Swoon-worthy dance and design grace the mighty State Theatre as international hit musical An American in Paris jetés into town. 

Deliberately marooned in Paris at the end of WWII, ex-serviceman Jerry Mulligan juggles art, romance and music as he makes new friends, attracts the attention of a wealthy benefactress and falls helplessly in love with a mysterious young dancer.

Premiering in Paris in 2014 shortly before its 2015 Broadway opening, An American in Paris follows My One and Only, Crazy for You and Nice Work If You Can Get It in mining the timeless treasures of the Gershwin brothers canon, in this case to expand the selection of Gershwin songs used in the classic 1951 movie upon which the musical is based. 

Adapted and arranged by ’s marvellous maestro Rob Fisher, the 17 musical numbers are an absolute delight, especially when heard alongside the recent proliferation of rock musicals in Melbourne. Exacting music director Vanessa Scammell leads a generous contingent of 27 musicians from Orchestra Victoria in a richly hued performance of the gorgeous melodies and fascinating rhythms. 

Performing a double duty that is increasingly rarely seen, Christopher Wheeldon harks back to the Golden Age, seamlessly integrating dance and action the way that only a director/choreographer can. Wheeldon uses dance to illuminate character and propel plot and, occasionally, to stop the show, as with the act two extravaganza “I’ll Build A Stairway to Paradise.”

Wheeldon crafts affecting vignettes, creates vividly detailed ensemble tableaux and even sends up his own form with the exaggerated ballet recital that opens act two. As with the movie, the musical climaxes in an incredible “An American in Paris” ballet, which holds the audience spellbound for the full 14 minutes.

Speaking of double duty, renowned designer Bob Crowley contributes sets and costumes, painting an alluringly romantic vision of post-war Paris. Backdrops, projections and set pieces dance into view with the same elegant grace as the ensemble, achieving an ever more visually appealing array of stage pictures. This touring production makes additional use of projections, designed by 59 Productions, with several backdrop set pieces replaced by projected images. The overall effect remains just as effective as that seen in New York and London.

In a unique arrangement, original Broadway and West End stars Robbie Fairchild and Leanne Cope have travelled to Australia to recreate their lead roles. With the dance requirements in particular stretching the usual bounds of triple threat talent, the challenging roles are difficult ones to fill successfully. From the ranks of co-producers The Australian Ballet, Cameron Holmes and Dimity Azoury have been cast as alternates, performing the lead roles in two of each week’s eight performances. 

Fairchild is absolute dynamite as Jerry, dancing with a level of skill and flair rarely seen in musical theatre; the fact that he sings and acts the role just as well completes the miracle. Jerry does not dance until the fourth number, and when Fairchild takes full flight in “I’ve Got Beginner’s Luck,” the audience is practically blown backward in their seats. Sparks fly when Fairchild dances with Cope, but his solo in the title ballet is a true highlight. This is a tremendous performance that really must be seen.

Cope is utterly charming as dear Lise, effortlessly conveying the appeal of an innocent young woman who has amassed three suitors (who all happen to be best friends). Cope has a sweet , pure singing voice, heard at its best in act one ballad “The Man I Love.” As with Fairchild, the quality of Cope’s performance stems from her innate ability to continue to act while dancing. In the hands of both of these artists, no step is just a step; everything occurs for a well-considered reason. 

Fairchild and Cope are ably supported by a trio of local performers giving breakout performances.

As embattled composer Adam, Jonathan Hickey contributes dreamy vocals that fit the Gershwin style to a tee. “But Not for Me” is a wonderful highlight of act two. Hickey also proves a subtle comedian, scoring laughs whilst also gaining the audience’s sympathy in his adorable underdog role.

Sam Ward makes for a terrific Henri, portraying a young man questioning his sexuality without so much as a trace of stereotypical behaviour. Possessing a warm, rich singing voice, Ward capably proves himself a leading man in the making. 

Although heiress Milo Davenport is the fly in the (romantic) ointment, Ashleigh Rubenach brings an easy likability to the role. Looking a million dollars in Crowley’s designer gowns, Rubenach’s vocal performance is first rate, with “Shall We Dance?” being a particular highlight. 

Theatrical treasure Anne Wood proves yet again that there are no small roles, bringing a delectable brittleness to Madame Baurel then allowing her to melt when the time is right. In what is practically a cameo role as Monsieur Baurel, David Whitney lands a crowd-pleasing moment in act two as a before-his-time father warm-heartedly accepts and embraces his nervous son’s life choices. 

The 16 artists of the ensemble are a joy to behold, dancing Wheeldon’s deliciously creative choreography with balletic style, grace and focus. Special mention to Mitchell Mahony in the characterful role of dance impresario Mr Z and Annie Stanford as wearyingly droll ballet mistress Olga. The Australian Ballet Soloist Jake Mangakahia stands out in the ensemble, particularly when partnering Cope in the climactic title ballet. 

While the title of the musical may not be as well known as another little show opening in Melbourne this week, the season of An American in Paris should nonetheless be seen for the major artistic event that it is. For lovers of good old fashioned musical theatre fare, the ravishing spectacle of An American in Paris will be sure to dazzle and delight.

An American in Paris plays at State Theatre, Arts Centre Melbourne until 23 April 2022. For tickets, click here. 

To read the casting schedule for the two lead roles, click here.

An American in Paris plays at Theatre Royal, Sydney 29 April – 12 June 2022.

An American in Paris plays at Crown Theatre, Perth 9 – 27 July 2022.

An American in Paris plays at Her Majesty’s Theatre, Adelaide 24 January – 12 February 2023.

For tickets in each location, click here.

Man in Chair reviewed An American in Paris on Broadway.

Photos: Darren Thomas

Australia’s theatre capital takes its turn to host the Room Where It Happens, as Hamilton arrives in sensational form, setting off a theatrical powder keg at Her Majesty’s Theatre, Melbourne.

With the benefit of a year of performances, albeit a somewhat interrupted year, an immediately noticeable aspect of the Melbourne season is the tremendous growth seen in the dazzlingly dynamic performances of the young cast members since the Sydney premiere. Stage presence, depth of character and palpable chemistry abound, enriching and enlivening the iconic work to its sizzling best.

Opening on Broadway in 2015, Hamilton’s world domination rapidly accelerated in 2016, when it won 11 Tony Awards, including, of course, Best Musical, and was awarded the Pulitzer Prize for Drama. In the intervening years, the singular vision of deservedly adulated composer Lin-Manuel Miranda is yet to be matched, with Hamilton still the hottest ticket on the planet. 

Written for a US market, where theatregoers really know their country’s history, Hamilton works perfectly well as a stage spectacle but local audiences are advised to do a little pre-show reading so as to better appreciate the characters and context. Adding a degree of complexity is the fact that four of the lead players switch over to new roles in act two. These aspects are offset by the cast members’ heightened understanding of their characters and connections. This understanding enhances the storytelling clarity of Thomas Kail’s sharp direction, significantly assisting audience comprehension.

