In an auspicious world premiere season, Music Theatre Melbourne takes audiences back to the garishly colourful 1980s in Electric Dreams, a new Australian musical based on the cultish 1984 film.

Billed as a “staged workshop development production,” the brief season is relatively light on production values but high on talent, allowing Drew Lane’s score to be performed at an optimal level.

The 1960s have featured in far more than their share of musicals, so a 1980s musical is an inspired choice. Electric Dreams returns to a time when young people (even musicians!) could afford to live in the city; fashions were bright, hair was big and pay phones were key for communication on the move.

Part Little Shop of Horrors and part Cyrano de Bergerac, the storyline sees nerdy architect Miles buy a home computer to aid his design of an earthquake resistant brick. After spilling coffee on the computer, it comes to life with a personality named Edgar, which begins to aggressively interfere with Miles’ life, particularly his love life with new neighbour Madeline. Thinking that Miles is playing the music she hears, Madeline begins to fall in love with Miles, a feeling boosted when Edgar composes a love song that Miles uses to woo Madeline.

Lane has done a Meredith Willson, penning the book, lyrics and score for Electric Dreams. The music is instantly accessible, cleverly and seamlessly picking up on the synthesiser tones of the movie’s hit song “Together in Electric Dreams” (by Philip Oakey and Giorgio Moroder). The score is well balanced, generally moving the storytelling along and keeping energy high with ensemble numbers. Edgar’s composition “That’s Love” is a charming highlight, with another being “Love is What We’re Made of,” as friends Frank and Millie counsel a heartbroken Madeline. The scene where Edgar responds to Madeline’s cello playing with electronic harmonies is a real winner.

Lane acts as music director, playing piano as he leads a tight band of five fellow musicians. On opening night, music initially swamped vocals, with balance improving quickly as the performance continued. Overall, sound design did not make it particularly easy to listen to the new and unfamiliar lyrics, much as the quality of the singing voices could be readily appreciated.

Based on Rusty Lemorande’s original screenplay, the story works as a romantic comedy coloured with a unique angle of nostalgia. It is uncanny to see the way that communication with Edgar, and its connection to appliances and online information, so closely mirrors the current predilection for Alexa, Siri and the like. Much as the songs work well, the book generally lacks sufficient tension and drive to successfully sustain a running time of 140 minutes (including interval). Fortunately, the appeal of the cast and the energy of the performances maintain plenty of audience good will.

Director/choreographer Roman Berry infuses the show with bright, energetic performances, amusing the Gen X and older audience members with some distinctive 1980s dance moves. Berry works with the slender production elements to help the audience use their imagination to see the full picture. The central love triangle works well, and it is a nice touch to have Owen James (the voice of Edgar) to appear on stage during one of his final songs.

Lachie McFarlane provides a clever concept for the setting, with projections on a large framed screen showing the audience the face of “Edgar.” The animated projections add amusing flair to the storytelling, taking the audience back to the simple green pixels of early home computing. Embedded LED lighting strips add sparkle to the stage setting.

McFarlane is also credited with costumes, along with Berry and Jannette Raynes. The ensemble cast of ten make a number of costume changes and there are some humorous throwbacks in there. A full production would most likely include some more specific 1980s atrocities.

Tom Green is a terrific discovery in the lead role of Miles, singing with a truly gorgeous tenor voice. Lane’s material is strong, and Green makes it sound even better. This is the sort of musical theatre voice that would prompt the purchase of a cast recording just to hear more of it. Green embraces Miles’ nerdy vibe, creating an appealingly meek hero.

Seen as the female lead in Paris, Madeleine Featherby gives another polished, engaging performance as spunky young cellist Madeline. Featherby displays a powerhouse belt, nicely balanced with sweeter tones for gentler numbers. Featherby enjoys solid chemistry with Green, making for a sweet romance.

The roles of friends Bill and Millie are bumped up for the musical, with the vibrant pair soon beginning their own hot and heavy romance. Professional music theatre performer Stephen Mahy is a champion of independent musical theatre, and gives another excellent performance here. Angela Scundi brings out the sassy personality of Millie, joining Mahy to show off athletic dance moves in act one duet “Play With Me.” The pair later delivers sweet harmonies in “Love is What We’re Made of.”

Largely unseen, James bring abundant character to the voice of Edgar.

The ensemble cast is completed by Anthony Scundi (with hair turbo blowdried to represent the Hoff in early charm song “Classical Hasselhoff”), Zak Brown, Sophie Loughran, Aidan Niarros and Courtney Smyth.

Future incarnations of Electric Dreams will be anticipated with keen interest.

Electric Dreams plays at Gasworks, Albert Park until 24 November 2019.

Photos: supplied

The extraordinary quality of Kiss of the Spider Woman belies the eight-year gap since Melbourne Theatre Company produced a Broadway musical as part of their mainstage season. The dark, dazzling adult musical achieves the magical synergy that occurs when creative collaboration and stellar performances coalesce for a whole that is greater than the not inconsiderable sum of its parts.

Adapting the Manuel Puig novel, composers John Kander and Fred Ebb and book writer Terrence McNally took musical theatre to the heretofore unimaginable setting of a brutal Argentinian prison. Newly imprisoned revolutionary Valentin is introduced to the elaborate flights of fancy of cellmate Molina, a gay window dresser who vividly recreates the movies of glamorous diva Aurora in his mind. An uneasy relationship develops between the two men as they depend on each other to survive the psychological and physical torture of the Warden, driven to capture Valentin’s cohorts.

Working with supreme confidence, flair and insight, director Dean Bryant brings out the very best in his creative collaborators and skims the cream of local musical talent to assemble a supremely talented cast, almost all of whom are making their Melbourne Theatre Company debuts. Bryant does not shy from the bleak, dark grit of the setting, successfully drawing the full humanity of the characters in the march to a tragic yet ultimately uplifting conclusion.

Choreographer Andrew Hallsworth delivers what is arguably his best work to date, providing not just spectacular dance, but working with such imagination to have the moves magically derive from the prison setting. Hallsworth and Bryant’s close working relationship allows them to conjure an integrated blend of drama and dance, in which even the sets and props dance magically into place. Hallsworth’s pièce de résistance comes in the title song “Kiss of the Spider Woman,” in which Aurora is grandly carried overhead, while at stage level, lovemaking is exquisitely represented in dance.

Rising musical director Jack Earle provides slick orchestrations for himself on keys and four fellow musicians: Darryn Farrugia, Susannah Ng, Patrick Schmidli and Paul Zabrowarny. Earle’s musical preparation is pristine, and is heard at its best in the clarion sound design of Nick Walker.

Alicia Clements’ set design is on a grand scale, all the cleverer for its hidden tricks. A grimy two-level prison interior gives a suitably oppressive vibe that lifts away in musical numbers. A key aspect to the impact of these transitions is the first-rate lighting design of Matt Scott, along with the subtle use of projections by Jamie Clennett. In the wide stage space, Scott creates Valentin and Molina’s cramped cell with a tight square of light. Embedded lighting in the set creates extra sparkle in the dream sequences.

Clements has fun switching between grit and glamour in the costumes; helmets switch from dull to sparkling in the blink of any eye. Movie star Aurora sports an impossibly glamorous wardrobe, with a fabulous new wig for each outfit.

A Kander & Ebb specialist if there ever was one, Caroline O’Connor gives an iconic performance as the exotic Aurora, performing a dazzling range of styles to showcase Aurora’s screen career. A veteran of the world stage, O’Connor creates allure and appeal, even though the book provides nothing of Aurora as an actual person. In particularly strong voice, O’Connor brings a depth of expression to the songs, and sings unfailingly even when in a range of contortions and lifts. O’Connor’s gift for comedy comes to the fore as act two commences with “Russian Movie” / “Good Times.”

Having come to attention in the heartthrob title role of Aladdin, charismatic young actor Ainsley Melham reveals a far greater depth of talent with his blistering performance as Molina. Melham’s achievement begins with playing an openly gay window dresser without a hint of camp, and continues in his heartfelt, empathetic performance that draws the audience ever closer towards him. Finally, his gifts as a singing actor mean that he transitions flawlessly between dialogue and song, a valuable skill in this musical drama.

From beneath long hair and beard, Adam-Jon Fiorentino allows a guarded humanity to gradually be revealed in hard-bitten rebel Valentin. In a committed, well calibrated performance, Fiorentino brings verisimilitude to Valentin’s suffering and scheming, and enjoys strong chemistry with Melham.

Bert LaBonté gives the sadistic Warden a wickedly malevolent whisper. Natalie Gamsu brings an affecting depth of compassion to Molina’s Mother. In her highest profile role to date, gifted young actress Elandrah Eramiha brings glamorous mystery and lovely vocals to Valentin’s girlfriend, Marta. Smooth singing actor Ryan Gonzales is luxury casting indeed as Molina’s object of affection, waiter Gabriel.

The ensemble cast is completed by terrific triple threats Jakob Ambrose, Blake Appelqvist, Joe Gaudion and Lyndon Watts.

Balancing intense drama with lavish production numbers, Kiss of the Spider Woman has abundant appeal for regular playgoers as well as lovers of musical theatre. Opening night was greeted by a full standing ovation, a feat sure to repeated throughout the season.

Kiss of the Spider Woman plays at The Sumner, Southbank Theatre, Melbourne until 28 December 2019.

The Kiss of the Spider Woman program can be read online.

Photos: Jeff Busby

Irresistible guilty pleasure Legally Blonde returns in a blue-chip boutique production anchored by a dazzling star turn from Samm Hagen as everyone’s favourite pretty-in-pink law student, little Miss Woods, Elle.

Whilst most independent companies focus on chamber-sized musicals, James Terry Collective has taken a gamble on a scaled down staging of splashy Broadway musical Legally Blonde and the risk has paid off handsomely. Showing well-placed confidence, the production is drastically scaled down in terms of sets, wisely saving the money for a full professional cast and, even more impressively, full band of 14 musicians.

The show more than stands up to the streamlined treatment, with extra focus able to be expended on the deliciously dense lyrics of Laurence O’Keefe and Nell Benjamin’s songs, and the heart and soul of Heather Hach’s shines through clear and proud. Written back in 2007, Legally Blonde is a rosy fable for the #MeToo era, with sleazy Professor Callahan’s comeuppance dispensed swiftly and definitively. More welcome than ever, the overall message of sisterhood and female empowerment is very well showcased.

A key attraction of the revival is the opportunity to see wunderkind Michael Ralph take on the dual role of director/choreographer again. Structured book musical Legally Blonde does not offer the interpretive flexibility of concept musical Nine, yet Ralph makes the show his own, amplifying character work to replace scenic effect, keeping crisp storytelling to the fore and, of course, providing eye-popping, razor tight choreography that is a spectacle in its own right. Energy is sky high, scenes changes are drilled with military precision and comedy is expertly realised.

Musical director Katie Weston brings the utterly infectious score roaring back to life. Marcello Lo Ricco’s reliably pristine sound design allows the contribution of every musician to be distinctly heard and ensemble harmonies are also at a premium, all sung live, even while skipping!

In a witty touch, set designer Dave Angelico places the action on a giant pink cover of Elle magazine. Two scenic panels glide about to smoothly represent the various locales, aided by a few pieces of furniture. The simplified scenery gives lighting designer Jason Bovaird the heavy lifting in regard to delineating the space, a challenge that is met with characteristic flair.

Jacinda Hill shows no signs of working on a limited budget, providing a seemingly endless parade of cute, colourful costumes. Elle dazzles at every turn, with other highlights including Vivian’s corporate chic and Paulette’s quirky individuality*.

Statuesque natural blonde Hagen is more than just a physical fit for Elle. Possessing an effortless belt, Hagen sings the role superbly. Enjoying strong chemistry with her castmates, Hagen captures the beauty of Elle’s heart to perfection. Finally, Hagen is an accomplished dancer, easily able to dance Ralph’s zesty choreography alongside the ensemble.

In a well-judged performance, Evan Lever keeps teaching assistant Emmett largely in the background, allowing a nice slow burn for his gentle romance with Elle. Tod Strike keeps Professor Callahan coiled and ready to strike, performing with authority and polish that reflect his extensive experience.

Willow Sizer delights in contrasting earthy hairdresser Paulette with the hyper pink cheerleading set, bringing warmth and compassion to the charming role. Joshua Firman captures Warner’s spineless spoiled superficiality in a neatly understated performance. With her sharp delivery and charismatic presence, Lala Barlow elevates supporting character Vivian the viper, scoring extra points for a hilarious early cameo as opportunistic sales assistant Courtney.

Sophie Stewart (Serena), Tayal Coad (Margot) and Asmara Soekotjo (Pilar) shine as Elle’s sorority sister Greek chorus, delivering vibrant vocals and dazzling dance moves.

Additional joy comes from dachshund Sir Duke as Elle’s beloved Bruiser (sharing the role with Taco) and Chopper as Paulette’s roly-poly Rufus.

Don your best pink and prepare to fall in love with Elle and co all over again.

