Paulo Szot makes his Australian musical theatre debut on the stage where his Tony Award-winning role of Emil de Becque (South Pacific) was played by a local star back in 2012. Physically imposing, especially next to Arena, Szot captures the smoothly handsome, inert smugness of Colonel Peron. When permitted to sing, such as in “She is a Diamond,” Szot’s rich baritone sounds wonderfully appealing. 

Young discovery Alexis van Maanen makes an extremely auspicious main stage debut as Peron’s Mistress, who is routinely dismissed by the fiercely ambitious Eva. Gifted with the solid gold classic “Another Suitcase in Another Hall,” van Maanen deftly underplays the scene to excellent effect, all the while singing with the voice of an angel. 

Michael Falzon brings a vibrant spark to Magaldi, although there is a sense that his talents are under-utilised in the rather thankless, underwritten role. 

Evita is an iconic musical, and the current production is a welcome chance to see the show, especially with such a great star in the title role. 

Evita plays at Joan Sutherland Theatre, Sydney Opera House until 3 November 2018. Evita plays at State Theatre, Melbourne 5 December – 10 March 2018.

Photos: Jeff Busby

Showcasing the exciting talents of a diverse cast, Madiba the Musical is ultimately an inspiring celebration of the life of Nelson Mandela.

Originating in Paris some four years ago, the universal appeal of Nelson Mandela’s story has seen Madiba the Musical make this English language debut in Australia. Composed and written by Jean-Pierre Hadida, with co-author Alicia Sebrien, the new musical has been re-staged in Australia, with local director Dennis Watkins building upon the work of French director Pierre-Yves Duchesne.

Local audiences who may look at a what might be a narrative concert with dread need clear reassurance that this is not one of those paint by numbers shows that stumbles from scene to scene with Wikipedia entries read aloud between songs. Madiba does have a Narrator (the effervescent David Denis), whose rhythmic lines in verse, punctuated with spectacular hip hop dance moves, bring an energetic Hamilton/In The Heights vibe to proceedings.

Surprisingly, the story is not entirely focused on the great man himself. The authors have crafted an interwoven story of characters affected by Mandela’s life. After a couple of brief scenes showing Mandela’s early life as a lawyer of the people, he is incarcerated and henceforth shown occasionally speaking inspirational dialogue from prison. Even his release is a low-key affair, before building to show the rippling effect on South Africa and the world.

Every musical needs a love story, and Madiba has Helena, daughter of embittered officer Peter van Leden, and William Xulu, an emerging artist whose life is presumably partly based on William Zulu. William’s parent Sam Onotou is imprisoned with Mandela, and he spreads Mandela’s message after his release. Act one ends with uplifting company number “In the Sunlight,” led by Sam and his partner Sandy.

While there are a good many details to move through in act one, the show is tighter in act two, when less narration allows the more traditional book scenes to unfold with their own impact. Helena and Will encounter blatant entrenched racism from both local youths and from her father, Peter. Reconciliation between these three characters, in “It’s Time Now to Forgive,” is a solid payoff to the personal story of the musical. Sam subsequently leads the company as they celebrate South Africa’s newfound status as a “Rainbow Nation.”

Watkins’ direction keeps the show moving fluidly and energetically. With so much music, Madiba is almost a song cycle,. Watkins keeps the key characters and their stories clear, bringing out highly committed performances from the ensemble cast of triple threat performers.

Scenic elements are very simple, with occasional set pieces brought on in front of a rear cyclorama showing projected artwork. The most successful effect is having the two levels of prison cells behind the cyclorama, visible only when lit from behind.

Musical director Michael Tyack is joined by just two other musicians, yet the band creates a full sound. Hadida’s songs have an accessible rhythm and melody, but their impact would be strengthened by some more oomph in the volume of the sound design. There is clearly a good deal of vocal power on stage, yet there is never the sense of being blown away by the singing in the big company numbers. Given that some audio and lighting cues were still being tightened on opening night, perhaps the volume level will improve as the season progresses.

Embracing the triple threat talents of the cast, choreographer Johan Nus has delivered vibrant, tightly drilled dance that celebrates the culture on show. In the absence of scenery, the company choreography occasionally has the sense of a concert rather than being used for storytelling effect, yet when dance is this strong and this unique, this is a minor complaint.

Costume designer Sabrina Gomis Vallée fills the stage with colour, particularly with the African national costumes. The passing decades are covered in a general sense, and performers efficiently move in and out of the ensemble as their characters take centre stage.