A further boost comes from the combination of the immaculate sound design and the pristine diction of the cast. Local fans may well have listened to the score countless times and watched the Disney+ filmed version on repeat, and yet they are bound to pick up any number of lyrics that they have never absorbed before. The lyrical leitmotifs and complex internal rhymes of Miranda’s lyrics can be enjoyed with ease, with the lead singers finding an abundance of unique expression and dynamics while making the roles their own.

Hamilton also looks beautiful on the stage of Her Majesty’s, a house renowned for the ready bond it facilitates between audience and performer. Kail’s direction and Andy Blankenbuehler’s choreography are performed with crisp precision, with surging waves of energy yielding to tender moments of quiet, all the while holding the audience enthralled and highly entertained.

Giving confident support to the cast as they perform a range of musical styles (it’s not all hip hop) is music director and conductor Laura Tipoki. Miranda’s music and the orchestrations of music supervisor Alex Lacamoire provide the genuine thrill of a live concert, converting newcomers to the addictive beats at first listen.

While the full ensemble cast has shown impressive growth, the most significant improvement has been achieved by Jason Arrow. WIth the strength of the title character now firmly in place, the whole show hums at a more exciting frequency. Arrow now has the role in his bones, so to speak, and can really lean into even the most rapid fire lyrics to bring out myriad quirks of expression, gentle humour and warm camaraderie. Arrow now conveys Hamilton’s life journey with distinction, providing a genuine centre of gravity for the men and women who swirl about him. Bravo!

Meanwhile, purring panther Lyndon Watts remains an utterly compelling stage presence, using his entire physicality to craft a scintillating characterisation. In Watts’ hands, Burr seems to practically conjure up act two showstopper “The Room Where It Happens” out of sheer will. The Salieri to Hamilton’s Mozart, Watts conveys Burr’s gnawing jealousy as a festering undercurrent that will not be quieted, convincingly letting the darkness overwhelm the man as he falls into his awful role in the story’s tragedy. 

With an endearing sparkle in his eye, Marty Alix charms in the dual roles of noble soldier John Laurens and cherished son Phillip Hamilton. Victory Ndukwe finds new levels in Lafayette and Jefferson, convincingly separating the two roles and proving plenty of appealing stage charisma. 

In the key role of Washington, Matu Ngaropo has a wonderfully commanding presence, his strong acting and terrific diction ensuring that key plot points land with abundant impact. Shaka Cook brings a subversive sense of rebellion to Hercules Mulligan, contrasting this effectively with the far more conservative James Madison in act two.

Akina Edmonds grounds Angelica Schuyler in compassionate warmth, neatly offsetting this with a lightly flirtatious air. Given precious little to do as Peggy Schuyler, Elandrah Eramiha shimmers in act two as sultry seductress Maria Reynolds, deftly conveying a healthy dose of doubt in the young woman’s mind under pressure from her reprehensible husband. 

At this performance, the role of Eliza was played by Tigist Strode. Strode’s youth may mean that Peggy does not really look like the youngest Schuyler sister, but Strode makes for a lovely Eliza, delivering a poignant rendition of delicate act two ballad “Burn” and closing the show with affecting sweetness and vulnerability in “Who Lives, Who Dies, Who Tells Your Story.” 

Looking every bit the brash, overgrown man-child, Brent Ashley Hill winningly wrings every delightful laugh from King George. 

As vital as any lead role, the ensemble works as a living, breathing unit, occasionally enjoying individual moments in the spotlight but generally blending seamlessly as one. Any individual player can be watched at any time, always focused, in character, singing soulfully and dancing with exceptional grace and strength. 

Prices are high, but Hamilton is worth every dollar. Melbourne’s legion music theatre lovers are set for a heady feast as Hamilton soars above the hype to deliver magical musical memories. 

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

Man in Chair reviewed the original Australian cast of Hamilton in Sydney

Man in Chair reviewed the original West End cast of Hamilton in London

Man in Chair reviewed the original Broadway cast of Hamilton in New York

Photos: Daniel Boud

A perfect choice for the grand Handa Opera treatment, beloved classic The Phantom of the Opera has never looked so spectacular. 

Watching a representation of the Paris Opera House in front of Sydney Opera House, the backstage setting of the Opera Populaire provides in-jokes to be enjoyed and savoured by the opera cognoscenti. It helps when the Opera Australia audience has full context of the styles represented in Andrew Lloyd Webber’s pastiche opera sequences. 

On opening night, the on-stage conceit of the Phantom being present for the performance of his opera was mirrored by Lloyd Webber himself being in the audience for the performance of his musical. Thankfully, the Lord did not take the parallel too far and murder the leading man to take his place!

Having successfully brought fresh life to Love Never Dies in 2011, Director Simon Phillips reassembles his crack team to take on the prequel. Blessed with the distinction of creating the only brand-new staging of The Phantom of the Opera in its history, the team makes good use of the double-sized cast to create terrific tableaux.

Although occasionally bested by the sheer size of ground to cover by cast members and set pieces, when the production is at its best it is vividly memorable. Flow is initially somewhat jerky but smooths significantly throughout act two. If a degree of the original menace is diminished in the outdoor setting, the lavish splendour more than compensates for this, and the music is glorious.

Contributing epic scenery and stunning costumes, designer Gabriela Tylesova works her celebrated magic once again. The grandest of staircases embraces the stage, with half an ornately gilded proscenium arch carrying a section of red curtain, perhaps in homage to original designer Maria Björnson. Further rococo flourishes grace a large mobile set piece (with magic mirror), which rotates to portray Christine’s dressing room, the Phantom’s lair, and more. Tylesova’s showiest tricks are the fire-framed gondola ride to the subterranean and the Phantom’s flying chariot. There may be no trumpeting elephant for Hannibal, but the iconic chandelier rises and falls perfectly on cue.

Multitudinous costumes, each more gorgeous than the last, create an air of splendid pageantry. Tylesova largely draws from a delectable pastel palette, with a contrasting highlight being Carlotta’s ostentatious scarlet “Prima Donna” outfit. The Phantom’s new quicksilver mask is eye-catching, replaced by an equally bold blood red mask for his “Masquerade” costume. 

Lighting Designer Nick Schlieper paints a wonderfully atmospheric glow on the scene but has difficulty keeping principal characters in sufficient light. At times, only a good knowledge of the show helps the audience know which character to watch. In a lovely piece of collaboration between Schlieper and Tylesova, the rehearsing ballet members bear striking resemblance to Degas’ dancers.

Many of the production’s most beautiful moments are the work of choreographer (and assistant director) Simone Sault, who has a clear eye for spectacular use of the large cast and mighty space. Sault achieves a high level of precision and yet always maintain a lightness of touch. The entr’acte is danced and the full company sequence in “Masquerade” is a stunning highlight. 