Legally Blonde plays at Chapel off Chapel, Melbourne until 8 December 2019.

*Also, a significant portion of the audience thanks Ms Hill for UPS delivery guy Kyle’s shorts.

Photos: James Terry

Set to dazzle and divert, the Broadway revival of Chicago returns for its third Melbourne sentence with as sexy and sinewy a company of dancers as could possibly be wished for.

As the 1996 Broadway revival of Chicago approaches the epic 10,000 performance mark in New York, the prospect of enjoying this fresh Australian tour is a far more tantalising one. The ensemble members, in particular, are seen at their racy best, performing the once-in-a-lifetime Fosse-esque choreography with sizzling sleekness.

Returning ten years after the second Australian tour (which was ten years after the first), the musical brings a special interest this year to anyone who was fortunate enough to watch the extraordinary limited-series Fosse/Verdon. The series built to the creation of the original 1975 production of Chicago, offering fascinating insights and reigniting interest in the great work.

Ostensibly set in the late 1920s, the slick revival is a product of New York institution City Center Encores! (a precursor to Melbourne’s own The Production Company). The concert season, with the band onstage and the black-clad cast sitting on stage, was such a hit that it transferred directly to Broadway. Stunt casting and the boffo success of the 2002 movie boosted ticket sales, but now, as with this return tour, the quality of the work and people’s love for it keeps the show running and running.

Pre-Instagram, Roxie and Velma only had the press to keep them in the public eye. The concept of a “phony celebrity” certainly rings true today, although it is something of a relief to note that recent wisdom has seen the names of mass killers withheld. In adapting the play by Maureen Dallas Watkins, could Fred Ebb and Bob Fosse possibly have known how pertinent Velma and Roxie’s final dialogue would be: “You know a lot of people have lost faith in America and for what America stands for.” A lot of people indeed.

The longevity of the show and familiarity with the movie means that the score is virtually a hit parade of Kander and Ebb songs. The lightly trimmed libretto keeps the show hurtling forward to each new number, maintaining a sense of heady enjoyment. Musical director Daniel Edmonds, a very good sport for his level of participation in the stage action, helms a smoking hot orchestra of 14 musicians. The orchestra cuts loose in the act two “Entr’acte,” also on fire for “Hot Honey Rag.” As a measure of success, the majority of opening night patrons lingered to enjoy the playout, which drew further applause.

Ann Reinking choreographed the 1996 revival “in the style of Bob Fosse,” and that work is expertly recreated here by Gary Chryst. At this point, the dance is almost as familiar as the music, and yet there remains abundant joy at watching the dance performed so well. The genius of Walter Bobbie’s 1996 direction is that by raising the sexuality of the cast to full view, the stakes at play for the grifting, grasping characters are made perfectly clear.

Musical theatre sweetheart Alinta Chidzey comes of age in Chicago, singing Velma with the expressive, slightly smoky tones of a cabaret artiste and dazzling with her level of dance. Those high kicks! Still just a little too fresh faced to really convey Velma’s last gasp desperation, Chidzey’s performance is nonetheless enjoyable in its own right, and the show tends to flag ever so slightly when she is not on stage.

As rising scoundrel Roxie, Natalie Bassingthwaighte is seen at her best in the extended monologue/song “Roxie,” which serves to gradually win over the audience. Looking super fit and wearing glossy make up and a rigid blonde wig, Bassingthwaighte is hamstrung in regard to bringing out any vulnerability in Roxie, and she struggles to put her own stamp on the role. Moments of baby doll voice are cute; more of such individuality would serve the performance well.

In a nice piece of casting, Jason Donovan steps into the role of lethal lawyer Billy Flynn for the Melbourne season, filling the shoes of his father Terence Donovan from the 1981 Sydney Theatre Company tour of Chicago. Jason Donovan also appeals to Generation X fans who have followed his storied career. Stronger in dialogue scenes than in song, Donovan will most likely catch up with his colleagues (who have already played two cities) as the Melbourne season progresses.

Casey Donovan is a hearty crowd-pleaser as Matron “Mama” Morton. Playing to the back of the grand circle, Donovan maintains a devilish sparkle in her eye and her rousing vocals are of the show-stopping variety, particularly the final notes of “When You’re Good to Mama.”

Seasoned stage professional Rodney Dobson nails the adorable vulnerability of meek mouse Amos Hart. J. Furtado sings Mary Sunshine with pristine distinction and crystalline high notes.

Bringing distinctive character to “Cell Block Tango,” Chidzey’s fellow merry murderesses are Chaska Halliday, Samantha Dodemaide, Hayley Martin, Jessica Vellucci and Romina Villafranca.

Special mention to Travis Khan, who brings a welcome sense of playful fun to his portrayal of The Jury.

Chicago plays at State Theatre, Arts Centre Melbourne until 23 February 2020.

Footnote: the listing of Jason Donovan above the two leading ladies on the title page of the program (and having his bio and photo before theirs) is an egregious insult to Natalie Bassingthwaite and Alinta Chidzey.

Photos: Jeff Busby

Even with two of its main theatres not available for musicals, Melbourne still enjoyed a healthy musical theatre scene in 2019.

After hosting the third Melbourne appearance of Jersey Boys, the Regent Theatre closed for the rest of the year for extensive renovations. Sweet-voiced Ryan Gonzales was a suave player as Frankie Valli in Jersey Boys. Meanwhile, the Princess Theatre hosted the immaculate Australian production of megahit play Harry Potter and the Cursed Child(below), which will most likely tie up the theatre for a considerable time to come. William McKenna was a standout in the crowd-pleasing role of Scorpius Malfoy.

Musical Theatre attention turned back to the Comedy Theatre, with a somewhat patchy, not quite fully realised production of Barnum followed by rousing international hit musical Come from Away, which patiently built up a loyal local following. Kirby Burgess stole the show in a breakout performance as the ringmaster in Barnum.

After a long wait, Melbourne finally saw Muriel’s Wedding (below), easily one of the best original Australian musicals seen to date. New young leads Natalie Abbott (Muriel), Stefanie Jones (Rhonda) and Jarrod Griffiths (Brice) capably proved their mettle, with local favourite Christie Whelan Browne in top form as bridezilla Tania Degano.

In a curious double act, Australian saw two versions of West Side Story this year, both presented by producers Opera Australia. The Handa Opera on Sydney Harbour West Side Story (below) was a thrilling production, traditional yet with a modern edge, ramping up the focus on the inherent issue of immigrants. Opening night was doused with rain, yet not one audience member moved from their seat, so riveted were they by the performances. Alexander Lewis played Tony as if the lines had never been spoken before, Julie Lea Goodwin was a truly lovely Maria, with Mark Hill a standout as Riff. Whereas previous Handa Operas had been filmed, license rights prevented West Side Story being recorded, which was a disappointment as the production deserved the widest possible audience.

Subsequently, the Australian tour of West Side Story (which also spent time overseas), a return of the 2010 international production, was not quite as impactful yet was bolstered by an exciting young cast, with Todd Jacobsson revealing a rich tenor voice, Chloe Zuel dazzling as Anita and Lyndon Watts an intense Bernardo.

Blue chip children’s book title Charlie and the Chocolate Factory came to Her Majesty’s in a somewhat improved production to that seen on Broadway; the only hummable tunes remain those from the original movie. The revival of Chicago closed the year, with the one and only Jason Donovan joining the cast for the Melbourne season. The opening of Chicago gave Melbourne the auspicious distinction of two Kander & Ebb musicals playing simultaneously.

Other companies added to the Melbourne musical calendar. Melbourne Theatre Company presented their first Broadway musical in eight years with Kiss of the Spider Woman (below). Aladdin star Ainsley Melham gave an extraordinary performance as sensitive prisoner Molina, with Caroline O’Connor in reliably showstopping form as exotic movie siren Aurora. Victorian Opera returned to Sondheim, hosting a starry cast in A Little Night Music.

After a slightly rocky 21^st year, The Production Company revealed the sad news that they would be closing in 2020. Having grown from their initial three-show seasons to mighty ten-show seasons, the venerated institution has employed hundreds of artists and entertained thousands upon thousands of Melburnians. Their absence will be sorely felt after their final, yet-to-be-revealed show in May 2020. In a rare programming misstep, The Production Company started 2019 with a slick production of utterly nonsensical David Bowie musical Lazarus. Thoroughly Modern Millie (below) was a return to traditional Broadway fare, with a thrilling star turn from Annie Aitken in the title role and an unforgettable performance from Queenie van de Zandt in the featured role of Muzzy van Horn. While Marina Prior was ideally cast as Mrs Meers, woke folk took offence at the caricatured Asian disguise her character adopts. Apparently, the show is being revised in New York, so it was unlucky that The Production Company did not have access to that new version. After years of almost going there, The Production Company finally took the leap and staged epic Broadway musical Ragtime (top photo). The wait was rewarded with a top class cast and a lavish concert staging. Georgina Hopson gave a breakout performance as Mother, soaring into audience hearts with “Back to Before.”

Iconic stage star Anthony Warlow returned to the stage in two high profile events, both giving the great man the chance to shine in highly anticipated role debuts. In Sweeney Todd, Warlow was well-matched by Gina Riley as Mrs Lovett. In Jekyll and Hyde in Concert (below), Jemma Rix sung up a storm as Lucy.

2018 hit Bring it On returned in 2019, this time visiting other cities as well. Michael Ralph’s choreography, as performed by the sensational young cast, had to be seen to be believed. Ralph shone again in an independent production of Legally Blonde(below), again taking on the dual role of director and choreographer to great success.

Watch This took Sunday in the Park with George on tour, showcasing Sondheim’s music at its best. Manilla Street Productions presented the Australian professional premiere of Andrew Lloyd Webber’s dramatic soccer musical The Beautiful Game. A further Australian premiere came from Pursued by Bear, with their production of 2016 Broadway musical Bright Star (below) anchored by an extraordinary lead performance from Kala Gare.

Relatively new company Music Theatre Melbourne showed support for Australian work, presenting a development production of Drew Lane’s amusing musical Electric Dreams, based on the classic 1984 film. The history of Australian musicals was celebrated in lavish new coffee table book The Australian Musical.

Sydney remained very well served by Hayes Theatre. Man in Chair was fortunate enough to see Caroline, or Change but sadly missed American Psycho, Catch Me If You Can and the camp staging of H.M.S. Pinafore.

Man in Chair’s annual jaunt to London began with the inventive new revival of Company (below). Having Bobby become Bobbie, played to perfection by Rosalie Craig, is just one of the show’s inventions. Australian Ben Lewis was lucky enough to partner grand diva Patti LuPone, with Joanne’s husband reimagined as something of a toyboy. Hopefully, an Australian tour will follow the upcoming Broadway season.

In a unique out of town tryout, Hadestown played London’s National Theatre, before shifting to Broadway and winning the 2019 Best Musical Tony Award. Jukebox bio-musical Tina: The Tina Turner Musical was quite the hit in London, enhanced by some terrific lead performances. Jukebox musical The Band used the music of Take That, yet the lads were relegated to characterless backups, with the focus on a group of middle-aged women who had been teen fans of a particular boy band.

Young Vic hit The Inheritance transferred to the West End and then to Broadway. The epic two-part play transposes E.M. Forster’s Howard’s End to 1990s gay Manhattan.

A theatrical visit to London should always stray beyond the West End. This year, Man in Chair enjoyed Violet at Charing Cross Theatre, Fiddler on the Roof at Menier Chocolate Factory and Aspects of Love at Southwark Playhouse. A first time visit to the Playhouse Theatre brought the chance to witness the incredible Sharon D. Clarke in Caroline, or Change (below), a role she is taking to Broadway in 2020.

Dear Evan Hansen was a high profile opening in London later in the year, along with the welcome return of Mary Poppins.

Man in Chair was lucky enough to visit Broadway twice this year, much as ever escalating ticket prices (and online booking fees) brought about an increasing reliance on TKTS and Rush tickets.

Hilarious new musical The Prom (below) gave musical comedy an all too rare lesbian heroine. The Netflix movie adaptation was an exciting announcement but using the Broadway cast in their original roles would have been a more appealing concept than their starry replacements. Who needs Meryl Streep when you have Beth Leavel!

The Temptations musical Aint Too Proud was a deserving hit, whereas fellow jukebox musical The Cher Show was an overblown bore.

Beloved star Kelli O’Hara gave yet another gorgeous performance in the second Broadway revival of Kiss Me, Kate. Even with revivals very scarce this year, we still could have done without the ludicrously ill-conceived new production of Oklahoma!.

Melbourne’s own Eddie Perfect has a Broadway hit with infectious comedy Beetlejuice (below), which survived the brutal awards season to go on to be a bona fide crowd pleasing smash. Not so lucky was fellow screen to stage musical Tootsie, which won Santino Fontana the Best Actor Tony Award and yet is due to close in early January.

