Opera Australia complements their dazzling new outdoor production of West Side Story in Sydney with the return of this traditional staging to Melbourne, differentiating the casting by showcasing a new generation of fresh young triple threats in this (indoor) Australian tour.

Director/choreographer Joey McKneely’s staging of West Side Story has been seen around the world and back again over the past fifteen or so years. The 2010 Australian tour of this same production introduced performers who remain in the spotlight today; from leads Josh Piterman, Julie Lea Goodwin, Rohan Browne and Alinta Chidzey to ensemble members such as Blake Bowden and Monica Swayne.

Ranking high in the Top Ten of their very best work, The Production Company’s West Side Story played on this same stage less than four years ago. As excellent as the direction, choreography and performances were in that staging, this current time-honoured production has a clear edge in terms of sheer experience of the creative team, with Joey McKneely tracing his involvement with the show back to original director/choreographer Jerome Robbins personally teaching him the steps.

Working with the young cast, McKneely highlights the alternately playful and reckless immaturity of the characters and the utterly senseless tragedy of their plight. Reflecting the level of musical theatre training available in Australia, the choreography is expertly realised, and is performed with pristine precision. McKneely’s recreation of the Dream Ballet (“Somewhere”) is a particularly thrilling and affecting sequence. (By contrast, the stark simplicity of the Dream Ballet in the current Sydney season is one of the very few weaknesses of that version.)

While the 2010 season of this production brought 18 musicians to the pit of Melbourne’s Regent Theatre, this time there are a whopping 31 members of Orchestra Victoria playing at each performance. Conducted by veteran musical supervisor Donald Chan, the music sounds absolutely superb, especially as presented in Matthew Ground’s excellent sound design. Over and above the thrilling stage talent, the orchestral music is a clear highlight of this season.

Paul Gallis’ giant fire escape sets look sufficiently grand on the vast State Theatre stage. Indoor scenes such as the bridal shop and Maria’s bedroom are whipped onto the stage during carefully timed partial blackouts. Rear black and white projections conjure a sense of old world New York. A lack of indoor setting for Doc’s drug store compromises a couple of scenes, but its absence will not be noticed by most theatregoers.

Having made audiences laugh with his goofy smile in The Book of Mormon, Todd Jacobsson has catapulted from ensemble member to bona fide leading man in West Side Story. Clearly conveying Tony’s attempt to draw himself out of gang life with his clean-cut appearance and gentle manner, Jacobsson also expertly sidesteps any mawkishness in the whirlwind romance, instead exuding an authentic sense of enthralment that infectiously spreads to the audience. Best of all, Jacobsson’s singing of the classic role is a dream, his creamy supple tone judiciously expanded with bursts of powerful head voice to terrific effect. With further experience and the full development of vocal control, Jacobsson is sure to be a musical theatre perfomer of great renown.

Making a highly auspicious professional theatre debut, Sophie Salvesani exhibits a heavenly soprano voice. Her high C at the end of “Tonight Quintet:” is to die for. Salvesani’s petite frame makes her Maria appear all the more vulnerable. Salvesani’s highly focused performance ensures that Maria’s journey from impatient, wide-eyed girl to dreamy lover to broken young woman (which takes place over a mere two days) is as authentic as it is impactful.

Chloe Zuel’s stage experience allows her to bring an edge of maturity to Anita, establishing why the young woman is a natural leader amongst the Shark girls. In her highest profile lead role to date, Zuel displays wonderful comic timing in addition to first-rate singing and dancing skills. “America” is a sensational highlight of act one, largely to Zuel’s performance. Zuel’s aggressive Anita contrasts effectively with Salvesani’s vulnerable Maria in “A Boy Like That; I Have A Love.” Zuel’s emotional outpouring at the end of the “Taunting Scene” ends her arc on a very affecting note.

Lyndon Watts gives a neatly calibrated performance as sultry Sharks leader Bernardo, unspooling the character’s cool confidence as his tension and fear threaten to bubble over into anger. Dressed in sharp red and black, Watts’ performance makes Bernardo a compelling figure at all times, and his absence is a loss in act two.

Noah Mullins also makes a notable professional theatre debit as Jets leader Riff, singing and dancing with easy confidence.

As an example of the youth of the cast, the scene where A-Rab (Nicholas Collins) and Baby John (Christian Ambesi) rile up pot-bellied Officer Krupke (Dean Vince) is a very effective one, with the two boys coming across very convincingly as frightened teens.

The fresh excitement of this cast should override any hesitation from musical theatre fans who have already seen this production of West Side Story (or similar). Australian musical theatre is in healthy shape indeed if West Side Story indicates the future standard of our performers.

Man in Chair also reviewed Handa Opera on Sydney Harbour: West Side Story.

West Side Story plays at State Theatre, Arts Centre Melbourne until 28 April 2019. West Side Story then tours to Sydney, Canberra and Adelaide.

Photos: Jeff Busby

An all too rare independent musical theatre production, the new Australian staging of Barnum sees Todd McKenney embrace the chance to play iconic huckster P. T. Barnum.

The current season benefits from the spotlight that 2017 movie hit The Greatest Showman shone on Mr Barnum while simultaneously being outshone by the glittering spectacle of the modern Hollywood creation. Coming so soon after the motion picture, the effect of watching the stage production is akin to watching The Sound of Music on stage and yearning for the alps of Salzburg.

Adding to the challenge is the hokey nature of the show. Despite its marvellously melodic Cy Coleman score, the musical’s simple structure has been left behind in the new millennium, in which shows such as Hairsprayand Hamilton deftly integrate music and storytelling, and sidestep sentimentality with a knowing wink.

The staging handsomely fills the stage height of the often-neglected Comedy Theatre, setting the tone for a nostalgic, rose-tinted journey. Designer Dann Barber fills the soaring, weathered circus tent with plenty of authentic paraphernalia that bring atmosphere and a touch of circus magic to the story. Most impressive is a central circus caravan with a pop-out stage that is re-set to showcase various attractions curated by Barnum.

Emerging director Tyran Parke has previously demonstrated his insight and intelligence, proving here that he can capably handle a larger scale production. Given that one of his key strengths is highlighting the emotional undercurrents of a work, Parke is somewhat hamstrung here by the slender, superficial nature of Mark Bramble’s book. In a characteristically clever touch, Parke replaces the male ringmaster with a female performer who also portrays a great many featured characters.

In this key ringmaster role, Parke is blessed to have the dazzling talent of Kirby Burgess. Looking spectacular in dark purple velvet with gold trim, Burgess gives her most memorable musical theatreperformance to date, incorporating aerial acrobatic stunts, myriad accents and physical characterisations, and dynamite vocals, all performed with highly polished flair. This breakout performance brings a high degree of anticipation towards Burgess’ next stage appearance, whatever that might be.

While the setting leaves little central stage space, choreographer Kelly Aykers keeps energy high, working closely with circus director Zebastian Hunter to incorporate the various talents of the cast members. Circus feats are well calibrated across the evening, leaving some spectacle in reserve for climactic number “Join the Circus.” On opening night, several of the acrobatic stunts were out of synchronisation with Burgess’ introductions, resulting in applause overlapping dialogue; this will surely be fine tuned as audience reaction is incorporated into the timing.

Given the focus on circus stunts from the ensemble, the quality of vocals, especially harmonies, is very high. On keyboard, music director Stephen Gray leads nine other musicians in a jaunty rendition of the delightfully catchy score.

Rachael Beck makes a welcome return to the mainstream musical theatre stage as Charity Barnum, long suffering wife of P. T. Barnum. In excellent voice, Beck’s singing is a pleasure to hear. Sitting somewhere between sympathetic and forbidding, Beck’s characterisation of Mrs Barnum does not quite reach the full impact of the role, missing the tetchy edge of a sternly intimidating matriarch with a hard-won heart of gold.

Suzie Mathers delivers delightful soprano vocals as Swedish Nightingale Jenny Lind. In his professional debut, Joshua Reckless exhibits a fine singing voice as Tom Thumb.

McKenney sings the large title role with ease, maintaining an ever-twinkling sparkle in his eye. Direct interaction with the audience came close to disrupting the character and flow on opening night; this aspect will hopefully be judged carefully as the season progresses. Top marks to McKenney for successfully navigating his way across the high wire on opening night (this puts him streets ahead of the abysmal effort I was unlucky enough to see off-West End in London last year)

Musical theatre fans who seek the comfort of nostalgia and sentimentality will be sure to enjoy Barnum. Setting aside difficulties with the dated material, the independent production should be a source of great pride.

Barnum plays at Comedy Theatre, Melbourne until 2 June 2019.

Photos: #1, #3 Jim Lee; #2, #4, #5, #6 Jeff Busby

Benefitting from CLOC Musical Theatre’s traditionally boffo level of spectacle, the heart and sole soul of Kinky Boots lights up the Melbourne stage once more.

Creating a worldwide hit, book writer Harvey Fierstein adapted a little-known movie for the stage and pop icon Cyndi Lauper penned an infectious, modern score. Closing last month after six years on Broadway, Kinky Boots won six 2013 Tony Awards, including Best Musical.

Like its predecessors The Full Monty and Billy Elliot, Kinky Boots takes a working-class English setting and infuses a message of love and hope amongst the daily struggles. The message of Kinky Boots extends to one of acceptance, as a set of Northampton factory workers come to embrace the artistic input of an ostentatious drag queen. Assuming control of the shoe factory after his father’s demise, Charlie Price has his own battle to accept small town life, away from the sophisticated allure of London.

Fierstein’s book is not perfect, with the key drama of act two hinging upon an entirely unconvincing meltdown from Charlie, who suddenly turns against the loyal workers and against new friend and business partner Lola. Lauper’s tremendously appealing songs suit the modern musical theatre style, and yet she finds it all too hard to shake the pop music convention of infinitely repeated lyrics.

Reservations about the show itself aside, CLOC’s production is a palpable hit, bursting with energy and heart. The production really takes flight in full company numbers, when the full range of creative elements are combined to dazzling effect. Half way through act one, “The Sex in the Heel” is a terrific example of this.

Highly experienced director Chris Bradtke creates a believable portrayal of life within the factory, achieving particular success with the show’s inclusive casting requirement for a range of ages and body types. Choreographer Steve Rostron keeps the technical level of dance relatively simple, focusing instead on adding spectacle by the filling all levels of the space with movement. Even Brad Alcock’s lighting seems to dance, further enhancing the visual effect of the big numbers.

Of the creative team, the work of musical director Dan Heskett is a key highlight. Not only do the eleven musicians, including Heskett on trumpet, expertly recreate the variety of pop styles required by Lauper’s score, but the full company vocals sound absolutely wonderful. The quality of the music is supported by the reliably pristine, immersive sound design of Marcello Lo Ricco.

Flowing out past the proscenium arch, the set design of Brenton Staples is as grand as it is functional. With the orchestra pit covered, the action plays in close proximity to the audience, creating a degree of intimacy in the large auditorium. Costume designer Victoria Horne excels herself yet again, providing costumes that balance realism and grit with flashy glamour. The kinky boots themselves are beautifully made and create quite the spectacle when seen on the full cast in the finale. Lola’s Angels benefit from the expert stylings of wig and make-up designer David Wisken.

