It’s Melbourne’s turn to climb to the top of Mount Rock, as feel good phenomenon School of Rock makes it’s blistering Australian debut.

Melbourne has waited all year for a big budget original musical, and School of Rock is a welcome reward. Lavishly produced and impeccably cast, the Australian season is set to exceed expectations and leave family audiences on a giddy high.

Following the recent trend of screen to stage adaptions, School of Rock benefits from rosy affection for its source material yet is not bound up in slavishly recreating key characters and quotable lines of dialogue. Rather, the musical has a joyous, independent life of its own, the live music from the extraordinary cast of children providing additional excitement that is only to be found in the theatre.

Returning to his electric guitar roots, Andrew Lloyd Webber abandons turgid melodrama to deliver his catchiest tunes in decades. The show takes flight with “You’re in the Band,” the best song about children discovering music since “Do Re Mi.” “Stick It To The Man” is a toe-tapping earworm, while “If Only You Would Listen” brings instantly accessible poignancy. A long-term devotee of pastiche, Webber pens hummable school anthem “Horace Green Alma Mater” and rocks out with No Vacancy hit “I’m Too Hot For You.” Glenn Slater’s characterful lyrics enhance the quality of the score.

Sharing credit for the success of School of Rock is the deft book of Julian Fellowes (of Downton Abbey fame). Exposition is swift, jokes are plentiful and Fellowes has an ear for the canny insight and refreshing honesty that flows from the mouths of babes. If some of the characters, particularly parents, have their roots in stereotypes, it simply helps to establish the storylines more expediently. The show is filled with heart whilst nimbly avoiding sentimentality. The final half of act two sees payoff after payoff provide as much delight as the big rock concert finale.

Director Laurence Connor keeps energy sky high and yet grounds the show in authentic humanity. Despite the clear sense that a happy ending will ensue, Connor keeps the stakes high, complementing Fellowes’ concise writing with characters that are sharply drawn.

Anna Louizos’ design is on a grand scale, and the chance to see a production that has not been scaled down for an Australian tour is much appreciated. Adaptions of movies are often beleaguered by the number of settings required; Louizos’ flexible set pieces move with choreographed precision to achieve cinematic flow. Lighting designer Natasha Katz helps to delineate the spaces, also having great fun with rock concert lighting in the final sequence.

Louizos’ distinctive costumes allow the adult ensemble to don unique guises to play a variety of roles. The Horace Green Academy uniforms are AC-DC chic, a look that pays off when big-kid-at-heart Dewey dons a deconstructed uniform in the finale.

Musical director Laura Tipoki draws blazing energy from a tight band in the pit, but the strength of her work is chiefly seen on stage, where three sets of child actors play their own rock band instruments to thrilling effect.

JoAnn M. Hunter cleverly choreographs the show in ways that do not look like formal choreography, providing organic, energetic movement that appears to be as much fun to perform as it is to watch.

In the role he was born to play, the infinitely likeable Brent Hill gives a star turn that is all the more engaging for his complete immersion in the character and his utter trust of the material. Dewey Finn may be a larger than life character, but Hill’s intelligent choices illuminate the humour without ever risking the performance going over the top. Almost always on stage, Hill’s unflagging energy is incredible, and he belts out the rock score with mighty style. A generous actor, Hill brings out terrific performances from his young co-stars and brings real heart to Dewey’s transformation from self-centered schlub to impassioned music teacher.

In a brilliant piece of casting, Amy Lehpamer plays somewhat against type as prim and proper headmistress Rosalie Mullins. Not possessing the ultra high notes of the role’s original portrayer, Lehpamer amusingly riffs on transposed variations of “Queen of the Night” when Rosalie gets carried away during music class. Rosalie could be just another stock musical theatre role, but Lehpamer is blessed by Fellowes with a surprising and satisfying character arc. When Rosalie ponders “Where Did the Rock Go?,” Lehpamer really lets fly and the result is electric.

Replacing John O’Hara, who sadly had to withdraw due to injury, Zachary Pidd is enjoyably comical as the real Ned Schneebly, ex-rocker turned straight-laced substitute teacher. In one of the most thankless roles in all of musical theatre, Nadia Komazec throws her full energy into her performance as Ned’s shrewish girlfriend Patty. A star to watch, Komazec will hopefully next be seen in a role that allows her full talent to shine.

The adult ensemble cast is filled with experienced, versatile performers who more than hold their own given that audience affection is unavoidably focused upon the child actors.

School of Rock features a dozen child performers, and it is credit to the writing, direction and performances that each of their characters is so clearly established by the end of the show. Highlights on opening night included Ava McInnes as forthright band manager Summer, Jayden Tatasciore as prodigious guitarist Zach and Chihana Perera as breakout vocalist Tomika. Lenny Thomas plays camp stylist Billy with unflinching abandon, and Orlando Schwerdt captures the geeky joy of keyboardist Lawrence.

Ideal family entertainment, School of Rock is not just blazing fun at the theatre, it is also sure to have children of all ages reaching for their musical instruments with renewed enthusiasm.

School of Rock plays at Her Majesty’s Theatre, Melbourne before touring to Brisbane and Sydney.

Man in Chair reviewed School of Rock on Broadway in April 2016.

Man in Chair reviewed School of Rock in London’s West End in January 2017.

Photos: Matthew Murphy.

On an ordinary Sunday, Melbourne theatregoers were treated to the extraordinary talent Broadway legend Mandy Patinkin.

Perhaps helped by his recent television fame, Patinkin attracted a very large house of assorted fans to Melbourne’s Hamer Hall. Even more so than in his previous visits, Patinkin turned the capacious venue into an intimate cabaret lounge, holding the crowd in his thrall for an uninterrupted 100 minutes of fascinating music.

Speaking candidly, Patinkin described the block he experienced a few short years ago, when he found himself unable to learn new material. Busy in television but missing singing, he sought out new collaborators, and was led by his record company to Thomas Bartlett. Whittling down the 350 songs Bartlett uncovered to a mere 28, Patinkin trusted Bartlett’s different way of working, and the partnership has resulted in two new albums this year: Diary: January 27 2018 and Diary: April/May.

Following the retirement of Paul Ford, Patinkin’s longtime musical director / accompanist, Patinkin is accompanied on this tour by Adam Ben-David on grand piano. Ben-David proves a marvel at bringing out the essence of an eclectic range of musical styles, all played ever so supportively with the lightest touch.

On a simple stage with just a ghost light and a bentwood chair, Patinkin conjured a world of musical storytelling with his exquisite gift for compelling vocal expression. Patinkin’s trademark falsetto remains supple and sweet, while his lower register has taken on a slightly more sonorous depth with time. Given the number of unfamiliar songs unearthed this past year by Patinkin, this concert is far from a greatest hits celebration. In appreciating the new work, there is little for the audience to do but sit back and marvel at Patinkin’s mighty gifts.

This is not to say that there are not some crowd-pleasing choices along the way. Patinkin had the audience had the audience chiming in as the flustered townsfolk of River City, Iowa in opening number “Trouble” (The Music Man). Popular music choices included Harry Chapin’s “Cat’s in the Cradle” and an incredible full length rendition of Queen’s epic “Bohemian Rhapsody.”

For Stephen Sondheim aficionados, Patinkin began with the relatively obscure “If You Can Find Me I’m Here” (Evening Primrose), followed later by the bittersweet optimism of “Good Thing Going” (Merrily We Roll Along). A frantic performance of all three roles in Company’s “You Could Drive a Person Crazy” was later followed by the matched pair of “Sorry/Grateful” and “Being Alive” from that same show. One more Sondheim pair came from one of Patinkin’s great Broadway hits, Sunday in the Park with George, from which he sang Marie’s reminiscence “Children and Art,” followed by the stirring classic “Sunday.”

In this first date of the current Australian tour, Patinkin was caught off guard by the strong reaction to the opening lyrics of “A Few Words in Defense of Our Country,” which caused the star to have to pause to catch his breath from unexpected laughter. Written by Randy Newman in 2008, the song is more relevant than ever today. The current state of his homeland also required Patinkin to consult with songwriter Rufus Wainwright about expression of the word “America” in Wainwright’s 2007 song “Going to a Town.”

Breaking up the format, two songs were accompanied by projected video imagery. Laurie Anderson’s “From the Air” was performed along with eerie black and white historical images. A final clip made a powerful statement by showing Jewish immigrants to New York along with images of present day refugees arriving in boats.

Thought provoking, challenging and involving, Mandy Patinkin in Concert: Diaries 2018 is a richly rewarding journey.

Mandy Patinkin in Concert: Diaries 2018 played at Hamer Hall, Arts Centre Melbourne 8pm Sunday 11 November 2018.

Mandy Patinkin in Concert: Diaries 2018 plays in Sydney 14 November 2018 and Brisbane 17 November 2018.

Photos: Darrell Hoemann

Youthful energy and intelligent direction burn brightly in this exhilarating new production of evergreen modern classic Rent.

Just when the boutique musical trend seems to be dying, full credit to solo independent producer James Terry for presenting this season of Rent, which was all but sold out before it even opened. Faithful ticket buyers will certainly not be disappointed by this production, in which a terrific young cast truly inhabit their roles and Jonathan Larson’s cherished score sounds as fresh and exciting as ever.

Rent opens mere days after a high profile Melbourne season of source material La Bohème, proving the enduring popularity of both incarnations. The impact of Larson’s version is all the stronger knowing that he lived in the community he portrayed on stage, in which money woes and romantic entanglements were dwarfed by the deadly threat of AIDS. The young cast of this production highlights the vulnerability of these characters, struggling in a dangerous city while their addled parents hover helplessly from afar.

Director Mark Taylor has clearly mined the text for meaning, ensuring that not a word is lost or wasted. Having seen Rentmultiple times, three particular moments stand out from Taylor’s insightful direction (spoiler alert: skip to next paragraph if you are yet to see this production of Rent). Taylor has Mimi inject herself with drugs during “Out Tonight,” the action coming right before the bridge of the song, where the tone clearly mellows. Towards the end of “Another Day,” Mimi arrives at the support group meeting, not just establishing that she already knows and loves Angel, but also giving musical credence to the fact that she sings the support group’s affirmation as a counter melody with Roger.  Most powerfully, when Roger changes shirt, his body is seen to be blighted by Kaposi’s sarcoma lesions, giving stronger, more affecting subtext to his inclination to avoid intimacy with Mimi.