International music supervisor of The Phantom of the Opera for decades, local maestro Guy Simpson conducts with inimitable flair, and it is a joy to hear the original 27-musician arrangements. Boosted by sheer numbers, choral sequences also have an added glory. 

The music sound suitably lush in Shelly Lee’s immersive sound design, which also handles the Phantom’s directional voice-overs with movie-theatre precision. Less successful are the microphone cues, a lamentable number of which were missed on opening night; hopefully this weak link will be swiftly rectified.

Rising from a past of ensemble work (much like Christine Daaé), Joshua Robson gives a sensational breakout performance as the Phantom. Much of the role relies on vocal performance, and Robson sings with luxurious vocal tone, revelling in rich baritone warmth and soaring to higher notes when needed. Robson’s vivid acting of the role through well-judged vocal expression is enhanced when seen on stage in a dynamically physicalised performance. 

Soprano du jour Georgina Hopson delights again as Christine, singing the role in glorious style and bringing truth to the melodrama with a committed approach and stellar acting. Hopson’s impassioned singing of “Wishing You Were Somehow Here Again” is a true vocal highlight of the evening.

Burdened with a frightful wig, Callum Francis struggles to raise Raoul above the nice guy sap that he is, coming good towards the end as the Vicomte’s heroics escalate.

Music theatre royalty, Michael Cormick and Martin Crewes bring delicious cheek to theatre managers Messrs Firmin and André, successfully delineating the pair of amusingly beleaguered characters. 

Returning to Sydney after years in The Phantom of the Opera on Broadway, Maree Johnson (a portrayer of Christine Daaé in the original Sydney season) expertly conveys Madame Giry’s frosty faith in the Phantom and stamps her command on the mysterious woman’s icy rule of the Opera Populaire company. Kelsi Boyden colours Meg with charming sweetness.

Naomi Johns convincingly sings with overly strident tone in Carlotta’s opera scenes, tempering this with a gentler approach in backstage scenes. Paul Tabone brings abundant character to equally conceited divo Piangi. The pair achieves welcome laughs with the deliberately exaggerated arrogance of their characters.

Lachlan O’Brien is a suitably fastidious rehearsal master Monsieur Reyer. Daniel Macey uses a jarringly broad Australian accent as stagehand Joseph Buquet. Raphael Wong is luxury casting indeed as Passarino in Il Muto. 

Attendance at the annual Handa Opera on Sydney Harbour is a pleasure in its own right. Having the world’s longest running musical on stage is sure to draw record attendances. The Phantom of the Opera lives again, ready to entertain thousands in this glossy new production. 

The Phantom of the Opera plays at Fleet Steps, Sydney until 24 April 2022. For tickets, click here.

Photos: Opera Australia

Artfully conceived and oh so lovingly crafted, Girl From the North Country tempers a heart rending narrative with the heart soothing balm of more than twenty exquisitely arranged Bob Dylan songs. 

Expertly realising an ingenious concept, renowned playwright Conor McPherson pens a concise yet heavily populated play and then threads an organic tapestry of beautiful music between the scenes. Contributing gorgeous orchestrations and arrangements, music supervisor Simon Hale works hand in glove with McPherson to perfectly position Dylan’s poetic songs throughout the play.

Also serving as director, McPherson takes his time to introduce the myriad characters, residents of a depressing depression-era boarding house. McPherson’s work takes flight in act two, with some of the most wondrous scenes involving the full company of 18, as the residents buzz and hum in each other’s company. There is not a wasted action nor is there a soul on stage not in full possession and absolute control of their character. 

Musical director Andrew Ross works miracles with four musicians, seen onstage throughout the show. Instrumental work is boosted by occasional playing from the cast. Vocal harmonies are at a premium and are a real highlight of the show. 

The sepia-toned design is an ideal fit for the Comedy Theatre, the relatively intimate venue also facilitating the audience’s connection to the tender humanity of the characters.

Marquee star Lisa McCune becomes just one of a very talented troupe here, with more than a dozen characters brought vividly to life by the ensemble cast. McCune plays against her sweetheart type as dementia-sufferer Elizabeth Laine, a woman as prone to inappropriate outbursts as she is to catatonic silences. In lovely vocal form, McCune memorably sings Dylan hits “Like a Rolling Stone” and “Forever Young.”

As Elizabeth’s exasperated husband Nick Laine, Peter Kowitz adopts a rather exhausting raspy voice, but creates a strong character at the centre of several of the stories. 

Nick and Elizabeth’s adopted daughter Marianne maintains an intriguing air of secrecy about her pregnancy, a potentially melodramatic aspect that is neatly underplayed by Chemon Theys. Theys enjoys sweet romantic chemistry with Elijah Williams, who convincingly projects the hesitant vulnerability beneath the physical strength of boxer Joe Scott. 

Long term residents, the Burke family features Greg Stone and Helen Dallimore as loving parents financially ruined and long worn down to their last nerve caring for learning disabled son, Elias. Stone delivers a riveting extended scene in act two when Mr Burke implodes from the crippling weight of a terrible secret. Also hitting the drums, Dallimore is heard in lovely voice, particularly in “Is Your Love in Vain?”. Affectingly conveying Elias’ loving nature, Blake Erickson also smashes out showstopper “Duquesne Whistle” to rousing effect.

In a company of gifted singers, Christina O’Neill stands out, her delectable, richly expressive vocal tone sounding lovelier than ever in these wonderful arrangements. 

Girl from the North Country may fit the technical definition of a jukebox musical but theatregoers expecting something akin to fuzzy feel-good fluff like Mamma Mia! will be sorely disappointed. This is a serious, slow-burning adult musical of the quality rarely seen in the commercial arena. Bob Dylan’s multitudinous fans will thrill to the musical quality of the sterling performances of these illuminating arrangements.

Girl From the North Country plays at Comedy Theatre, Melbourne until 4 June 2022. For tickets, click here.

Girl From the North Country plays at Canberra Theatre Centre from 25 August 2022.

Girl From the North Country plays at Lyric Theatre, Brisbane from 8 September 2022.

Man in Chair reviewed the 2018 West End production of Girl From the North Country.

Photos: #1,#2,#3,#5,#6 Daniel Boud; #4 Matt Byrne

Lovingly staged and movingly told, new Australian musical Driftwood the Musical is as inspiring as it is involving.

A labour of love if ever there was one, Driftwood the Musical is the second incarnation of the inspiring story of the family of Eva de Jong-Duldig, having already been chronicled in the memoir Driftwood – Escape and Survival Through Art. 

Playwright Jane Bodie deftly avoids the saccharine, pedestrian traps of a real life adaptation, telling a genuinely compelling story in neat, swift steps that carry the audience along in their thrall. Written in collaboration with composer Anthony Barnhill with lyrics by Bodie, Barnhill and Eva’s daughter Tania de Jong, Driftwood the Musical is an intricately woven piece of musical theatre, seamlessly segueing from charming comedy to moving pathos with lovely music woven into almost every moment. 