In an extraordinary match of actor and character, Perci Moeketsi is superb as Nelson Mandela. Particularly in the second half, when his hair is greyed, Moeketsi is a striking match for Mandela, a fact that he enhances with his gentle body language and softly spoken speech pattern. The strength and impact of Moeketsi’s performance gives the show an air of quality that goes a long way to setting aside any reservations.

Barry Conrad capably demonstrates that he is a blue chip musical theatre leading man when given the chance to play centre stage. Conrad brings gravitas to Will’s taboo romance, and sings with a gorgeous tone. Madeline Perrone, as Helena, is a appealing partner for Conrad.

Tim ‘Timomatic’ Omaji reveals a depth of dramatic acting talent as enlightened prisoner Sam, also delivering stirring vocals and agile dance moves. Blake Erickson gives a courageous performance as embittered officer Peter, portraying brutish racism from what is now, thankfully, a bygone era.

Ruva Ngwenya successfully captures the essence of Winnie Mandela, singing with a soulful gospel belt. Likewise, charismatic performer Tarisai Vushe sings with stirring power as Sandy Xulu, mother to Will.

Madiba the Musical may challenge theatregoers accustomed to glossy Broadway franchises. For adventurous souls open to exploring new styles, there is a good amount to enjoy and admire in Madiba the Musical.

Madiba the Musical plays at Comedy Theatre, Melbourne until 28 October 2018 before touring to Sydney, Canberra, Warrnambool, Perth, Adelaide and New Zealand.

Photos: Serge Thomann

Mark Doran gives a thrilling, world-class performance in the title roles as CLOC Musical Theatre successfully trades the melodramatic for the macabre in this revival of their 2005 production of Jekyll and Hyde.

The success of this revival lies in the creative vision of director Shaun Kingma, who brought similar excitement to CLOC’s Jesus Christ Superstar. Working with a less well-written show this time, Kingma has his work cut out, and yet manages to briskly sweep over the corny melodramatic aspects of Leslie Bricusse’s book and lyrics to craft an exciting staging with moments of true horror.

Widely known from the sensational 1994 concept album starring Anthony Warlow, Frank Wildhorn’s score for Jekyll and Hydeis jam-packed with more Great Big Power Ballads, the chart-topper of them all being “This is the Moment.”  Musical director Tyson Legg leads 14 musicians in a tight performance of the almost sung-through score, with chorus harmonies at a pristine standard. With the orchestra pit completely covered, synchronicity remains rock solid.

Sound designer Marcello Lo Ricco creates an immersive sound platform for the audience, although with orchestral levels quite high in the mix, vocal subtlety is often lost as singers have to give every note their all to compete. The impact of quartet “His Work and Nothing More” and choice duet “In His Eyes” is particularly affected by this aspect, which may very well be corrected as the season progresses.

Kingma makes his mark on the show immediately apparent, with the opening moments featuring a soundscape of white noise as projected images of Victorian people precede a brief appearance of the lead characters. A structured scrim replaces the show curtain, with similarly elegant panels side stage signifying a modern production of a period show.

An interactive assemblage of wrought iron lacework and gothic arches, Brenton Staples’ original set remains mightily impressive. Rotated and unfolded to countless iterations, the set retains a high level of visual interest, especially when used to cast intricate shadows across the stage floor.

Supporting the shadows, and occasional well-judged projections, front lighting is minimal, with lighting designer Brad Alcock adventurously supporting side lighting with mobile lights wheeled about by crew. This conceit works surprisingly well, and pays off with the effect of the deadly train. Beautiful hanging lights complement the design of Jekyll’s laboratory, and hand-held torches are used by the cast to ghoulish effect.

Kingma’s most thrilling sequences involve close collaboration with Alcock. The visual shocks are practically at a cinematic level, such as the genuinely scary sequence when Hyde pursues prostitute Lucy through the streets of London.

If there is one cost to Kingma’s swift and exciting direction, it is that the show’s central theme of duality is basically ironed out by having all of society look like they are off to Victoriana Halloween. Costume designer Victorian Horne outfits every member of the company in decadent, individual black costumes, set off by elaborate wigs from David Wisken. The look is grand, but the contrast between high society board members and streetwise Londoners in and around The Red Rat is completely lost. Even the contrast between leading ladies Lucy and Emma is basically erased, leaving the already underwritten Emma with even less of a character to play.