Positioned upstage within the dual level set, musical director Katie Weston leads a tight band in a polished performance of the score. Weston often pulls tempi back ever so slightly to aid with clarity. Her skillful work is also heard in the judicious use of dynamics, with select phrases or even entire songs, such as Collins’ groovy “Santa Fe,” sung softly and gently rather than having the whole score sung at full, ear-numbing volume as is the often the case in other productions.

Marcello Lo Ricco’s sound design keeps clarity and balance at a premium without overpowering the audience with volume.

“Santa Fe” is sung in an improvised subway carriage, which is just one of Taylor’s clever uses of space in Sarah Tulloch’ immersive, flexible set design. Portable cyclone fences, ladders and a multitude of old chairs combine to create the flow of scenes with ever-dynamic interest. The level of invention slows in the second half of act two, but this allows the focus to stay squarely on the characters and story. Lighting designer Rachel Lee enhances the visual appeal with motifs made of fairy lights.

Choreographer Freya List has worked closely with Taylor to thread lively dance through the show at key moments where it supports the action. In a pure musical theatre sequence, Mark and Maureen are joined by dancing homeless people in “Tango: Maureen.” Whereas company number “Contact” is usually presented as a flickering nightclub scene, Taylor and List ramp up the drama by staging it as a fever dream of Angel, who imagines and misses life outside of his sickbed, much like Violetta in act three of La Traviata.

The quirky, characterful costume design of Kim Bishop supports Taylor’s detailed work with cast and strongly supports the storytelling. While the activist slogan t-shirts may be somewhat overused, this is clearly a deliberate choice and it demonstrates the widespread support for the cause. Angel’s Christmas tree ensemble is spectacular, as is her Pussy Galore outfit. Maureen’s hand-painted black unitard is perfection as is her Wonder Woman costume. Collins’ look as a shaggy professor is well realised and Joanne’s lesbionic power suits are ideal. The only misfire is the ill-fitting suits and cheap sneakers worn by Benny, who would have more self-respect and taste as an ostentatious yuppie. The ensemble members are well served in a multitude of distinctive costumes that allow them to play a range of roles with flair.

Each of the eight lead performers is well cast in their role. Vocals are uniformly strong, and a palpable sense of warmth and camaraderie has been established between the bohemian friends.

Looking every bit the reclusive ex-rock musician, Conor Morel captures the sullen moodiness of Roger, skillfully playing guitar as required by the role. Evan Lever successfully underplays Mark so as to portray the young man’s wallflower role as an observer and introspective thinker.

A multitalented young performer who is sure to go far, Samantha Bruzzese shines as Mimi, balancing the troubled young woman’s brittle shell with her tender, loving heart.

Emerging young character actor Marty Alix is an inspired choice to play Angel, possessing not just the literally angelic looks but also singing with the voice of an angel. The contrast that Alix is able to achieve between glossy diva and debilitated patient is most affecting. Angel’s gloss is neatly offset by the earthy humanity of Dave Barclay’s Collins.

Zenya Carmellotti is in excellent voice as Joanne, creating a warm and endearing character. Kala Gare makes a terrific impact when Maureen finally arrives for her protest performance, which, in this production, is wittily conceived and very amusing. Gare carries Maureen’s drama queen tendencies over into the character’s private life, leading to crackling confrontations underscored by a loving heart.

Cameron Steens deftly sneaks in seeds of wistfulness and doubt as driven property developer Benny observes that money does not replace the love of good friends.

The collaborative nature of the show and the quality of the supporting performances mean that all members of the ensemble deserved to be named. Take a bow, Jye Cannon. Isabella Ferrer, Nathan Fernandez, Nick Murillo, Willow Sizer and Lucinda Ventimiglia.

For those lucky enough to have had the foresight to secure a ticket to Rent, enjoy the show. For those who were holding back, act now to book one of the few remaining seats.

Rentplays at Chapel off Chapel, Melbourne until 9 December 2018

Photos: James Terry

What a difference a theatre makes. Resplendent in Melbourne’s State Theatre, Evita now has the lighting, sound and space to make it the spectacle it deserves to be.

Already a veteran when she played the Narrator in Joseph and the Amazing Technicolor Dreamcoat, Tina Arena returns to the State Theatre stage some 26 years later to galvanise her home town with an electric portrayal of notorious Argentine First Lady, Eva Perón. Arena’s lungs of steel cope seemingly effortlessly with the vast range expected by composer Andrew Lloyd Webber, producing high volume, thrillingly accurate pitch and characterful expression. Arena makes Eva’s journey from wide-eyed youth to immaculately coiffured magnate to broken doll a riveting and, ultimately, affecting one.

A recreation of the original production of Evita, in honour of its 40^th anniversary, this world tour staging comes to Melbourne from the cramped, dimly lit Sydney season at Joan Sutherland Theatre, Sydney Opera House. Associate director Daniel Kutner and associate choreographer R. Kim Jordan have the Australian cast performing at their veritable peak.

Even more noticeable improvement comes from the work of associate lighting designer Trudy Dalgleish and associate sound designer Shelly Lee. Lighting in Sydney seemed to consist of a couple of spotlights and some lights in the floor. Now, the intricate tableaux and lively dance numbers can be seen and appreciated with ease. Hal Prince’s direction contains marvellous moments, particularly as the young Eva makes her way up the social pecking order.

Although the orchestra has 11 less players than in Sydney, the music sounds far better here, with rich, fascinating colour heard in the orchestrations. Percussion is a highlight, particularly Steven Pope’s thrilling work in “Perón’s Latest Flame.” Renowned musical supervisor / musical director Guy Simpson has delivered reliably first rate work on all aspects of the music, with vocal harmonies also at a premium.

Lloyd Webber’s lush score, widely considered to be his finest, contains a surplus of eminently hummable tunes. His masterstroke is the creation of extraordinary anthem “Don’t Cry For Me, Argentina,” which Eva sings at her glorious peak and then attempts to sing during her pitiful final days as she loses her life to cancer. Tim Rice’s excellent lyrics are cause for wonder at what may have been achieved had he and Lloyd Webber worked together again.

Timothy O’Brien’s design looks suitably grand on the mighty State Theatre stage. With the full set construction now in view, the overall design can be properly appreciated. The open setting allows fluid, sung-through storytelling and the deployment of Brechtian devices, such as placing and removing props and set pieces in full view. A large, mobile overhead screen (less prominent here) shows scenic elements and provides a generous serving of footage of the real Juan and Eva Perón. Any further scenery would most likely impede the flow and distract from the detailed costumes.

With the benefit of time, Kurt Kansley has really found his characterisation of Che, successfully raising his performance to a top-notch level of quality and impact. Sporting the ideal physical look, Kansley now adds sweaty, wild haired, wild eyed recklessness, creating a spirited air of desperation and danger. This climaxes in the imaginary interaction “Waltz for Eva and Che,” in which sparks now fly freely between Kansley and Arena.

Brazilian baritone Paulo Szot retains an imposing presence as Colonel Perón, bringing out the passively sleazy and self-serving aspects of the man as well as possible given the underwritten nature of the role. While not the prime focus of the show, Szot’s darkly honeyed baritone is a pleasure to hear.

Only given one song to make her mark, Melbourne-born discovery Alexis van Maanen (as Mistress) nails “Another Suitcase in Another Hall,” rending hearts with the aching sweetness of her delicate but well supported vocal tone. The non-verbal negotiation between Mistress and Eva for Eva’s fur coat is priceless.

A little too young and handsome for the role, Michael Falzon nonetheless finds an air of the ridiculous in small time nightclub Magaldi, all the while singing the role with resonant beauty.

The generously sized ensemble is peopled with triple threat performers who, collectively and individually, play a multitude of roles, dance up a storm and sing for all they are worth.

In much the same way that the history of Broadway is peppered with legendary performances, years from now Australian theatregoers will ask each other if they saw Tina Arena in Evita. Melbourne has waited decades for this revival, and it is absolutely not to be missed.

Evita plays at State Theatre, Arts Centre Melbourne until 16 February 2019.

Photos: Jeff Busby

Five decades into his storied career, Lord Andrew Lloyd Webber dominated the Melbourne musical theatre scene in 2018.

The 2018 year of mainstage musical theatre actually began on New Year’s Eve 2017, when the opening night of Dream Lover (below) marked the return of the much-loved tradition of the Arts Centre summer musical. As crooner Bobby Darin, David Campbell’s lead performance won well-deserved acclaim, and the show filled the State Theatre for a very successful season. Another jukebox bio-musical followed, with Esther Hannaford winning further legions of fans with her starring role in Beautiful: The Carole King Musical.

The year’s lone commercial musical with an original score, School of Rock (top photo) pleased family audiences with its rock-based Andrew Lloyd Webber score. Further Lloyd Webber tunes were heard in the lively new London production of The Wizard of Oz, which featured a sprinkling of new Lloyd Webber songs amidst the well-loved classic tunes.

The year ended with the long awaited Melbourne return of Evita (below), the revered 40-year-old classic by Lloyd Webber and lyricist Tim Rice. The ticket prices for Evita may have been higher for its Sydney season, but the show arrived in Melbourne in much better shape, looking and sounding far grander in the State Theatre. Tina Arena’s unmissable performance as Eva Perón continues into 2019.

One of the Australian stage’s favourite sons, Tony Sheldon returned home to resume his legendary performance as Bernadette in the tenth anniversary tour of Priscilla Queen of the Desert. Fun-loving Melbourne audiences lapped up a third visit from Mamma Mia!, which had the distinction of starring of Natalie O’Donnell, the first local actress to play Sophie, now playing Sophie’s mother, Donna. The Melbourne season benefitted from extra ABBA-mania thanks to the timely release of the movie sequel, Mamma Mia! Here We Go Again.

Venerable Melbourne institution The Production Company celebrated their twentieth year with a terrific, star-studded revival of Oklahoma!, which marked the auspicious directing debut of Christopher Parker. Love Never Dies co-stars Simon Gleeson and Anna O’Byrne reunited to give memorable performances as Curly and Laurie. In August, Rohan Browne shone in the leading role in the return of The Boy from Oz. Fresh from a year as the toast of Broadway, Caroline O’Connor co-starred in The Boy from Oz as Judy Garland. Finally, the very welcome Australian premiere of Best Musical Tony Award-winner A Gentleman’s Guide to Love and Murder starred Mitchell Butel in no less than eight madcap roles.

Melbourne was treated to some smaller scale seasons in city theatres. Green Day’s American Idiot the Musicalbrought a high-octane energy to the Comedy Theatre, but suffered a little due to its uneasy fit of musical theatre and rock music. Madiba the Musical told the noble story of Nelson Mandela with a talented, diverse cast. The new musical, originally staged in France, lacked a little polish but contained plenty of heart.