Musical director Barnhill accompanies the performance on piano, with two string musicians enhancing the melancholic air of Barnhill’s arrangements. Group vocals are a highlight, featuring intricate harmonies that are beautifully performed. 

Continuing work begun by Wesley Enoch, director Gary Abrahams nimbly tells an expansive story merely using five performers and a single set. Abrahams conjures numerous scenarios, ensuring that the underpinning humanity of each sequence is the primary focus. The vivid characters are engaging and their inspirational story is affecting.

Told as a memory play, Driftwood the Musical begins on the occasion of the 18th birthday of Eva, beloved daughter of artists Karl Duldig and Slawa Horowitz-Duldig. Longing to learn more of her family’s past, Eva is allowed access to boxes of precious memorabilia. Thumbing through the albums and reading the letters and articles, Eva sees the story unfold before her eyes, helping the storytelling along with snatches of narration and eventually joining in herself as the years progress.

Eva is born in Austria two days before the Anschluss. Enduring the difficulties and indignities of being washed ashore like driftwood around the world is so much harder while protecting a vulnerable infant. The survival of Karl and Slawa is an extraordinary blend of tenacity, ingenuity and sheer will. The wins that they achieve are hard fought and very well deserved.

Set designer Jacob Battista fills the space with a richly detailed set, where authenticity extends to the parquetry flooring. Resembling a torn scrap of parchment from the archives, an overhead screen often displays images of the actual characters, their art and letters and articles in a design by Justin Gardam. This aspect enriches the storytelling exponentially and is a key contributor to many a moving moment. 

Further period authenticity is found in the excellent costume design of Kim Bishop. 

Sara Reed strikes the perfect balance of narrator and character as Eva, her commitment to the fluid storytelling being a key aid in convincingly transporting the audience to a range of times and places. Reed gives weight to the emotional stakes and this is heightened when the timeline goes forward and she plays an active role in the story.

The presence of Tania de Jong in the cast playing her own grandmother, Slawa, brings a wondrous sense of gravity to the show. On opening night, this real life connection was further enhanced by the presence of Eva de Jong-Duldig in the audience. Having driven the project as original creator and producer, Tania De Jong draws on her lifelong experience as a performer to set aside what must be a strong emotional feeling to focus on crafting her stirring portrayal of Slawa.

De Jong has sterling support from Anton Berezin as Karl Duldig, with the pair readily playing their respective roles across the progress of several decades. A singer of the highest order, Berezin brings the original score to life, with a particular highlight being act two ballad “Beneath the Southern Cross.”

Michaela Burger brings vivacious warmth and verve to Slawa’s dear sister Rella, raising the stakes of this key relationship by developing palpable chemistry with de Jong. Key scenes between the sisters are bolstered by photos of the real life pair to terrific effect. 

In myriad featured roles, Troy Sussman brings welcome moments of comedy with a merry twinkle ever in his eye. 

Original Australian musicals are all too rare and the invocation to support them often draws on some sort of sense of duty. No need for such a plea here, given that Driftwood the Musical is such a strong piece of theatre in its own right.

Driftwood the Musical plays at Chapel off Chapel, Melbourne until 28 May 2022. For tickets, click here. 

For more information on the story behind Driftwood the Musical, read more about the Duldig Studio Museum + Sculpture Garden.

Photos: Cameron Grant, Parenthesy

A jewel-toned joy, Rodgers + Hammerstein’s Cinderella transports audiences back to the magic of Broadway’s Golden Age, when an evening of musical theatre meant a magical discovery of new and wondrous work. 

Little known in Australia, Cinderella boasts the marvellous melodies of Richard Rodgers and the heartfelt lyrics of cockeyed optimist Oscar Hammerstein II. There is an inevitable familiarity and easy accessibility to the score, especially when performed as beautifully as it is here. Australian musical supervisor Guy Simpson maintains a reliably high standard, with Simon Holt deservedly stepping up to the podium as musical director and drawing a lush sound from an orchestra of 14 musicians. 

Having begun life as an extraordinarily successful 1957 television special, Cinderella floats into the new millennium with a smartly re-written book by witty playwright Douglas Carter Beane for the show’s 2013 Broadway premiere. Pumpkin-style coaches and glass slippers share the stage with social justice, equality and kindness, the traditional and the radical neatly balanced and deftly blended to a gently persuasive whole. 

The sass and socialism of Beane’s book give the feel of animated Disney movie musicals, which adults can enjoy whether or not they are accompanying children. Beane’s flair extends to fleshing out the characters well beyond storybook archetypes. Rather than just superficially falling in love at first waltz, Prince Topher and Ella genuinely fall for each other, and she shakes the shingles from his eyes to illustrate the plight of his people. 

Director Mark Brokaw follows Beane’s lead, wisely avoiding any hint of pantomime or caricature. Working with a uniformly impeccable cast, resident director Luke Joslin draws joyous performances from the company, with lashings of swoon-worthy romance thrown in for good measure. 

While there was never any hope of the design of Cinderella (or any musical) being on par with the previous resident at the Regent, the show has an appealing splendour all of its own, with the picture book design of Anna Louizos fluidly unfurling a characterful set of scenes, artfully lit by lighting designer Kenneth Posner and associate lighting designer Trudy Dalgliesh. 

Master costume designer William Ivey Long outdoes himself not just with gooey gowns and regal robes, but with a host of how-did-they-do-that fast changes in plain sight that are sure to leave mouths agape.

An utter delight in the title role, Shubshri Kandiah sings like a dream, also scoring welcome laughs and completely avoiding saccharine sweetness. 

Ainsley Melham is charming rather than Charming, bringing a loveable sense of unworldly innocence to Topher and creating palpable chemistry with Kandiah. The pair’s 11 o’clock duet “Do I Love You Because You’re Beautiful?” is truly one for the ages. 

Unrecognisable at first as the Beggar Woman crazy Marie, Silvie Paladino is absolutely in her element as the high flying fairy godmother, beaming with love as she soars across the heavens in “It’s Possible” and bringing down the house in act two with “There’s Music in You.”

Seen far too rarely on the stage, let alone the musical stage, Tina Bursill relishes the brittle edge of Madame’s devilish tongue. Ably partnered by Bianca Bruce (as dopey Charlotte) and Matilda Moran (as passionate Gabrielle), Bursill and co reach their comic zenith in act two with camptastic piano singalong “A Lovely Night.”

Todd McKenney plays it straight to terrific effect as self-serving royal advisor Sebastian. Josh Gardiner brings ready panache to the relatively thankless role of social advocate Jean-Michel. In fine voice, Daniel Belle provides sturdy support as town crier Lord Pinkleton. 

Cinderella may not have the sexy edge of its current local competitors, but it fittingly serves its place as a delectable treat for lovers of traditional musical theatre.