Movie adaptations continued with the utterly dazzling Moulin Rouge (below), featuring surely the greatest jukebox score ever assembled. Significantly edited since first seen in Melbourne, King Kong should have been a New York hit but failed to catch fire. Pretty Woman finished a respectable season on Broadway and is heading to London next year.

Off-Broadway, unique new Duncan Sheik musical The Secret Life of Bees seemed unlikely to repeat the success of Spring Awakening. Movie scribe Amy Heckerling adapted her hit movie alone, a mistake that made Clueless the Musical a tedious flop. Fiasco Theater gave Merrily We Roll Along their special treatment in a generally unremarkable revival.

Aaron Sorkin’s script for beloved classic To Kill a Mockingbird helped to make it a huge success. Already announced for London in 2020, hopes are high that an Australian season will follow. Man in Chair enjoyed two killer combinations in plays: Audra McDonald and Michael Shannon in Frankie and Johnny in the Clair de Lune, and Keri Russell and Adam Driver in Burn This.

Emerging stars on the Australian musical theatre stage included performers who have already been building up impressive bodies of work. Alexander Lewis is a perfect example of this; having performed on the world stage, including Metropolitan Opera New York, Lewis remains a low-profile name in Australia. Terrific, strongly contrasting lead roles in West Side Story (below)and Ragtime this year served to display the depth of Lewis’ talent. His breakout role is surely not far away.

Chloe Zuel impressed in West Side Story (Anita) and Ragtime (Sarah), so it was wonderful to read of her casting in Six the Musical. Kirby Burgess shone in Barnum (Ringmaster, below) and dazzled again in Bring it On (Campbell); future engagements for this multi-talented actress are highly anticipated.

Annie Aitken broke out with a dazzling star turn in the title role of Thoroughly Modern Millie. Georgina Hopson showed herself as one to watch as Mother in Ragtime. Mark Hill gave a memorable, electric performance as Riff in West Side Story (Handa Opera on Sydney Harbour, below).

VCA Music Theatre continues to deliver brightly polished performers. 2017 was a banner year, producing Kala Gare Bright Star (Alice), who will join Zuel in Six. Thomas McGuane was a terrific Bob Gaudio in Jersey Boys, later returning to Bring it On (Randall) alongside fellow 2017 graduate Marty Alix (La Cienega). Willow Sizer crafted a quirky characterisation as Paulette in Legally Blonde.

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Best Musicals 2019

Independent: Bright Star

Mainstage: Ragtime

Broadway: Moulin Rouge

London: Company

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Most Disappointing Musicals 2019

Independent: —

Mainstage: Barnum

Broadway: Oklahoma!

London: The Band

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Heavenly Performances 2019

Independent: Anthony Warlow (Jekyll and Hyde in Concert); Samm Hagen (Legally Blonde)

Mainstage: Ainsley Melham (Kiss of the Spider Woman); Georgina Hopson (Ragtime)

Broadway: Santino Fontana (Tootsie); Beth Leavel (The Prom)

London: Jonathan Bailey (Company); Sharon D. Clarke (Caroline, or Change)

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Photos: #1, #3, #5, #6 Jeff Busby; #2, #13, #14 Matthew Murphy; #4, #18 Prudence Upton; #7 Phoebe Warlow; #8 James Terry; #9 Ben Fon; #12 Deen van Meer; #15 Julieta Cervantes; #16 Kenneth Saunders; #17 Jim Lee

A joyful tonic, Shrek the Musical underpins glossy spectacle with endearing heart, delighting the audience with sassy humour and quirky characters.

One of the better film-to-stage adaptations, Shrek the Musical is certainly far more creatively satisfying than the previous occupant of this theatre. Unlike Disney stage musicals, hugely popular 2001 film Shrek was not a musical to begin with, allowing the creators to craft a true piece of music theatre from scratch. The film’s catchy “Welcome to Duloc” is joined by a full score from Broadway composer Jeanine Tesori. Lyricist David Lindsay-Abaire based the musical’s book closely on the memorable film, readily transforming the storytelling to capitalise on the abundance of opportunities for song and dance.

While the expensive 2008 Broadway production of Shrek the Musical ran just a little over a year, the musical was always going to be a strong fit for the West End, with pantomime-loving London audiences well primed to enjoy fairy tale stories. Based on the London staging, the current Australian tour is lavishly appointed and very well cast.

Bucking the trend towards cost-cutting minimalism, the set, costume and puppet design, all by Tim Hatley, are impressively grand, richly coloured and frequently witty. Scene after scene fills the stage with artfully conceived images. The delectably designed costumes contain an extraordinary range of myriad details, combining to spectacular effect. While the puppet for Gingy the gingerbread man is adorable, the mighty Dragon is truly incredible, requiring the mastery of four cast members as puppeteers.

Jason Moore and Rob Ashford’s direction gives the show pep and punch, with plenty of laughs along the way. Balancing the merry humour, the show is not afraid to slow down at times, allowing the audience to engage and bond with the characters.

Music theatre aficionados will particularly enjoy the sneaky easter eggs that pay homage to iconic Broadway shows. Mama Bear seems inspired by Mama Rose. Lord Farquaad begins “What’s Up Duloc?” as Judy Garland at the Palace, segueing to a nod to A Chorus Line before finishing in the style of “Defying Gravity.” Closing her big ballad “Forever,” the Dragon channels Effie White from Dreamgirls.

Josh Prince excels in providing choreography that surpasses expectations, complementing the music theatre references as well as inventing plenty of his own style. A clear is highlight is act two opener “Morning Person,” which sees tap dancing rats go into a fabulous Fosse-like routine.

Musical director Dave Skelton on keyboard leads eleven fellow musicians as they bring the fresh score to life. The show finishes on a special high, rocking the audience as the full company performs “I’m A Believer,” as heard at the movie’s finale.

The production is blessed with a terrific leading man in Ben Mingay, who brings infectious spark to the weary pessimism of poor old Shrek. Mingay’s performance is elevated by the quality of his vocals, his darkly burnished baritone tinged with a hint of rock god styling.

Lucy Durack embraces the opportunity to play delightfully daffy Princess Fiona, scoring plenty of laughs with her comic delivery. The role is more of a belt than a soprano, and Durack proves well equipped for this.

Shrek and Princess Fiona’s love blossoms slowly, arising from friendship and shared traits. Competing for the harshest life story in “I Think I Got You Beat,” the pair begin a fart and burp contest that may be music theatre’s strangest ever mating ritual.

Todd McKenney enjoys his funniest role to date as pint sized Lord Farquaad, practically stealing the show with the character’s crowd-pleasing hilarity. McKenney expertly manipulates Farquaad’s prosthetic legs, frequently making the audience forget the role is being played by an actor on his knees.

Nat Jobe rounds out the lead cast as wise-cracking Donkey, winning hearts as Donkey encourages the romance of his new friends Shrek and Fiona. Jobe is a little short on the manic improvisational vibe that the role needs, and yet finds plenty of moments to shine.

Denise Devlin voices the Dragon with soulful power as befits the character’s mighty stage presence. Fortunately, Devlin has the chance to appear on stage in a dragon-inspired dress for the finale, adding to the fun of “I’m A Believer.”

On opening night, Isobel Lauber performed with plucky poise as Young Fiona, bringing a playful sense of character to her sweet singing.

The ensemble is filled with experienced, highly talented cast members who all play at least one featured role. Caleb Vines is a highlight as sulky puppet Pinocchio. Rubin Matters shows off impressive dance moves as Peter Pan. Manon Gunderson-Briggs nails the high-pitched hysteria of Gingy.

Blue chip family entertainment, Shrek the Musical holds up just as well as a nostalgia-fuelled outing for adults of all ages.

Shrek the Musical plays at Her Majesty’s Theatre, Melbourne until 12 April 2020. Shrek the Musical plays at Lyric Theatre, Brisbane from 9 May 2020.

Photos: Brian Geach

Inspiring, amusing and genuinely moving, the revival tour of Billy Elliot the Musical arrives in Melbourne with an exceptional cast in peak form.

An outstanding exemplar of music theatre at its most ingenious, the quality of Billy Elliot the Musical derives from the deftly integrated combination of all aspects of production. While songs and book are usually the aspects to receive credit for what makes a good show, the direction, choreography and design are as much a key part of the authorship of the show as anything in the libretto and score.

Adapting his own screenplay (for the 2000 film Billy Elliot), Lee Hall delivers book and lyrics that tell a dramatically charged story of a close-knit community that is suffering in a time of hardship and change. Offsetting the drama is the uplifting journey of young Billy Elliot to embrace his burgeoning talent for dance. Elton John’s electric score includes an instantly enjoyable range of power ballads, charm songs and rousing anthems.

Director Stephen Daldry has conceived a free-flowing spectacle that makes clever use of Ian Macneil’s abstract set design. The fully constructed settings blend aspects of realism in a collage-like combination, in which differing locations can be portrayed by the same pieces of set. Additional pieces of scenery roll on and off with ease, sometimes even manipulated by the cast in character.

The unique work of choreographer Peter Darling may be the most impressive aspect of all, creating a distinct vocabulary of dance and contributing mightily to the storytelling at the heart of the show. Each number unfolds in ways that are as smartly surprising as they are endlessly entertaining.

The standout sequence in terms of exemplifying the integrated approach is the full company number “Solidarity” in act one. Police, striking miners and young female dance students share the stage as Billy gradually progresses in dance under Mrs Wilkinson’s tutelage. As the story hurtles forward, the juxtaposition of characters would be a shambolic mess in a play and basically physically impossible in a film.

Tap dancing dresses join Billy and best friend Michael in the delightful showstopper “Expressing Yourself.” Act one concludes not with a full company finale but with an extraordinary solo from Billy as he expresses his burning frustration in “Angry Dance.” Community spirit and simmering political anger come alive as act two opens with “Merry Christmas Maggie Thatcher.”

River Mardesic joins the fine line up of boys around the world to play the massive leading role of Billy. Mardesic has the requisite dance flair in abundance, completing the package with poise and well-founded confidence in his singing and acting. Mardesic shares the role with Omar Abiad, Wade Neilsen and Jamie Rogers.

Something of a music theatre veteran (at a relatively tender age) and yet rarely seen in lead roles, Lisa Sontag is a revelation as Mrs Wilkinson. Sontag’s voice cuts through exactly as Mrs Wilkinson should – curt, world weary and sadly self-aware and yet impassioned with tenderness when moved. In this current season of Billy Elliot the Musical, the entrenched toxic masculinity of the community is decidedly jarring; Sontag brings dignity to Mrs Wilkinson, portraying a woman we can only hope would go on to be treated with more respect that to be dismissively referred as “that wife.”

Oscar Mulcahy brings infectious joy to the early camp tendencies of Billy’s best friend Michael. Mulcahy shares the role with Mason Kidd, Hamish Monger and James Sonnemann. Ella Tebbutt throw herself into the nagging tendencies of Mrs Wilkinson’s daughter Debbie, scoring laughs with her fine comic timing. Tebbutt shares the role with Chanel Charles and Gabrielle Daggar.

Having played Billy’s brother Tony in the original Australian production, Justin Smith graduates to the role of their father, Jackie Elliot. Smith skilfully shows the broken man’s journey to move from his natural tendency in rejecting the notion of dance to move on to showing great support for his dear son, Billy.

Drew Livingston conveys the fiery passion of Tony, fuelled by the futility of the miners’ strike, which comes at a time of his life that should be filled with optimism. Vivien Davies displays a ready charm as darling doddery Grandma.

Dean Vince crafts a unique characterisation of Mr Braithwaite, pianist and dance lesson assistant to Mrs Wilkinson. Behind tousled, long curls there is an air of mystery to this incarnation of Mr Braithwaite. A beautifully polished dancer, Aaron Smyth shines in the featured role of Older Billy, seen in the stunning sequence in which Billy dances with an imagined incarnation of his future self.

The full company of adult and child performers shine with abundant talent. Th success of the intricate staging is a credit to the clearly evident teamwork of the devoted cast.

Attendance at Billy Elliot the Musical is highly recommended.

Billy Elliot the Musical plays at Regent Theatre, Melbourne until 19 April 2020.
Photos: James D. Morgan/Getty Images

A trailblazing experiment to be treasured, supported and admired, the live online season of Who’s Your Baghdaddy (or How I Started the Iraq War) is an imaginative blend of musical theatre prowess, devilish satire and technical wizardry.

At this time when actors and audiences alike crave the return of live theatre, Who’s Your Baghdaddy is the closest experience to the real thing, performed live online each night by eight vibrant actors supported by an inspired creative team. The viewing experience benefits from audience familiarity with the multiple live stream concerts and play readings that have been seen across the past three months, but the added excitement of a live piece of musical theatre adds lashings of extra zing.

Social distancing is readily achieved by having each actor in a different room of the one house, with stage management and key creatives in a central hub.

The Iraq War may not seem ideal fodder for the musical theatre stage, and yet creators Marshall Paillet (music, book) and A. D. Penedo (lyrics, book) have found a canny framework in which to present a satirical look at what is basically a tragic series of misfires on a global scale. An AA-like support group meeting is reimagined here as a Zoom meeting, in which the assembled people share the significance of each of their roles in starting the Iraq War.