Given that professional productions in Australia can struggle with accessing a diverse range of performers, it is understandable that non-professional companies face the same, or greater, challenge. Although the character of Lola was created to be played on stage by a man of colour, the role does not involve any particular elements related to race and so casting is not specified by the rights holders.

CLOC has discovered a fantastic new talent in Aaron Taylor, who gives a sensational performance as Lola. Singing up a storm in his big numbers, Taylor also shines in the tender ballads, with Not My Father’s Son” being a particularly resonant moment. Not only is Taylor completely comfortable in Lola’s skin, he also successfully portrays the character’s discomfort when his alter ego Simon arrives at the factory wearing male clothes. Taylor infuses Lola with the bubbling merriment of Sally Bowles; I half expected to see that she paints her fingernails green.

Well cast as Charlie, Owen Clarke creates a likable persona and sings the score with an attractive light tenor voice. At present, Clarke plays Charlie’s meltdown at the same emotional level as all his other scenes; this sequence may develop greater depth as the season progresses. Clarke successfully creates warm chemistry with all of his co-stars.

Rachel Rai brings a perky sense of fun to Lauren, a factory worker who become helplessly, and adorably, smitten by Charlie. Rai changes the performance of light charm song “The History of Wrong Guys,” delivering the song with a powerful belt to striking effect.

Geordie Worland brings an authentic masculinity to generally phobic factory worker Don, even managing to blush on cue when Don’s conservatism is challenged by Lola. The company benefits from the presence of experienced local musical theatre stalwarts, including Carolyn Bruce (Pat), Elise Stevens (Trish), Chris Rogers (George) and Richard Perdriau (Mr Price).

Tom Smithers (Young Charlie) and Sam Bourbon (Young Simon / Lola) prove to be not just precociously talented but are also very good sports in terms of spending so much time back stage as part of the their crucial but very small roles.

A cohesive character in their own right, the all-singing, all-dancing Angels are brought vividly to the stage by Daniel Baker, Jamie Bray, Dylan Henry, Cameron O’Reilly, Jonathon Shilling and Robbie Wilton.

Kinky Boots shows CLOC at their best. Relatively affordable ticket prices make this a highly recommended evening of musical theatre frivolity.

Kinky Boots plays at National Theatre, St Kilda until 1 June 2019.

Photos: Ben Fon

A fringe show juxtaposed into a mainstream season, Lazarus trades the safe for the surreal, presenting David Bowie’s cherished music in a decidedly enigmatic experience.

Beginning their 21^st year, The Production Company makes a bold departure from traditional fare, supporting the rather radical choice of musical with an almost entirely new creative team. The gamble pays off in regard to the striking quality of the staging, a standard matched by the extraordinary cast.

Enjoyment of Lazarus will largely depend upon an audience member’s relationship to the music of Bowie. Musical director Jethro Woodward joins just seven fellow musicians in The Production Company Orchestra to create a rich, full sound, beautifully enlivened by saxophone and trombone. With equally strong vocals from the cast of 11, lovers of Bowie’s music will thrill to the pristine musical performance.

Authorship of Lazarus is simply credited as “by David Bowie and Enda Walsh.” While it is clear that Bowie had input into the scenario, which centres upon a concept that was close to his heart, the book for the musical is by Irish playwright Enda Walsh. Inspired by the Walter Tevis novel The Man Who Fell To Earth, Lazarus presents Thomas James Newton as a mysteriously reclusive New Yorker, a wealthy man who exists on an endless supply of gin and twinkies. Alternately fearing that he cannot die or that he cannot return to his planet, Newton is tended by new personal assistant Elly and haunted by visions of past love Marylou.

Walsh’s dialogue contains snippets of narrative, but the moment one grasps upon some sort of cohesion, the scenario turns again, leaving linear storytelling behind. The only choice for an audience is to surrender to the experience and enjoy the talent and creativity on display.

Director Michael Kantor embraces the surreal nature of Lazarus, crafting an immersive trip that is high on visual and aural stimulation. The deftly integrated production indicates a very high level of collaboration between members of the creative team to fulfil Kantor’s vision. Likewise, the actors commit to the truth within the absurdity, their focused performances lending a sense of the compelling that would usually come from identifiable characters and traditional storytelling.

The staging benefits from an impressive wall of 14 vertical screens, which can individually display crisp projections but can also be transparent or frosted. Top marks to technical director David Miller for making this technology look simple. The inventive, captivating projections that run throughout the musical are credited to film director Natasha Pincus. The combination of the band overhead upstage, the screens and the other scenic elements, designed by Anna Cordingley, creates a polished stage picture that looks every bit a full production rather than the “concert” vibe long utilised by The Production Company.

The ensemble cast members portray a dazzling series of looks, supported by the imaginative costume designs by Cordingley and stunning wigs by Trent Whitmore. Choreographer du jour Stephanie Lake contributes a modern dance vocabulary, well suited to the style of the musical and expertly performed by the talented ensemble cast members.

Chris Ryan proves a noble leading man, imbuing Newton with neatly underplayed mysticism and weary defeat. Ryan’s handsome everyman appearance helps the audience to latch on to the musical’s unusual content and become involved in the action. Ryan sings with an attractive natural timbre that is a strong fit for Bowie’s sound.

Making his debut with The Production Company, charismatic performer iOTA is very well cast as creepy clown Valentine, possibly the musical’s most enigmatic character. iOTA brings his trademark steely gaze and sensual presence, and rocks the pink and purple Valentine costume (an iconic Bowie look, lovingly recreated by Cordingley) in “Valentine’s Day.”

A fascinating singing actress who is increasingly amassing an impressive body of work, Phoebe Panaretos brings a distinctly feminine presence to frazzled PA Elly, a young woman increasingly torn between the relative stability of her marriage and the exotic allure of the reclusive Newton. Panaretos delivers killer vocals, and moves with captivating style.

Making a welcome return to The Production Company, young Melbourne actress Emily Milledge gives an intriguing performance as the mysterious figure known as Girl. Quite possibly an aberration in Newton’s delirious mind, the role of Girl is given extra weight due to Milledge’s steely focus.

In a terrific breakout performance, young musical theatre performer Josh Gates steps out of the chorus and into a featured role with great flair. A hypnotic dancer, Gates reveals an exciting light rock tenor voice when he sings “All The Young Dudes” as Ben.

In the thankless role of Michael, past friend of Newton, Mike McLeish gives solid support, singing with well-judged rock tone and expression.

The ensemble cast is filled out by Mat Verevis, Baylie Carson, Jessie Monk, Kaori Maeda-Judge and Jessica Vellucci, each contributing a mix of smooth vocals, sharp dancing and characterful presence.

Lazarus is unlikely to appeal to lovers of traditional musical theatre, but for those seeking theatre with an edge the production more than lives up to its tantalising promise.

Lazarus plays at Playhouse, Arts Centre Melbourne until 9 June 2019.

Man in Chair reviewed the London production of Lazarus in 2017.

Photos: Jeff Busby

Arriving in Melbourne in killer form, the new concert staging of Sweeney Todd lives up to the tantalising promise of starry leads Anthony Warlow and Gina Riley.

With a solid set, full costumes and not a score or script in sight, the impressive short-term production is really only a “concert” in the same sense as The Production Company shows, in that the orchestra is positioned on stage. The orchestra is a key feature of the quality of the work, with 22 musicians giving a rich, polished performance. Musical director Vanessa Scammell is also blessed with a cast that is dotted with opera singers, allowing a precise, full bodied rendition of composer Stephen Sondheim’s devilishly intricate score.

In a unique concept, director Theresa Borg has the spirit of Sweeney Todd summoned forth at a séance, with the grisly story of the diabolical demon barber playing out in the rooms of a crumbling Victorian mansion. Borg makes clever use of the space, keeps storytelling brisk and clear, and successfully warms the edges of the grand guignol thriller with delectable humour.

Charlotte Lane’s dark red setting contains myriad tricks and trapdoors, which add considerable atmosphere to the spooky tale. Tom Willis adds to the sense of mystery and unease with a lighting plot that is remarkably detailed for such a short season.

The red of the set (and of the gushing blood!) is all the more striking for the greyscale costumes of Kim Bishop. Eschewing all colour is a brave move in musical theatre, but Bishop pulls it off with glossy flair, delivering abundant visual appeal. Bishop’s vision is well supported by the attractive wig stylings of Corrine Day.

Borg’s séance concept is essentially a framing device and it disappears for much of the show. Liveried footmen move props as though servants of the mansion, and the lady of the house, played by the wonderful Caroline Vercoe, hovers tremulously in the background. The cleverest link comes when the Spiritualists receive the text of “The Letter” as a message from beyond, making purposeful use of a dissonant piece of music that is usually very difficult to stage.

In the absence of a fully realised trap door for the victims to slide through from the barber’s chair, the concept of having them stand in silhouette and then lurch off almost like zombies is a good compromise from Borg.

Choreographer Jo-Anne Robinson provides neatly conceived musical staging that makes smooth use of the various heights and entry points of the stage. As with Borg’s direction, Robinson’s choreography keeps the action well down stage, facilitating strong bonds with the audience.

In a role he was seemingly born to play, Warlow is in excellent voice as Sweeney Todd, with act one thriller “Epiphany” one of the clear vocal highlights of the evening. Giving everything to the emotional arc of the character and yet never overplaying the drama, Warlow keeps the heightened character surprisingly human. He brings fresh expression to the well-known role, especially in dialogue or song that benefits from an added drip of menace. This is a thrilling star turn that has been worth the wait to see.

As the decadently wicked Mrs Lovett, Riley is a delightful foil for Warlow, all soft curves to his hard lines. Riley’s Sondheim experience pays off in a crisp musical performance that successfully clouds the sheer difficulty of the piece. Riley’s physical and facial humour are well judged, and her chemistry with Warlow is a joy to watch.

With two huge names above the title, producers of Sweeney Todd have been able to focus simply on talent, particularly vocal talent, for further casting.

Opera singer Daniel Sumegi brings a toffee-toned richness to his singing as Judge Turpin, also nailing the sneering, self-delusional smugness of the insidious man.

Recent graduate Owen McCredie gives a highly auspicious professional Australian debut as good hearted young sailor Anthony, imbuing the role with his leading man looks and sumptuously sweet tenor voice. Genevieve Kingsford brings her crystalline soprano to dear Johanna, proving once again what an excellent and intelligent actress she is in addition to being a sterling singer.

Stalwart veteran Debra Byrne gives the Beggar Woman a pitiful vulnerability, singing the role with a fragile beauty and projecting an unflagging mania. Jonathan Hickey gives a sweetly endearing performance as unfortunate urchin Tobias Ragg (Toby), singing with warmth and purity.

Anton Berezin gives strong support as the self-serving Beadle Bamford, colouring the role with just the right degree of fey dispassion. Tod Strike captures the artificial flamboyance of street barber Pirelli, contrasting this nicely with the man’s true self.

Initial performances in Sydney clearly helped to prepare Sweeney Todd for its principal season in musical-loving Melbourne at the treasued and highly suitable venue of Her Majesty’s Theatre. Musical theatre fans, especially those old enough to remember the mania for Anthony Warlow in Les Misérables and The Phantom of the Opera, should not miss the chance to see the great man as Sweeney Todd.

Sweeney Todd plays at Her Majesty’s Theatre, Melbourne until 23 June 2019.