In a vivid scarlet wig that is one of few carefully chosen splashes of red on the stage, Rachel Rai provides the heart of the show, gaining audience affection and sympathy for downtrodden prostitute Lucy. Rai delivers powerhouse vocals, particularly on Lucy’s swansong “A New Life.”

Catherine Hancock adds further strong singing as Emma, a highlight being her early duet “Take Me As I am” opposite Doran, as Emma’s fiancé Dr Jekyll. While Emma’s costume, hair and make-up create a look too powerful to project any of the necessary vulnerability to engage audience affection, Hancock’s performance is nonetheless one to be enjoyed on its own merits.

Daniel Mottau brings strong presence to the role of John Utterson, friend, advisor and confidante to Dr Jekyll, amplifying the importance of the secondary character. Mottau’s vocals are reliably first rate, leaving the audience wanting more.

Each member of the ensemble gives a committed, highly focused performance, leading to a very cohesive whole. Standouts include Stephanie Powell’s saucy Nellie, attendant of The Red Rat, Amara Jensen as knowing housekeeper Poole and Ben Jason-Easton as a Gavroche-like Boy.

Finally, back to Mark Doran. If I have ever been lucky enough to see a better performance in community theatre I cannot recollect it now; in fact, Doran is better here than most leading men seen across Australia, Broadway and London’s West End. Inhabiting the role with every fibre of his being, Doran completely contrasts the pair of good and evil men in face, body and voice. His duet with himself in “The Confrontation” is jaw-dropping in its execution, with Doran flipping seemingly effortlessly mid vocal line between each highly distinctive voice. With lungs of iron, the quality of Doran’s rich, warmly burnished tenor is heard to electric effect, with climatic high notes for days.

Given the show’s difficulties in making it to the professional stage, Melbourne is unlikely to ever see a better production of Jekyll and Hyde. Fans of the music, and there are plenty, are advised to take this chance to see this very adult-oriented production of Jekyll and Hyde. Mark Doran’s performance alone is worth more than the ticket price.

Jekyll and Hyde plays at National Theatre, Melbourne until 27 October 2018.

Footnote: Congratulations to Grant Alley OAM, former president and current treasurer across fifty years with CLOC Musical Theatre. Jekyll and Hyde is Grant Alley’s 100^th show with CLOC. Here’s to many more.

Photos: Ben Fon

One of Broadway’s most rapturously beautiful scores, Nine the Musical is given a smartly conceived, darkly burnished boutique production by prolific Melbourne company StageArt.

While the midlife breakdown of a once-successful Italian film director may be an unlikely topic for musicalisation, book writer Arthur Kopit found rich psychological territory in adapting Federico Fellini’s semi-autobiographical film 8 ½. In an ingenious concept that actually seems utterly obvious and yet has rarely, if ever, been used before or since, Nine the Musical surrounds one man with an entire cast of women.

Writing for a female cast inspired Maury Yeston to compose a gorgeous collection of melodies, beginning with the lovely idea of singing the “Overture Delle Donne.”

Bereft on an idea for his next movie, director Guido Contini juggles rising pressure from his wife, his mistress, his lead actress and his producer. Increasingly losing touch with reality, Guido mentally retreats to the comfort of his life a nine-year old boy, free of responsibility and safe in his mother’s arms.

Melbourne musical theatre fans of a certain age share treasured memories of the 1987 season of Nine, which starred John Diedrich, Maria Mercedes, Peta Toppano, Nancye Hayes and even a young Tina Arena. Two years ago, Melbourne was treated to Nine in Concert, which provided a welcome chance to wash away memories of the disappointing Hollywood film of Nine.

Increasingly well established as a prodigious choreographer, Michael Ralph steps up from choreographer of the 2016 concert to director and choreographer of this season of Nine. In a highly auspicious directorial debut, Ralph shows that there is quite possibly nothing that he cannot do.

In a pared back staging, Ralph runs with the abstract nature of the book, conjuring a dream like state in which memories and reality overlap and intertwine. It is a credit to Ralph’s careful work, as well as to the committed performances of the cast, that storytelling is so clear and that even simultaneous scenes of Guido’s real and imagined life can be followed with ease. Ralph amps up the pressure on Guido by having the women stand side of stage when not in the spotlight, signifying their ongoing presence in his mind.