Presented by Opera Australia and Crossroads Live, Rodgers + Hammerstein’s Cinderella plays at Regent Theatre, Melbourne. For tickets, click here. 

Rodgers + Hammerstein’s Cinderella plays at Lyric Theatre, Brisbane from 5 August 2022. For tickets, click here.

Rodgers + Hammerstein’s Cinderella plays at Sydney Lyric, Sydney from 23 October 2022, For tickets, click here. 

Man in Chair reviewed the original Broadway production of Rodgers + Hammerstein’s Cinderella.

Photos: #1, #3, #5, #6 Jeff Busby; #2, #4 Ben Fon

A wild ride back to the heady, pre-woke 1990s, Cruel Intentions the ‘90s Musical is a salacious guilty pleasure that has all the makings of a cult classic.

With 1999 film Cruel Intentions already having done the heavy lifting of adapting Dangerous Liaisons for the preppy world of New York’s Upper East Side, the musical came to life in 2015, scoring success in an off-Broadway season in 2017. Whereas Clueless the Musical dismally failed under the tight control of its screenwriter (Amy Heckerling), Cruel Intentions the ‘90s Musical is brilliantly served by co-creators Jordan Ross, Lindsey Rosin and screenwriter Roger Kumble, who clearly understand the form, function and fabulousness of stage musicals. 

As ticket prices for commercial musicals skyrocket, full credit goes to David Venn Enterprises for staging Australian professional premieres in original (ie non-franchised) productions at affordable prices. The company has quickly established themselves as strong supporters of diverse casting, and already have an excellent track record for unearthing exciting new talent. Cruel Intentions the ‘90s Musical is a perfect fit for the company, and for the Athenaeum Theatre, and is confidently produced on an impressively glossy scale. 

Building on the movie soundtrack, Cruel Intentions the ‘90s Musical incorporates a full jukebox (or Sony discman) of iconic ‘90s hits. Musical director Daniel Puckey leads three fellow musicians as they blast out hit after hit, from the cuteness of “Lovefool” and the infectious pop of “The Sign” to power ballads “Torn” and “I’m A Bitch, I’m A Lover.” Neatly chosen for their lyrical fit, the songs are greeted with the same laughs of recognition as those in Moulin Rouge, with particular joy greeting closeted jock Greg singing “Bye Bye Bye” and offended black musician Ronald launching into “No Scrubs.”

Director Alister Smith keeps energy characteristically high, ensuring storytelling is clear amidst the swift pace of the show. Despite the heightened nature of the highly sexualised characters, Smith grounds them in sufficient reality for their machinations to have an impact. The show recreates memorable moments from the film and pokes fun at the ‘90s and yet never tips over into parody, building to an affecting climax and raising thought-provoking questions about the misbalanced way society judges female behaviour. 

Freya List adds to the stage energy with witty, tightly rehearsed choreography. 

Clearly working in close collaboration, the scenic design of James Browne, video design of Craig Wilkinson and lighting design of Declan O’Neill combine for a dazzling and cleverly flexible stage picture. Performing almost as much choreography as the cast, tall mobile set pieces have embedded glowing LED strips around windows and frames, and capture the stream of projected animated images. Pre-social media, the images focus on the text of Valmont’s journal, along with clippings of photos with a teen magazine vibe. 

The attractive visual style is completed by the luscious purples and pinks of the costume design of Isaac Lummis. Known for his attention to period detail, Lummis treats the 1990s as if it were the 1890s, presenting a cavalcade of carefully chosen outfits that are deliciously cute and yet match Smith’s focus of keeping well clear of parody. Connecting the look of each character to their movie counterpart, the effect is completed with nifty wig design by Trent Whitmore. 

Kirby Burgess tears up the stage as Kathryn Mertreuil, singing up a storm as well as bringing a stirring undercurrent of humanity to a character who ostensibly has the cruellest intentions of them all. 

Displaying his buff physique (and cheeky assets) with justifiable pride, Drew Weston proves himself a killer leading man as Sebastian Valmont, delivering terrific pop rock vocals and deftly spinning a sympathetic side for a young man already in therapy for sex addiction at 18. 

In addition to successfully making the sexual attraction of step-siblings not seem icky, Burgess and Weston shine in conveying compelling character arcs, elevating the material beyond its feel good nature. 

Making an auspicious professional stage debut, Kelsey Halge captures the full Reese Witherspoon effect as virginal sweetheart Annette Hargrove, also making the role her own with a stirring vocal performance.

Accomplished performer Francine Cain confects another delightfully quirky character in Cecile Caldwell, an easily influenced teen who embraces her journey of sexual discovery with increasingly unbridled enthusiasm. Rishab Kern bolsters Ronald with a healthy sense of self confidence as the young musician encounters unchecked bigotry and sexual frustration. 

Euan Fistrovic Doidge is luxury casting as cocky gay teen Blaine, performing the role with strikingly smooth vocals and the slickest of dance moves. Blaine indulgently services football hero Greg, winningly played by Joseph Spanti, who scores cheers from the vocal audience as Greg helplessly gives himself over to Blaine’s attentions.

Fem Belling proves there are no small roles, bringing out the entitled boldness of brazen blonde Mrs Caldwell and scoring laughs of delight as she belts “Man! I Feel LIke A Woman!”.

Moments of ensemble singing are wonderfully strong, and yet overall the five ensemble members have precious little to do, save for rotating the sets into place. 

Cruel Intentions the ‘90s Musical is designed as a raucous and risqué night out, a show to be enjoyed with friends and a few drinks. On the presumption that the show catches on with the right audience, there are wild nights ahead as the show makes it way around Australia. 

Cruel Intentions the ’90s Musical plays at Athenaeum Theatre, Melbourne until 25 June 2022. For tickets, click here.

Cruel Intentions the ‘90s Musical plays at State Theatre, Sydney from 30 June 2022;

Fortitude Music Hall, Brisbane from 27 July 2022;

Regal Theatre, Perth from 24 August 2022;

Her Majesty’s Theatre, Adelaide from 8 September 2022;

Canberra Theatre, Canberra from 5 October 2022;

For tickets and full details, click here.

Photos: supplied

Guilty pleasure meets mighty girl power as international smash hit musical Six finally makes its Melbourne premiere. 

The little-show-that-could, Six skyrocketed from the 2017 Edinburgh Fringe Festival to multiple international productions, none of which were slowed by the wretched interruption of the COVID pandemic. Less than two weeks before this Melbourne opening night, the Broadway production of Six won two Tony Awards, including Best Original Score for Toby Marlow and Lucy Moss. 

Given its fringe origins, Six is an ideal fit for Melbourne’s Comedy Theatre, flooding the relatively intimate space with throbbing music and rock stadium lighting. The heady combination of mega-talented cast, glittering production, and fabulous material conjures an irresistibly electric atmosphere, grabbing the audience by the lapels and not letting go for the breathlessly brisk 75-minute running time. 