Photos: Ben Fon

A great big old fashioned Broadway musical comedy hit, Tootsie is as delightfully fanciful as it is deliriously funny. 

Part of the current wave of movie-to-stage adaptions, Tootsie achieves particular success by building upon its source material rather than slavishly recreating it. Book writer Robert Horn eschews the heightened world of daytime soap operas, which were at their zenith when the original movie was made in 1982. 

The musical is updated to the present, with doggedly quarrelsome actor Michael Dorsey now finding fame, as dear Dorothy Michaels, on Broadway, allowing for any number of sharply observed in-jokes. With experience in writing television sitcoms, Horn proves to be the king of the one-liner, with the laughs coming thick and fast, especially as Michael/Dorothy’s web of subterfuge is stretched to breaking point.

Prolific Broadway composer David Yazbek matches the hectic comic pace of the book scenes with a briskly uptempo score. In line with his previous work, much of Yazbek’s snappy songs are more focused on lyrics than on melody, but a couple of toe-tapping tunes emerge as the show unfolds. 

Director Scott Ellis keeps the characterisations broad, but also shows great trust in the power of the pause. Audience disbelief in Michael’s deception is happily suspended, and the comedy races along with a nicely judged serving of social commentary. The story raises questions while avoiding pat solutions, right through to its final scene.

Choreographer Denis Jones provides sharp movement for the somewhat underused ensemble, and proves a good sport in allowing his craft to be mercilessly lampooned by Yazbek’s lyrics when show-within-a-show director/choreographer Ron Carlisle uses everyday terms to teach his cliched choreography. 

The creative team features Broadway’s best designers. David Rockwell’s settings are a deft blend of stylised skyscrapers and realistic interiors. William Ivey Long again serves up his signature fast change outfits, which are used to delightful effect when Juliet’s Curse switches, at Dorothy’s suggestion, from medieval times to 1950s Fellini, all delectable swooshing skirts in luscious shades of pink. 

Santino Fontana achieves the impressive feat of not just adopting a female speaking voice but also a convincingly feminine singing voice. The role raises questions in regard to gender inequity, and Fontana’s gentle manner ensures that Michael’s sensitivity rings true. This is an epic performance, one that deserves its must-see status in Broadway folklore. 

Standouts in the supporting cast include Andy Grotelueschen in the Norbert Leo Butz-like role of Michael’s schlubby roommate Jeff. John Behlmann scores laughs as exceptionally dim hunk Max Van Horn, a contestant from “Race to Bachelor Island” who has turned to acting. 

Veteran Julie Halston is all class as producer Rita Marshall. Fellow stalwart Michael McGrath makes the most of featured role of Michael’s frazzled agent Stan Fields. 

The slick combination of high production values, top class performances and sharp writing make Tootsie a highly recommended show, with lovers of musical theatre set to find extra joy in Tootsie’s Broadway setting. 

Tootsie was reviewed 7.30pm Monday 1 July 2019 at Marquis Theatre, New York.

Photos: Matthew Murphy

A truly spectacular spectacular, Moulin Rouge burns through the budget of a hundred musicals, all in the quest for extravagant entertainment. The result is a feast for the eyes and ears, even if it provides little nourishment for the soul.

Produced on an extraordinarily lavish scale, the visual impact begins on entering the red and gold auditorium. A working windmill and mighty elephant flank the stage, while the hearts and diamonds motif explodes from the stage all the way around the theatre. 

Master script writer John Logan has neatly adapted Baz Luhrmann and Craig Pearce’s screenplay from the hit 2001 film, even though his work nearly drowns under the cavalcade of omnipresent musical numbers. The musical utilises most of the songs from the movie, adding plenty more for good measure. 

The audience’s response to the songs, as to the rest of the show, is overwhelmingly positive, although the laughs of recognition that greet the start of each new song give the sense of watching a bumper episode of Glee. Newly added songs include, but are certainly not limited to, “Firework,” “Chandelier” and “Rolling in the Deep.” “The “Elephant Medley” is bigger than ever, bringing act one to a swoon worthy romantic close, and the movie’s hit tune “Come What May” remains a key attraction in the musical. “Your Song and “Roxanne” also remain, while “One Day I’ll Fly Away” is a disappointing omission. 

Justin Levine’s expert arrangements give the hit parade score a seamlessly uniform sound. While there is the occasional sense that the music is overproduced, the infectious rhythms and melodies allow instant engagement, and the cast recording is sure to be a popular release.  

In streamlining the musical for the stage, Logan has made the show-within-a-show resemble the actual show’s plot even more closely. Satine’s character must love a gangster rather than a maharajah, and Christian, Satine’s true love, plays the equivalent character to himself. Act one manages to accrue significant momentum, while the slender scenario runs out of steam in act two before reaching its inevitable tragic ending. 

Director Alex Timbers does not have the chance to display his full talent for invention, such is the operate simplicity of the plot and characters. There is the odd moment of beauty, such as the cast of the show breathing as one around the fallen Satine. Working with a highly talented ensemble, choreographer Sonya Tayeh delivers crisp choreography with many a stunning moment. 

Derek McLane’s scenic design may well be the most strikingly beautiful ever seen on a Broadway stage. The cleverness of the design, and its symbiotic relationship with Justin Townsend’s lighting design, is seen when varied locations are created away from the sparkling interior of the eponymous cabaret. The lighting often conjures the sense of watching a music video clip, and there is no danger of losing the attention of the youtube generation with all the constant changes to lighting and sets. 

Catherine Zuber’s costume design could fill a hardcover coffee table book, such is the extent of detail and beauty. It seems as though every inch of lace and sparkle have been individually hand crafted to the highest standard. A highlight comes in act two when the Duke introduces Satine to society on the Boulevard Beaumarchais, with ensemble members sporting heavenly pale pastel finery. 

Quiet moments in Moulin Rouge are rare, but there is a human love story at its centre, and the impact of this is infinitely boosted by the star performances of two of the greatest Broadway talents of the past decade. Singing with far greater flair than their movie counterparts, Aaron Tveit (Christian) and Karen Olivo (Satine) bring abundant passion and heart to the central romance, giving performances that must not be missed.

Danny Burstein brings a maniacally decadent grin to impresario Harold Zidler, who also serves as a very Emcee-like emcee. Tam Mutu figuratively twirls his moustache as the devilish, yet ultimately toothless, Duke. 

Sahr Ngaujah brings a welcome degree of gravitas to noble artist Toulouse-Latrec.

Moulin Rouge is destined to be a monster hit, the sort of show where you book your tickets before booking your flight to New York. While the world stage awaits, the Broadway production is a special treat.

Moulin Rouge was reviewed 8pm Tuesday 2 July 2019 at Al Hirschfeld Theatre, New York.

Photos: Matthew Murphy (Boston 2018)

An off-Broadway show with the nerve to charge Broadway prices, the “Bard Summerscape Production of” Oklahoma! plays out like a cynical practical joke on theatregoers. The egregious experiment is a blight on 75+ years of American musical theatre.

A classic example of The Emperor’s New Clothes, the production may have had its place at St. Ann’s Warehouse in Brooklyn, but the bright lights of Broadway show it up for the hollow fraud that it is. Supposedly seeking new meaning in the classic text, director Daniel Fish has excised the show’s charm with the precision of a surgeon. The few laughs that remain just serve to demonstrate the resilient hardiness of the original material. 

The audience enters to a festively decorated barn-like space with glittering tinsel draped overhead and hotpots simmering on trestle tables. For no discernible reason, the walls are decorated with dozens of rifles. Previous productions at this venue have had the audience on three sides, but the effort to play to all three sides has not usually been so visibly obvious as in Oklahoma!.

The ensemble cast of eleven is on stage for much of the show, creating confusion over locations and who is listening to which conversations. Similar confusion arises over time and place, with Oscar Hammerstein II’s original libretto in use but with a mix of present day costumes and props. Almost all of the energy is sapped out of the scenes by having the cast remain seated for most of their songs and dialogue. 

Credited for orchestrations, arrangements and music supervision, Daniel Kluger should perhaps write his own ever-beloved score before tampering with someone else’s. Six on-stage musicians play various stringed instruments, with the conductor adding accordion and percussion. Richard Rodgers wanted his music performed as written, and the arrogance of interfering with this level of genius is astonishing. The small ensemble manages harmonies very well, but the vocal effect of the chorus numbers is lost. 

Lighting designer Scott Zielinski rather annoyingly keeps house lights on for much of the show. The scene in Jud Fry’s smokehouse finds the space plunged into inky blackness, which successfully has an unsettling effect. This is subsequently eroded with the gimmick of projecting live footage onto the backdrop.

At interval, the audience queues for a serve of the chilli that has been cooking in hotpots and a piece of the cornbread that was mixed on stage by Aunt Eller and Laurie in the opening scene.

The most bizarre aspect of the production comes directly after interval, when the “Dream Ballet” sees a lone African-American woman with a shaved head wearing just a sparkly white t-shirt and white briefs do a wild interpretative dance for fifteen minutes. At one point, cowboy boots drop from the ceiling, before the woman eventually scoots herself along the floor and out the door. I could not make this up if I tried. 

After a long buildup, with special ominous music each time the “Little Wonder” is mentioned, the scene where Jud Fry may have stabbed Curly is over so fast that it barely has time to register. 

The musical’s climax is changed to involve gun violence instead of a knife fight. The blood has a startling impact, but the direction of the encounter seems to totally undermine the “self defence” angle.

Rebecca Naomi Jones exudes engaging charm as Laurie. Damon Daunno captures the self-effacing modesty of noble dude Curly. 

Mary Testa plays Aunt Eller as something of a control freak, a key aspect in the absence of charm on stage. Mallory Portnoy scores laughs in return for the infectious cackle of giggling Gertie (although it is not clear why Gertie is an alcoholic).

James Davis makes a mild impact as Will Parker. Tony-winner Ali Stroker was in absentia at this performance, wit Sasha Hutchings making a very good Ado Annie in Stroker’s place. 

I am choosing to remember the Trevor Nunn Oklahoma!, seen right next door at the Gershwin Theatre in January 2003, as my experience of Oklahoma! on Broadway.

Oklahoma! was reviewed 8pm Wednesday 3 July 2019 at Circle in the Square Theatre, New York.

Photos: Little Fang Photo

Sold out before it opened in 2018, Bring it On the Musical makes a very welcome return to the Melbourne stage, with an Australian tour to follow.

*Check back later for production images*

The independent production is confidently presented on an ambitious scale, with the chief resources wisely focused on the truly thrilling dance routines. A highly deserving winner of the 2018 Green Room Award for Best Choreography, Michael Ralph’s work is as sharp and tight as ever, impressing as much for its level of spectacle as for its deft incorporation of character and storytelling.

Loosely based on 2006 direct-to-DVD threequel Bring it On: All or Nothing, the musical is a positioned as a joyful guilty pleasure for teens and parents. The simple fish out of water story sees passionate cheerleader Campbell transferred from white bread Truman High School to inner city Jackson High School, a place which (gasp) does not even have a cheerleading squad.

Jeff Whitty’s relatively simple book provides a bevy of sharply observed teen characters, including Broadway’s first transgender character, the fabulous La Cienega. During the show’s development, Tom Kitt and Amanda Green’s score received a significant boost in the form of song writing input from none other than Lin-Manuel Miranda. Aficionados of In The Heights and Hamilton will easily identify Miranda’s work in numbers such as “Do Your Own Thing” and “It’s All Happening.”