While Ralph does not have the scope for full-blown dance in Nine, his company numbers are nonetheless stunning, benefitting in particular from Ralph’s innate knack for slowly building a number up to a spectacular climax. Key highlights include “Folies Bergeres,” in which producer Liliane La Fleur attempts to inspire Guido to direct a musical, “Ti Voglio Bene/Be Italian,” in which Guido recollects the time in his youth when sex, love and punishment were irrevocably interwoven, and the “Grand Canal” sequence, in which Guido directs a pastiche version of the musical’s plot as a misguided attempt to cannibalise his own life for the sake of a movie.

Musical director Nathan Firmin leads a tight band of eight musicians in an enjoyable performance of the infectiously melodic score. Given that the female cast is reduced from 21 to 14, the use of full harmonies is impressive indeed, reflecting the talents of the cast.

Serving as both set and lighting designer, Tom Willis provides a raised white stage, neatly framed by a ribbon of LED lighting. Having just the black curtain as backdrop is rather plain, but this can be overlooked once the space is filled with life.

Costume designer Meredith Cooney dresses the women in glamorous eveningwear, each in a decadently dark signature shade. Minor costume changes and the occasional use of props are both achieved with surreptitious sleight of hand, adding sprinklings of theatrical magic.

As well as looking the part, experienced actor Anthony Scundi is also a good fit for Guido in terms of the magnetic presence of the man. Vocally, however, Scundi is out of his depth, producing the required notes but not achieving the legato sound nor rich baritone tone needed for the massive amount of singing the role entails. Strong acting and solid chemistry with his co-stars goes a long way towards compensating for this aspect.

A handsome, bookish beauty in glasses and navy brocade fitted gown, Alana Tranter cuts the figure of a goddess as Guido’s long suffering but ever loyal wife Luisa. Watching in horror as her life is put on display for the cameras, Tranter gives a masterclass in stillness, bottling all her rage until the final insult of Luisa’s glasses being taken off her to be put on the actress playing her in the film. Tranter explodes in 11 o’clock number “Be On Your Own,” unleashing Luisa’s pent up fury from the first powerful note. In short, Tranter is a musical theatre actress whom we should on stage see much more often.

Courtney Glass embodies old world Hollywood glamour as platinum blonde Claudia. Ralph’s idea for Claudia to remove her fixtures and fittings in her spoken section of “Simple” is an inspired one, and Glass transforms her performance in this brief sequence, revealing the woman behind the façade.

Pliably flexible, Rachel Bronca delivers Carla’s erotic phone call, which Guido explains away as “A Call from the Vatican” with lithe dexterity and a welcome touch of humour. Adding a dash of humanity to the sexually charged young woman, Bronca’s portrayal of Carla’s good nature makes her later disappointment all the more affecting.

Ana Mitsakis is compassion personified as Guido’s Mother, balancing the ostentatious glamour of the other women with tender kindness and palpable warmth. At this opening night performance, Young Guido was played Kershawn Theodore, a sharp young actor who rocks some very sprightly moves dancing the tarantella in “Be Italian.” (Brierley Smith shares the role of Young Guido.)

In a dynamic, commanding performance, Rebecca Morton seizes audience attention whenever demonstrative diva Liliane La Fleur has the spotlight. Stephanie John stands out as the judgmental critic turned producer Stephanie, delivering crisp rapid-fire lyrics in Stephanie’s section of “Folies Bergere.” Youthful actress Bronte Florian is a sultry Saraghina, giving the earthy prostitute a well-meaning heart of gold.

While we can all dream of a blockbuster full-scale revival of Nine, the chances on the commercial stage are slim to none. Meanwhile, this chamber production is a chance to enjoy the cherished music and appreciate the adult oriented book of Nine.

Nine the Musical plays at Chapel off Chapel, Melbourne until 3 November 2018.

Photos: Belinda Strodder

Insightful direction and splendid performances balance the magnificent with the moving as musical theatre workhorse Les Misérables lives on for one day more.

OSMaD celebrates ten years by returning to the show that started it all back in 2008. Now established as an exacting company that consistently produces high quality work, OSMaD has attracted an outstanding cast and expert creative team to stage a new production of Les Misérablesthat is a pleasure to behold.

Director Richard Perdriau helms a production that is ostensibly traditional, and yet the performance is richly coloured by myriad details that result from his carefully considered direction. Small moments such as the housekeeper’s reaction to the Bishop giving Valjean the silver candlesticks, Mme Thénardier’s thought process when Valjean arrives to collect young Cosette and Eponine’s stolen kiss of Marius before her dying breath all add interest for repeat attenders and clarity for newcomers.