Taking something of a cue from Hamilton, Six is based in historical fact yet takes something of a revisionist view, in this case, placing a loving lens on the lives of six sensationally self-confident women who happened to all have wed the same guy.

The design and concept of Six are as simple as they are incredibly effective. On a single set wearing a single set of costumes, six leading ladies sing up a storm in a range of styles each inspired by iconic divas. There is a sense of Australian Idol in the “contest” conceit, and yet even this loose narrative thread is eventually swept away as the women come to realise the power of their combined strength.

Australian associate director Sharon Millerchip makes well-judged use of Australian accents for a natural feel, with the cheeky humour landing well with this Aussie flavour. Diction of the six women is noticeably crisp, reflecting strong preparation from music director Claire Healy, who also leads the “Ladies in Waiting,” that being the terrific all-female band on stage.

There is a definite feel good lightness to the show, and yet each song tells a captivating and satisfying story. The heartfelt female empowerment message packs a real punch, and the women successfully ensure that the audience is very much laughing with them.

The six performers are splendidly cast, each delivering powerhouse vocals, which blend harmoniously in sassy ensemble work. Carrie-Anne Ingrouille’s razor-sharp choreography matches the tight space with tighter moves, each mere flick of the skirts earning howls of appreciation from the audience. 

As Catherine of Aragon. Phoenix Jackson Mendoza has the vibrant confidence to set a high standard for performance energy as she begins the solo numbers by channeling Beyoncé with “No Way.”

Kala Gare is utterly hilarious as Anne Boleyn, completely upending the usually serious historical figure. Addictive ear worm “Don’t Lose Ur Head” is a great example of Marlow and Moss’ devilish humour in juxtaposing modern parlance with historical context.

In a welcome change of pace, Loren Hunter shines in vibrant Adele-style singing power ballad “Heart of Stone” as Jane Seymour tugs at the heartstrings with her tragic tale. 

After a fluoro-tinged visit to Germany for “Haus of Holbein,” Kiana Daniele rocks out as Anna of Cleves with celebratory hip-hop number “Get Down.”

Pretty in pink playing Katherine Howard, Chelsea Dawson enhances the bubble gum pop of “All You Wanna Do” by unleashing deceptively powerful vocals.

World theatre attention has recently been focused squarely on the indispensable talents of swings and understudies. In yet another example of a swing saving the day, the role of Catherine Parr was played at this Melbourne opening night performance by swing Shannen Alyce Quan (filling in for Vidya Makan). Quan brings a sense of mystery to dark horse Catherine Parr, the final lady to tell her story, unleashing all the soul of Alicia Keys in “I Don’t Need Your Love.”

A brilliant introduction to musical theatre for younger theatregoers, Six is unabashed good fun with a sprinkling of social awareness thrown in for good measure. 

Six plays at Comedy Theatre, Melbourne until 21 August 2022. For tickets, click here.

Photos: James D Morgan – Getty Images

Antipodes Theatre Company successfully taps into the zeitgeist with the Australian premiere of Passing Strange.

Given the current keen interest in diversity, and black voices in particular, Passing Strange was somewhat ahead of its time when it played on Broadway in 2008. As is often the case in Australia, it takes a visionary independent company to present a show that has been ignored by mainstream commercial producers. 

Antipodes Theatre Company has assembled an authentic company of performers and musicians to freely pour their collective energy into the vibrantly intense performance that Passing Strange both needs and deserves. 

Constructed as a memory play, Passing Strange is anchored by Augustin Tchantcho, whose narration of the journey of the Youth is far from passive in nature. Often approaching the heightened mania of a fever dream, the story is nonetheless grounded in reality, also coloured by plenty of quirky humour. 

Having come of age in the late 1970s in South Central LA, composer/lyricist/book writer Stew has based the show upon his own life. The Youth journeys from church choir to his own short-lived rock band before travelling to live in Amsterdam and then Berlin. HIs quest for reality is contrasted with his deceit of his new Berlin friends; much as his grandmother “passed” for white to gain employment, the Youth passes himself as a struggling African American stereotype, belying his comfortable middle class upbringing. 

Composed by Stew and Heidi Rodewald, Passing Strange is almost through-sung, creating the vibe of attending a rock concert rather than traditional musical theatre. The small amount of dialogue has a sense of the poetic, with the Narrator speaking in verse and the Youth ending act one with the striking poem “Today in Amsterdam.”

On keys, musical director Marissa Saroca leads fellow band members Chelsea Allen, Will Gijsbers and Christopher Michigan, each contributing additional backing vocals. For an unfamiliar show, the lyrics are clear and accessible, much as there is further work needed from the sound desk in picking up all of the microphone cues. The musical performance of the four musicians and seven cast members is of an incredibly high energy, with the audience finding themselves readily tapping and swaying along with the infectious music. 

Director Dean Drieberg also contributes mightily to the throbbing pulse of the show, keeping the storytelling stakes high and having the cast in almost constant motion. The performance space is wide and narrow, with only three long rows of seating. While this means that the cast members often need to traverse from one end of the stage to the other, the payoff is an inalienable bond between artists and audience that raises the emotional impact of the show. 

Supported by the insightful writing, Drieberg creates a strong sense of place in each of the locales where the Youth spends time. Playing multiple roles, the ensemble members successfully craft distinct characterisations that create the scope of a show with a much larger cast. 

Working efficiently with minimal space, choreographer Loredo Malcolm sets aside rigid moves to allow the cast to groovily feel the music move through their bodies. Lighting designer Sam Wylie uses vivid colour to create differing locations. The rear vertical strips of lights tint the costumes in multiple shades thanks to the clever concept of costume designer Bianca Pardo to dress the cast completely in pale grey. 

Seated centrally amidst the band on a slightly higher plane than the cast, Tchantcho performs with commanding authority tinged with wry humour and moments of tender warmth. The sterling quality of Tchantcho’s work is a key attraction of the production. 

Perfectly cast as the wide-eyed Youth, Grant Young is an engaging, thoroughly likeable performer whom the audience is more than happy to follow on his journey of self discovery. A strong singer and lithe mover, Young is completely at home on stage, exhibiting a ready charisma underpinned with the necessary vulnerability of the character.

Although a little young for the role of Mother, Sasha Hennequin makes the role her own, making an impact in moments where Mother amusingly switches between naturalism and heightened “black church lady” expression. 

As with these three lead players (and, for that matter, the four musicians), each ensemble member gives their heart to the show, with each performer immersing themselves in the characters and action to create a cohesive whole that is collectively stronger than the sum of its parts. 

Audiences looking for intense, edgy musical theatre will be very well served by Passing Strange. 

Passing Strange plays at Meat Market Stables, North Melbourne until 10 July 2022. For tickets, click here.