Conducting and playing keyboard, music director Daniele Buatti leads six fellow musicians in a terrific performance of Kitt and Miranda’s music. On opening night, director Alister Smith took to the stage to explain that illness had impacted the rehearsal season. Although all cast members performed on opening night, the effect could be heard in some remnants of vocal strain. Additionally, sound design (by Greg Ginger) occasionally did not help in tuning the ear to the individual vocals over the band; this will surely be tweaked and improved as the season progresses. Despite all this, it must be noted that ensemble singing is impressively and securely strong.

In line with the killer work of Ralph and cheerleading coach Natalie Commons, Smith’s direction keeps energy sky high. The stage voltage flows freely across the footlights, infusing the audience with vibrant enthusiasm. Characterful humour is crisp and enjoyable, and the storytelling stakes, as seen from the perspective of the teen characters, are kept high.

While the show’s opening minutes generate fear that this is perhaps going to be a trite, predicable teen fantasy, the shift to Jackson High raises the level of interest considerably, with music, characters, costumes and choreography all rising to their premium levels.

Working creatively on a budget, set designer Nathan Weyers makes good use of locker bays and bleachers to create multiple scenes. Weyers also works closely with lighting designer Declan O’Neill to incorporate stadium-style lighting as a very effective component of the set.

A key component of Bring it On’s visual appeal is the sterling work of costume designer Rhiannon Irving, whose eye for detail is a crucial factor in the success of vividly establishing the individuality of the characters. A clever detail comes when Jackson High’s hip hop crew eventually enters the cheerleading arena: the characters sport traditional uniforms but have individualised these with personal tags.

Although not heard at full voice on opening night, Kirby Burgess nonetheless makes a delightful Campbell, throwing her heart into the unflappable teen’s mission of dance. Even in the early stages when Campbell is a privileged girl living her dreams, Burgess brings an engaging level of pluck and vulnerability, which pays dividends as the story proceeds.

Still in third year at VCA, newcomer Jasmine Smith brings an authentic sense of grit and determination to less privileged Jackson High alpha teen Danielle, demonstrating her triple threat talents with nicely understated flair. Less a show about boy meets girl than girl meets girl, Bring it On’s hard won friendship between Campbell and Danielle culminates in searing 11 o’clock duet “We’re Not Done,” powerfully performed by Smith and Burgess.

Holdover cast members from 2018 include Samantha Bruzzese and Marty Alix in the wonderfully characterful roles of Nautica and La Cienega, two saucy best friends who practically deserve their own spin-off sequel. Karla Tonkich conveys the shameless ambition of bodacious villain Eva with great flair.

Hollie James gives Kylar a delightfully daffy Texan twang, while Emily Thompson ensures that Skylar’s blinkered cheerleading obsession shines through. Thomas McGuane brings a preppy CW vibe to Campbell’s new potential beau Randall.

New to the cast in 2019, Baylie Carson nails the adorkable humour of endearingly insecure Bridget, a character who arguably who arguably scores the show’s best arc as she blossoms with dance, and romantic, success. With the previous performer having graduated to a certain little movie project, the role of Twig is filled by Dayton Tavares, who was seen in the title role at the 2008 Melbourne premiere of Billy Elliot*. Tavares delivers incredible dance moves, and will hopefully be seen on the musical theatre stage again before too long at all.

The hardworking ensemble is a key aspect of the enjoyment of Bring it On. Special mention goes to the inclusion of trained cheerleaders Kat Abela, Daniel Bailey, Caitlyn Hammond and Ossie McLean.

Not a musical for the cynical or jaded theatregoer, Bring it On the Musical transcends its solid material to provide a memorable program of eye-popping dance. Fans of cheerleading will enjoy its incorporation in mainstage entertainment, and lovers of Lin-Manuel Miranda while appreciate the chance to hear more of the master’s music while we all await the Australian premiere of Hamilton.

Bring it On the Musical plays at Athenaeum Theatre, Melbourne until 27 July 2019 before touring to Perth and Sydney.

*Man in Chair’s December 31 2008 review of Billy Elliot cannot be linked as it pre-dates this website. Here is a relevant quote: “On opening night the role of Billy was played by Dayton Tavares, who gave a performance that would be the envy of most adult entertainers. Clearly a highly accomplished dancer, with particular strength in acrobatics, Tavares also sang strongly and spoke with very clear diction, holding the Geordie accent perfectly. He was a joy to watch.”

Offering the pure joy of musical theatre at its unadulterated best, Come from Away is a breathless celebration of the finest qualities of humanity.

On September 11 2001, the Canadian town of Gander saw an influx of some 38 commercial flights diverted from US airspace. In a week where the world saw carnage that resulted from the worst aspects of civilization, the frightened, disoriented “plane people” were welcomed into Gander and surrounding towns with free-flowing generosity and abundant kindness. The quirky local residents of the isolated town refer to visitors as those who have “come from away,” but soon embrace the newcomers as members of their own families.

After interviewing residents and returning passengers on the tenth anniversary of the attacks, Irene Sankoff and David Hein crafted a deftly integrated book musical that weaves myriad stories and incidents with compelling authenticity. Where musical theatre is usually peppered with one-liners, Come from Away is imbued with character-based humour; there are plenty of laughs, but they all come from naturally comical incidents and reactions.

Presented without interval, Come from Away quickly seizes the audience by the heart, the 100-minute running time fairly racing by. There is not a wasted word in Sankoff and Hein’s book, which sprinkles seemingly incidental seeds that later come to fruition.

A key aspect of the success of Come from Away is the razor-sharp direction of Christopher Ashley. A heady mix of excitement and tension is cultivated in the opening minutes, and this focus never flags. The breakneck pace is accentuated by having scenes and songs flow seamlessly onwards without any breaks for applause. Pent-up audience appreciation is then unleashed in a unanimous and instant standing ovation at the show’s conclusion.

The Australian production has been impeccably cast, with a clear emphasis on talent and suitability rather than on well-known names. Under Ashley’s direction, the twelve members of the true ensemble cast perform minor miracles in terms of playing multiple characters with crystalline clarity. Through the actors’ empathetic performances, there is a strong sense of coming to know the characters, enhancing the impact of their joys and sorrows.

While the show is largely a series of connected incidents, two particular sequences stand out. With around 7000 passengers seeking refuge, the full gamut of world religions is represented. In a beautifully judged scene, people gather to pray in their own manner, with various prayers woven into the time-honoured Christian hymn “Make Me a Channel of your Peace.” Later, tensions are assuaged with a lively community gathering at a local tavern, where visitors are initiated as honorary Newfoundlanders.

The story arc about gay couple Kevin and Kevin is a salient reminder that it is was not all that long ago that people were much more cautious, even fearful, about revealing their sexuality. More disturbing is the reminder of how incredibly quickly the fear of Muslim travelers took hold. In the musical’s most disturbing scene, Muslim chef Ali describes the utter humiliation of undergoing a strip search before he is permitted to board his plane home. The power of this striking moment is a credit to the combined strength of writing, direction and performance, also serving to illustrate the integrity of this mostly feel-good show to consider more challenging angles.

The cohesive production sits deceptively simply on the stage, with Beowulf Boritt’s handsome scenic design adding plenty of rustic atmosphere. Multiple locations, including planes and buses, are created with just a couple of signs, a handful of chairs and a revolving stage. With little variety in scenery, Howell Binkley’s lighting design adds colourful visual appeal. Lighting is also crucial in regard to following the fast-paced action, with a mind-boggling number of lighting cues highlighting individual lines of dialogue and song.

Toni-Leslie James keeps costume design naturally realistic, with the simplest of alterations to allow actors to distinguish their various characters.

Choreographer Kelly Devine contributes “musical staging,” supporting Ashley by creating a small amount of dance, which arises organically from the characters’ actions.

Choice musical director Luke Hunter leads eight fellow musicians on stage in a dynamic performance of the music, which appears to be as much fun to play as it is to hear.

Selecting highlights from the evenly matched ensemble cast is not easy. One clear standout is Zoe Gertz in the key role of pilot Beverley Bass, a driven, resilient woman who is one of the few to elaborate their backstory. Gertz has a magnetic stage presence, and takes Beverley further into our hearts as she recounts the path she traveled to become a successful, respected female pilot in “Me and the Sky.”

American actor Kolby Kindle scores laughs of delight as the fears of uptight New Yorker Bob gradually melt away due to the unabashed kindness and generosity he encounters in Gander. Kelli Rode melts hearts as SPCA chief Bonnie defies orders to rescue a veritable menagerie of animals trapped in the cargo holds of the planes. Sarah Morrison anchors much of the early exposition with flair as rookie reporter Janice, successfully taking the young woman on a rapid journey of self-discovery.

Stage veteran Richard Piper is all blustery charm as Gander’s breezy mayor Claude (and other amusingly interchangeable mayors). Emma Powell warms the stage with the earthy compassion of local primary school teacher Beulah. As terrified mother Hannah, Sharriese Hamilton cultivates a lovely chemistry of friendship with Powell.

Melbourne is fortunate indeed to host the Australian premiere of this glorious musical. Take a partner or friend to bask in the rosy glow of Come from Away.

Come from Away plays at Comedy Theatre Melbourne.

Photos: Jeff Busby

Whoopee baby! Thoroughly Modern Millie returns in a splashy, starry staging that distils the very essence of musical comedy into an evening of unabashed joy.

After a brief detour from traditional fare, The Production Company is safely back on comfortable ground, and the result seems more glorious than ever. 2002 Best Musical Tony Award-winner Thoroughly Modern Millie is given the lavish, loving treatment usually reserved for revivals of Golden Age musicals, and it more than capably rewards the attention.

Based on the classic 1967 Julie Andrews vehicle, Thoroughly Modern Millie was an early entry in the now prevalent trend of screen-to-stage adaptions, riding the wave of audience affection as Broadway rediscovered musical comedy in the early 2000s. Her hair freshly bobbed, plucky heroine Millie Dillmount relishes the jazz age of 1922 New York as she tirelessly and unashamedly seeks out true love.

Director Chris Parker proves that the success of 2018’s Oklahoma! was not a one-off, again delivering confident direction that translates into highly effective use of space, crisp, characterful, comedic storytelling, and a deft balance between intimacy and the open stage. With more snap, crackle and pop than a bowl of Rice Bubbles, the show fairly roars its way along to a delightfully daffy climax, providing an abundance of entertainment along the way.

Every director of Thoroughly Modern Millie has to contend with the inherent racism of the show’s bizarre subplot in which an aging actress poses as a Chinese woman so as to find young ladies to sell into white slavery. Parker successfully makes this potentially offensive aspect more palatable in two ways. Veteran stage diva Marina Prior has the finely-honed comic chops to make it abundantly clear that it is the character of Mrs Meers herself who is devilishly racist, the former actress’ limited skills resulting in the broadly stereotyped disguise. Additionally, actors Keith Brockett and Jonathan Chan bring authenticity and dignity to the roles of ill-treated assistants Ching Ho and Bun Foo, characters who not only play a significant role in saving the day but also find their own true loves.