Also serving as set designer, Perdriau makes excellent use of the capacious stage at Geoffrey McComas Theatre, drawing the eye to key characters as the story flows apace. Beneath a mighty bluestone arch, furniture is whipped on and off to conjure the numerous scenes with deft simplicity.

There seems a closer connection between characters and audience in this production, brought about by a combination of the raked auditorium bringing the audience to eye level with the actors and Tom Willis’ lighting allowing the cast to actually be seen.

In a unique touch, the barricade is not completely filled in, allowing the audience to see through when little Gavroche crosses to pilfer ammunition from dead soldiers. Gavroche’s brave return to deliver said ammunition before succumbing to gunfire injuries is a beautifully poignant moment. Willis and Perdriau deliver a stunning static silhouette scene after the climax of “The Battle,” with a further impactful moment coming during Marius’ “Empty Chairs at Empty Tables,” when the student-laden barricade appears in a magically nostalgic glow.

Musical director Mal Fawcett presides over a wonderfully integrated musical performance, conducting 19 musicians and 35 singers with unwavering precision. Such is Fawcett’s control that if ever a beat strays out of a place it is corrected by the next bar. The large open orchestra pit gives a sense of the operatic, adding to the quality on show.

Both Fawcett and Perdriau are well served by having a larger cast than can be afforded in a professional production. Vocal coach Samantha U’Ren has prepared vocal harmonies and dynamics to a superb standard. Excellent sound design, by Marcello Lo Ricco and Steve Cooke,allows every note to be heard clearly without swamping the audience with volume.

Choreographer Louisa Mitchell further enlivens proceedings with a little more movement than is usually seen in this show. The chorus sections of “Master of the House” are sped up and accompanied by stylised tankard choreography. Dancing at “The Wedding” involves fascinating patterns, and yet audience attention can still remain on the gatecrashing Thénardiers.

At first glance, costume designer Josh Nien chiefly uses shades of grey, but closer inspection reveals clever use of signature colours, such as Fantine’s rose pink dress, Mme Thenardier’s olive green skirt, and Eponine’s rust coloured cap. A lovely effect is achieved by having adult Cosette in basically the same wig as her mother, Fantine. Costuming is impressively extensive, especially given the large cast, and adds to the overall quality without drawing undue attention.

In the role he was born to play, Richard Thomas is an outstanding Jean Valjean. More than a rich, powerful tenor voice, it is the layers of maturity that Thomas brings to the role that are his real strength. Thomas maintains a level of tension that shows Valjean to be constantly in touch with his past, raising the dramatic stakes to strong effect.

Highly experienced performer Lee Threadgold brings depth and intensity to driven inspector Javert. In a stunning rendition of power ballad “Stars,” Threadgold begins softly, almost under his breath, before rising to the song’s climax. Likewise, Threadgold carefully calibrates “Soliloquy,” his performance enhanced in the end by a terrific lighting effect as Javert plunges into the Seine.

Tayla Thomas creates a lasting impression as dear Fantine, singing with tender sweetness. Great Wilkinson reveals a gorgeous crystalline soprano as Cosette. Grace Kingsford brings characterful singing and acting to Eponine, delivering a truly heartbreaking death scene in “A Little Fall of Rain.”

Talented young tenor Owen Clarke captures the wide-eyed freshness of Marius, later contrasting this with the character’s darker spirit after surviving the trauma of the barricade. Singing with stirring passion, Giles Adam conveys the indomitable spirit of student leader Enjolras.

In most productions of Les Misérables, the role of opportunistic weasel Thénardier tends to be milked to the point of being disappointingly unfunny. Ashley Weidner manages the near impossible by playing a Thénardier who is very funny but not over the top. Weidner is well partnered by Carol Whitfield as Madame Thénardier, who achieves a similar level of well-judged comic performance.

As just one example of the depth of talent in the ensemble, special mention to James Watkinson, as Feuilly, an outstanding singer who clearly could have played a great many of the larger roles.

Presuming that any tickets actually remain available, OSMaD’s Les Misérables is very highly recommended.

Les Misérablesplays at Geoffrey McComas Theatre, Scotch College, Melbourne until 27 October 2018.

Photos: Ricardo Escalon

Completing their ever-grander twentieth season, The Production Company serves up a delectable slice of musical theatre heaven with the merrily macabre A Gentleman’s Guide to Love and Murder.

Where commercial producers have dallied, The Production Company has dashed, rewarding Melbourne audiences with the 2014 Tony Award Best Musical winner’s first production outside the United States. A Gentleman’s Guide to Love and Murder is still yet to play in London, where the show’s Edwardian Music Hall sensibility would be an entirely natural fit.