Whereas many a musical is content to end act one with the traditional “boy loses girl” twist, Who’s Your Baghdaddy dares to go to interval on the unforgettable tragedy of September 11, 2001. The gravity of this central piece of drama is given full weight by the clever writing, which conveys an inevitable arc from sunny superficiality to catastrophic consequences.

Director Neil Gooding perfectly picks up the tone of the writing, creating an atmosphere of energetic improvisation as the focus shifts around the group and the storytelling flits back and forth in time. Gooding’s vision for this online event is so well realised that it is hard to imagine the show working as effectively in a traditional theatre.

The slick success of the staging is due in no small part to the work of technical director Michael Goodyear, who flips vision from actor to actor with extraordinarily nimble timing and wonderfully creative visual flair. The sound design of David Bergman blends the singing voices as beautifully as would be heard via a full sound desk in a theatre. Lighting, by Phoebe Pilcher, skilfully creates differing ambiance for the various characters, neatly changing vibe for the more fantastical sequences.

Musical director Steven Kreamer brings the jaunty, instantly accessible score purring to life. The cast members sing the heretofore unfamiliar music with supreme confidence; timing is tight and vocal harmonies are pristine. Leah Howard’s choreography elevates the work above the set of talking heads that generally characterise online performances. In a delicious touch, Gooding and Howard frequently have the cast members face inward or towards a key character, bringing to mind the much-loved opening credits of The Brady Bunch.

The company comprises of eight very well-matched performers whose talent, under Gooding’s direction, sees the generation of reactive energy levels that usually correspond to face-to-face stage acting.

Working with impressive, entertaining dexterity, Blake Erickson (Man) and Katrina Retallick (Woman) each perform a dozen or so roles, sometimes switching between Isabel Hudson’s costumes with speed that defies the live performance. Retallick particularly shines in conveying the vapidity and vagary of American news reporters.

Laura Murphy (Berry) and Adam Rennie (Jerry) give vibrant performances as perilously inept CIA operatives. Rennie’s innate likeability adds heft to Jerry’s tragic fate.

Troy Sussman is so convincing as whistle-blower Curveball that he practically generates sympathy, or, at least, understanding, for the chain of fools who believe him. Phillip Lowe brings well measured class to unflappable CIA operative Tyler.

Although not looking quite old enough to be nick-named “grandad,” Doug Hansell nails the straight-faced self-importance of weapons expert Martin. Rising musical theatre actor Matthew Predny deftly captures the careless ambition of German intelligence interrogator Richart.

While we suffer through this ongoing pandemic, it can only be hoped that there will be more creative ventures like this, providing a much-needed outlet for performers, directors and designers, not to mention welcome entertainment for audience members isolated at home. With ticket prices set at a very readily affordable level, viewing of Who’s Your Baghdaddy is highly recommended.

The opening night performance of Who’s Your Baghdaddy was dedicated to the memory of Michael Falzon.

Who’s Your Baghdaddy is performed and streamed live nightly at 7.30pm AEST until 28 June 2020.

Photos: supplied

The joy of finally returning to live theatre in Melbourne is exponentially magnified by the heart lifting humanity of the first musical to reopen, Come From Away.

While theatres sadly remain shuttered in Broadway and the West End, the Melbourne encore season of Come From Away has the distinction of being the only production of the worldwide hit musical to be currently playing. 

After almost a year away from theatre, the return to the shared pleasure of live performance was always going to be a welcome experience. Come From Away brings added enjoyment in that its story thrives upon the power of social interaction, an aspect that has been sorely missed during extended periods of isolation. Viewed after months of frustration at the selfishness and stupidity of people who flaunt safety protocols, the unbridled generosity and utter selflessness of the people of Gander are a tonic indeed.

Watching Come From Away is also something of a cathartic experience at this point of the world pandemic. The week following September 11, 2001 sees people move through shock, disbelief, personal discomfort, a call to action and a slow but welcome recovery. It is like seeing the emotions of the past year telescoped into one evening, with an ultimate message of positivity and hope. 

Come From Away remains a peak example of the integrated craft of modern musical theatre. Deftly woven into storytelling that skips breathlessly across myriad moments, music sweeps the action along in a way that would surely just be chaotic in a play. The book, music and lyrics of Irene Sankoff and David Hein reveal new gems at every repeated viewing of the show. The subtlety of the character-based humour is a delight and the moments of sorrow land with pain that is gently tempered by tender warmth. 

With the smallest of costume changes, the dozen highly talented cast members create a multitude of memorable characters, ably supported by the pinpoint lighting design of Howell Binkley and the razor-sharp sound design of Gareth Owen. The cast has deftly returned to the blazing energy levels required to fulfill the constant motion of Christopher Ashley’s direction. At present, there is surely an extra sparkle in the eyes of these cast members reflecting their own joy at returning to the theatre.

Continuing under the expert leadership of musical director Luke Hunter, the on-stage musicians generate added sparks to the electric atmosphere. The band’s dynamic playoff after the curtain calls is show in its own right.

Nine of the original twelve principal cast members have returned for this encore season. A set of evenly matched performers who work as a terrifically tight team, highlights are mostly generated by the nature of the script itself. Radiant Zoe Gertz is highly memorable as devoted female pilot Beverley. Sharriese Hamilton breaks hearts as dear Hannah who waits for news of her fire fighter son so patiently. Kolby Kindle brings sly humour to the touching arc of native New Yorker Bob who struggles to comprehend the generosity and kindness being so freely proffered. 

Given the complexity of each actor’s track, as they each play at least half a dozen rapid-fire roles, Come From Away requires a particularly gifted set of standby artists. At this performance, Angela Kennedy neatly portrayed the gradually emerging confidence of lone traveller Diane, capturing the precious fragility of her spontaneous romance with fellow traveller Nick. New cast member Phillip Lowe deftly conveys the self-effacing English spirit of Nick, partnering with Kennedy to bring gentle charisma to the mature pair. 

Newcomer Joseph Naim is particularly well cast as Kevin J, sexatary secretary and partner to Kevin T. It remains something of a shock that only twenty years ago, these two men felt the need to consider hiding their relationship for fear of reactions from others. Similarly shocking, with good reason, is the blatant racism encountered by Ali,another of Naim’s characters. Naim brings quiet dignity to these encounters, and the show makes an understated yet potent point against the unbearable ugliness of prejudice. 

With a brisk running time of 100 minutes and no interval, Come From Away gives the audience a theatrical experience with the parallel of watching a movie. While lovers of musical theatre will need little encouragement to see the show (or return for a second viewing, or more), Come From Away is the rare musical that is well suited to all theatregoers. Attendance is highly recommended.

Man in Chair reviewed the Australian premiere of Come From Away.

Man in Chair reviewed Come From Away on Broadway.

Come From Away plays at Comedy Theatre, Melbourne. For tickets, click here.

Come From Away plays at QPAC, Brisbane from 26 March 2021. For tickets, click here.

Come From Away plays at Capitol Theatre, Sydney from 3 June 2021. For tickets, click here.

Read the Marriner Group’s COVID-safe Information.

Photos: Jeff Busby

Deservedly drenched with international awards and accolades, megahit musical Hamilton arrives in Australia in pristine form, the terrific local cast members not throwing away their shots at future superstardom.

It is difficult to overstate the level of peak theatrical craftsmanship on display in Hamilton. 

Taking on the relatively rare triple duties of book, music and lyrics, composer Lin Manuel Miranda reinvents musical theatre from the inside out. As well as having terrific source material in Ron Chernow’s 2004 biography Alexander Hamilton, a significant degree of Miranda’s almighty success can be attributed to his knowledge and reverence for the existing canon of musical theatre. As a taste of this heritage, briefly sampled lyrics reference The Pirates of Penzance, South Pacific and 1776. The score may largely be hip-hop and rap, and yet there are tender ballads and characterful duets amid the explosive full company numbers in the intricately through-composed show. 

Miranda’s musical artistry extends to the sophisticated inclusion of characterful leitmotifs, an aspect that works on a subconscious level at first listen, as well as rewarding repeated listening to the score. 

Musical quality is at a premium, prepared to an exacting standard and supported at each performance by choice music director Laura Tipoki at the podium. The tight band brings out the full colour required for the variety of musical styles in Alex Lacamoire’s vibrant orchestrations. Vocal harmonies are nothing short of exquisite, with ensemble singing sounding fresh and natural in the pristine sound design.

The seamless collaboration of director Thomas Kail and choreographer Andy Blankenbuehler sees the cast in constant fluid motion. The movement of chairs, letters and bullets is as elegant as the actual dance moves, which are painstakingly individualised and yet share a distinct, unique vocabulary. Creating a breathless cinematic feel, Kail conjures swiftly flowing scenes from minimal furniture on David Korins’ grand timber and brickwork set. 

Costume designer Paul Tazewell creates the feel of an ensemble troupe of players, dressing the company in neutral beige then adding rich colours in glossy fabrics as the cast members take on the multitude of characters. 

Given that Hamilton tells America’s history, local audiences may benefit from a little pre-reading to expand their knowledge beyond key figures such as Washington and Jefferson. It is worth knowing that time passes between acts one and two, and a handful of performers switch to playing a second character in act two. With this knowledge in hand, direction and performances ensure that the storytelling is as clear as the score is electrifying. 

Miranda’s concept of using “actors of color to play ‘old, dead white men’” is now clearly established. For the Australian cast, this concept serves not just to present a cast that “looks like America looks now,” but also provides the opportunity for many a big break. A significant number of the cast have been seen in smaller scale, independent productions or in supporting or ensemble roles in larger productions.

Particularly striking is the work of Lyndon Watts, deservedly ascending from the ranks to star as Aaron Burr. Watts’ magnetic performance gives Burr the dangerous tension of a tightly wound panther, expertly portraying the full Salieri-like spectrum of Burr’s relationship with the Mozart-like Hamilton. Watts’ portrayal of Burr’s simmering bewilderment and frustration at his relative lack of success are utterly compelling, climaxing in his finely calibrated explosion in act two showstopper “The Room Where It Happens.” 

As with the original London production, the title role of Hamilton has been cast quite young. Relative newcomer Jason Arrow brings a plucky energy to the role, especially with the frisky rap vocals. At this early point, Arrow has room to grow in regard to finessing Hamilton’s overall arc, particularly in the portrayal of the weight of Hamilton’s life experience as the story progresses. 

With a recent string of excellent performances, Chloé Zuel consolidates her position as an invaluable leading lady with her heart-rending work as dear Eliza, the middle Schuyler sister who is swiftly wooed and wed by Hamilton. Zuel takes Eliza on a lucid journey from slumming socialite to devoted wife and mother, tempering Eliza’s moments of sorrow and doubt with an ever-strengthening inner core of self-belief. The very embodiment of a raw, aching nerve, Zuel repeatedly breaks hearts in act two: as a wife choosing privacy over soothing her husband’s infidelity, as a mother facing the greatest possible loss and, finally, as a widow determinedly choosing a life of service. Of these, a clear highlight is the gorgeous ballad “Burn,” performed with searing focus and striking clarity by Zuel. 

Akina Edmonds charms as elder Schuyler sister, Angelica. Edmonds takes centre stage to pleasing effect in the ingeniously conceived act one number “Satisfied,” subsequently maintaining Angelica’s latent attraction to Hamilton for their ongoing interactions. With the expressive face of a silent movie star, Elandrah Eramiha scores cute laughs as youngest Schuyler sister Peggy in act one, returning in act two as sultry seductress Maria Reynolds. 

Despite his tender age, Marty Alix is already a Miranda veteran, bringing the experience of roles in In The Heights and Bring It On to his finely honed dual characterisations of John Laurens and Philip Hamilton. Alix brings the text alive with fresh expression. Highly convincing as a burgeoning young man, Alix’s skilful work makes Philip’s tragic fate all the more affecting. 

Victory Ndukwe brings an imposing and lively presence to the Marquis de Lafayette, cultivating the requisite dandy manner whilst avoiding any camp tendencies. Not quite nailing the jaunty air of Thomas Jefferson in act two, it is hoped that Ndukwe will bring this role up to its crowd pleasing best as the season progresses. 

In the somewhat underwritten roles of Hercules Mulligan and James Madison, Shaka Cook crafts quirky characterisations, creating a sense of self-serving malevolence in act two as Madison schemes with Jefferson and Burr to discredit Hamilton. 

With a solid stage presence, Matu Ngaropo gives George Washington a gentle air of authority. Ngaropo’s performance style is an example of a quality shown by the Australian cast in regard to drawing the audience towards them. Ngaropo avoids any tendency towards the bombastic in his sensitive portrayal. 

Brent Hill is in his element as the deliciously pompous King George III, gradually rising to an effervescent peak when the political scene erupts upon Hamilton’s confessions in “The Reynolds Pamphlet.” 