The liveliness of Parker’s snappy staging is boosted by the work of Australian best tap choreographer, Christopher Horsey. The concert staging gives the scenes room to breathe, a fact that Horsey seizes upon to frequently spectacular effect. Featuring clean, sharp angles and crisp tap beats, the tightly rehearsed choreography adds significantly to the sparkle of the brightly polished production.

Stalwart musical director Peter Casey reliably brings out the full colour of Jeanine Tesori’s infectious score, which is boosted by some interpolated pre-existing tunes.

Set designer Christina Smith frames the fluid action with a grand rear curved beaded curtain, often complemented with a matching front curtain. Aside from shimmering beautifully under Gavan Swift’s elegant lighting design, the front curtain actually allows dramatic entrance and exits, a feature usually robbed by the sheer width of the State Theatre stage. When the overhead black panel is lowered (often to carry surtitles or place names), the visual effect is reminiscent of watching a classic movie filmed in cinemascope.

Isaac Lummis delivers another sumptuous set of costumes, the quality of which belies the show’s relatively short season. The opening sequence and the act one office scene utilise the marvellous effect of having the ensemble attired in grayscale costumes while Mille sports vibrant colour. Other highlights include the decadent sparkle of Muzzy’s nightclub outfits, Miss Dorothy’s precious ruffled layers and insurance boss Trevor Graydon’s sharp pinstriped suit. Mrs Meers’ plush “Asian” outfit is cheekily ostentatious, topped by a red and black jacket that is to die for.

Wigs, by Trent Whitmore, include a real dazzler for Muzzy and a multitude of smart looks for the ensemble ladies. Meanwhile, Millie looked like she may have bobbed her hair with garden shears; the leading lady deserves better, so hopefully this will soon be remedied.

While The Production Company has shone a light on dozens of rising performers over their 20+ years, the leading roles are usually reserved for established stars. The decision to anchor a show with a relative unknown pays off brilliantly with the breakout performance of Annie Aitken, as modern a Millie as one could hope to see. Adorable Aitken is all heart, showcasing delightful comic skills, dancing up a storm and alternating between sweet soprano and hearty belt. Her powerhouse rendition of Millie’s 11 o’clock number “Gimme Gimme” absolutely brings down the house, providing the final confirmation that Aitken has truly arrived.

Nigel Huckle, another relative unknown – for now – gives leading man Jimmy an easy charm, singing the role in appealing fashion with his pure and supple tenor voice.

Adam-Jon Fiorentino brings suave charisma and smooth vocals to Millie’s boss, and potential true love, Trevor Grayden, successfully softening the hard-driven man’s edges to ensure his likability. Claire Lyon blesses insouciant heiress Miss Dorothy with her crystalline soprano, fleshing out the role with deliberately wide-eyed sweetness.

As act one draws to a close, and all of the show’s riches seem to have been unfurled, the production leaps up another notch with the appearance of Queenie van de Zandt, as nightclub chanteuse Muzzy van Horn, who delivers an absolutely electrifying rendition of “Only in New York.” Parker and Horsey wisely keep the ensemble party guests off stage until the song is done, giving van de Zandt her well-deserved place in the spotlight alone. Van de Zandt delights again with act two’s “Long As I’m Here With You,” providing a further highlight when Muzzy goes undercover to expose the white slavery ring. The frisky faceoff between grand dames Van de Zandt and Prior is truly hilarious.

Thoroughly Modern Millie has amassed admirers aplenty over the years. Fans of the show will surely thrill to this new staging, the grandest the show is likely to see in Australia.

Thoroughly Modern Millie plays at State Theatre, Arts Centre Melbourne until 11 August 2019.

Photos: Jeff Busby

Lesser than the sum of its parts, Charlie and the Chocolate Factory is a sugary confection that has been whipped, glazed and sprinkled in the hope of hiding the empty calories at its hollow centre.

Any degree of disappointment in the production bears no relation to the Australian cast members, who throw themselves into their roles with zesty verve. It is just that the show itself, despite extensive rewriting, beats a trite, simplistic path to an uninspiring end. Not that the show is without glimpses of spectacle and moments of laughter (and occasionally both at the same time) but each of the two acts race their way through a predictable course that leaves little room for charm or surprise.

Having written one of the most instantly infectious Broadway scores of all time for Hairspray, composers Marc Shaiman and Scott Wittman fall well short here, their tuneless contributions completely shown up by 1971 movie hits “Candy Man” and “Pure Imagination.” Some of Wittman and Shaiman’s lyrics are quite amusing, but blaring vocal volumes often undermine the chance for the ear to tune in to what is being sung.

While touring productions are generally under-produced compared to Broadway, scenic design for this version of Charlie and the Chocolate Factory has been greatly enhanced, simply by replacing the sheer dull blue walls seen in the Broadway production with glossy LCD screens, displaying vivid projections by Jeff Sugg. Some of Mark Thompson’s constructed sets are impressively engineered, but they very often look like lone features on an otherwise empty stage rather than parts of a fully integrated scenic design.

Jack O’Brien’s direction includes the curious choice to have the Bucket family as Australians, their shanty home seemingly imported from The Harp in the South. David Grieg’s book has been tweaked to reflect the Aussie influence, with Grandpa Joe (played winningly by National Treasure Tony Sheldon) scoring a slew of fair dinkum new tall tales to tell. But does this mean that Mr Wonka located his factory in Australia? This seems to be something of an unnecessary stretch.

Grieg’s book takes a darker turn with the grisly fates of the other four obnoxious children, particularly in that it skips the scene from Roald Dahl’s novel where the kids are seen to have basically recovered from their traumas in the end. With this gruesome slant to the story, there is an argument for having the four children played by young adults, but overall this is a disappointing choice. Child actors have shown they are capable of all kinds of greatness in recent productions Matilda and School of Rock. Why not here?

One of the most crowd-pleasing aspects of the show is the beloved Oompa Loompas, reconceived from the original London staging by masterful puppeteer Basil Twist. Top marks to the ensemble members who throw themselves into the Oompa Loompa’s highly amusing choreography, each performer also bringing a distinctive personality to their creation in spite of the uniform red wigs and eyebrows.

The act one sequence of songs as each of the international children finds their ticket is effective in that each family has a unique musical and visual style. Joshua Bergasse’s witty choreography is crisply performed, with highlights including dancing lederhosen-wearing Germans in “More of Him to Love”* and Veruca Salt’s sudden channelling of Clara as she battles giant rats squirrels in “Veruca’s Nutcracker Sweet.”

Well on his way to being a seasoned veteran with his second musical theatre role on one of Melbourne’s most cherished stages, young actor Lenny Thomas follows his memorable turn as camp costume designer Billy in School of Rock to star as plucky young imagineer Charlie Bucket. Sharing the role with Benjamin Belsey, Elijah Slavinskis, Edgar Stirling and Lachlan Young, Thomas’ performance on the Melbourne opening night was characterised by vibrant energy and unflappable confidence, supported by a strapping belt in his vocals.

The set of four “children” and parents are so well cast that it is almost impossible to name highlights. Jake Fehily is gone too soon a big fat greedy nincompoop Augustus Gloop. Jayme-Lee Hanekom is deliciously vibrant as gum addict Violet Beauregard. Jayde Westaby gives a sharply nuanced comic performance as 1950s-tragic Mrs Teavee.

Almost unrecognisable in a mousy brown bob as battler Mrs Bucket, Lucy Maunder is instantly identified the moment she sings, her gorgeous vocals infused with that trademark golden sunshine.

The casting of Broadway import Paul Slade Smith as Willy Wonka was hard to understand when it was announced. Having now seen the uncharismatic Smith struggle through the role, his casting is completely inexplicable.

Man in Chair’s fifteen-year-old nephew really enjoyed Charlie and the Chocolate Factory. Traditional musical theatre purists will most likely be dismayed at the lack of melody and heart in the show, but for lightweight entertainment the musical will most likely continue to find an appreciative local audience.

Charlie and the Chocolate Factory plays at Her Majesty’s Theatre, Melbourne before touring to Brisbane in March 2020.

Man in Chair reviewed Charlie and the Chocolate Factoryin London

Man in Chair reviewed Charlie and the Chocolate Factory on Broadway.

*If Bavarians can be wickedly mocked in Charlie and the Chocolate Factory, why can’t productions of Nine include “The Germans at the Spa”? #askingforafriend

Photos: #1 Brian Geach; #2, #4, #6 Jeff Busby; #3, #5 Heidi Victoria

With several years of experience behind them, local Sondheim experts Watch This turn their attention to Stephen Sondheim and James Lapine’s revered 1984 musical Sunday in the Park with George, achieving particular success with the gorgeous music.

Melbourne’s once-booming independent musical scene is well and truly off the boil, so the prospect of a lovingly produced boutique musical is a welcome one indeed. Watch This appears to have grown in confidence, presenting a visually appealing, very well cast staging of this cherished classic. Projections, costumes and sound are also at a premium.

Having already played Nunawading and Geelong, Watch This’ new production of Sunday in the Park with George arrives at the Southbank Theatre in well realised form. Given the four day/six performance season at this theatre, the show is brightly polished and securely staged.

The black box of The Lawler is transformed into a handsome proscenium arch space, with a bold white frame behind timeless wooden floorboards. A rear white cyclorama displays cleverly utilised animation from Milked Studios, as keenly focused painter Georges Seurat gradually creates his masterful work, Sunday Afternoon on the Island of La Grande Jatte.

Early projections support Seurat’s painstaking approach, as he positions his model (and lover) Dot’s arm and head to match the image projected onto her white dress. The famous painting develops from sketches to full colour, and, in a clever touch, stays on the screen during interval so as to directly link the two acts, set 100 years apart.

Directors Dean Drieberg and Sonya Suares have brought a sense of broad comedy to the supporting roles. While this is not entirely in line with the usual sensibility of the piece, there is a very clear sense of which scenes are actually happening to Georges and Dot, and which ones are the heightened, imagined lives of the characters seen in the painting. The deliberate cacophony of speaking voices comes together in lush harmony for the glorious climax of act one finale “Sunday,” repeating the feat at the end of act two with a rich reprise of “Sunday.”

Musical director Ned Wright-Smith works wonders with a band of only four fellow musicians, generating a suitably full sound to support the gorgeous vocals.

A major artistic achievement of the production is the stunning, expertly realised costume design of Rhiannon Irving, who has outfitted all of Georges’ subjects in the dotted style that is the key feature of his work. Irving achieves an eye-catching, attractive effect with finely painted dots in carefully chosen colours arranged precisely to highlight contours in the costumes. One of several highlights is the Old Lady’s burgundy dress, with beautifully ruched skirt.

Nick Simpson-Deeks gives a highly focused yet neatly underplayed lead performance, capturing the introverted drive of Seurat. Deeks compensates for Seurat’s apparent heartlessness with tender vocals, particularly those in “Beautiful,” when Georges sings with his dear Mother.

Vidya Makan adopts a forthright persona as Dot, perhaps making the young woman less demure than she may have been in her day. In act two, Makan crafts an absolutely charming characterisation as plucky, wheelchair-bound Marie, delivering a touching rendition of “Children and Art.”

Amidst the high volume characters of act one, the genteel presence of Jackie Rees is all class, bringing a lovely air of grace to the Old Lady. Further sterling support comes from Anton Berezin as artist turned art dealer Jules.

Each member of the ensemble cast is clearly an excellent singer, and the various characters in each act are created with distinction. To name just one highlight, Georgina Hopson created a splash as gauche society doyenne Harriet Pawling.