Having begun in Sydney, the pocket-sized production of Calamity Jane won hearts in Melbourne, chiefly, but not solely, due to the joyously radiant lead performance of Virginia Gay. With enough energy emanating from its terrific young cast to light a stadium, Bring it On the Musical (below)slipped surreptitiously into the Athenaeum Theatre. Featuring interpolated songs by none other Lin-Manuel Miranda, the teen-oriented musical could have been a big local hit if it had been give the chance to catch on.

In a disappointing move that pretty much represents the death knell for the Melbourne independent musical theatre scene, prolific local company StageArt announced that 2018 would be their final year. The outfit has given Melbourne premiere or rarely seen shows with diversity of casting that left commercial producers in their shadow. Tender chamber musical Falsettosopened StageArt’s year, followed by another gay-themed show, Bare the Musical. Finally, a scaled down production of Nine the Musical brought Maury Yeston’s gorgeous music back to Melbourne.

Local Sondheim repertory company Watch This presented the ever-charming A Little Night Music. The best efforts of a talented cast and crew could not rescue the shipwreck that was Gilligan’s Island the Musical. A boutique season of Tomfoolery reminded audiences of Tom Lehrer’s delectable wit. A terrific young cast and sharp direction made an independent staging of Rent a smash hit.

Melbourne musical theatre fans love a good concert, and this year saw a generous selection. West End heartthrob Ramin Karimloo performed in concert with special guest, Melbourne’s own Anna O’Byrne. The love flowed back and forth across the footlights as Patti LuPone presented her concert Don’t Monkey with Broadway. Fellow Broadway legend Mandy Patinkin took a different angle in his concert Diaries 2018, which featured new and unusual material for the gifted singer.

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Prolific Sydney company / venue Hayes Theatre continued to program appealing, intriguing musicals with top casts. In visits to Sydney, Man in Chair was lucky enough to see Blue Saint’s In the Heights (below), and was thrilled to see Blazey Best in Gypsy. The ones that got away included Cry Baby, She Loves Me and Aspects of Love.

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Man in Chair’s annual visit to London began with National Theatre’s acclaimed revival of Follies (below). What a blessing to musical lovers around the world that Follies was shown in cinemas. This very welcome trend continued with screenings of An American in Paris, Funny Girl, Everybody’s Talking about Jamie and The King & I. The trend continues, with West End productions of Kinky Boots and 42^nd Street already filmed and ready for screening in 2019.

Delivered straight to the West End from its regional premiere in Sheffield, Everybody’s Talking about Jamie (below) proved to be the year’s success story. Off-West End musical Bananaman the Musical did not quite meet expectations of its built in audience. Quirky Bob Dylan play-with-songs Girl from the North Country was widely hailed, yet its absence of sets and downbeat style left Man in Chair cold. Even with all the resources of National Theatre, blue chip title Pinocchio was a dull, meandering flop.

Transfers from Broadway included the pristine West End premiere of Hamilton, a scaled down but very funny production of Young Frankenstein and the long overdue West End season of the 2001 Broadway revival of 42^nd Street.

An off West End revival of The Woman in White highlighted the beauty of Andrew Lloyd Webber’s melodious score, and provided an ideal role for Australian actress Anna O’Byrne. The traditional Menier Chocolate factory winter musical was a dud this year, with Marcus Brigstocke not up to the task of playing the lead role in Barnum.

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Visiting New York in April, it became obvious that the economics of Broadway have impacted the current selections. New musicals either need to a strong movie source or a broad pop catalogue for the score.

Movie adaptations varied from the lively wit of Mean Girls (below) to the dreary self-importance of Frozen. The high budget of SpongeBob SquarePants the Musical was seen in its lavish staging. The rare adult-oriented musical, Tony Award winner The Band’s Visit exuded understated charm as it expanded on a little known art-house movie to mesmerising effect.

Touring production Rocktopia was a ludicrous waste of a Broadway theatre, and Man in Chair could not even bring himself to attend Summer: The Donna Summer Musical nor Escape to Margaritaville (the Jimmy Buffett musical). Go-Go’s musical Head over Heels opened later in the year, as did a poorly received adaptation of Pretty Woman. Having opened in October, it is a little too early to tell whether Australian musical King Kong will be taken down by its reviews or live on to become a popular hit.

The Broadway revival of Once on this Island enjoyed a vibrant, immersive staging. Cherished musical Carousel returned with a starry cast and incredible choreography. The resources of Lincoln Center and the imagination of director Bartlett Sher and team made for a lavish, re-thought staging of Golden Age gem My Fair Lady.

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Emerging stars on the Australian musical theatre stage were almost all found in Bring it On the Musical, in which Nichola Bowman, noted as one to watch in 2017, was joined by Samantha Bruzzese, Nadia Komazec and Marty Alix. Bruzzese went on to give a luminous performance as Mimi in Rent. Komazec played in Rocky Horror Show and can currently be seen as Patty in School of Rock. Alix was adorable as Sonny in In The Heights, and subsequently followed his role as transgender teen La Cienega in Bring it On the Musical with an angelic performance as Angel in Rent.

Rounding out the list of emerging stars is Maxwell Simon (below, right), who reprised his breakout role of The Balladeer / Lee Harvey Oswald in Assassins in its Sydney Opera House season this year. Simon was part of the ensemble cast of Green Day’s American Idiot, and gave a tender, memorable performance as Greg in The Boy from Oz. Simon will be seen in 2019 in the Australian tour of Muriel’s Wedding the Musical.

Michael Ralph had a successful year in 2018, not just continuing to shine as a creative, respected choreographer with Bring it On the Musicaland The Boy from Oz, but also breaking out with his debut as a director / choreographer on Nine the Musical (StageArt).  Future occasions for Ralph to perform these double duties are highly anticipated.

A star of a different kind this year was Melbourne’s Her Majesty’s Theatre itself. The 132-year history of “The Maj” was honoured with an incredibly lavish coffee table book The Shows, The Stars The Stories by devoted theatrical historian Frank van Straten.

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A note to readers who have made it this far: please keep in mind that Dream Lover was covered in Man in Chair’s 2016 Music Theatre Year in Review, and Beautiful: The Carole King Musical was covered in Man in Chair’s 2017 Music Theatre Year in Review.

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Best Musicals 2018

Independent: Calamity Jane

Mainstage: Evita (Melbourne)

Broadway: The Band’s Visit

London: Follies

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Most Disappointing Musicals 2018

Independent: Gilligan’s Island the Musical

Mainstage: Evita (Sydney)

Broadway: Frozen

London: Barnum

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Heavenly Performances 2018

Independent: Ryan Gonzalez (In The Heights); Virginia Gay (Calamity Jane)

Mainstage: Mitchell Butel (A Gentleman’s Guide to Love and Murder); Tina Arena (Evita)

Broadway: Joshua Henry (Carousel); Caissie Levy (Frozen)

London: Jamael Westman (Hamilton); Imelda Staunton (Follies)

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Photos: #1 Matthew Murphy; #2 Brian Geach; #3, #4, #13 Jeff Busby; #5 Nico Keenan; #6 Belinda Strodder; #7 Grant Leslie; #8 Jonah Persson; #9 Alastair Muir; #10 Darren Bell; #11 Joan Marcus; #12 Julieta Cervantes

Exemplifying the meaning of the term “revival,” Marianne Elliott delivers a brand new take on classic concept musical Company that is fresh, funny and altogether fabulous. Bobby is now Bobbie, and the museum piece on 1970s domesticity and despondency is now a slick millennial take on coupling and coping. 

Set in present day New York, Bobbie negotiates a fever dream of self reflection as she blows out the candles on her 35th birthday. A literal Alice in wedded Wonderland, Bobbie combats the good intentions of her circle of friends and explores her options with a trio of distinct male partners.

Beginning with the ingenious idea for the gender reversal of the lead character, director Elliott has worked her way through the show tweaking other genders and situations to infuse the cherished work with new life and abundant heart. 

Following consultation with, and approval from, composer Stephen Sondheim, Robert’s girlfriends April, Marta and Kathy become Andy, PJ and Theo, and, in a particularly inspired twist, Amy becomes Jamie, a similarly frantic bundle of nerves on the day his wedding to Paul. Bobbie reflects on the qualities of five male friends in “Marry Me A Little.” The four women, along with Jamie, besiege Bobbie with “Have I Got A Guy For You.” 

Over and above the changes to characters, the masterstroke of Elliott and her team lies in revisioning Company as a musical comedy, chock full of “company” numbers. The vignettes of George Furth’s original book fairly fly by between lively, reinvigorated numbers. 

Choreographer Liam Steel gives the three boys nifty vaudevillian steps in “You Could Drive A Person Crazy,” which also features neat new harmonies. A host of New Yorkers crowd the subway cars in “Another Hundred People.” “What Would We Do Without You” is a breathless montage of basically every party game every invented. 

Bobbie’s nightmarish imagination reaches its zenith as she lies in bed being attended beneath the covers by Andy. Four sets of Bobbie and Andy couples cycle through key future moments, which take on an ominously oppressive vibe. 

Bunny Christie’s design places the band high overhead, thus keeping the apartment settings to realistic heights. Backgrounds are uniformly grey and costumes are pale (green for the couples and blue for the three guys), making Bobbie’s red hair and blood orange dress really pop. The number 35 is scattered throughout the design, which consists of a varying set of apartment rooms, a pair of subway cars and a streetscape of stoops. 

Having worked all her life to be an overnight success, Rosalie Craig is a thrilling delight as Bobbie, keeping the audience firmly on her side as Bobbie negotiates the minefield of marriage.  Craig sings the role with aching sweetness, and the production is wise to strip all staging for Bobbie’s big three solo numbers.

Each of the cast members is an excellent singer, and the combined effect of their voices is superb. Apart from interest in the changes to the show, the cast recording will be a beauty just on the basis of the quality of the singing. 

Patti LuPone is in blistering form as Joanne, nailing every laugh and knocking “The Ladies who Lunch” right out of the theatre. 

Mel Giedroyc brings a perky cuteness to frazzled Sarah. Richard Fleeshman, chiseled beyond belief, conveys flight attendant Andy’s superficial simplicity with a slightly high-pitched, breathy voice. As jittery groom Jamie, Jonathan Bailey underpins the hysterical patter of “Not Getting Married Today” with an affecting performance of real heart. 

Company is the West End’’s current must-see musical with very good reason. 

Company was reviewed 7.30pm 1 January 2019 at Gielgud Theatre, London where it plays until 30 March 2019.