Photos: Angel Leggas

Bubbly, bold and brassy, 9 to 5 the Musical is a well-timed wallop of feel-good fare.

Proving an ideal fit for a cinema-to-stage adaptation, hit 1980 movie 9 to 5 provides three leading ladies for the price of one, not to mention the scope, fully realised, for an all-singing, all-dancing set of stenographers and executives. Hailing from Broadway in 2009, 9 to 5 the Musical soared to new life in a restaged production for London’s West End in 2019, its hearty feminist power amplified again for a new generation. 

Marketing material trumpets “Dolly Parton presents…” and so Dolly does, crisply projected on an overhead screen as the radiant emcee, even singing snippets of her hit title song, “9 to 5.” In her only Broadway musical, Parton’s music and lyrics have a joyful accessibility, their immediacy boosted by her gift for melody and story-telling. Writing for her movie counterpart Doralee, “Backwoods Barbie” is a prime example of Parton’s musical voice.

Movie screenwriter Patricia Resnick adapts her own screenplay for the stage, her story and characters needing minimal tweaking for musical theatre. Resnick highlights the further progress that is still needed to achieve true parity in the workplace. Rampantly sexist boss Franklin Hart Jnr is cringingly repugnant in the sheer confidence of his misogyny, the audience only barely coping with his obnoxious behaviour with the knowledge that he will be served his just desserts in plenty of time for the final curtain.

9 to 5 the Musical looks terrific on the State Theatre stage, Tom Rogers’ glossy design and Howard Hudson’s lighting filling the space with abundant colour. Rogers tracks the three heroines’ growth through their embrace of personal expression via their clothing. The burgeoning joy that blossoms in the office in Hart’s absence is vividly signified by blasts of neon, a colour palette that will be well remembered by children of the 1980s.

Jeff Calhoun directs the show with unflagging pace and infectious energy, and this vivacious spirit is expertly recreated locally by associate director Karen Johnson Mortimer. The choreography of Lisa Stevens is deceptively simple, looking all the more dazzling for the relentless outpouring of energy from the full ensemble. 

Musical director James Simpson infuses the music with Parton’s love of entertaining, spreading a clear sense of joy from musicians and singers alike.

This Australian premiere season is blessed with a generously starry cast, each of whom are working at their peak at this stage of the tour. 

Long established as a choice comedic actress, Marina Prior revels in the plum role of visionary Violet. While the show centres upon what is essentially an extended revenge fantasy, Prior’s commitment to Violet’s cause grounds the show in as strong a semblance of reality as can possibly be mustered. With act two only just underway, Prior stops the show in fabulous fashion with “One of the Boys.” 

As meek and mousy newcomer Judy, Casey Donovan plays against type for almost the whole show, finally unleashing her trademark powerhouse belt to bring the house down in act two as Judy stands up for herself in 11 o’clock power ballad “Get Out and Stay Out.” Donovan’s sensational rendition of this stirring song deservedly brought the opening night audience to their feet for an extended ovation. 

While not currently as well known as her co-stars, Erin Clare memorably puts herself on the musical theatre map with a terrific performance as Doralee. In sterling voice, Clare not only sings up a storm but also colours the glamorous character with real heart. 

Almost too believable as Hart, Eddie Perfect gamely throws himself wholeheartedly into the repulsive role, providing a pure villain for the women to justifiably rail against. Perfect also proves a very good sport, spending much time suspended overhead in kinky gear as part of Hart’s extended punishment. 

International treasure Caroline O’Connor works with characteristically consummate skill to wring every possible laugh from devilishly devoted personal assistant Roz. O’Connor goes to town when Roz cuts loose in act one charmer “Heart to Hart,” delighting again in act two as Roz returns from French school a new woman. 

Ethan Jones brings a wonderfully old-fashioned sense of the matinee idol to Violet’s love interest Joe. Sarah Krndija scores ready laughs as local lush Margaret. Warmly likeable performer Joshua Mulheran ensures that Judy’s ex Dick is not too black-hearted a sleaze. Mia Dabkowski-Chandler shows herself as ready for a breakout starring role in her supremely confident delivery as Kathy. 

The perfect antidote to 2020s doom scrolling, 9 to 5 the Musical is escapist entertainment at its glossiest, the quality of the local production and cast elevating the show above its existing standard. 

9 to 5 the Musical plays at State Theatre, Arts Centre Melbourne until 18 September 2022. For tickets, click here.

9 to 5 the Musical plays at Festival Theatre, Adelaide Festival Centre from 8 October 2022. For tickets, click here.

Photos: David Hooley

Timeless to Me, Hairspray shakes and shimmies once again, the sheer quality of the show itself shining through just as radiantly at twenty years old. Winner of seven 2003 Tony Awards including Best Musical, Hairspray encapsulates the very essence of what makes Broadway such a joy in our lives. 

A cult 1988 movie that became a hit 2002 Broadway musical that became a smash 2007 movie, Hairspray wears its beating heart on the sleeve of plucky, plus-sized teen, Tracy Turnblad. Set oh so specifically in 1962 Baltimore, Hairspray sees Tracy take on entrenched racism, conservatism and fatphobia as she seeks freedom, love and equality for all.

Coming back to the show after the Black Lives Matter movement, the unapologetic racial segregation on show is quite shocking, with “I Know Where I’ve Been,” Motormouth Maybelle’s 11 o’clock prayer for equality, all the more warmly embraced by the audience. The adult world may be set in its ways, but the burgeoning, boisterous teens of Patterson Park High provide a clear message of hope in their ready embrace of broader culture. 

Given that the original movie was written by anarchical film maker John Waters, the musical has a distinctly subversive edge that serves as a delectable counterpoint to the bubble gum surface. Book writers Mark O’Donnell and Thomas Meehan keep the jokes absolutely flying, and if many a pop culture reference to the early 1960s is lost on zillenials, the spirit of intent rings true.

The ‘60s pastiche score of composers Marc Shaiman and Scott Wittman remains as delectably infectious as ever, with Jerry Mitchell’s original choreography seeing many a song blossom bounteously from gentle beginning to full company production number. 

Mitchell wittily spreads the same few teen-friendly dance moves throughout the show, telling a key part of the story in dance when the white teens fabulously expand their dance vocabulary with inspiration from their new black comrades. Given the deliberate simplicity of the moves, they are designed to work when performed with precision, a level not yet achieved by the new Australian cast but one that will surely be closely approached in the coming weeks. Who knows, maybe they will even put on tap shoes again for act two opening “The Big Dollhouse.”

Jack O’Brien’s original direction is pacy and slick; the style is broad and yet intended to be tightly contained. While there are plenty of jokes to enjoy, too many are “stepped on” in this production; this is another aspect that is sure to improve with experience of timing and audience reactions. 

It is a joy to see the original set design of David Rockwell and original costumes of William Ivey Long on stage in Australia. Riotous colours, tactile materials, and eye-popping wigs deliver a rose-tinted view of inner-urban ‘60s, with two-dimensional settings artfully conjuring a vivid three-dimensional world. 