A dazzling set of triple threats, the ensemble members are an attraction in their own right, serving the story telling in sizzling style. Audience members who have only seen the Disney+ film of Hamilton have a heady new world to discover with the ensemble in full view on stage. 

Already a hot ticket, the Australian production has the unique distinction of being the only production of Hamilton currently playing in the world. A legitimate musical revolution, Hamilton is sure to convert abundant newcomers to the art. Lovers of musical theatre will require no convincing to see Hamilton; the more prescient decision, finances permitting, will be how many times to attend.

Man in Chair reviewed the original Broadway cast in Hamilton. 

Man in Chair reviewed the original London cast in Hamilton.

Hamilton plays at Lyric Theatre, Sydney. For tickets, click here.

To peruse the official Hamilton Australia merchandise, click here. 

Photos: Daniel Boud

Not just an original score but also an original and highly entertaining story, new Australian musical Fangirls explodes onto the Melbourne stage in a very welcome yet all too brief season. 

Raucously funny, searingly insightful and gently affecting, Fangirls succeeds by deftly balancing sincerity and a mockingly self-aware tone, throwing in a sticky slice of black comedy for extra measure. 

In place of homework, scholarship student Edna writes fan fiction about dreamy pop star Harry, interacting online with equally obsessed fangirls worldwide. Teen angst is shown as being inextricably linked to the manipulative nature of manufactured pop stardom, raising the question of how far a fangirl would actually take her obsession.

Performing the all too rare Meredith Willson triple crown of writing book, music and lyrics, creator Yve Blake has crafted an instantly engaging musical that pulls off the eternal impossibility of balancing education and entertainment. As well as delivering a catchy, accessible score peppered with witty lyrics, Blake’s key achievement is taking a relatively simple scenario and illustrating Just. How. Important. the stakes are to the young characters. 

Director Paige Rattray runs with Blake’s frenzied characters and heightened scenario, scoring abundant laughs of recognition at the teen characters’ righteous self-absorption and raging insecurities. The darkly comic vibe is brought out in quirky, stylised performances, grounded by an undercurrent of truth thanks to Blake’s eye for authentic teen dilemmas. 

Likewise, choreographer Leonard Mickelo adopts a delightfully idiosyncratic style. Utilising as much wit as a choreographer can be meaningfully said to adopt, Mickelo neatly balances boy band pastiche with the frenetic outpouring of teen spirit. 

The combined wattage achieved by Rattray’s direction and Mickelo’s choreography takes hold of the audience and basically never lets go for the full 150-minute running time (including interval).  

Given the budget constraints of touring, the use of recorded music is understandable, and music director Zara Stanton ensures seamless synchronisation of the live vocals. The streamlined design is kept to budget with terrific flair by designer David Fleischer, who complements the heightened reality with a keen eye for characterful details. Broadcast on five cutely varied screens, video content (co-designed and produced by Justin Harrison) is of a particularly high standard, amplifying the online world of fangirls with an incredible array of video feeds. 

The show is about pop concerts whilst also frequently recreating the excitement of a pop concert, often evoking the same response from the audience that the characters themselves are feeling. This conceit reaches its zenith at the top of act two, when teen idol Harry leads his True Connection bandmates in a frenzied Melbourne concert. Yve craftily illustrates the manufactured source of the fandom’s adulation, with songs such as “Nobody” (as in, ‘Nobody loves you like me’), “Let Me In” and “Cool Girl.”

After establishing a relatively realistic world in act one, Blake makes the odd choice of veering into unnecessarily dramatic territory with an altogether implausible development. In a television series, this would likely be considered a “jumping the shark” moment. The twist is nonetheless mined for its full dramatic impact, and the ship is eventually steered back on course for a generally satisfying conclusion. 

Further analysis reveals that the outcome of Edna freeing Harry is a subversion of her I Wish song “Just Wait;” the wish is realised in a way the Edna never imagined.

Further subversion and subtext reveal the cleverness of Blake’s writing and the depth of her knowledge of the form. The alpha character of Jules echoes that of Regina Charles in Mean Girls, yet rather than being a glossy blonde, Jules is a young woman of colour, insecure over her weight. Edna mother’s Caroline sings the sort of sincere parent 11 o’clock number heard from Footloose to Dear Evan Hansen, but this one is ingeniously twisted with the audience’s knowledge of how terribly Edna is not living up to her mother’s innocent faith. 

At this performance, the role of Edna was played by Shannon Alyce Quan. Rocking the score with her authentic belt, Quan had an ideal blend of youthful vulnerability and simmering mania.

As Utah-based fanboy Saltypringl, James Majoos creates the best sassy-yet-self-conscious gay teen since Wilson Cruz portrayed Rickie in My So-Called Life. His performance sharpened with pinpoint accuracy and immaculate control, Majoos moves with the impossible elasticity of an animated character, his endearingly fey voice completing the picture. 

Chika Ikogwe gives what is traditionally known as a powerhouse performance as Jules, commanding the audience’s attention with much the same power that Jules wields over her friends. A fearless comedienne and brassy vocalist, Ikogwe gives a memorable breakout performance.

The lone “mature age” cast member, Danielle Barnes’ wealth of stage experience sees her ensure that Caroline, weary mother of Edna, rings true in her compassion, avoiding any hint of syrupy sweetness. When the cast are required to blend together as hyper-keen teens, ageless trooper Barnes joins the ranks with flair.  

In a rather incredible match of character and performer, The Voice star AYDAN plays Harry with striking realism and a wink of sultry cheekiness; even in danger, young Harry cannot help but tousle his famous silky hair. AYDAN brings his own arena experience to the concert scenes to great effect.

Shubshri Kandiah conveys the insecurities and torn affections of Brianna in an endearing manner. Ayesha Madon steals scenes with her intense online fangirl character of Lily, often seen on screen in mid-tearful rants of raging passion. 

An ideal mother-daughter show, fangirls of any all ages will identify with Fangirls. A show that will have fans talking for years to come, the affordably priced season of Fangirls has every reason to sell out in Melbourne.

Fangirls plays at Playhouse, Arts Centre Melbourne until 9 May 2021. For tickets, click here.

The world premiere cast recording of Fangirls was released 30 April 2021. To stream or download, click here. 

Photos: Brett Boardman

Shoulder pads, big hair and vivid colours come back to the future in the vibrant Australian premiere season of The Wedding Singer.

Premiering on Broadway in 2006, The Wedding Singer rode the wave of comical movie-to-musical adaptations that started with The Producers (2001) and continued through the noughties with guilty pleasures like Hairspray, Dirty Rotten Scoundrels and Xanadu. 

Producer David Venn follows up two hit seasons of Bring It On with another crowd-pleasing selection that has been overlooked by local commercial producers. David Venn Enterprises fills a valuable slot between low budget independent productions and conservative large-scale seasons. The high standard of production of The Wedding Singer sees a significant step-up in confidence from Bring It On; future seasons are highly anticipated.

Based, of course, on the 1998 Adam Sandler movie, The Wedding Singer is a natural fit for musicalisation, with singing and music already permeating the lives of all the key characters. The show quenches the thirst for nostalgia (felt particularly keenly by Gen X theatregoers) with pop culture references aplenty. Audiences looking for an ‘80s musical jukebox need to keep in mind that The Wedding Singer has an original score by composers Matthew Sklar (music) and Chad Beguelin (lyrics) of The Prom fame. To their credit, the pastiche songs recreate the new romantic synth and heavy metal thrashing sounds of the ‘80s with great flair. Meanwhile, garish fashion and iconic dance moves provide ample retro joy.

Director Alister Smith shows a sure hand in establishing amusingly outsized characters that are nonetheless grounded with one foot in reality. The show moves toward excess and yet wisely never goes completely over the top. Ensemble scenes, particularly those at wedding receptions, have a real sense of life and diversity. 

Choice choreographer Michael Ralph takes his mastery of the form in a new direction, displaying a delightful flair for visual comedy. Sampling unforgettable moves from video clips such as “Thriller” and “Material Girl,” Ralph delivers a cavalcade of laughs, all performed with his trademark inventive intricacy and tightly drilled precision.

Leading an off-stage band, musical director Daniel Puckey infuses the music with palpable joy. Working with a highly talented young cast, Puckey delivers pristine vocal performances, enhancing the accessibility and enjoyability of the score to new listeners. 

Crisp scenic design is attractively enhanced with embedded strips of LED lights. Set elements tend towards the minimal, chosen carefully to flow smoothly between the plethora of scenes that always come with a movie-to-stage adaptation. 

Costume designer Kim Bishop excels himself with a mind-boggling multitude of hilarious costumes, crafted with a keen eye for the overall stage picture. Bishop’s witty costumes reach their zenith in the climactic Las Vegas scene, in which the lead characters assemble an incredible set of celebrity lookalikes.

Christian Charisiou gives a terrific breakout performance as title character Robbie Hart. With a wonderfully likeable stage presence, Charisiou is required to carry much of the show and does so with aplomb, displaying the full range of talents of a musical theatre leading man. In particular, Charisiou pulls off the edgy aspects of Robbie’s persona, carrying the audience along with him even when the character is at his darkest.

In a lead role worthy of her considerable talents, Teagan Wouters keeps sweetheart Julia compelling to watch, raising the vocal stakes with her powerful belt for moments of added impact. 

Dependable leading man Stephen Mahy cheekily hoodwinks the audience, his charming preppy look masking a dastardly drug-snorting womaniser. Shining out through her Madonna-inspired visage, Nadia Komazec elevates the role of Julia’s BFF Holly with a vivacious, endearing performance. 

Ed Deganos scores ready laughs as wedding band keyboardist George, who gently nudges his friends towards his true self that they cannot see despite the penchant for Boy George costumes. Grinning out from underneath an impressive set of Bon Jovi-like curls, Haydan Hawkins creates a charming persona in band guitarist Sammy. 

With an outrageous look that conjures the image of Divine as a grandmother, Susan-ann Walker steals her every scene as Robbie’s beloved grandmother Rosie, drawing the eye in a number of cameo moments in the ensemble as well. 

Luxury casting indeed, Kirby Burgess turns the relatively small role of Linda, ex-fiancé of Robbie, into an absolute showcase. Transformed into a rocking Joan Jett, Burgess brings out the full musical humour of wedding day break up “A Note from Linda,” returning in act two for “Let Me Come Home,” which features an eye-popping dance break that would make a pole dancer blush.

In excellent voice, Hollie James shows her versatility and value, crafting a number of neatly individualised featured roles. 

Sure to bring back long buried memories for theatregoers of a certain age, The Wedding Singer has broad appeal for all ages.

The Wedding Singer plays at Athenaeum Theatre, Melbourne until 5 June 2021. For tickets, click here.

The Wedding Singer will tour to Gold Coast and Sydney. For tickets, click here.

Photos: Nicole Cleary

CLOC Musical Theatre makes a spectacular return to the stage, bringing out the full spectrum of heartfelt humanity in Priscilla, Queen of the Desert. 

While Priscilla herself is a star attraction that would be well beyond the resources of many theatre companies, the true achievement here, beyond the eye-popping glamour and technical wizardry, is the lashings of heart and soul in the performances and storytelling. 

Anchoring the memorable, affecting performances is the sterling work of venerable thespian Lee Threadgold, whose portrayal of Bernadette is one for the ages. Emotionally raw and yet deliciously polished, Threadgold commands the stage, giving dear Bernadette all the elegance of a former Les Girls star and all the backbone of an ever-enduring battler. With Bernadette crucial to the arcs of each key character, Threadgold conveys ready warmth and chemistry with his co-stars, particularly nailing key moments with tearaway Felicia and downtrodden Bob. 

Co-directors Lynette White and Chris White have neatly balanced spectacle and intimacy, infusing the full company with a joy that emanates readily to the delighted audience. 

Full credit to Chris White and technical director Grant Alley for the achievement in creating Priscilla herself, crafting a full size, rotating bus with spinning tyres, full lights and decadent interior.

Chris White’s set design utilises a pair of mobile stairs and full width walkway, which are used to terrific effect by choreographer Lynette White to create a stage full of vividly animated imagery well beyond what would have been possible with just a flat stage. The tightly rehearsed choreography is a pleasure to watch, especially given the frequent inclusion of multiple aspects of routines occurring simultaneously about the stage. There is a sense that one could attend the show again and watch a whole other set of performances. 

The visual variety is further enhanced by Victoria Horne’s absolutely incredible costumes, which are worth the price of admission alone. Never one to shy from a sequin, Horne has outdone herself with the extraordinary cavalcade of costumes. Headpieces are a particular highlight, beautifully complemented by pristine wigs and hairstyles by David Wisken. Riffing on the iconic designs of the professional version of Priscilla, Horne has put her own glossy spin on cupcakes and paint brushes, showgirls and camp funeral attire. Again, there is so much to see that a second viewing is almost mandatory. 

Completely out of sight, musical director Andy McCalman leads a rocking band of nine musicians, bringing the beloved tunes of the jukebox score to vibrant life. 