Footnote: Unfortunately, Australian theatre star Ben Lewis was absent for this performance. Hopefully Lewis will be back on stage when Man in Chair returns to Company in late January. 

A slender scenario in search of a storyline, new musical The Band at least has a solid gold score, utilising the extensive pop catalogue of superstar ‘90s boy band Take That.

Casting for The Band was initially focused on the five boy band members, with BBC series Let It Shine finding the winning set of lads. The producers, however, know their market, and the musical is actually focused on a group of middle aged women who reunite to see their idols in concert once more. 

What this touring production lacks in budget it generally makes up for in heart. Beginning with five quirky 16-year-old school friends, the show moves forward 25 years to catch up with (spoiler alert) four women who have long since lost touch with each other. Only the most cynical audience member would not feel a glimmer of empathy for the plucky gals who vow to reclaim their lives after the reunion trip to Prague for the concert.

Book writer Tim Firth does not approach the levels of ingenuity he showed in criminally under appreciated juke box classic Our House, the Madness musical. The idea here is maximum use of Take That songs, with a bit of an emotional arc for each of the women. The blandly simple concept works in the way intended, and with music this enjoyable that is all that really matters. 

Some effort has clearly been made with positioning of the song choices, but the processed sound prevents meaningful impact of the lyrics, which were probably never meant to be heard all that closely anyway. Kim Gavin provides all the cheesy choreography the boy band can take. 

The five boy band members sing and dance (and smoulder) with enthusiastic flair, but they are there purely as back up to the gals, not given dialogue, let alone names (nor even a name for their band). 

The five young women playing the teenaged girls have the job of winning over the audience in the first third of the show, and they do this admirably. Rachelle Diedricks (Debbie) in particular has a winning stage presence. 

In the roles of the four adult women Rachel Lumberg, Emily Joyce, Jayne McKenna and Alison Fitzjohn generate warmth and good humour, their enjoyment travelling across the footlights to reach the audience. 

The type of show to watch with like minded friends of a similar vintage, The Band is inoffensive crowd pleasing merriment. The question only remains as to what else may have been achieved with these terrific songs with some more creativity and effort. One small blessing: at least The Band is not a bio-musical.

The Band was reviewed 7.30pm Monday 7 January 2019 at Theatre Royal Haymarket, London where it plays until 12 January 2019 before continuing its UK tour.

A lovingly crafted explosion of good will and hilarity, The Prom holds it place alongside the great musical comedies of the new millennium. 

One significant difference between The Prom and the string of hits that came before it  – unlike The Producers, Hairspray, Legally Blonde et al, The Prom is a wholly original work. The wickedly funny book is by Chad Beguelin and Bob Martin (the original Man in Chair!), with catchy songs by Matthew Skylar (music) and Beguelin (lyrics).

Undisputed current title holder of Broadway’s greatest director/choreographer, Casey Nicholaw works his magic yet again with The Prom. A perfectly solid piece of writing, the work is elevated to a higher plane thanks to Nicholaw’s eye for seamless integration of action and dance. 

The premise for The Prom may sound perilous slender, but the concept is filled out with characterful details, and there is a surprise twist at the end of act one that delays the inevitable happy ending in a surprising way. 

When a pair of raging narcissists receive a brutal, show-closing review for their work in Eleanor the musical, they decide to find a good deed that may bring them some much needed positive publicity. Scrolling past all the political tweets, they find a teen girl in Indiana who is not being allowed to attend her high school Prom with her girlfriend. With a couple of friends in tow, the four Broadway actors board a Godspell tour bus to Indiana to go and save young Emma the lesbian, whether she wants their help or not. 

The Prom

The Broadway angle allows for a slew of delicious insider jokes, delivered with great panache by the adult cast. Brooks Ashmanskas may be a poor man’s Nathan Lane, but he brings his own special verve to confidently camp actor Barry Glickman. Beth Leavel is hilarious as deludedly conceited two time Tony winner Dee Dee Allen, making the most of the chance to unleash her signature belt.

Christopher Sieber and Angie Schworer come along for the ride, adding to the Broadway sparkle that turns off the not so merry townsfolk of Edgewater, Indiana. For an extra handful of glitter, Josh Lamon plays the quartet’s producer/manager friend Sheldon Saperstein. 

The frenetic humour is grounded by the actual stakes of the issue, which land with due seriousness thanks to the terrific lead performance of Caitlin Kinnunen as Emma. 

Lovers of Broadway musical comedy will be sure to love The Prom. The show’s message of love and acceptance will have even more impact as the production makes its way around the US. 

The Prom was reviewed 2pm Wednesday 9 January 2019 at Longacre Theatre, New York. 

Photos: Deen van Meer

On paper, the blue chip title, solid production values and enthusiastic young cast should be enough to make Clueless the Musical a hit, yet the new off-Broadway musical is missing the ever elusive magic ingredient needed to really make it fly. 

Enjoying a sold out season, The New Group’s production of Clueless has clearly benefitted from a creative team with significant Broadway experience. Of all the credits of director Kristin Hanggi and choreographer Kelly Devine, Rock of Ages is the show that comes closest for the humorous nostalgia fest that appeared to be the aim here. 

A sleeper hit in 1995, the movie Clueless has remained a well-loved favourite comedy over the years. Based loosely on Jane Austen’s Emma, the movie had appealing characters, an aspirational Beverly Hills setting and a quirky vocabulary. 

Turning 16, popular rich girls Cher and Dionne (named, by their parents, after ancient singers) negotiate fashion, grades, driving tests and boys. Cher has a good heart, and enjoys matchmaking and makeovers. 

The movie’s success was attributed to the terrific script by Amy Heckerling. In bringing the movie to the stage, Heckerling has worked alone, adapting her screenplay for the musical’s book, and changing the lyrics of ‘90s pop music to provide the songs. 

It seems clear that the input of an experienced stage writer was needed as part of the adaptation process. A glaring omission is the absence of an I wish song for Cher. The musical starts well, with a rousing full company number, but then just meanders for the remainder of the show. The characters are charming enough, but there is nothing at stake to drive the action and engage the audience. A good adaptation should be able to answer the question “why is it on the stage?” Clueless the Musical adds nothing to the movie, relying purely on rose coloured nostalgia, which wears thin after two and a half hours. 

Part of the difficulty also lies with the chosen songs, some of which draw a laugh or two but most of which are simply blatant re-writes with no specific reason to be there other than their familiarity. A band of six musicians creates a great sound, and are even used visually in couple of the scenes. 

Costume designer Amy Clark begins with Cher’s tartan mini skirt and continues with an impressive wardrobe of ‘90s styles. In creating the scenic design, Beowulf Boritt riffs on the tartan theme, providing a chequered backdrop with hidden and doors and windows that curls and trails off overhead. 

In the continued absence of Dove Cameron, swing Katie Goffman is perfectly cast as Cher, having the blonde, wide-eyed look and being a natural, likeable triple threat. 

Zurin Villaneuve is an electric performer who is a pleasure to watch as Dionne.

Dave Thomas Brown has a ready charisma as Cher’s stepbrother Josh, singing with a lovely light tenor and underplaying the charm to great effect. 

Clueless could easily have been on a track to Broadway. There will surely need to be more work done before this happens; with the right input, however, the show could eventually be the next Legally Blonde. 

Clueless the Musical was reviewed 7.30pm Wednesday 9 January 2019 at Griffin Theatre, The Pershing Square Signature Center, New York where it plays until 12 January 2019.

Photos: Monique Carboni

Radical editing and canny creativity have distilled the essence of Merrily We Roll Along, resulting in a slick, involving, densely melodic piece of musical theatre.

*check back later for production images*

Having enjoyed success with their 2015 production of Into The Woods, Roundabout Theatre Company has invited Fiasco Theater to collaborate on a second off-Broadway Stephen Sondheim musical, notorious 1981 flop (and yet firm cult favourite) Merrily We Roll Along. 

It should be noted at this point that Man in Chair attended the first preview of Merrily We Roll Along, with the offical opening night not due for another five weeks. Therefore, this will be discussion of the new production as it stands and certainly not a formal review. 

In the Playbill notes, Fiasco Theater’s co-artistic directors describe consulting with Sondheim on this newly edited version. The creative team also looked back at the 1934 George S. Kaufman and Moss Hart play, incorporating some material from the original script into George Furth’s book for the musical. 

Performed by just six actors in a single act of 110 minutes, the piece flows with the energy and focus of a movie. In jettisoning the chorus, the most noticeable cut to the score is the removal of the seven “Transitions.” Set in a towering and highly detailed props room, everything the cast needs to perform the show is at their fingertips, with changes happening before our eyes rather than offstage during these transitions. 

As fans of the show will now, the story of Merrily We Roll Along is told in reverse. Battling the dual foes of success and artistic integrity, the friendship of composer/film producer Franklin Shepard, lyricist/playwright Charley Kringas and novelist/critic Mary Flynn falls apart. Moving backwards from their estrangement to their success to their idealistic beginnings, the musical is a bittersweet reminder of the high price of achieving one’s dreams. 

Alexander Gemignani’s orchestrations and new arrangements keep just enough of the “Transitions” to allow the cute effect of rewinding a scene to go back to the next one. In the cleverest sequence, a series of costumes are peeled from Mary, taking her back to the time before she was an overweight alcoholic. 

The streamlined approach gives the feeling that the hits keep coming, as it is never long between each of the glorious songs. The moments where a chorus is still required are covered by the team of six actors, plus some vivid dummies for “The Blob.” Clapping on cue, the theatre audience provides the applause for “It’s A Hit”

Derek McLane’s set design is framed in a gorgeous golden proscenium arch. The shelves filled with props are not all there to be used, but provide extensive visual interest while giving the clear vibe of a “backstage” musical. While there is an improvised feel to the use of props from the shelves, there is a surprisingly high number of large set pieces, most of which are revealed behind two high stage doors. In a clever nod to the original Broadway season, Frank and Charley’s Musical Husbands plays at the Alvin Theatre.

Noah Brady’s direction keeps storytelling clear and compelling, and the stage energy never flags. Multiple roles by the same actor are distinct, and the key characters are vividly drawn. Given the multitude of props on stage, there is actually not as much of a feel of improvisation as there might have been. This is a good point in terms of allowing the audience to simply focus on the show, but it seems something of a missed opportunity given the overall style of the show. 

Choreography, by Lorin Latarro, has a showbiz flair, and is tightly performed by the cast of triple threats.