Melbourne is well fortunate indeed to have a musical theatre company devoted to Stephen Sondheim; future presentations will continue to be gratefully received.

Sunday in the Park with George plays at The Lawler, Southbank Theatre, Melbourne until 24 August 2019.

Photos: Jodie Hutchinson

The best Andrew Lloyd Webber musical you’ve never heard of, The Beautiful Game comes to vivid life in its long overdue Australian professional premiere.

The rare musical that is dramatic to its very core, The Beautiful Game begins with the joy and exuberance of an under-21 soccer team on the first day of training for the season. Coach Father O’Donnell captures the boys’ promise with a team photo, but by the show’s end, a number of the boys in the photograph have met tragic fates, unable to escape the violent conflict plaguing Northern Ireland in the late 1960s.

Crafting an original story, book and lyrics writer Ben Elton illuminates the terrible price of “freedom” on ordinary people. Likes the youths in West Side Story, the soccer lads feel it is their right to be at war, wielding deadly force with reckless abandon. Tender romance and characterful comedy engage the audience with the characters, making the ensuing tragedy all the more affecting.

At a time when independent musicals have become few and far between, Manilla Street Productions gifts Melbourne with a relatively lavish production, featuring a cast of 22 and band of nine musicians. Serving as both producer and director, Karen Jemison has assembled a highly talented set of performers, each of whom bring abundant energy.  The cast members have a strong sense of individuality, yet Jemison has achieved a unified performance style, in which the focus of every cast member works in combination to suggest a larger picture beyond the actual libretto.

Choreography, by Sue-Ellen Shook, is neatly integrated into the action, with stylised athletic moves bringing particular flair to sequences set on the soccer pitch.

Jemison has also designed the staging, making excellent use of simple panels of steel and wire fencing to create multiple locations in the gritty Belfast town. Clearly evoking the period, costumes are smartly attractive without being unnecessarily showy.

Significant visual texture is added to the stage picture by the lighting design of Jason Bovaird. From large scale effects such as stadium lighting and church windows to subtle touches like the twilight through the lace curtains, Bovaird supports and enhances the storytelling to great effect.

Lloyd Webber’s skill with pastiche is heard in the authentic Irish sound of the music. The score is arguably one of Lloyd Webber’s very best, delivering hummable melodies that derive organically from character and drama, and, for once, avoiding incessant repetition.

Playing alongside eight fellow musicians, musical director Daniele Buatti delivers a stirring performance of the score, Special mention to Stuart Byrne (on winds) for his particularly evocative work on Irish tin whistle. Buatti’s work with the cast is also first rate, and vocal harmonies are at an absolute premium. The music is heard at its best thanks to the immersive sound design of Marcello Lo Ricco.

Experienced musical theatre performer Stephen Mahy brings a distinctly masculine presence to star soccer player John Kelly, effectively portraying the young man’s inevitable descent into darkness. Mahy conveys significant inner turmoil with neatly underplayed emotion, taking John on a convincing journey from starry eyed youth to dead-eyed man.

Burgeoning actress Stephanie Wall gives a breakout performance as dear Mary, a young woman who sports a core of steel beneath her youthful beauty. Wall carries the emotional weight of the show in Mary’s reactions to tragedies, a clear highlight coming in Wall’s superb a capella work as Mary sings “If This I What We’re Fighting For” over the injured body of teammate Daniel.  Wall and Mahy enjoy strong chemistry, from their flirty first duet “Don’t Like You” to the palpable trepidation of Mary and John’s wedding night.

Nicola Bowman gives another engaging, polished performance as good Catholic girl Bernadette. Samuel Skuthorp brings cheeky presence to Bernadette’s ill-fated love GingerGregory.

Able to flip from chirpy to intense in a heartbeat, Ellie Nunan is a strong presence as Christine, a Catholic girl committing the sacrilegious sin of loving a Protestant. Playing Del, Sam Ward contrasts the seriousness of the Catholics with his portrayal of the deliberately breezy atheism of his Protestant character.

Further strong support comes from Oscar Tollofson as likable petty criminal Daniel and Des Flanagan as treacherous terrorist Thomas. David Meadows gives a delightfully realistic performance as portly priest Father O’Donnell.

Audience members who like their musical theatre free of sequins will find much to enjoy in The Beautiful Game. Delivering a potent lesson without preaching, The Beautiful Game is independent musical theatre at its very best.

The Beautiful Game plays at Chapel off Chapel, Melbourne until 29 September 2019.

Photos: Jodie Hutchinson

In its third incarnation, From Broadway to La Scala nimbly sidesteps the law of diminishing returns, showcasing a terrific sextet of stage talents in a generous, well considered program.

While the general concept, clearly telegraphed in the title, is appealing, the injection of new artists has given the popular concert tour a welcome lift in 2019. International musical theatre star Caroline O’Connor and beloved opera diva Emma Matthews are drawcards in their own right, joining proven touring talents Teddy Tahu Rhodes and David Hobson. The next generation of artists in represented by Alexander Lewis and Genevieve Kingsford, who have each enjoyed recent triumphs on the Melbourne stage.

The sense of occasion is completed by the presence of a grand stage orchestra, working under the nimble, precise baton of maestro Vanessa Scammell. Meticulously prepared, Scammell shows extraordinary musical dexterity, leaping from Sondheim and Sullivan to Bernstein and Bizet with barely a moment of transition. Musical theatre numbers particularly benefit from the lush accompaniment. As a final cherry on the musical sundae, Scammell accompanies the singers of grand piano for an encore of “The Prayer.”

Broadway begins the evening, as the six singers are introduced in a Golden Age medley. Moving across the decades, the evening’s selections are naturally focused upon proven, popular material, and yet when there is a director with the intelligence and insight of Tyran Parke involved, more interesting angles are practically guaranteed. Parke’s deft skill is seen in numbers that are “acted” rather than simply sung, with a liberal sprinkling of Sondheim and Bernstein to balance the traditional Rodgers and Lloyd Webber.

Numbers that really come alive under Parke’s direction include Hobson and O’Connor leading “Master of the House,” and a vibrant West Side Story medley that includes the memorable combination of O’Connor and Matthews singing “A Boy Like That/I Have A Love.” Similar highlights in duets include Rhodes and O’Connor drawing on their experience to perform “A Little Priest” from Sweeney Todd, and Lewis and Kingsford throwing themselves into a romantic recreation of The Phantom of the Opera’s “All I Ask of You.”

Individual musical theatre highlights include Kingsford’s gorgeous rendition of “Till There Was You” from The Music Man, and Rhodes’ stirring performance of “If I Were A Rich Man,” which proves an ideal fit for his vocal range. O’Connor is in her element with “Broadway Baby,” also treating the audience to Sally Bowles’ soulful “Maybe This Time.”

Operatically, one of the highlights of the concert is the unexpected choice to have all six singers perform as a background ensemble to sing the “Humming Chorus” from Madama Butterfly, a risk that pays off handsomely. La traviata’s “Drinking Song” buoyantly opens the second half of the program.

One of the most delightful aspects of the concert is the opportunity to hear Matthews sing again, an aspect that is all the more special when it becomes abundantly evident just how strong, pure and clear her nightingale voice remains. Matthew’s virtuosic rendition of the “Bell Song” from Lakmé is one of the true showstoppers of the night, leaving the audience hungry for more.

With performances characterised by warmth and camaraderie, the six singers give generously of themselves while providing an entertaining evening. It is not clear how future instalments of From Broadway to La Scala will be able to top this combination, but audiences can only hope that the producers will try.

From Broadway to La Scala played at Hamer Hall, Arts Centre Melbourne, 7.30pm Thursday 26 September 2019.

From Broadway to La Scala plays at Concert Hall, Sydney Opera House, 1.00pm Saturday 28 September 2019.

Photos: provided

Brightly polished to a gleaming sparkle, jukebox gem Mamma Mia! benefits from fresh, creative design, brought to life by a well-balanced blend of new and experienced cast members who capture the beating heart beneath the glossy surface.

CLOC Musical Theatre continues their tradition of staging spectacular non-professional premieres, succeeding all the more impressively this time with an extra dose of creativity. Fans of Mamma Mia! would still be there for a black box staging, so the cornucopia of dazzling sets, lights, projections, dance and costumes are a luxury indeed. All this, plus a superb set of performers and those glorious ABBA songs heard at their best.

Director Craig Wiltshire makes supremely confident use of the vast National Theatre stage, filling the space with the requisite colour and movement with great flair. The spectacle is balanced with the intimacy of key book scenes, in which the characters connect with authentic emotion. Wiltshire dials back the heightened energy seen in professional productions, trusting the work to stand on its own merits, which it does.

Also serving as choreographer, Wiltshire delivers lively, tightly rehearsed numbers that are a pleasure to watch. As act one moves to its climax, the flow of scenes through Sophie’s hen’s night, Sky’s buck’s night and the combination of the two parties juggles storytelling, song and dance so well that gasps of disappointment were heard when interval came along and interrupted the enjoyment.

Act two opens with a new staging of Sophie’s nightmare “Under Attack,” benefitting particularly from the projections that are a key aspect of the production’s overall creative design.

The music of Mamma Mia! is deceptively complex. Just because we can all hum the tunes does not mean that performing the songs is a breeze. Music director Tony Toppi leads a slick band of nine musicians, successfully creating the much-loved ABBA sound. Sung live, vocals are at a premium, with particular quality from the heavenly sopranos. Sound design by Marcello Lo Ricco deftly blends the music for an immersive experience.

Whereas the original set design of Mamma Mia! had an air of simplicity, Sally Martin takes this up several notches with a grand design that is very well judged in regard to supporting the story without spectacle for its own sake. A key feature is Martin’s expert painting of the floor as a stunning circular tiled mosaic. Having characters arrive and depart by free moving motorboat is a classic example of CLOC Musical Theatre’s technical wizardry at work.

Costume designer Brian Misson makes terrific use of colour, collaborating with Martin and lighting designer Brad Alcock to create integrated scenes drawing from a palette of Mediterranean blue, white and fuchsia, with later splashes of sea green, orange and coral. The Dynamos’ teal costumes are stunning, with another highlight being Sophie’s off the shoulder wedding dress. Special mention to hair designer Natalie Della Grazia for Tanya’s beautifully coiffured blonde wig.

Versatile leading lady Rosa McCarty may be the first actress to play the unique combination of Donna Sheridan, Mary Poppins and Elphaba at the one company. In another dynamic, heartfelt performance, McCarty grounds the rather frivolous story with a character of great integrity and heart. McCarty brings fresh expression to the well-known songs, and enjoys strong chemistry with each of her co-stars. McCarty lets fly in Donna’s 11 o’clock number “The Winner Takes It All,” providing a thrilling climax.

McCarty is expertly supported by stalwart talents Pam Christie Birkett as serial divorcée Tanya and Carolyn Waddell as cuddly cook Rosie. Each of these three women have great comic timing and excellent singing voices, and when the Dynamos reunite with “Chiquitita,” “Dancing Queen” and “Super Trouper” the show really takes flight.

India Morris is an exciting young performer who neatly sidesteps the potential mawkishness of Sophie’s quest to find her father, creating an engaging character who is sweet but not saccharine. Morris delivers powerhouse vocals, completing the package with terrific dance skills (not to mention some impressive gymnastic moves).