Lighting designer Brad Alcock paints the performance space with ribbons of richly coloured light. Marcello Lo Ricco’s sound design is reliably pristine; all those zingy one-liners and fresh chorus harmonies are heard with peak clarity.

Choreography and vocals benefit from the generous cast size, which is larger than that seen in professional seasons of Priscilla. Ensemble members raise the stage energy with every entrance, expertly switching from drag queens to outback hicks and back again. 

Angel Dolejší gives Tick a natural, down-to-earth vibe, showing that performing in drag does not have to translate to 24/7 excess. At this performance, the role of Tick’s son Benji was played by Thomas Smithers, who displayed nicely understated confidence and a sweet singing voice. Dolejší and Smithers displayed warm father-son chemistry, bringing the key reason for the long journey to Alice Springs to a satisfying conclusion.

Daniel Baker vivaciously captures the full surface bitchiness of emerging drag artist Felicia, gaining audience affection by also conveying the vulnerability beneath the young man’s brash outer shield. 

Andrew Roberts provides a complete contrast to the glamorous passengers of Priscilla in his role as outback everyman Bob. The romance between Bob and Bernadette is one of musical theatre’s most surprising, all the more delightful for its organic, late-in-life development. Roberts and Threadgold enjoy a ready charm, their natural portrayals making the love story all the more authentic. 

Hayley Nissen, Nadia Gianinotti and Carolyn Bruce are the goddesses known as the Divas, singing up an almighty storm and strutting about with self-assured camp authority. Bruce, in particular, delivers killer vocals in “I Will Survive.”

In a wise move for the woke contingent, CLOC has placed a paragraph in the program about the language and cultural stereotypes in Priscilla. The suggestion to take the chance to reflect how far we have come since the original movie was released in 1994 is sage advice indeed. 

Matty Mills is terrific as Jimmy, playing up the character’s tourist trap portrayal of his aboriginal culture and heritage with a knowing wink. 

Elise Stevens is an extraordinarily good sport in the featured role of bigoted bar manager Shirley, letting it all hang out in the name of her art. Jasmine Kwan portrays maniacal mail-order bride Cynthia with infectious glee. Johnathon White kickstarts the show in sultry fashion as Sydney drag diva Miss Understanding.  

Priscilla, Queen of the Desert is a celebration of all that we have been missing without live theatre for the past year. Presuming that a handful of tickets remain, attendance is heartily recommended. 

Priscilla, Queen of the Desert plays at National Theatre, St Kilda until 22 May 2021. For tickets, click here.

Photos: Ben Fon

While its title may match the chill of Melbourne winter, the arrival of Frozen brings welcome warmth and theatrical magic as the first major musical to debut locally since March 2020. 

The enormous success of 2013 Disney animated movie musical Frozen practically guaranteed that a stage musical would follow. The blue chip title premiered on Broadway in 2018, its dual female leads making it a seemingly natural successor to perennial megahit Wicked. 

Frozen the stage musical is understandably respectful to the movie, with movie script writer Jennifer Lee bolstering her screenplay with deeper psychological interest and movie composers Kristen Anderson-Lopez and Robert Lopez more than doubling the number of their songs. 

As a family musical, Frozen has something of a dour start, with young Elsa accidentally injuring her dear little sister Anna, followed by the regular Disney trope of the death of parents. A healthy injection of charm comes late in act one with the arrival of adorably naive snowman Olaf, a character who provides the relatively few laughs of the show. 

The new music does not reach the giddy heights of the golden triumvirate of Disney stage musicals – The Lion King, Mary Poppins and Aladdin – yet the songs are very well integrated and always drive the storytelling. “Do You Want To Build A Snowman?” remains an infectious ear worm, and “Let It Go” is such a recognisable hit that its opening bars received applause on opening night. New song “Monster” gives Elsa a hefty follow up power ballad for act two, with new duet “I Can’t Lose You” (added in February 2020) focusing the stakes on the sisters’ love for each other. 

The production itself is a key attraction, crafted on a lavish scale with characteristic Disney flair and imagination. Director Michael Grandage grounds the emotions in only gently heightened realism, the fantasy elements playing out in natural support of the story. Master choreographer Rob Ashford provides creatively stylised dance and movement that neatly enhance full company scenes. 

Designer Christopher Oram draws the mythical European kingdom of Arendelle in warm yet muted Mediterranean tones, having fun with uniforms and ball gowns alike. Oram’s scenic design is inseparable from the lighting design of Natasha Katz, bringing Elsa’s ice magic to glittering animated life all over the stage. Michael Curry’s puppet design for snowman Olaf is simply a 3D version of the film character, while his creation of noble reindeer Sven is truly masterful. 

Jemma Rix draws from her prolific stage experience to bring compelling presence and elegant poise to Elsa, deftly bringing out the full depth of character as written for the stage. Rix memorably makes “Let It Go” her own, supplementing the requisite belted notes with delectably tender, highly expressive vocals throughout the body of the song. Rix gives a star turn that is all the more endearing in that she remains a natural company player and wonderfully warm scene partner.

Courtney Monsma delights as Anna, bringing out the youthful joy of a sheltered young woman who happily wears her heart on her sleeve. Monsma had quite the act to follow on opening night, with Stella Partridge instantly earning the audience’s affections with her utterly vivacious performance as Young Anna. Monsma neatly segued from Partridge’s energy, singing sweetly and taking the character on a romantic journey to the drama of the icy climax.

Matt Lee makes puppetry look completely effortless, controlling Olaf in full sight and yet maintaining all focus on the cute snowman puppet itself. Lee contributes adorable vocalisation of Olaf and even throws in a nimble soft shoe dance break during terrific charm song “In Summer.”

As ice harvester Kristoff, Sean Sinclair makes the most of the least rounded character, setting off further romantic sparks with Monsma, particularly in the pair’s quirky 1970s-sounding duet “What Do You Know About Love?”.Not seen at all, Jonathan MacMillan still manages to bring personable character to athletic reindeer Sven. 

Thomas McGuane proves a dashing leading man as too-good-to-be-true Hans. McGuane and Monsma appear to have as much fun as the audience in daffy love duet “Love Is an Open Door.”

Blake Appelqvist opens act two with striking confidence and charisma to spare, leading the rousing Nordic charm song “Hygge.” Aljin Abella steals scenes yet again as dastardly King Weaseltown Weselton. Jayme-Lee Hanekom brings palpable warmth to Bulad, matriarch of the hidden folk. 

The sterling quality of the ensemble cast is enhanced by company members such as Gretel Scarlett and Todd Jacobsson (to name but two) who are lead performers in their own right. 

Primarily targeted as a family outing, Frozen holds up appealingly as a musical treat for adult theatregoers alike. 

Frozen plays at Her Majesty’s Theatre, Melbourne. For tickets, click here. 

Man in Chair reviewed Frozen on Broadway.

Photos: Lisa Tomasetti

An even more spectacular spectacular at the Regent Theatre, Moulin Rouge! the Musical arrives in Melbourne in ravishing form for its Australian premiere season. 

While local theatregoers have historically had to endure a variety of wait times for Best Musical Tony Award winners to play here, Moulin Rouge! is surely the first time that a show took home the prize for Best Musical in New York while already bumped in and awaiting an opening date in Melbourne. The win for Best Musical was one of ten well-deserved Tony Awards that the 2019 Broadway musical won in September this year, marking a massive success for Australian-based production house Global Creatures. 

The Tony Award success reflects the canny choices and loving care that have gone into bringing revered 2001 musical film Moulin Rouge! to the stage. Rather than taking the cynical approach of simply letting the blue chip title sell itself, producers Carmen Pavlovic, Gerry Ryan and colleagues have assembled the cream of Broadway creative talent to bring the show to vivid present-day life. In particular, infinitely inventive director Alex Timbers is the perfect choice to imbue the staging with infectious ebullience and visual splendour.

Staged on a scale that makes it arguably the grandest musical to ever fill the mighty Regent Theatre, Moulin Rouge! has audiences wide-eyed and open-mouthed upon entering the auditorium. The neon Moulin Rouge! sign is framed by what seems to be an endless backdrop of valentine hearts, while an iconic windmill and noble elephant grace the Juliet boxes either side of house. The scenic design of Derek McLane and lighting design of Justin Townsend simply pour off the stage, reaching well beyond the proscenium arch to bathe the space in luscious red light.

Most impressive in McLane’s design is the fact that the extraordinarily sumptuous red and gold of the Moulin Rouge club itself can actually disappear for scenes in gritty yet poetic bohemian Montmartre and extravagantly swanky upper class Champs Élysées. 

Masterful costume designer Catherine Zuber provides a mind-blowing array of wickedly ingenious costumes. Zuber’s eye for detail melds luscious colour, fascinating silhouettes, tactile fabrics and characterful flourishes. She has particular fun outfitting the upper class in exaggerated society wear in shades of delectable musk and mauve, paying something of a a tongue-in-cheek homage to My Fair Lady’s unforgettable Ascot scene. 

In what must surely have been, at least in a very large part, a labour of love, musical supervisor Justin Levine has crafted thrilling orchestrations and arrangements for some 75 songs. The hits from the movie are there, along with a generous slew of popular songs released in the intervening years. 

Taking a lead from Glee’s penchant for “mash-ups,” Levine deftly segues from “Diamonds Are Forever” to “Diamonds are a Girl’s Best Friend” to “Material Girl” to “Single Ladies (Put A Ring on It)” to “Diamonds” – and that is just in one number. The “Elephant Love Medley”is now more elephantine than ever, and act two opener “Backstage Romance” is another heady standout, boosting “Bad Romance” with samples of “Tainted Love,” “Seven Nation Army,” “Toxic” and “Sweet Dreams (Are Made of This).”

Choreographer Sonya Tayeh delivers sensational, sensual choreography that is as tightly rehearsed as it is wildly energetic. “Backstage Romance” is just one of the cavalcade of stunning highlights.

Resident musical director Luke Hunter leads just nine fellow musicians in delivering a smoothly integrated performance of the full spectrum of musical styles. Often generating the electric vibe of an arena pop concert, the music is heard at its pristine best due to the meticulous sound design of Peter Hylenski (supported here by sound design associate David Greasley). Particularly pleasing to hear is the forward positioning of the vocals in the mix, allowing lyrics and vocal expression to be heard and enjoyed with welcome ease. 

All of this spectacle alone could have run the risk of being perilously soulless, but Timbers’ sure hand ensures that there is engaging intimacy at the heart of the action. John Logan’s book is written in bold but sure strokes, throwing chronic illness, encroaching poverty and a malevolent villain at the evergreen boy-meets-girl central couple. Blessed with delightful young lead performers, Timbers ensures that the romantic beats land crisply, surrounded by a teeming world of sex and intrigue, with splashes of cheeky humour for good measure. 

Leading lady Alinta Chidzey takes Satine’s diamond theme literally, sparkling like a brightly polished multifaceted gem. Chidzey brings the impossible glamour of the sultry nightclub star and coveted courtesan but neatly underpins this with tender vulnerability. More than capably singing in all manner of styles, from belter to soprano to kitten and back again, Chidzey also dances the coquettish role with deceptively graceful ease.

A veritable beginner, Des Flanagan scores the career break of a lifetime as Christian. Flanagan more than repays the production’s faith in him, providing appealing vocals and moving with nimble elegance. In what could potentially have been an almost a one-note character, Flanagan conveys a solid character arc, taking the initially wide-eyed youth on a dark journey of discovery through the Parisian underworld. 

Strong individually, Chidzey and Flanagan are terrific together, cultivating chemistry to spare as the lovers face and surmount vicious opposition. Amidst the sound and spectacle, the pair provides the beating heart of the story and are sure to be a significant factor in the success of this season. 

A cherished stage veteran, Simon Burke has a ball as ringmaster Harold Zidler, an ageing showman scrimping by on little more than sheer will alone. Burke successfully sets the buzzy tone of the show in the opening sequence, and provides welcome laughs in act two as Zidler’s irrepressible ego bursts through in rehearsals for show within the show, Bohemian Rhapsody. 

Cutting a striking figure, Andrew Cook plays the Duke as the best kind of villain, that being one who is in complete assurance that he is quite simply in the right. Cook scores laughs with his deadpan delivery of song lyrics that the audience quickly recognise from their original source. 

Unrecognisable from his athletically energised alter ego Timomatic, Tim Omaji delivers a standout soulful performance as wisened artiste, and enigmatic philosopher, Toulouse-Lautrec. 

Samantha Dodemaide achieves the near impossible, speaking with an Australian accent and yet avoiding any sort of cringe factor. As night-club dancer Nini, Dodemaide makes a strong impression as an independent young woman in confident command of her own sexuality. 

Christopher J Scalzo is an eye-catching delight as fearless gender-fluid dancer Babydoll, conjuring up a rounded character from just a smattering of well-judged, splendidly performed moments in the spotlight. 