While the original production famously used actors of the final (ie initial) young age of the characters, this version is cast with adults who are a very good fit for the mature age of the characters as they begin the show.

Ben Steinfeld keeps Frank’s internal battle between decency and money bubbling along. His momentary return back to his original age at the end of the show is a powerful one indeed. Manu Narayan keeps Charley the noble Charley interesting, and it is impressive to note that he has already nailed early showstopper “Franklin Shepard, Inc.” Jessie Austrian is wonderful as the younger Mary; at this stage, she has not quite found the caustic bitterness of older Mary. 

Giving strong, entertaining support are Brittany Bradford (primarily as Frank’s first wife Beth), Paul L. Coffey (primarily as Broadway producer Joe) and Emily Young (primarily as Broadway star Gussie). 

Longterm fans of Merrily We Roll Along have every reason to see and enjoy this dynamic version. Newcomers will find the material clearer than may have been the case if they had seen one of the many previous incarnations. 

Merrily We Roll Along was reviewed 7.30pm Saturday 12 January 2019 at Laura Pels Theatre, New York.

Rehearsal photos: #1, #3 Jenny Anderson; #2 Marc J. Franklin

Full of feathers and factoids, hit songs and head dresses, The Cher Show is diverting, if not particularly enlightening, entertainment.

For how many years are Broadway theatregoers going to be punished of the success of Jersey Boys? Bio-musicals seem to be more prevalent than ever, and while Man in Chair skipped On Your Feet:The Story of Emilio and Gloria Estefan and Summer: The Donna Summer Musical (and will likely skip Ain’t Too Proud: The Life and Times of The Temptations), at least The Cher Show has a truly iconic star at its heart. 

Producers are churning through these shows to capitalise on baby boomer nostalgia in an increasingly cynical exercise. Yesterday’s hit parade replaces authentic Broadway compositions. The triple threat ensemble members of The Cher Show waste their talent and training as glorified backup dancers/singers.

Rick Elice (book writer of Jersey Boys) has hobbled together a deeply superficial glance at the fifty plus years of Cher’s incredible show business career, trying to cover everything everything but actually revealing nothing. The opportunity is missed to be candid or insightful, and the brief mentions of partners, children and lean times only leaves us wanting to know more. A curious take away message is how demanding and draining all the success was; we hear about the cost of the hard work but have little chance to revel in the good times – that is all just meant to be assumed knowledge. 

The show is undeniably spectacular, but in hurtling from number to number there is no room for the scenes to breathe; no one ever even sits down. 

The main conceit is to have three actresses playing Cher at distinct phases fo her life (in a curious coincidence, this same device was used in Summer: The Donna Summer Musical). While the storytelling is generally linear, the three highly talented actresses playing Babe (Micaela Diamond), Lady (Teal Wicks) and Star (Stephanie J. Block) move in and out of view, advising and encouraging each other at key times. 

The recreation of iconic looks is incredible, and it is no surprise that Bob Mackie himself is the costume designer (as well as being a character in the story).

The scenic design and lighting are equally dazzling, despite never actually creating any realistic locations. The sequence where television hit The Sonny and Cher Show is at its peak lets the audience ride a vivid wave of nostalgia. 

Speaking of Sonny, Jarrod Spector gives a terrific performance in the role, particularly nailing Sonny’s distinctive vocal style.

Jason Moore’s direction focuses on energy, with the passing parade of characters portrayed with broad caricatures. Stuck with recreating bygone styles, choreographer Christopher Gattelli adds even more energy to the stage without any real involvement in the storytelling. 

Fans of Cher (and there are plenty) have reason to see The Cher Show. For a real Broadway experience, original new musical The Prom is a much more rewarding prospect. 

The Cher Show was reviewed 3pm Sunday 13 January 2019 at Neil Simon Theatre, New York.

Photos: Joan Marcus

Streamlined staging and a strong ensemble cast allow Andrew Lloyd Webber’s Aspects of Love to be seen in a favourable light.

It us usually the movie adaptations that have a high number of scenes, but Aspects of Love, adapted from David Garnett’s 1955 novel, has nearly 40 scenes, set over a 17-year time period. The use of a single set, with choreographed changes of furniture, is an inspired one, keeping the show humming along and keeping the focus squarely on the tangled love lives of the lead characters. 

While there are picture postcards that display the name of each location, enjoyment of the story is helped by either having existing familiarity or by carefully reading the program. This is not to say that director Jonathon O’Boyle does not keep characters and events clear, it is just that the show is a bit more complex than the usual boy meets girl. In this case, boy meets woman, who then meets his uncle and his mistress, and boy eventually meets their daughter…

Lloyd Webber has always composed through-sung musicals, having stated that he grew up dreading the moment when the violin bows would be lifted from the strings for a dialogue scene. Aspects of Love has a particularly operatic style to its composition; operatic voices are not needed, but the composition involves an abundance of ongoing recitative (often overlapped), with the occasional aria song. The music is beautiful but deceptively challenging. 

Musical director Richard Bates has done a sterling job of bringing the intricate score to life. Accompanied by just two pianos and percussion, the talented troupe of singers performs with flair, with vibrant harmonies and clear diction both strong features of the work. As well as the five lead players, Bates is blessed with a further five ensemble members who clearly all have excellent voices.

Designer Jason Denvir provides a rear wall of shuttered doors, behind which lighting designer Aaron J Dootson often provides glowing colour. The front row of the audience, which is on three sides of the stage, has little candlelit tables, which are often used by the cast, in addition to the furniture that is added to centre stage. Full credit to stage management for the smooth flow of the numerous costume/furniture/prop changes throughout the show.

The close proximity of the audience helps with connection to the characters, and O’Boyle is able to include small details performed with naturalism. Storytelling is clear (presuming some knowledge of the scenes), and although the story runs out before the show actually ends, interest is held for almost the whole running time of two hours and forty minutes (including interval). 

Lloyd Webber wisely includes some full company sequences to raise the stage energy. Choreographer Sam Spencer-Lane seizes upon these moments to provide lively dance, which is very well performed. The highlight comes at the funeral, at which the characters follow the deceased’s wishes that there will be music and dance at his wake, cutting loose in tango style with “Hand Me the Wine and the Dice.” 

The lead roles are generally well cast, with the vibrant standout being Kelly Price as driven actress Rose Vibert. With a beautiful, open face Price makes it clear why so many characters love Rose, and the audience comes to love her as well. In excellent voice throughout, Price clinches her star status with a searing delivery of the final song, “Anything But Lonely.” 

Being very young in appearance helps Felix Mosse look highly convincing as seventeen year old Alex. This also makes the situation relatively less icky when Alex later flirts with an attraction to his young cousin Jenny. (O’Boyle is wise to point out, in his program notes, that the age of consent on France is 15.) Mosse’s singing voice tends to almost disappear en he sings softly, but his sound at full strength is a pleasure to hear. 

Bringing a distinctly European vibe and an excellent singing voice, Madalena Alberta is luxury casting as Italian sculptor Giulietta. The worldly confidence and charisma of George eludes Jerome Pradon, although he sings the role well. Eleanor Walsh successfully captures the forthright innocence of blossoming young Jenny. 

Musical theatre aficionados who mainly know Aspects of Love through its original cast recording will welcome the chance to see the show live on stage in this solid production. 

Aspects of Love was reviewed 3pm Tuesday 15 January 2019 at Southwark Playhouse, London where it plays until 9 February 2019.

Photos: Pamela Raith

Succinctly written and brilliantly performed, musical drama Caroline, or Change packs a powerful message.

2004 Broadway musical Caroline, or Change has returned to London’s West End in a slick, entertaining production anchored by a sensational lead performance by Sharon D. Clarke. A fascinating mix of drama and fantasy, the musical is a classic example of the old truism less is more, covering a significant period of social upheaval by simply focusing on one single story. 

The book and lyrics are by acclaimed playwright Tony Kushner, with composer Jeanine Tesori providing the vibrant score. The through-sung musical is intricately composed, and yet is instantly accessible on first listen. 

The original story, based loosely on Kushner’s life growing up in Louisiana, focuses on weary maid Caroline, who imagines the washing machine, dryer and radio singing to her as she works in the Gellman family basement. Young Noah Gellman prefers Caroline over his new stepmother, Rose. 

As well as referring to developments such as the impending end of segregation in 1963, the “change” in the title refers to coins that Caroline finds in Noah’s pockets when she is doing the laundry. To help Caroline and her three children, Rose insists that Caroline keep any change she finds, a generous move that Caroline’s family soon becomes reliant upon.

There is a random and yet entirely natural progression to the story, with the characters and details unfolding as if driven by life of their own. The story is clear and compelling, with plenty of space for multiple for characters in their own world simultaneously on Fly Davis’ two-level set. Director Michael Longhurst draws natural performances from the cast, even when they are playing household appliances or the moon. 

Nigel Lilley presides over an excellent performance of the challenging score, bringing the work to life with beauty and power. 

Clarke gives a carefully modulated performance, keeping almost all of Caroline’s emotions inside and yet making them both plainly evident and keenly felt. A stern, guarded woman, Caroline is not the most naturally likeable character, and yet the audience adores her by the end. Clarke brings the house down when Caroline finally lets her feeling pour out in the mighty 11 o’clock number “Lot’s Wife.”

With the story grounded in history, Kushner cannot, of course, give Caroline a miraculous happy ending; the next generation, however, has better prospects, leaving an ultimate message of hope.

With her beaming smile, Me’sha Bryan is absolutely delightful as The Washing Machine. Dujonna Gift-Simms, Tanisha Spring and Keisha Amponsa Banson are a sultry presence as the gorgeous sound of the radio. 

Naana Agyei-Ampadu delivers thrilling vocals with a sweet stage presence as Caroline’s best friend Dottie. Abiona Omonua laces the role of Caroline’s daughter Emmie with the grit of a young woman who is determined to see and make change in her lifetime. 

Lauren Ward successfully conveys the strain of the expectation of Southern manners in a challenging situation as Rose. At this performance, highly professional young performer Isaac Forward was adorable as Noah. 

Worth seeing for Clarke’s performance alone, Caroline, or Change is a gripping musical that will be especially appreciated by those like musical theatre with substance. 

Caroline, or Change was reviewed 2.30pm Thursday 17 January 2019 at Playhouse Theatre, London.

Caroline, or Change will play at Hayes Theatre, Sydney 23 August – 21 September 2019.

Boiled down to a boutique-scale presentation, Fiddler on the Roof brims with fresh life, gentle humour and impactful drama.