Ric Birkett brings out the romantic tenderness beneath the hearty confidence of Sam. Barry Tudor balances the sophisticated and fun-loving sides of banker, and former headbanger, Harry. Rick Howden puts a loving twinkle in the eye of seasoned adventurer Bill.

Luke Bortignon makes for a charming Sky, clearly conveying the young banker’s taste for worldly adventure. Ever young at heart, veteran amateur theatre fixture Chris Rogers brings a cheeky sense of fun to hotel staff member Eddie.

There is really no such thing as too much Mamma Mia!. Even those have seen all three professional Australian tours and the movie and its sequel will find fresh enjoyment in CLOC Musical Theatre’s new production. The quality of the production and cast could readily support a run of several months.

Mamma Mia! plays at National Theatre, Melbourne until 26 October 2019.

Photos: Ben Fon

OSMaD captures the emotional power of modern classic Miss Saigon, distinguishing the new production with a perfectly cast set of performers and a generously sized orchestra.

Around the world, musical theatre productions face a difficulty in casting racially/culturally appropriate performers. Full credit to OSMaD for casting every role and ensemble member in Miss Saigon without compromise, attracting highly talented performers of the requisite nationality backgrounds. The resulting production is all the more powerful.

A natural follow-up to their success with Claude-Michel Schönberg and Alain Boublil’s  Les Misérables last year, OSMaD gives Miss Saigon a similarly large-scale treatment. The splendid orchestra, led by music director Tim Verdon, features 22 musicians, eclipsing the 16 players of the recent West End revival. Adding to the enjoyment of hearing these musicians is the welcome use of a wide open orchestra pit. As well as leading the orchestra in a stirring performance of Schönberg’s operatically inclined score, Verdon also delivers rich chorus harmonies from the large ensemble.

Loosely based on revered opera Madama Butterfly, gritty musical Miss Saigon was originally known for “landing a helicopter on stage,” but its ongoing appeal is based on magnificent music, a highly affecting love story and a wrenching time jump in the story that is not resolved until later in act two. Innocent farm girl Kim meets and falls wildly in love with American GI Chris on her first night in Saigon. Three years later, with Saigon now renamed Ho Chi Minh City, Kim and Chris live a world apart, both haunted by the great love they shared.

Director Amy Bryans draws committed, passionate performances from the cast, with energy high but well calibrated so as to keep a strong sense of realism. Bryans adds a prologue on the streets of Saigon, clearly establishing The Engineer’s ever-present opportunism in coming across Kim and quickly taking her into his fold of night club dancers and prostitutes. When Kim finally flees Saigon, she joins a mass of dirty, scared characters crammed onto a small boat to seek refuge in another land, creating a chilling final image for act one.

The large stage of the Geoffrey McComas Theatre can be both a blessing and a curse, accommodating abundant scenic elements and cast members, but requiring extra effort to draw the eye to key characters or create intimacy. Set designer Richard Perdriau has provided a broad set of various levels and Bryans makes full use of this space; at times, however, this means it can be hard for the audience to know where to look. After a somewhat unfocused opening sequence, the show really takes off after the fall of Saigon. The celebratory pageant for the third anniversary of the reunification of Vietnam is totally spectacular, all the more so for the brilliant use made of the mighty paper dragon.

Another intelligent touch in Bryan’s direction is the slight change in the opening of act two, beginning with John in a support group for men with PTSD from the Vietnam war before shifting to the usual scene of John addressing a gathering about the plight of “Bui-Doi,” children of marines left behind after the war.

Working on a budget, Perdriau’s set makes clever use of abstract shapes, crafting patchwork collages of corrugated iron and fabric to give the impression of makeshift accommodation. The bright lights of Bangkok’s sexual quarter are simply but effectively conveyed with a set of neon triangles. The action is framed by rows of hanging bamboo screens, which at times look a bit stark, but pick up the light to create atmospheric texture, particularly across the back wall.

The success of the famous helicopter scene is the combination of Perdriau’s design, Vanessa Burke’s lighting and Steve Cooke’s sound design. The escaping soldiers seem to actually disappear into the chopper, which we clearly hear fly in and out overhead. At other times’ Burke’s lighting could have better aided audience focus, but certainly provides an abundance of lush, well-chosen colour.

Costume designer Louise Parsons supports the strong sense of realism, giving the GIs authentically weathered uniforms, and not shying away from the sleazy, skimpy outfits required for the Dreamland girls. After all the grit, the glossy glamour of the ensemble in The Engineer’s 11 o’clock number “The American Dream” is quite the spectacle. This number also benefits from the creative choreography of Kristy Griffin, who works cleverly to optimise the skills of the cast.

Experienced singer Mei Wah Chan proves an absolute natural for the stage as Kim, singing the beloved role beautifully and maintaining a highly natural presence that significantly enhances the impact of the drama. Chan has strong chemistry with all of her fellow actors and drives the story clear focus and commitment.

Dom Hennequin gives a breakout performance as The Engineer, delighting the audience by underpinning the desperate man’s scheming and grafting with a glittering sparkle in his eye. Not only is “The American Dream” a memorable showstopper but act one ballad “If You Want to Die in Bed” also lands brilliantly, deservedly earning rousing applause.

Seen again in a reliably likeable leading performance, Owen Clarke utilises his hardy tenor voice to convey the passion, confusion and desperation of young soldier, Chris.

Samuel Fung proves a superb fit for Kim’s betrothed cousin Thuy, taking the troubled young man on a journey from country youth to disciplined, driven military man. Even as a ghost in act two, Fung continues the intriguing level of performance.

Matthew Tomlin is in excellent voice in the somewhat underwritten role of John, best friend to Chris. Guada Bañez makes a strong early impression as jaded sex worker Gigi, singing “The Movie in My Mind” with tender beauty.

Grace Kingsford elevates the featured role of Chris’ new wife Ellen with her powerhouse vocals and strong acting. Drawing hearty audience acclaim, Kingsford’s performance of “Now That I’ve Seen Her” is all the more striking for the natural manner in which she segues from reflective recitative into the song.

On opening night, disciplined young actor Marcus Cheng was adorable as Tam, interacting in a very cute manner with The Engineer.

Seen far more rarely than workhorse Les Misérables, this production of Miss Saigon has much for audiences to enjoy.

Miss Saigon plays at Geoffrey McComas Theatre, Scotch College, Melbourne until 26 October 2019.

Photos: Ben Fon

Well worth the twenty-five-year wait, this was the Moment, not just for Anthony Warlow to actually play Dr Jekyll and Mr Hyde on stage, but also for Australia to finally see a professional production of Jekyll and Hyde.

Billed as the 25^th Anniversary Concert, Jekyll and Hyde receives a lavish concert staging, not just with an excellent cast, confident direction and full costumes but also with the absolute luxury of accompaniment from Melbourne Symphony Orchestra. For the first of two Melbourne concerts, Hamer Hall was filled to capacity with musical theatre aficionados, a great many of whom would have owned the deluxe 2CD 1994 concept recording of Jekyll and Hyde that put Anthony Warlow in the international spotlight.

The original Broadway production of Jekyll and Hyde ran almost four years and was even filmed for DVD release with none other than David Hasselhoff. International productions were prolific, but local efforts never saw fruition. The Frank Wildhorn musical rides on the success of its power ballads and duets, each one building to a Great. Big. Finish. The book and lyrics of Leslie Bricusse swirl with romantic imagery and yet are often let down by lame, overly simplistic rhymes, particularly in ensemble numbers.

Tweaked and judiciously edited, the concert running time of 130-minutes (including interval) is the ideal length to enjoy the hit songs in context without getting bogged down in extraneous details. Laugh lines are practically non-existent, although Warlow brings some welcome comic relief with his delicious delivery of pitch-black humour. In line with the original, Jekyll’s innocent love interest Emma returns to the name of Lisa Carew. The business with Jekyll’s poor father is not included, and Red Rat boss/pimp Spider is not on the scene. Infectious romp “Bring on the Men,” replaced for the original Broadway production, is thankfully included here.

Director Chris Parker makes grand use of space, circling the orchestra with stairs and high platform to complement the downstage scenes. Parker’s direction sees the show acted to the equivalent extent of a fully staged production, with the streamlined staging allowing the storytelling to be made even clearer. Unlike the hideously overblown 2013 Broadway revival, Parker simply trusts the material and allows the cast to give natural performances, successfully playing down the potentially camp or over the top aspects of the show.

Costume designer Victoria Horne uses luscious tactile fabrics to give the mostly all black costumes a strong sense of luxury. Lisa Carew stands out in sleek steel grey, and her climactic wedding dress brings a touch of sparkle. Mr Hyde’s thickly hooded black cape and blue John Lennon glasses give the insidious villain a sense of swagger and style. Trent Whitmore supports Horne’s work with beautifully coiffured wigs, a highlight being the vibrant red curls on Lucy.

Maestro Vanessa Scammell again illustrates her flair for musical theatre, her meticulous work allowing the score to be heard at its very best. Orchestral music is rich and lush, and vocal harmonies are expertly realised.

The supporting ensemble cast is filled with top class performers who are leading players in their own right, including Martin Crewes, Alex Rathgeber, Stephen Mahy, Troy Sussman and Annie Aitken. As a special treat, a couple of opera legends make all too rare appearances: Suzanne Johnston (Eliza Doolittle to Warlow’s to Professor Higgins in the 1993 revival of Victorian State Opera’s My Fair Lady) brings a spicy undercurrent to Lady Beaconsfield, and renowned baritone Peter Coleman-Wright, still in excellent voice, gives Sir Danvers Carew the requisite air of austerity.

Guest American artist Amanda Lea LaVergne conveys Lisa Carew’s wholesome purity with a breathy, youthful vocal style. Looking every bit the glamorous society heiress, LaVergne delivers a solid performance, singing with a sweet, pleasant tone.

Already well established as a choice leading lady, local artist Jemma Rix takes her status to the next level with a stunning performance as vulnerable lady of the night, Lucy. Where other singers have a tendency to belt Lucy’s songs with reckless abandon, Rix delivers the hits with finely calibrated precision, finding much more power in tenderness and subtlety. After the saucy joys of “Bring on the Men,” Rix breaks hearts with “No One Knows Who I Am” before owning the theatre with the soaring passion of “Someone Like Me” and the piercing heartbreak of “A New Life.”

Finally claiming his signature recording role on stage, Warlow is magnificent as Dr Jekyll and Mr Hyde, his electrifying performance readily living up to the massive expectations surrounding this concert event. While his voice is closer to baritone than the high tenor of 25 years ago, Warlow retains all the thrilling edge that makes the music soar.

Beginning with this quietly understated entrance, Warlow sets the standard for the acting style of the cast, using natural, almost underplayed speech and completely avoiding the indulgence mad histrionics. Legendary power ballad “This Is the Moment” receives extended rapturous applause, serving as acclaim not just for the performance on the night but for the marvellous career that has led to the Moment.

Much as he is the star attraction, Warlow presents as a solid team player, working closely with the ensemble cast to deliver a well-integrated production. Warlow enjoys strong chemistry with LaVergne and Rix, with his duets with Rix being particularly thrilling. Jekyll and Hyde builds to “Confrontation,” a climactic faceoff between the twin spirits of good and evil; this showpiece is the crowning glory in Warlow’s unforgettable performance.