At a time of production line jukebox musicals and slavish movie adaptations, A Gentleman’s Guide to Love and Murder has an appealing freshness and a satisfying level of respect for audience intelligence. There is an internal logic to the tangled branches of the D’Ysquith family tree, but the audience is largely free to sit back and enjoy Monty Navarro’s remorseless dispatch of the eight unpleasant D’Ysquith family members that stand between him and the Earldom of Highhurst Castle.

A key attraction of the musical is the wicked wittiness of the lyrics, co-authored by book writer Robert L. Freedman and composer Steven Lutvak. The score is original and yet has the artful sense of a pretty period pastiche, with one toe dipped in the long neglected waters of operetta. Fitting the modern style, almost all songs are fully integrated into the zippy storytelling, with musical scenes such as “Poison in my Pocket” and “Lady Hyacinth Abroad” reaching the zenith of musical comedy.

Essentially a chamber musical for 11 performers, the season of A Gentleman’s Guide to Love and Murder is well served by taking place in the relatively intimate Playhouse rather than the cavernous State Theatre, where the show’s subtleties would have been lost. Director Rodger Hodgman fills the broad strokes of the comedy with myriad fine details that add continual delight.

The show’s chief design conceit is the use of a life-sized Victorian toy theatre. The theatre itself is not referenced directly, but as Monty pens his memoirs from prison, the scenes play out in charming fashion on the mock stage. Set designer Christina Smith delivers a handsome set, coloured with an authentically hand-painted feel. Concise use of furniture befits the toy theatre theme, and rear projections complete the attractive, and often humorous, picture.

Conducting the same composition of musicians as the Broadway orchestra, musical director Kellie Dickerson helms a sprightly performance, which audiences will find eminently accessible upon first listen. Chorus harmonies are at a premium, with a rich full sound achieved by a mere five or six singers in each number.

Also making efficient use of the few performers, choreographer Dana Jolly adds to the merriment with deft flair. The deliberately stereotyped moves related to each culture encountered in “Lady Hyacinth Abroad” are a highlight, with the ice skating moves in “Poison in my Pocket” also going down a treat.

Costume designer Isaac Lummis has outdone himself again, crafting gorgeous confections that significantly enhance the viewing pleasure. Dueling dames Sibella and Phoebe sport luscious gowns, with Lady Hyacinth’s lavender ensemble fit for the finest work of Oscar Wilde. Each outfit is set off beautifully by Trent Whitmore’s wonderful wigs. And there really is nothing like a Phillip Rhodes hat.

In a star turn for the ages, Mitchell Butel gives an extraordinary performance as eight members of the D’Ysquith dynasty, each as unpleasant as they are unfortunate. With fine support from Lummis and Whitmore, Butel has crafted eight completely distinct D’Ysquiths, the hilarity underscored by the kernel of truth in each character. Under Hodgman’s sage guidance, Butel enhances the humour by avoiding any hint of hamminess, simply letting the characters’ defects and depravities speak for themselves.

An actor’s actor if there ever was one, Chris Ryan makes a welcome appearance on the musical theatre stage, where his Monty Navarro is as charming and likeable a serial killer as you are ever likely to meet. Ryan successfully engages audience affection, allowing Monty’s malevolent misdeeds to be not just forgiven but actively supported.

Looking every bit the pretty pouting doll, Alinta Chidzey captures the demure haughtiness of self-serving Sibella. Singing with requisite sweetness, Chidzey draws affection for a character who, by all rights, should be decidedly off-putting.

Pristine soprano Genevieve Kingsford delights as high-strung cousin Phoebe D’Ysquith. Delivering the evening’s most beautiful singing, Kingsford nails Phoebe’s foray into operatic ornamentation in “Inside Out.”

All class, Nancye Hayes is luxury casting in the brief but significant role of mysterious Miss Shingle.

In one of Lummis’ very best gowns and Whitmore’s very best wigs, Johanna Allen leaves us wanting more of bickering bitch Lady Eugenia D’Ysquith. Annie Aitken sparkles as Miss Evangeline Barley, a Florodora with a lovely warm muff.

Musical theatre fans would be mad to miss A Gentleman’s Guide to Love and Murder.

A Gentleman’s Guide to Love and Murderplays at Playhouse, Arts Centre Melbourne until 18 November 2018.

Photos: Jeff Busby