An absolute must-see event for lovers of musical theatre, newcomers and everyone in between, Moulin Rouge! the Musical is decadent escapist fare that is sure to be a scorching hot ticket throughout the coming Melbourne summer and beyond. 

Moulin Rouge! the Musical plays at Regent Theatre, Melbourne until 29 April 2022.

For tickets, click here.

Man in Chair reviewed Moulin Rouge! the Musical on Broadway. 

To read the Marriner Group COVID Safe information, click here.

Photos: Michelle Grace Hunder

Electrifying new musical Jagged Little Pill commands attention, breaks hearts and, ultimately, inspires hope in this thrilling Australian premiere season. 

The relatively rare musical that is completely of its time, Jagged Little Pill arrives in Australia just two years after opening on Broadway. Playing alongside Moulin Rouge, this means that Melbourne now has both shows nominated as Best Musical at the 2021 Tony Awards, where Jagged Little Pill won Best Book and Best Featured Actress. 

Arguably the sturdiest jukebox musical to date, Jagged Little Pill soars not just on the killer songs of Alanis Morissette but also flies high on the finely crafted book by Diablo Cody. Writing economically and yet also prolifically, Cody deftly spins a compelling morality tale that draws upon myriad social issues without preaching or sinking into melodrama.

Like its closest predecessors Next to Normal and Dear Evan Hansen, Jagged Little Pill features an original storyline; in this case, following the turbulent year of an upper middle class Connecticut family, the Healys. With characters and scenarios of the likes seen from My So Called Life (1995) to Genera+ion (2021), watching the musical is somewhat akin to watching a full season of a US drama series. 

Playing such a genre on stage not only allows for the added vibrancy of music and dance but also creates a living bond between performers and audience that is just not possible even in the best episodic television series. In particular, in a role she was seemingly born to play, Natalie Bassingthwaighte swiftly establishes and then unwaveringly maintains a magnetic spell on the audience. While the best musicals usually aim for a strong central character arc, Jagged Little Pill surpasses this with what can only be described as a catharsis, leaving the audience somewhat drained yet entirely satisfied; the quality of Bassingthwaighte’s performance is a key aspect in this success.

Director Diane Paulus and choreographer Sidi Larbi Cherkaoui have collaborated closely to create a seamless blend of drama and dance, the stage almost constantly filled with fluid motion. Paulus brings out the truth of Cody’s writing, with the blazing energy and searing emotion realised to perfection by Australian associate director Leah Howard. Also contributing movement direction that facilitates a cinematic flow within and between scenes, Cherkaoui’s choreography has an organic, natural vibe that distinctively captures the teen spirit of the primarily young cast of characters.

Perhaps taking up the challenge by the “rewind” bridge between “Helpless” and “Satisfied” in Hamilton, Paulus and Cherkaoui up the stakes by staging an entire song in reverse. One of only two new songs written for the musical, “Smiling” sees Mary Jane Healy (Bassingthwaighte) hazily play through a mundane day in reverse, cleverly bringing to light the micro tensions that stoke her simmering unrest.

One of Cherkaoui’s most striking concepts is the use of dance doubles to split lead characters in times of whirling turmoil. With a lineage going back some 80 years to Dream Laurie, Cherkaoui harnesses the freedom of expression through dance to enhance a character’s emotion, a device used to particularly strong effect in the key drug overdose / breakdown scene and in the flashback to an appalling act of sexual violence. 

After almost two years of suffering through streamed and recorded performances for much of our fix of theatrical culture, Jagged Little Pill is a brilliant live experience. Further evidence of close collaboration, the scenic design of Riccardo Hernández, lighting design of Justin Townsend and video design of Lucy McKinnon are virtually inseparable. Massive mobile LCD screens suggest aspects of settings while lights give a rock concert vibe without overpowering the action. Further rock rumblings come from the occasionally bone shaking sound design of Jonathan Deans, ably recreated here by associate sound designer Michael Tracey.

The songs from Morissette’s extraordinarily successful 1995 album, created with frequent writing partner Glen Ballard, are an effortless fit for the young characters, perhaps because Morissette was only 21 when the album was written. Full credit to Tom Kitt, a Broadway composer himself, for orchestrating and arranging the expanded set of songs into a perfectly coherent, highly accessibly musical theatre score. Positioned overhead above the stage, Australian musical director Peter Rutherford leads eight fellow musicians in a rich, dynamic performance that is sure to please the legions of fans of Morissette’s music.

In a cheeky nod to the history of the iconic song, “Ironic” is incorporated as a poetry reading, in which the classmates speak for the world at large in calling out the fact that the incidences outlines in the song are not ironic, they are just mostly bad luck.

Bassingthwaite is ably partnered by Tim Draxl as MJ’s husband Steve. In a slow burn, Draxl brings credibility and compassion to the least showy role, singing with reliably pristine clarity.

MJ and Steve lavish affection on their All American jock son Nick while struggling with adopted daughter Frankie. In line with the work of Draxl, Liam Head plays Nick in a neatly understated manner, conveying the character’s central dilemma without a trace of histrionics. In a highly memorable breakout performance, Emily Nkomo is an absolute delight as Frankie, illuminating the stage with such star wattage that her presence is missed when the focus shifts to other characters. Nkomo’s future in musical theatre seems all but assured; future performances are keenly anticipated.

Finally performing on stage in their hometown, Maggie McKenna gives a finely calibrated powerhouse performance, capturing the self doubt and vulnerability of Jo, initial love interest of Frankie. After keeping their feelings inside all night, McKenna brings the house down when Jo erupts with “You Oughta Know,” deservedly earning an all-too-rare mid-show standing ovation on opening night. 

AYDAN brings an easy charisma to Phoenix, a new kid who catches Frankie’s eye. Grace Miell expertly plays down the role of Bella, crafting such an everyday character that the tragedy she befalls is all the more affecting. 

Unlike the aforementioned Next to Normal and Dear Evan Hansen, Jagged little Pill actually has an ensemble, and quite a sizeable one at that. A set of strong triple threats, the ensemble players sing beautifully, dance up a storm and play myriad supporting characters. Special mention to Baylie Carson who convincingly plays both a bratty teen and a vulgar yummy mummy. Josh Gates bring dignity to an unseemly role as preppy jock Andrew Montgomery. Marie Ikonomou displays stunning dance skill doubling the role of Frankie. 

While some musical fans may prefer to wait for An America in Paris, for younger and more daring musical theatre fans, Jagged Little Pill is not to be missed. 

Jagged Little Pill plays at Comedy Theatre, Melbourne until 16 March 2022. For tickets, click here. 

Jagged lIttle Pill plays at Crown Theatre, Perth from 14 May 2022, and returns to Theatre Royal, Sydney from 9 July 2022.

Photos: Daniel Boud

As Melbourne’s own Stephen Sondheim specialists, it is appropriate that Watch This is the first company to present a season of the great master’s work after he left this world in November 2021. In a fittingly diverse and creative production, Into The Woods zips and zings afresh, allowing devotees to pay homage whilst also exposing new fans to this deliciously dark work.

“Life was so steady, and now this! When are things going to return to normal?”

Stepmother speaks of the destruction wrought by the Giant’s Wife, and yet the words are just as fitting in regard to our current health predicament. The peasants seek the support and guidance of the ruling class who are too busy deflecting responsibility and helping themselves. If there is hope to be had, it is that the group left behind are stronger and more resiliently prepared to face the future. 

Making terrific use of a unique playing space, directors Sonya Suares and Melanie Hillman craft a dynamic, ever engaging staging. With the audience on three sides of the space, the stage and the central floor of the Meat Market Assembly Hall are creatively used, with the provision of myriad entrance and exit points for the much-loved characters to go about their journeys. 

Suares and Hillman add humorous touches to the well-known work, one being that Hillman herself replaces the usual patriarchal Narrator, speaking unseen like the type of voice-over narration heard in Arrested Development or Grey’s Anatomy. Choreographer Amy Zhang keeps movement effectively spare and simple, with a strong focus on character work rather than any sort of dance for its own sake. 

The direction has a lightness of touch in act one, and the characters, usually played in heightened manner, are interpreted here with a readily accessible everyman/everywoman style. Audience attachment to and identification with the characters amplifies the impact of the dark tonal shift in act two.

As with any independent production, when we are lucky enough to see one, the tight budget calls for creativity and judicious allocation of funds. Generously filling the space with so much greenery that it practically appears overgrown, set designer Sarah Tulloch facilitates multiple points of focus, also cleverly using silhouettes for key heightened moments. Costume designer Jodi Hope brings a sense of real life, and draws extra laughs for the rapid changes when actors play dual roles. 

Lighting designer Rob Sowinski skilfully recreates the effect of light streaming through leaves, although this tends to leave faces wanting more illumination at times. Sound designers Marcello Lo Ricco and Steve Cooke contribute highly impactful directional special effects.

If there is an aspect that appears to have had the peak attention of the creative process, and rightly so, it is the polishing and perfecting of Into The Woods’ fiendishly challenging score. Ned Wright Smith as musical director and Trevor Jones as musical supervisor have clearly worked intensely and expertly with cast and musicians alike to deliver what is basically a pristine musical performance that can be simply enjoyed on its own high calibre merits.

Fiona Choi and James Millar lead a sturdy ensemble cast as the resolute Bakers. Millar’s mellifluous vocal tone serves the music beautifully, his gentle speaking voice reinforcing the fact that the Baker’s Wife (literally) wears the trousers. Solid throughout, Choi’s performance reaches a heady zenith in the “Any Moment” / “Moments in the Woods” sequence, her Baker’s Wife melting like butter during an illicit royal intimacy. 

Cherine Peck shines in both incarnations of The Witch, her sheer enjoyment of the fiendish role bringing a magnetic glow to her stage presence.

His pure tenor in excellent form, Anthony Craig brings a suitably impish spark to Jack, contrasting this amusingly when doubling as the disdainfully foppish Steward. Elegantly understated, Ava Madon keeps Cinderella endearingly humble, building the young woman’s resilience as the story progresses.

Nick Simpson-Deeks and Raphael Wong score every possible laugh as the vainglorious Princes. As the Wolf, Simpson-Deeks’ gorgeous voice and stylishly sinuous movement successfully distract from the devilish lyrics of “Hello Little Girl.” Successfully crossing over from the world of opera, Wong also hilariously doubles as haughty stepsister Lucinda.

Stage royalty, and a celebrated interpreter of Sondheim, John O’May brings intriguing nuance to the Mysterious Man and withered subjugation to Cinderella’s Father. All class, Jackie Rees brings out the humanity of a trio of roles, avoiding caricature at every step. Jacqui Hoy captures the bone-weary despair of Jack’s Mother, turning on the tiger-mum ferocity when her family is under threat.

In a well-calibrated arc, Lily Baulderstone takes Red Riding Hood from perky brat to seasoned, self-reliant predator. Caitlin Spears utilises her lovely soprano to bring lustrous voice to Rapunzel.

Into The Woodsplays at Meat Market, North Melbourne until 23 January 2022. To book tickets, click here. 

Photos: Jodie Hutchinson

Delayed over the past two theatrically arid years, multi-Tony Award-winning musical Fun Home finally makes its Melbourne debut, arriving in a superbly cast, sharply directed production that brings the show’s searing emotional heart to throbbing, pulsing life. 

Nominated for eleven 2015 Tony Awards and winning five, including Best Musical, one-act chamber musical Fun Home seems an even better fit in a repertory theatre season than on the Broadway stage. Lisa Kron’s book is as strong as that of any play, and the complex characters merit portrayal by strong actors guided by intelligent directors. This production of Fun Home has all that and more, the long delayed season proving very much well worth the wait.

Fun Home hails from the unusual source of a graphic memoir, Fun Home, A Family Tragicomic. Alison Bechdel, known to film analysts for the Bechdel Effect, is seen in three incarnations in the musical: Small Alison, Medium Alison and Alison.

As a 43-year old adult, Alison observes the story unfold on stage as she goes through the process of writing and drawing her memoir. Watching the character and her family at three interwoven time periods is akin to watching television hit This Is Us, the past and present illuminating each other more richly than a simple linear narrative.

In much the same way as Hamilton, the story’s dramatic outcome is stated in the opening number, effectively creating an unsettling tension as the climax approaches. Achieving a relatively high level of emotional honesty, Fun Home contrasts the giddy joy of Alison’s burgeoning lesbianism with the wretched anguish of her father Bruce’s closeted homosexuality. 

With masterful insight, director Dean Bryant delivers a gripping, heart rending staging that deserves to be long remembered as a high point for musical theatre not just at MTC but on the wider Melbourne scene. With meticulous attention to nuanced details, Bryant elevates the authentic soul of Kron’s book and lyrics, bringing out searing portrayals from his exceptional ensemble cast.

Prolific and versatile Broadway composer Jeanine Tesori contributes songs that derive from scenes and flow from characters with impeccable naturalism. The drama is relieved with a couple of fabulous fantasy numbers, as the Bechdel kids channel the Jackson Five in “Come to the Fun Home” and the full company sparkle their way through a Partridge Family tribute in “Raincoat of Love.” Cute kitsch choreography from Andrew Hallsworth is the icing on these cupcakes.