With the unfortunate demise of The Production Company imminent, the high quality of a concert musical staging such as this one for Jekyll and Hyde gives a welcome ray of hope for the future. With a second Melbourne performance tonight and a Sydney outing next weekend, musical theatre fans must not miss this exceptional concert.

Jekyll and Hyde 25^th Anniversary Concert plays at Hamer Hall, Arts Centre Melbourne again Saturday 26 October 2019, and plays Darling Harbour Theatre, Sydney 2 November 2019.

Photos: courtesy Phoebe Warlow Photography

One of the most charming, heartfelt recent Broadway musicals you have never heard of, Bright Star is given a lovingly crafted production by Pursued by Bear, the intimate stage of Chapel off Chapel fairly bursting with prodigious talent.

The closing date for Tony Award eligibility creates an annual bottleneck of Broadway openings in April. One of eight new musicals and three revivals on show in April 2016 (including a certain little hit entitled Hamilton), gentle bluegrass musical Bright Star was lost in the shuffle, playing four months before embarking on a partial US tour. Full credit to Pursued by Bear for uncovering this gem and bringing it to musical-loving Melbourne.

The welcome boutique production is on a generous scale for an independent company, with a cast of 18, two of whom double as musicians. In line with the recent Broadway trend seen in shows such as Come from Away and Waitress, the band is positioned on stage, enhancing the visual texture and stage energy. Steve Martin and Edie Brickell’s music has an infectious, instantly accessible quality, capturing the distinctly American sound heard once upon a time in Big River. Musical director Nathan Firmin brings out the full character of the instrumental music, also infusing the vocals with a frisky bluegrass twang.

With the inspiration of a true event, Martin and Brickell have fashioned an original, affecting story, albeit one that would be at home in a daytime soap opera. The difference is the period setting and the quality of the writing. Martin’s quirky sense of comedy is heard in his book, with Brickell providing the stirring lyrics for the songs, which successfully spring forth organically from the book scenes.

Successful magazine editor Alice Murphy is sure the audience would look at her differently “If You Knew My Story.” We first meet handsome young World War II serviceman Billy Cane returning from the front to discover his mother has passed away. Billy leaves his sweetheart Margo in town, travelling to the city to submit his short stories for publication. Alice sees something special in the aspiring writer, and the story shifts from the 1940s to the 1920s as she recalls her youth.

Young Alice loves Jimmy Ray, but their troth is thwarted by his father Mayor Dobbs, an insidious snake of a man who will not waver in his vision for his son’s life. Mayor Dobbs commits a particularly malevolent deed at the end of act one, and the ripples of tragedy colour most of act two until a hard-earned happy ending eventually ensues.

Working with an exceptionally talented cast, each very well suited to their roles, director Mark Taylor breathes natural life into the characters, ensuring that the aching heart of the story rings true. The show could potentially be derailed by caricature and outlandish delivery of plot twists, but here it is heartfelt and deeply moving, significantly aided by the intimate setting. Taylor’s direction is also particularly successful in nailing the quirky comedic style required to optimise Martin’s witty writing; indeed, the cast score many a laugh out loud moment with their well-honed timing and delivery.

Closely interwoven with Taylor’s direction is the sharp, spry choreography of Freya List, who has dance erupting out of scenes with a life force seemingly of its own. List’s choreography is distinctly characterised by period style and appears as much fun to perform as it is to watch. Integrating dance into scene changes completed by ensemble members means that there is not a wasted moment in the show.

Sarah Tulloch’s production design makes attractive use of the space, melding a range of elements for an atmospheric, easily adaptable setting. With various scenes imaginatively created by combinations of wooden crates, the action flows seamlessly back and forth between the 1920s and 1940s. The lighting design of Mungo Tumble complements the ambience perfectly. Hanging globes that represent stars are a lovely touch.

Supporting the presentation of two eras is the costume design of Jodi Hope, who uses a palette of soft sun-bleached shades to reflect the heat of North Carolina. Alice’s onstage transition from middle-aged woman to teenaged girl is a very effective sequence. Period hairstyles complement the costume stylings for a visually appealing, authentic overall result.

Trouble with sound design resulted with a plethora of missed cues on opening night. This improved in the second act and is sure to be remedied quickly as the all too brief season continues.

Making her Broadway debut, Carmen Cusack earnt a legion of admirers for her work as Alice, a role she played for the full life of Bright Star, from out of town tryouts to US tour. Cusack fitted the mature age Alice, becoming “younger” for the 1920s scenes. In contrast here, leading lady Kala Gare fits the age of young Alice, adopting a change of hair, costumes and body language to play the “older” Alice. There was a small chance that this change could have undermined the show’s intentions, but it works brilliantly, succeeding in no small part due to Gare’s magnetic presence and her exceptional talent as an actress.

Gare’s unflinching commitment to the role raises the stakes of the story and ensures that each twist lands with highly affecting weight. This is a performance to be cherished and is a key attraction for Melbourne musical lovers to see Bright Star this week.

Looking every inch the upright young soldier, Callum O’Malley proves an appealing leading man, drawing the audience to his presence and singing with a ready natural tone. Sarah Krndija elevates the role of Margo beyond simple love interest for Billy, scoring extra credit for terrific comic ability.

Matthew Prime embodies intelligent hunk Jimmy Ray, subtly changing his body language and expression to play the older incarnation of the man. Mike Gardiner submits to audience hatred of Mayor Dobbs, portraying the vile villain as a man who simply believes he is right.

Ellie Nunan and Lachlan Hewson bring delicious local colour to Alice’s magazine headquarters. Nunan gives a sparkle to vivacious, man-hungry clerk Lucy while Hewson nicely downplays the camp in tortured writer Daryl. Act two charm song “Another Round” is a winner in the hands of these two, and their work in the happy ending is a hoot.

Violinist Ruby Clark and banjo player Anthony Craig add extra comic zing to the burgeoning bookstore romance of Max and Edna.

Taking a chance on Bright Star will be well rewarded.

Bright Star plays at Chapel off Chapel, Melbourne until 3 November 2019.

Photos: Ben Fon

Working at the very height of their powers, The Production Company rewards Melbourne for 21 years of love and support with a superlative production of epic 1999 Broadway musical Ragtime.

Man in Chair was fortunate enough to see both the spectacular original Broadway production and the scaled down 2009 revival. This Australian premiere of Ragtime finally gives the chance for a legion of local musical fans, who know and love the cast recording, to experience the full impact of the musical for themselves.

The vast scale of Ragtime has impeded the frequency of productions. The challenge of the multitude of scenes is solved by the concert staging with handsome black and white projections, while the challenge of finding the requisite breadth of talent in cast members is solved with breathtaking confidence by The Production Company at this very mature stage of their existence.

The extraordinary level of achievement in this superb production makes the imminent closure of The Production Company in 2020 all the more of a devastating blow.

Based on E.L. Doctorow’s 1975 novel, Ragtime ingeniously intertwines three societal groups of New York at the beginning of last century. The leisurely New Rochelle affluence of Mother and Father is soon to be disrupted by the lives of the African-American serving class and the wave of European immigrants seeking refuge. Issues of immigration, racial profiling, entrenched sexism and even gun control seem more relevant now than when the musical premiered twenty years ago. Hateful language is judiciously maintained in the script so as to give full power to the impact of the story.

Eclectic Broadway composers Stephen Flaherty and Lynn Ahrens provide a sumptuous score that is a close relation to Les Misérables for sheer musical beauty (and frequency of power ballads). Flaherty makes brilliant use of leitmotifs to subtly support audience absorption of the plethora of characters. Terrence McNally’s book deftly telescopes an abundance of character motivation by having the characters frequently and simply address the audience in third person. Ragtime has a far more sophisticated storyline than a great many musicals, weaving seemingly disparate threads into a cohesive and deeply moving tapestry.

Director Roger Hodgman embraces the large playing space of the State Theatre, giving the story and its characters room to breathe. The story unfolds with a seamless flow, and Hodgman’s empathetic direction ensures that the audience is moved to anger, joy and tears by the engaging characters.

Choreographer Dana Jolly adds to the sense of pageantry with crisp choreography. A highlight of Jolly’s work comes in “Sarah Brown Eyes,” in which the choreography clearly conveys the fact that the song is a mournful dream.

Maestro Guy Noble leads The Production Company Orchestra in a particularly splendid performance. The score calls for a wide range of styles, from ragtime to traditional Broadway to Eastern European, and Noble delivers the full colour of these styles with consummate flair.

Set designer Christina Smith provides a sturdy pair of stairs with a walkway over the orchestra. Clever use is made of the lower portions of the stairs to create the bleachers at the baseball game attended by Father and his Little Boy. Well-chosen period images on the large overhead LCD screen add significantly to the atmosphere whilst also capably supporting the storytelling.

Costume designer Isaac Lummis expertly delineates the social groups, placing the wealthy in spotless white, the African American people in rich shades of purple and the immigrants in dark makeshift rags. Actors playing featured characters also form part of the ensemble, and the number of costume changes required is quite mind boggling. Wigs, by Trent Whitmore, are suitably beguiling, particularly the vibrant red of vaudeville star Evelyn Nesbit.  Mother’s hats are gems from master milliner Phillip Rhodes.

A key achievement of The Production Company has been the spotlighting of new talent, a tradition that continues with Georgina Hopson’s breakout performance as Mother. Hopson portrays a woman who has her place and yet acts with noble bravery and tender compassion to counter injustice. Hopson’s singing is divine, and her performance of Mother’s 11 o’clock number “Back to Before” is unforgettable.

At home on the world musical theatre and opera stage, Alexander Lewis makes a welcome debut at The Production Company. A supremely gifted actor, Lewis imbues Tateh with integrity and spirit, also singing the role with pristine flair. Lewis and Hopson’s charming duet “Our Children” is a stirring musical highlight.

Kurt Kansley stars as Coalhouse Walker Jr, successfully taking the man from colourful jazz musician to dignified lover to embittered revolutionary. Rising star Chloé Zuel is a delight as dear Sarah, bringing the audience to her in a sweetly underplayed performance. Zuel and Kansley soar in “Wheels of a Dream,” as Sarah and Coalhouse dream of sharing a happy future.

Adam Murphy brings fresh life to Father, a traditional man whose weaknesses and foibles are in plain sight today. Finn Alexander captures the focus and heart of Mother’s Younger Brother, ensuring that the young man’s descent from privilege to rebellion is believable.

Strong character work comes from Sage Douglas as anarchist Emma Goldman, adding an amusing touch of self-deprecation to the woman’s drive and determination. The ensemble cast of featured roles is an embarrassment of riches, from veteran performers such as John O’May, Anton Berezin and John McTernan, to younger talents such as Louis Lucente, Mackenzie Dunn, Joti Gore and Matt Hamilton. Special mention goes to Ruva Ngwenya, who delivers stunning powerhouse vocals as Sarah’s Friend.

On opening night, Kempton Maloney, as Little Boy, worked with confident poise and boyish charm. Summer Hamilton, as Little Girl, has few lines, so much of Hamilton’s lovely work was in her expression and presence.

Ragtime is absolutely not to be missed.

Ragtime plays at State Theatre, Arts Centre Melbourne until 10 November 2019.

Photos: Jeff Busby