One of the bigger Broadway musicals to get the annual Menier Chocolate Factory winter musical treatment, Fiddler on the Roof is in very safe hands with master director Trevor Nunn at the helm. With the audience on three sides, and no one further than five rows away from the action, the production unfolds with a noticeable sense of naturalism and authenticity, with myriad personal and practical details readily seen and absorbed. 

Conveying the fear and reaction to change from a world in crisis, Joseph Stein’s book, Jerry Bock’s music and Sheldon Harnick’s lyrics have a particular relevancy at present.

For this scale of production, 23 performers is a generous cast size. Nunn dispenses with a traditional chorus, having each cast member as a named character. This concept reaches its zenith as act one concludes with Motel and Tzeitel’s wedding. Everyone on stage is an established character, enriching the interactions as men and women begin to dance together and raising the stakes of the climactic pogrom. Nunn ends the act with a significant look between Tevye’s third daughter Chava and local Christian youth Fyedka, highlighting the clash of cultures and portending further drama to come in act two. 

Choreographer Matt Cole uses the company in movement that derives so organically from the characters and their songs that it barely seems like choreography. Jerome Robbins’ original choreography is recreated for “To Life,” for which Cole is blessed some excellent acrobatic men, and the famous “Bottle Dance” at the wedding. In line with the natural feel of the show, there is no dream ballet scene as Tevye sings “Chavelah.” In another minor change, the music when Perchik teaches Hodel to dance is not played; rather, Perchik simply sings it.

A wonderful illusion is achieved in “Tevye’s Dream,” with the ghostly Fruma Sarah (Gaynor Miles) magically floating, and gently bobbing up and down, as she sings her dire warnings from the grave (as recounted by Tevye). Top marks to specialist consultant Paul Kieve for his brilliant contribution to this scene. 

On keyboard, musical director Paul Bogaev leads sevens other musicians in a lively performance of Jason Carr’s expertly distilled orchestrations. Scene change music has an upbeat klezmer feel, as cast members change props and furniture with choreographed flair. Violinist Darius Luke Thompson takes to the stage with confidence as the eponymous Fiddler.

Set designer Robert Jones has decorated the entire space with weathered wooden beams and glimpses of forest. The main setting is a very solid three-dimensional collage of cottages, with quaint rooftops disappearing into the distance. The performance space also features an operational water pump. 

In an interesting move, stemming from the very close proximity of the audience, costume designer Jonathan Lipman has dressed the cast in realistic costumes in shades of black. This very effective idea would not work in a larger theatre as the audience would have too much difficulty distinguishing the characters from each other. The only burst of colour comes in the costumes of the dead in “Tevye’s Dream.”

Tim Lutkin’s lighting design often bathes the space with the warm feel of candlelight. Sound design, by Gregory Clarke balances each musical instrument and the voices to immersive perfection. 

Andy Nyman plays Tevye with a distinctly comic cadence, setting aside almost all of the character’s anger and making him a very likeable man. Just when you think Nyman might be too light, he brings out the heavy emotional reactions when required. As an example, Tevye’s rejection of dear daughter Chava is quite heartbreaking. 

Broadway star Judy Kuhn is a very effective match for Nyman, her simple, grounded performance providing the other side of the emotional coin to the relationship. It is hard to recall a more believable or affecting rendition of Tevye and Golde’s “Do You Love Me” than the one seen here. 

Again in keeping with the natural feel of the staging and the close proximity of the audience, Nunn has cast actual young girls as Tevye’s daughters, rather than starlets or young-looking late twenty-somethings. Molly Osborne (Tzeitel), Harriet Bunton (Hodel) and Kirsty MacLaren (Chava) personify sweetness and innocence, and the show is all the more potent for it.

In another interesting move, Nunn has bucked the ongoing London stage trend towards colour blind casting. Every one of the actors has been cast for their authentic appearance as Russian Jews (or, for a small number, Christians).

The intimacy of this production has added layers of enjoyment and interest to Fiddler on the Roof. 

Fiddler on the Roof was reviewed 3.30pm Sunday 20 January 2019 at Menier Chocolate Factory, London where it plays until 9 March 2019.

Photos: Jonah Persson

Currently one of London’s hottest tickets, Tina: The Tina Turner Musical is a solid entry in the bio-musical genre, combining an inspiring story with a terrific catalogue of hit songs.

On paper, Tina and The Cher Show have much in common, with both being juke box musicals about female artists with proven survival skills. Both women survived relationships with toxic men, and both shows are overseen by their titular divas. Where Tina succeeds, and The Cher Show struggled, is in cutting to the heart of the story to engage the audience rather than just bombarding the audience with wiki snippets as the show rolls from song to song. 

In a creative aspect that would usually be a contra indicator to success, the book for Tina is written by a committee of three: Katori Hall and Frank Ketelaar & Kees Prins. Tina’s early life is laughably simplified (her mother and sister and then her father all leave her in one brief dinner table scene), but from here on, the show is well judged and smartly executed. The abusive relationship that Tina suffered with Ike Turner is harrowing, and her subsequent rise to rebuild her career, in the face of ageism and racism, becomes the key focus of the second act.

Tina offers an extraordinary leading role, the vocal and energy requirements of which surely surpass even that of Evita. Tina is rarely, if ever, off the stage and sings almost every song. Leading lady Adrienne Warren is scheduled to perform six of he eight shows per week; at this performance, however, it was not the regular alternate but understudy Aisha Jawando who took on the role. A supremely talented young artist who surely has a dazzling future ahead, Jawando gave a blistering performance, belting out the songs with unflagging power, acting the role with great empathy and rocking the dance moves with polished flair. (The photo below shows Jawando in her usual role of Tina’s sister, Alline)

Experienced director Phyllida Lloyd creates a more grounded atmosphere than the bubble gum fizz of Mamma Mia!, ensuring that the drama of the physical and verbal abuse land with great impact. Even with Turner’s later success a well known fact to the audience, the tension of her lean years is keenly felt. 

Acclaimed design Mark Thompson recreates iconic looks while avoiding camp. Scenery is simple and flows smoothly, generally rising from beneath the stage. A large rear screen shows video images, for which designer Jeff Sugg has made the curious choice of making out of focus. With the input of lighting designer Bruno Poet, the final concert is the show’s most spectacular sequence, ending the night on a real high. 

The supporting cast members play a much more interesting range of roles than that of the glorified back up dancers of The Cher Show. 

Kobna Holdbrook-Smith currently has the toughest job on the West End, playing a lead role that the audience absolutely hates. Ike Turner is shown as a drug-abusing, womanising wife-beater whose only comeuppance is an eventual slide into obscurity. 

A key player in Tina’s career resurgence, Melbourne’s own Roger Davies enters the story just as he is about to launch Olivia Newton John’s own successful new direction with “Physical.” Roger was played with ready charm, at this performance, by Gavin Alex.

Enjoyment of Tina depends on tolerance for bio-musicals, but it would take a hard heart not to take some inspiration from Turner’s story. And the songs are “The Best.”

Tina: The Tina Turner Musical was reviewed 7.30pm Monday 21 January 2019 at Aldwych Theatre, London.

Photos: Manuel Harlan

An ideal choice for an off-West End season, Violet features an exceptional lead performance from Kaisa Hammarlund.

Very conveniently located, Charing Cross Theatre is one that musical theatre fans living in or visiting London should always check to see what new show is playing. In an interesting move, the auditorium has been reconfigured, moving from a traditional proscenium arch space to a central floor-level stage with a bank of audience seats facing each other on two sides. The floor of the stage is a revolve, making it easier for a director to include both sides of the audience even in relatively static scenes. 

Violet joins Caroline, or Change as the second Jeanine Tesori musical to be currently playing in London. While the focus of Violet is not as squarely centred on civil rights as Caroline, or Change, its 1964 setting includes references to the slow end to segregation, and the two musicals make a complementary pair. Tesori is certainly showcased as a very fine composer in these works.

Based on Doris Betts’ short story The Ugliest Pilgrim, Violet echoes The Wizard of Oz as Dorothy  Violet sets off down the yellow brick road on a greyhound bus to see the wizard preacher. Violet’s new friends are soldiers Monty and Flick, both unfazed by her facial scar having seen worse at war. Making the equivalent realisation to Dorothy’s discovery that the wizard is just a simple man behind the curtain, Violet also learns that changes can only come from within.

This production being the fourth time Man in Chair has reviewed Violet, the question arises as to how well a new audience would follow the story. The bus is again represented by chairs, but director Shuntaro Fujita spends such a tiny amount of time with the chairs in the bus formation that the ongoing travel / rest break scenes become blurred. Having the ensemble cast off stage during some bus scenes does not help. The fractured timeline, however, is clear, with the abstract interpolation of Violet’s reminiscences of life with her father being one of the strongest features of Brian Crawley’s book and lyrics.  

As is usually the case, Violet’s facial scar is not represented with make up; rather, it is conveyed by the deportment of the actress playing Violet and by the reactions of the other characters to seeing her face. Kaisa Hammarlund immerses herself completely in the role, deftly balancing the young woman’s low self esteem with her plucky determination. Hammarlund sings the large role with compelling vocal energy, all the while earning the audience’s affection. In a show where the leading lady’s performance is crucial, Hammarlund delivers the heart of Violet in abundance.

Music director Dan Jackson successfully creates the hillbilly twang of Tesori’s characterful score. Sound design places the band a little forward in the mix, but this may still be being adjusted. 

Set designer Morgan Large brings Violet’s prayer book to life with large clippings of bible verses and facial fragments of beautiful women pasted as a collage on the two sides of the stage. Jonathan Lipman’s costumes have the authentic patina of hardier times, with the soldiers’ off-duty uniforms looking suitably well maintained. The violet theme of Violet’s costume is cute but perhaps a little too obvious. 

Matthew Harvey gives handsome, hardened corporal Monty just the right amount of humanity for his brief flirtatious romance with Violet to compute. Jay Marsh provides the alternative mix of hardness and heart as compassionate African American sergeant Flick. With a warm, smooth singing voice, Marsh is heard to great effect in upbeat power ballad “Let it Sing.”

Kieron Crook gives a neatly understated performance as Violet’s father, not allowing any sort of Southern caricature to colour the role. In an intelligently calibrated performance, Kenneth Avery-Clark gives the TV Evangelist the precise balance of hokey showmanship and authentic tenderness. With both actors so strong, Violet’s scene with the Preacher is the best I have seen it played.

Great value compared to the ever escalating West End prices, Violet is a simple, heartwarming show that deserves to find an audience in London. 

Violet was reviewed 7.30pm Tuesday 22 January 2019 at Charing Cross Theatre, London where it plays until 6 April 2019.