Musical Director Mathew Frank, on keyboard, leads six fellow unseen musicians in a tight performance of Tesori’s score. The songs have a Sondheim-like edge of complexity that thrives under Frank’s excellent direction of stage artists who are blessed with innate musicality. Sound designer Nick Walker ensures that the music is heard at its pristine, balanced best.

The handsome set design of Alicia Clements is of an impressive scale, with a stage revolve revealing multiple changes of scene as the story flows ever forward. Top marks to stage manager Jess Maguire for achieving a number of backstage full set furniture changes in absolute silence. The stage picture is completed by Matt Scott’s crisp lighting design, which successfully plays an integral role in the heart-stopping climax. 

Clements’ costume design is entertaining in its own right, particularly the clearly well researched evocations of 1970s “fashion.” Given the very significant use made of a high number of beautifully styled wigs, it is mind-boggling that no credit is given to hairstyling in the program. 

An unrecognisable Lucy Maunder Alison gives an exquisitely understated performance as Alison. Frequently required to observe the action, Maunder lives and breathes the impact of these memories on Alison whilst nonetheless remaining unobtrusive. Taking the place of medium Alison in the final sequence, Maunder soars to new heights in 11 o’clock ballad “Telephone Wire,” in which Alison battles an interior monologue as to whether to speak candidly with her father about their mutual, yet contrastingly accepted, homosexuality. 

In a highly auspicious mainstage debut, Ursula Searle delights as Medium Alison, capturing the unbridled, heart-on-your-sleeve fervour of a young woman thrilling to the danger and ecstasy of the realisation of her sexual identity while at university. In a song that could trace its lineage back to “I’m in Love with a Wonderful Guy” from South Pacific, Searle fills the theatre with infectious joy as Alison, who is in love with a wonderful girl, professes she is “Changing My Major” to Joan.

At this performance, Flora Feldman gave a sweetly endearing performance as Small Alison. Displaying a maturity and poise that belie her years, Feldman held her own opposite adult co-stars and in the face of challenging material. Feldman nailed the emotional awakening that Small Alison conveys in “Ring of Keys,” a deceptively simple, ingeniously conceived song that has become something of a breakout hit amongst lesbian, and gay, fans of Fun Home. 

At this performance, Edgar Stirling was a lively presence as Christian Bechdel, with Luka Sero scoring ready laughs as precocious moppet John Bechdel

Over and above the work of these wonderful young performers, Fun Home is blessed with two outstanding actors as the Bechdel parents.

In a performance that is as daringly brave as it is ever so finely calibrated, Adam Murphy brings all manner of subtle humanity to Bruce Bechdel, a man who can really only be described in so many regards as monstrous. For the large part, theatre stages belong to the extroverted; Murphy’s portrayal of this introverted control freak and predator is all the more remarkable for the way he brings the character across the footlights, so to speak, all the while completely avoiding the potential trappings that come with playing a highly unpleasant character. 

In a striking sequence, the work of Bryant, Frank, Clements, Scott and Walker comes together in breathless fashion as Bruce manically unravels before Alison’s eyes. The set spins, the lights dip nightmarishly, and Murphy beautifully sings “Edges of the World.” It is testament to Murphy’s exceptional work that the ultimate fate of the basically irredeemable Bruce leaves the audience so affected. 

One of Australian musical theatre’s most revered performers, Silvie Paladino makes a highly welcome appearance, and long overdue MTC debut, as long-suffering wife, Helen Bechdel. A performer of particularly high emotional intelligence, Paladino balances the devastating futility of Helen’s married life with her ingrained instinct for survival. In her own 11 o’clock number, Helen explains how she survived “Days and Days” of the marriage, with Paladino’s gorgeous voice soaring to its very best. 

Rounding out the terrific cast, Emily Havea brings delightful warmth to Alison’s sweet-natured first lover, Joan. In a clever touch from the creators of Fun Home, a string of young men are all played by one actor, not only keeping cast costs down but also clearly demonstrating that Bruce had a “type.” WIth a gentle touch of humour, Euan Fistrovic Doidge neatly delineates Roy, Mark, Pete, and Bobby Jeremy. Fistovic Doidge also makes the most of his chance to shine as the glossy lead singer in the camptastic Partridge Family number. 

Fun Home is musical theatre manna from the heavens that is absolutely not to be missed. 

Fun Home plays at Playhouse, Arts Centre Melbourne until 5 March 2022. For tickets, click here.

The Fun Home program can be read online.

Man in Chair reviewed Fun Home on Broadway.

Photos: Jeff Busby

Finally on stage some 18 months after its initially intended season, the tremendously talented cast of The Who’s Tommy have lost none of their infectious enthusiasm for the work. 

As a genuine sung-through rock opera, The Who’s Tommy proves a solid choice for Victorian Opera, and is even better suited to the venue, Melbourne’s glorious Palais Theatre.

Having won five Tony Awards from eleven nominations in 1993, it has to be said that The Who’s Tommy has aged rather poorly, holding up as a musical theatre curiosity rather than as a satisfying attraction in its own right. 

Adapting The Who’s 1969 album Tommy for the stage, Des McAnuff and composer Pete Townshend tell their story in bold strokes, but provide little, if any, character development for the excellent cast to portray. 

Director Rodger Hodgman appears to hedge his bets in terms of balancing the safety of musical theatre colour and movement with anything that might approach a darker, more threatening edge. 

The music sounds superb, and it may be ungracious to say that it almost sounds too good. As prepared by musical director Jack Earle and associate musical director Phoebe Briggs, the beautifully blended ensemble harmonies are outstanding. Diction and clarity are at a premium, even if this comes at cost to genuine rock excitement. 

Earle’s rocking band of seven fellow musicians play the score with skill and precision; it just seems a shame that Peter Grubb’s sound design generally does not come close to bone-shaking volumes regularly heard at this rock palace. 

Dana Jolly delivers impeccably tight choreography. Christina Smith conjures myriad locations form simple pieces of furniture, the stage picture and storytelling greatly enhanced by the vivid overhead video designs of Jamie Clennett. Matt Scott provides genuine, grand scale rock concert lighting to terrific effect. 

Choice costume designer Isaac Lummis contributes an extraordinary array of glamorous costumes, with the sizeable ensemble seemingly never set setting foot on stage without an entire new set of outfits. Lummis once again exhibits the fruits of his meticulous research and preparation in the characterful, period perfect costumes that are a key aspect of the theatrical storytelling on show. Kate McLeod nattily complements Lummis’ flair with almost as many wigs, each one as lovingly styled as it is distinctly characterful.

As Young Tommy, Hamilton Binnie Garcia shows incredible focus and calmness. As Tommy matures to late childhood, Elijah Slavinskis shows further fortitude, maintaining Tommy’s implacable facade while coping with the terrible treatment Tommy is subjected to by his family and local friends. 

Blessed with the one true arc of the evening, Mat Verevis moves from bemused Narrator to catatonic youth, before really coming into this own as Tommy blossoms into an ethereal messiah. In an impressive star turn, Verevis supports rather than over shines his co-stars, all the while displaying well controlled vocal power.

Musical theatre favourite Amy Lehpamer is as delightful as ever, her magnetic stage presence shining through despite the underwritten nature of the role of Mrs Walker. Lehpamer sings up a mighty storm in act two as Mrs Walker implores her son Tommy to “Smash the Mirror.”

Lehpamer is well matched with Matt Hetherington, who brings noble dignity and smooth vocals to the relatively one-note role of Captain Walker. 

Lively presence Vincent Hooper delivers stirring vocals at every chance as unpleasant youth Cousin Kevin. Kanen Breen maintains a disarmingly mischievous sparkle as the madcap, yet malevolent, Uncle Ernie. 

A memorable sight in flowing black and purple, Paul Capsis proves the old maxim that there are no small roles, bringing to mind the impact of “King Herod’s Song” in Jesus Christ Superstar with his cameo turn as The Gypsy who presents herself as “The Acid Queen.”

The ensemble is studded with great value team players who add precious facets of sparkle to the stage. Chameleons Mark Doggett, Mark Hill, Nicole Melloy and John O’Hara throw themselves into myriad featured roles with unerring flair. Special mention also to emerging performer Darcey Eagle, who elevates the cameo role of starstruck teen Sally Simpson with neatly understated flair. 

Fans of The Who will be be drawn to the rare chance to experience The Who’s Tommy live on stage, while musical theatre fans are sure to appreciate the wonderful cast. 

The Who’s Tommy plays at Palais Theatre, Melbourne until 1 March 2022. For tickets, click here. 

Man in Chair attended opening night of The Who’s Tommy as a guest of Palais Theatre.

Photos: Jeff Busby

The crackling electricity of rock musical Next to Normal lights up Chapel off Chapel in a deeply affecting production, centred upon the exquisite lead performance of Queenie van de Zandt.

Another week of 2022 and another “third time lucky” show finally makes it to the stage. The inspiration for the determined persistence of James Terry Collective in bringing Next to Normal to a full season is clearly seen and felt in the blazing quality of the emotionally charged production. 

In a quirk of programming, Next to Normal follows If/Then, creating an unintentional mini-festival of the work of composer Tom Kitt and lyricist and book writer Brian Yorkey. The family drama of Next to Normal can be viewed as a pre-cursor to Jagged Little Pill (2019), the striking difference being that ten years earlier there was no compulsion to include myriad aspects of diversity.

Confidently staged, making exceptional use of the tight space at Chapel off Chapel, 2009 Broadway musical Next to Normal benefits immensely from the intimacy of the surroundings. Mark Taylor’s meticulous direction favours honest realism, with the sharp ensemble cast of six crafting believable, emotionally available characters. Authentic connections are readily formed between performers and audience, significantly heightening the impact of the drama.

Set designer Dann Barber solves Chapel off Chapel’s inherent sightline issues with a platform stage, just high enough for the cast to be easily seen over the heads of the front rows. The intricate design features an architectural blueprint of the home, brought into 3D by a crisp white light outline. With lighting design by Jason Bovaird, the flexible space ably supports the cinematic flow of Yorkey’s book, with Taylor neatly staging simultaneous scenes and focusing audience attention in swift jump cuts. 

Costume designer Jodi Hope complements the realism with an impressively extensive array of outfits for each character. Hope also shines in heightened moments, such as Diana’s visions of her second doctor as a rock star and the ingenious effect of glowing lights beneath Diana’s gown during her ECT sessions. 

On keyboard, musical director Nathan Firmin leads six fellow musicians in a crisply detailed performance of the richly textured music. Kitt’s treasure trove of a score is studded with individual gems, each heard at their best, both instrumentally and vocally, under Firmin’s guidance. The finishing touch is the pristine balance of the sound design by Marcello Lo Ricco. 

One of Australian musical theatre’s most gifted singers, Van de Zandt gives a masterclass in acting through song, bringing tender, heartfelt expression to every word. Van de Zandt’s immersion in the role is so thorough that there is no sense of acting, Diana is just there before our eyes. Vocally, van de Zandt really wins the audience over with the close pair of contrasting act one ballads, moving nimbly from the gentle folksy style of “I Miss The Mountains” to the rock arena belt of “You Don’t Know.” Van de Zandt balances rawness and sensitivity in portraying Diana’s mental illness, achieving particular success with conveying fundamental differences in Diana’s psyche as she moves through various phases of treatment. 

Returning to the role after some ten years, Matt Hetherington imbues Diana’s loyal husband Dan with an affecting blend of devotion, bewilderment and compassion. Far from being outshone by van de Zandt’s work in the much showier role, Hetherington draws audience attention and affection in a finely calibrated, completely understated performance, the success of which bears fruit in the deeply moving final scene. 

Recent graduate Sam Richardson makes an auspicious professional debut, bringing resounding passion to Diana and Dan’s perennially frustrated son, Gabe. Act one rock ballad “I’m Alive” is a blazing highlight for Richardson, who proves equally adept at gentler vocal moments. 

Completing the Goodman family, Melanie Bird shines as struggling daughter Natalie, taking the character on an equally compelling journey from uptight to outspoken as she samples drugs to ease the pain of her own potential battle with mental illness.

As friendly neighbourhood “stoner” Henry, Hanlon Innocent neatly sidesteps any stereotypes with a rounded, compassionate characterisation. Hanlon enjoys solid chemistry with Bird, with the pair handling the histrionics of their roles with well-judged energy so as to keep the story well grounded. 

In dual doctor roles, Ross Chisari differentiates Dr Fine with a fey, fastidious manner before moving on to rock star Dr Madden, in which Chisari shows the humanistic chinks in an otherwise stoic man of science. 

Playing for a mere eight days, Melbourne musical theatre lovers are urged to see Next to Normal. 

Next to Normal plays at Chapel off Chapel, Melbourne until 27 March 2022. For tickets, click here.

Photos: James Terry