Photos: Scott Rylander

Imaginatively conceived and artfully staged, new musical Hadestown is a heady combination of music, dance and mythology.

Hadestown joins 2016 Broadway musical Natasha, Pierre and the Great Comet of 1812 as the only two musicals to take Hamilton’s lead and further break the musical theatre mould. It is no surprise the Hadestown and The Great Comet share the same director, Rachel Chavkin. 

While Hadestown has the same communal stage energy between leads, ensemble and band, it has only a fraction of the story to tell compared to The Great Comet, which was heavy with characters, design elements and audience interaction. Hadestown is a slow burn, riffing on the Greek mythology of Orpheus and Eurydice in a modern, yet timeless, setting. 

Orpheus, a poor songwriting boy, and Eurydice, a simple girl, meet cute and quickly fall in love. On her annual six month trip above ground, Persephone tempts Eurydice to join her in Hadestown. When Orpheus makes the trek to rescue Eurydice, Hades releases her on the condition that Orpheus not look back at Eurydice during their ascent…

Chavkin again helms a production in which there is terrific synergy between all of the creative elements. Set designer Michael Krass has fashioned a curved, multi-level wooden set with plenty of shared space for musicians and performers. The warm tones of Michael’s Krass’ costumes complement the rich wood grain of the set, and the whole picture is beautifully set off by Bradley King’s lighting. For a single set show, there are plenty of tricks in both the set and lighting to create ongoing visual appeal. 

American singer/songwriter Anaïs Mitchell performs the rare the triple crown of writing music, lyrics and book for Hadestown, having originally recorded the work as an album in 2010. Mitchell collaborated with Chavkin to develop the work for the stage. Hadestown transfers to Broadway in March after this season at London’s National Theatre.

Music direction is at a premium in Hadestown, with Liam Robinson crafting a rich, smooth blend of vocal and instrumental music. The sung-through show is operatic in style yet far from classical, being more of a mix of American folk music and rhythm and blues. On piano/accordion, Mike Guy leads six fellow musicians in the tight onstage band. Nathaniel Cross is a particular standout on trombone. In a classy move, each of the band members is introduced and applauded during the first song of act two. 

Storytelling unfurls at a languid pace, making Hadestown more of an experience than a drama. Still, the combination of eye-catching design, accessible music, energetic choreography and charismatic performers means the show is never less than compelling. 

Choreographer David Neumann has created a fascinating dance vocabulary of angular, muscular moves for the show, incorporating the ensemble of seven very talented performers into as many numbers as possible.

Hadestown has been cast with an eye for Broadway, with each of the five leads having significant experience. 

Boyishly handsome leading man Reeve Carney (title star of Spider-Man: Turn off the Dark) plays Orpheus as a drifter filled with self doubt, neatly setting up the character’s climactic challenge. Singing with tender sweetness, Carney also occasionally accompanies himself on guitar.

Looking far too young and fresh to already have played a leading role on the West End and Broadway (including a Tony Award nomination for Best Actress), Eva Noblezada (Miss Saigon) brings innocent charm to Eurydice, keeping the character entirely sympathetic despite her for decision to decamp to Hadestown. 

Patrick Page (also from Spider-Man: Turn off the Dark) brings his extraordinarily deep bass voice to the malevolent role of Hades. Amber Gray blends glamour and vulnerability as Persephone, devoted wife of Hades. 

Broadway legend André De Shields (The Wiz) is Hermes, a kind of narrator / ringmaster who presides over the action with a knowing grin.

Carly Mercedes Dyer, Rosie Fletcher and Gloria Onitiri complete the cast as the three glamorous Fates. The trio’s vocal harmonies are rather divine. 

Hadestown will be a tough show to beat for Best Musical at this year’s Tony Awards. 

Hadestown was reviewed 7.30pm Wednesday 23 January 2019 at Olivier Theatre, National Theatre, London where it plays until 26 January 2019.

Hadestown begins its Broadway season as Walter Kerr Theatre, New York on 22 March 2019.

Photos: Helen Maybanks

Ever the Big Men in Town, the Jersey Boys are back for their third Melbourne season and their music remains an energetic, infectious joy.

The gold standard of juke bio-musicals, the huge success of Jersey Boys is responsible for a slew of copy cat shows, a trend that is more prevalent than ever some 13 years after the show’s 2005 Broadway premiere. For every bona fide hit like Beautiful: the Carole King Musical and Tina: The Tina Turner Musical, there are cash grabs like Summer: The Donna Summer Musical, On Your Feet: The Story of Emilio and Gloria Estefan and Aint Too Proud: The Life and Times of The Temptations. Even The Cher Show, which shares one of the same book writers as Jersey Boys (Rick Elice), is an inflated bore.

Jersey Boys benefits from the killer combination of a compelling backstory and a catalogue of genuinely beloved hits, the majority of which were penned by band member Bob Gaudio and producer Bob Crewe. The masterstroke of Elice and co-writer Marshall Brickman is to only include snippets of songs, especially in the early years, until the arrival of the Big Hits. Early exposition fairly zips along, with plenty of one-liners to add to the enjoyment.

The second inspired decision in the book is to have each of the Boys narrate a quarter of the show, so Tommy DeVito, Gaudio, Nick Massi and Frankie Valli have a “season” each. Compared to the eye rolling conceit of The Cher Show where three actresses play Cher (and Summer, where three actresses play Donna Summer), Jersey Boys is golden.

An impressive feat of this return season is the inclusion of talent from the 2009 and 2013 seasons. After serving as musical supervisor in 2013, original Australian conductor Luke Hunter returns to helm the band, joining Vicky Jacobs (keyboard/vocals) and Dave Hatch (drums). Glaston Toft deservedly owns the role of Nick Massi, with Enrico Mammarela also completing his third time round as Gyp de Carlo (and others). 2013 cast member Cameron MacDonald is promoted to the role of Tommy DeVito, while 2009 swing Luigi Lucente moves up to the role of Norman Waxman (and others)

Although there is much affection for the music and sound of The Fours Seasons, producers of the current season are taking a bit of a gamble by placing a reduced production in a larger theatre. The set, down from three rear screens to one, is somewhat dwarfed by the mighty Regent Theatre stage. The music is compromised by reducing the band from ten players to seven, omitting the trumpet and two reeds. Still, associate sound designer Julian Spink and associate lighting designer Hugh Hamilton have the show sounding and looking grand, filling the vast auditorium with music and colour.

Ageless “veteran” Glaston Toft matches Massi’s bass guitar music with mellifluous bass voice, as commanding in dialogue as it is in song. Unsurprisingly, Toft has the comic timing of Massi’s dour outlook timed to perfection.

An exciting aspect of the return season is the showcasing of new and up and coming stage talent.

Depsite the equal sharing of narration, the structure of Jersey Boys allows Frankie Valli to naturally emerge as the star, as Frankie has the final “season,” when the singer goes on to become a legend in his own right. To say that Ryan Gonzalez fulfills this aspect of the role would be a massive understatement. Despite all the talent of his co-stars, Gonzalez somehow melts their memory away as the show tightens its focus on Frankie. Gonzalez gives a masterclass in understated acting, bringing the audience to him so strongly that you could have heard a pin drop when Frankie’s darling daughter Francine passed away. Gonzalez nails Frankie’s sky-high vocal range with seemingly effortless ease, also performing the choreography with debonair flair. This is a sensational star turn that is a key attraction of the current season.

In his biggest role to date, established stage presence Cameron MacDonald plays squarely against type as egotistical narcissist Tommy DeVito, successfully playing the role with unflinching villainy and singing with better vocals than the character even (arguably) deserves.

Highly likable 2017 VCA graduate Thomas McGuane gives a breakout performance as Bob Gaudio, delivering pristine vocals and winning the audience over with his charming smile.

Glenn Hill keeps the camp affectations of producer Bob Crewe to a tasteful medium. Luigi Lucente brings authentic gravitas to mob moneyman Norm Waxman. Hill and Lucente are particularly successful at changing their appearance and body language in a range of other roles.

Bright eyed Scott McConnell is good value in a variety of supporting roles. Likewise, Josh Mulheran is at his exuberant best as Joey (Joe Pesci), also adding value in other ensemble roles.

Enrico Mammarella completely inhabits the role of weary Jersey mob identity Gyp DeCarlo with consummate ease. Rutene Spooner brings a lively presence to the stage whenever he is featured, beginning with his role as the French Rap Star at the very top of the show.

Cristina D’Agostino nails the pained expression of Frankie’s long-suffering, yet somewhat hypocritical wife Mary Delgado. Mackenzie Dunn captures the innocence of Francine to moving effect.

Standing out amongst the three talented female cast members is relative newcomer Mia Dabkowski-Chandler, who is playing the collection of roles that brought Verity Hunt-Ballard to the spotlight in 2009. Dabowski-Chandler shows off her terrific vocal prowess in the recording booth as Miss Frankie Nolan, later fleshing out the small but significant role of reporter Lorraine in memorable fashion.

Newcomers to Jersey Boys are sure to enjoy the memorable music and terrific stage talent. Those who have seen the show (possible more than once) may be harder to coax back, but the performance of Ryan Gonzalez is certainly a compelling attraction.

Jersey Boys plays at Regent Theatre, Melbourne until 14 April 2019.

Photos: Jeff Busby

A brilliant choice for the first musical to be presented as the annual Handa Opera on Sydney Harbour, West Side Story is given lavish, large scale treatment in what is essentially a highly respectful, traditional production.

Director Francesca Zambello operates under the old truism if it ain’t broke don’t fix it, avoiding any temptation to impose some sort of “concept” and simply allowing the inherent quality of the time honoured Broadway classic to speak for itself. Lovers of West Side Story will thrill to the spectacular design, sensational dancing and gorgeous singing, all performed by a massive cast of 40.

An extraordinary piece of musical theatre when it premiered in 1957, recent productions of West Side Story have reached new heights thanks to the onset of arts training institutions. A glance at the cast biographies reveals the extent to which higher training is a common expectation for the musical theatre stage. Filling the company with trained triple threats means that not only can Leonard Bernstein’s songs be heard at their best and Jerome Robbins’ recreated choreography look dazzlingly sharp, but also the stage is filled with impactful, authentic character work.

While the design has something of a timeless feel, Zambello ensures that the performers are imbued with the lively 1950s zeitgeist created by book writer Arthur Laurents and lyricist Stephen Sondheim. The concept of kids who are playing out of their depth is clearly transmitted, heightening the inevitable tragedy that the audience can only watch with helpless defeat. In particular, having Anita as a younger, more vulnerable character makes the taunting scene all the more harrowing. Zambello brings out rich character detail in roles such as Baby John (Oliver Lacey), Diesel (Rubin Matters) and Anybodys (Luca Dinardo), to name just a few.

Well experienced at utilising the vast space of the Harbour stage, designer Brian Thompson crafts a visually striking streetscape decorated chiefly with graffiti. The two halves of the Jets and Sharks’ turf are designated with street art (literally, a shark and a jet) as well as the characters’ names being tagged on walls. A giant scrawling of “Go Home” brings the xenophobic immigration culture clash at the heart of the show hurtling into the present day.

The scale of production gives a sense of actual location for the story. On opening night, mother nature reminded us that the gang members exist on the street by delivering a heavy downpour of rain. Looking for a silver lining, John’s Rayment’s richly coloured lighting looks even better when reflected from wet black asphalt streets. 

Jennifer Irwin’s costumes balance authenticity with theatricality to attractive effect. Dressing each cast member individually, the Jets’ sport shades of blue and indigo in chambray and denim while the Sharks flash a range of the fiery colours of red, yellow, purple and orange. The individuality of the costumes strongly supports Zambello’s character work with the talented cast.

Maestro Guy Simpson works his magic with Bernstein’s fiendishly complex score, delivering exciting rhythms and crisp vocal harmonies. Sound engineer Des O’Neill ensures that the intricate work of 29 players in the orchestra is delivered with balance and clarity, the overall sound quality suiting a musical much better than it usually suits an opera. 

Of all the creative aspects, the one that is going to most impress audiences is the brilliant choreography. In fact, the standard is so high that many audience members may simply take it for granted. Not only are the cast members performing on a steeply raked stage, and possibly in the rain, but the wide stage area creates an additional challenge of having to move much further and faster than in a traditional proscenium arch theatre. Choreographer Julio Monge has done a sterling job of respectfully recreating Robbins’ iconic choreography whilst also expanding it for the large cast and even larger space. The terrific result makes this season of West Side Story a must-see for lovers of stage dance, not just for lovers of musical theatre. 

Opera Australia has presented several musicals over the past few years, but this is the first time that the lead performers have also sung operatic roles for the company. 

Alexander Lewis plays the role of Tony with earthy charm, singing with an easy, comfortable sound that steers clear of operatic tendencies. As fine a singer as he is, Lewis impresses even further with the strength of his acting, delivering Tony’s dialogue as if it is being spoken for the first time. 

Having already played Maria in the 2010 Australian tour of West Side Story, soprano Julie Lea Goodwin takes her performance to the next level, singing with heavenly sweetness, and acting with an expertly judged balance of innocence and burgeoning sexuality. Goodwin and Lewis enjoy strong chemistry and sound wonderful together in duets. Breaking with custom, Goodwin, as Maria, sings the dreamy ballad “Somewhere,” a choice that has evidently been made due to the sheer loveliness of her vocals. 

Mark Hill is a sensational Riff, bringing an electric masculine energy, dancing superbly and singing up a storm. A vibrant singer, Karli Dinardo is an unusually delicate Anita, and the role is all the more interesting for this. Puerto Rican ballet/musical theatre performer Waldemar Quinones-Villanueva brings a spiky sensuality to Bernardo, a role he dances with dynamic bravado.

Of the four adults, Scott Irwin particularly impresses with his unflinching delivery of the ugliness of Lt. Schrank’s vitriolic racism. 

An event in itself, Handa Opera on Sydney Harbour is all the more accessible this year with this popular choice of show. West Side Story is produced and performed to the highest quality, and attendance is highly recommended. 

Handa Opera on Sydney Harbour: West Side Story plays at Fleet Steps, Mrs Macquaries Point, Sydney until 21 April 2019. 

Photos: #1 Hamilton Lund, #2, #3, #4, #5 Prudence Upton; #6 Kenneth Saunders

It’s Broadway meets Broadbeach, as hotly anticipated Muriel’s Wedding the Musical arrives on the Melbourne stage with a sizzling splash.

Musical stage adaptations of movies have been all the rage ever since The Producers blew away Broadway in 2001. More than just another example of this trend, Muriel’s Wedding proves particularly ripe for the musical theatre treatment, already existing in a fancifully heightened reality of bogan beach bimbos and sundry salacious Sydneysiders.

The test of a stage adaptation is whether it adds anything of value to the original property. 2019 off-Broadway musical Clueless sat on stage like a damp dishrag, faithfully yet boringly adapted by original movie author Amy Heckerling, who was foolishly working alone; audiences may as well have just stayed home and re-watched the actual movie.

As well as expertly judging every opportunity to musicalise the world he created, book writer PJ Hogan’s masterstroke lies in updating the setting to the present day. Looking back, it now seems incredible that the original Muriel existed without the presence of social media. In setting the show in the present, Hogan and the creative team have also made a piece of musical theatre for today with brisk, eye catching scenes, snappy music and contemporary language. No need to double check Oscar Hammerstein II’s libretto for Oklahoma! to be sure that Curly never described Laurie as “fucking amazing.”

Hogan retains the much-loved catch phrases from his 1994 movie, following the original story and characters in the way that they would be imagined today. Much as the movie can often seen as lightweight fare, Muriel’s Wedding the Musical is an unflinching black comedy, pulling no punches in regard to the dark aspects of life that have Muriel reaching for the ABBA tunes or running for the nearest bridal boutique or seeking a groom on match.com. In writing a distinctly Australian musical, Hogan neatly avoids the cultural cringe – no need for the audience to cringe when the characters are all cringing at each other.

The kernel of ABBA songs in the movie is expanded into a healthy sprinkling of their hits throughout the show, sung by cheerfully glossy incarnations of the band itself (played by Laura Bunting, Jaime Hadwen, Evan Lever and Maxwell Simon). This conceit pays off handsomely when Muriel’s fragile mother Betty has her own interaction with the singing Swedes, when her pitiful arc comes to its tragic conclusion.

ABBA’s presence is just a treat-sized portion of the musical, the main serving coming from the dynamic team of Kate Miller-Heidke and Keir Nuttall. Easily the very best musical score that Global Creatures has produced, Miller-Heidke and Nuttall’s music is instantly accessible, brimming with witty character details and frequently driving the storytelling apace.

Muriel’s mean girl frenemies rap in “Can’t Hang,” her siblings percussively proclaim their cricket commentary in “Meet the Heslops” and Brice gets manly advice in “Never Stick Your Neck Out.” The show has an opening number for the ages in “Sunshine State of Mind,” and yet another when the focus shifts to “Sydney.” Muriel’s inner voice brings out the songwriters’ sweetest work, from I wish song “The Bouquet” to Muriel’s heartbreaking eulogy “My Mother.”

An expert at guiding new musicals to the stage, director Simon Phillips is in peak form with Muriel’s Wedding. Creative elements are deftly interwoven to form a sophisticated whole. Scenes dissolve with cinematic flow, the eye always drawn to key action. Overlapping scenes, brief snippets of reprised songs, sharply drawn characters and crisp storytelling are all part of the quality on show.

The story moves from sleepy, superficial Porpoise Spit to the excitement and freedom of Sydney. Designer Gabriela Tylesova switches colour palettes from sunny citrus tones for the central coast to quirky costumes in black for Sydney.  Likewise, choreographer Andrew Hallsworth creates a distinct dance vocabulary for the two locations. Hallsworth’s work is characteristically breathless, punchy and witty, always appearing as much fun to perform as it is to watch.

Tylesova excels herself in crafting unique costumes that are the external embodiment of the internal character. No two costumes are the same, with a plethora of patterns and prints in use. Following an extended sequence of bridal dresses, Tylesova tops them all for Muriel’s actual wedding dress, an explosion of ruffles and rosettes, which, combined with riotous pink and red bridesmaid dresses, clearly signifies the superficial tastelessness of the affair. At the other extreme, Betty Heslop’s terry toweling tracksuit proclaims pathetic plainness to perfection.

Using dynamic projections, Tylesova adds magical sparkle to ABBA’s fantastical stage appearances. Choice lighting designer Trent Suidgeest supports the lush onslaught of rich colour with myriad lighting cues that contribute mightily to the irresistible appeal of the design.

Newcomer Natalie Abbott is a delightful discovery as Muriel. Performing with unselfconscious abandon, Abbott deftly balances brashness with vulnerability, creating a naive persona without cloying sweetness. Carrying the show on her young shoulders, Abbott makes the role her own, wining an abundance of audience affection along the way.

Also making his professional debut is Jarrod Griffiths, giving a winning performance as Muriel’s utterly adorkable beau, Brice.

Stefanie Jones takes her career to the next level with a breakout performance as Muriel’s true friend, Rhonda. In a show that is already high vitality, Jones lifts the energy even higher when Rhonda arrives on stage. Jones has a thrilling belt, plays pathos without schmaltz, and is not afraid to appear without makeup.

A welcome holdover from the initial 2017 Sydney Theatre Company season, Christie Whelan Browne puts her finely honed comic timing to great use as bitching bridezilla Tania Degano. Fellow original cast member Stephen Madsen proves he is more than the extraordinarily chiseled physique we initially see of Alexander Shkuratov, also exhibiting impressive lungpower, an appealing singing voice and nicely underplayed comic chops.

David James is every bit the sweaty middle-aged businessman as self-centred, self-serving, self-deluded Porpoise Spit mayor Bill Heslop, the perfect character to have his big song as the ring tone of his mobile phone.

Bringing an authentic connection to the movie, where she played mean girl Nicole, Pippa Grandison immerses herself in poor dear Betty’s depressive malaise, readily eschewing the usual flourishes of a leading lady of the musical theatre stage.

Chelsea Plumley’s clarion soprano rings out high and true whenever wanton woman Deidre Chambers “coincidentally” turns up. Chameleonic comic Dave Eastgate reinvents himself as four larger than life characters, scoring ready laughs in each incarnation. Jacob Warner is intensely teenaged as footy-mad youth Perry Heslop.

When not centre stage, the lead players prove good sports for donning disguises and joining the ensemble.

Imaginatively conceived, ingeniously written and lavishly produced Muriel’s Wedding is surely the most impressive original musical ever created in Australia. Brimming with imagination, inspiration and joy, Muriel’s Wedding is compulsory viewing for all lovers of musical theatre.

Muriel’s Wedding the Musical plays at Her Majesty’s Theatre, Melbourne until 16 June 2019 before touring to Sydney.

Photos: Jeff Busby