Carmel Rodrigues is a terrific discovery as Tracy, pouring her heart into the role and deservedly winning the audience’s affection. Rodrigues sings the demanding role with flair, and scores plenty of laughs with her wide-eyed comic delivery. 

Shane Jacobson embraces his role as Edna Turnblad with impressive dignity, staying steadfastly true to the authentic spirit of the performance that is required. While there is room for more variety in delivery and a deeper grasp of the comedy, this is sure to come as Jacobson becomes more comfortable in Edna’s elaborate costuming and wigs.  

Jacobson is more than ably supported by Todd McKenney as a warmly devoted Wilbur Turnblad. The pair presents a loving parental couple, and reliably bring down the house with show-stopping act two duet “(You’re) Timeless to Me.”

Javon King makes a sensational Australian debut as extroverted teen dancer Seaweed, wowing the audience with his vocals and dance moves alike. Asabi Goodman expertly captures the tough-hearted warmth of Motormouth Maybelle, impressing with her powerhouse vocals. Ayanda Dladla charms as precocious Little Inez. 

Brianna Bishop has the perfect expressive vocal delivery to cut through sharply with Amber von Tussle’s deluded selfishness. Rhonda Burchmore brings plenty of showbiz sparkle as she sidesteps some of the darker aspects of Velma von Tussle’s prejudiced self absorption.

Mackenzie Dunn takes Penny Pingleton on a journey from awkward duckling to self-assured swan, a contrast that is particularly well illustrated in Penny’s exponential improvement as a dancer. 

Rob Mills is perfectly cast as croony Corny Collins, successfully scaffolding the breezy character with a backbone of his own. Sean Johnston exudes a likeable stage presence as Link Larkin. Donna Lee and Todd Goddard each skilfully distinguish their range of quirky characters as the Female and Male Authority Figures.

Leaving the audience on a giddy high after the double finale of “You Can’t Stop the Beat,” this original Broadway production of Hairspray is sure to draw abundant interest from local lovers of musical theatre while winning plenty of new fans in the process. Fans who have only seen the 2007 movie have a whole world of musical theatre pleasure to discover in the expertly crafted stage version.

Hairspray plays at Regent Theatre, Melbourne. For tickets, click here.

Hairspray plays at Festival Theatre, Adelaide from December 2022. To join the waitlist, click here.

Hairspray plays at Lyric Theatre, Sydney from February 2023. To join the waitlist, click here.

Photos: Jeff Busby

The wellspring of theatrical joy bubbles over once more as international hit musical Come From Away lands in Melbourne for its warmly welcome third season. 

Snippily dubbed the “9-11 musical,” Come From Away breathlessly chronicles five incredible days when 7000 world travellers were diverted to Gander, Newfoundland on September 11, 2001. 

The central theme of survival through kindness gains added resonance as Melbourne continues to step blinking into the light following necessary but distressful extended lockdowns. Just as the residents of Gander merrily state, “You’d have done the same thing,” so too have local community members dropped off food, provided lifts, or run online activities for those in isolation or working on the front line. 

The warm glow of thoughtfulness shines all the more brightly given that the characters in Come From Away endure moments of xenophobia, islamophobia, homophobia and sexism in addition to the fear and weariness of being stranded so far from home. The authentic reality of the characters makes these moments of cruelty all the more shocking, deftly driving home a powerful message of shared humanity.

None other than veteran maestro Michael Tyack now serves as musical director, capably leading the on-stage band of musicians playing all manner of eclectic instruments to terrific effect. On the fringes of the stage all night, when the musicians join the cast centre stage for the kiss-the-cod “Screech In” ceremony, the combined energy practically lifts the roof off the Comedy Theatre. 

Over and above the infectious music of Irene Sankoff and David Hein and dazzling direction of Christopher Ashley, it is the wondrously selfless Newfoundland generosity that is the chief attraction of Come From Away. With Sankoff and Hein’s book based on hours upon hours of interviews, each performer is charged with bringing a varied set of living, breathing humans to light. Given the electric cohesion of the current tight and evenly matched ensemble cast, it is extraordinary to note that seven of the twelve are new to the production. 

From the original Australian cast, Zoe Gertz continues to shine as pioneering pilot Beverley Bass. Emma Powell exudes genuine warmth as primary teacher Beulah, still scoring laughs as drunken Delores belts “My Heart Will Go On.”

Douglas Hansell and Joseph Naim share ready chemistry as the two Kevins, each disappearing into other roles. Hansell conveys a joyful unwinding as Kevin T makes the best of the situation, and Naim is moving as the unfairly vilified Muslim Ali.

Phillip Lowe’s adorably sheltered Englishman Nick is now perfectly matched by Natalie O’Donnell as tentative Texan Diane, with the mature age romantic arc of the endearing pair being a lovely highlight of the show. 

Joe Kosky is a terrific addition as police chief Oz, displaying sharp comic timing as Oz and in featured roles such as perky Aussie passenger Joey and sexy Spanish-speaking PE teacher Mr Michaels, sharply contrasting these roles with a compassionate portrayal of the lone Rabbi. Kyle Brown expertly captures the cynical credulity of hardened New Yorker Bob, making the character’s gradual relaxation a pleasure to watch. 

Manon Gunderson-Briggs brings a plucky energy to new reporter Janice, neatly showing the character’s growth across her baptism-by-fire first week on the job. Sarah Nairne brings tender warmth to fearful mother Hannah. Kat Harrison fills SPCA volunteer Bonnie with plucky nerve. David Silvestri is suitably grounded and focused as capable mayor Claude. 

The unique energy and passion of Come From Away are destined to be remembered for years; at this point it feels hard to believe that another show will usurp its special place any time soon. Lovers of musical theatre who are yet to experience Come From Away are strongly encouraged to take this final chance to see the show, and those who have already been will need little encouragement to return.

Footnote: Opening night of this third Melbourne season was blessed with the company of Janice Goudie (inspiration for Janice) and the real Bonnie Harris. Goudie and Harris joined the cast on stage for the curtain calls. 

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

Come From Away plays at Theatre Royal, Sydney from 5 November 2022. For tickets, click here.

Come From Away plays at Canberra Theatre from 8 June 2023. For tickets, click here. 

Come From Away plays in Auckland and Wellington, New Zealand from August 2023. For tickets, click here. 

Man in Chair reviewed the Broadway production of Come from Away.

Man in Chair reviewed the original Melbourne season of Come from Away.

Man in Chair reviewed the second Melbourne season of Come from Away.

Photos: Jeff Busby

Heart-rending musical theatre joy flows freely and abundantly as a bumper cast of singers and musicians pay loving tribute to the once-in-a-lifetime talents of composers Alain Boublil and Claude-Michel Schönberg in boffo concert presentation Do You Hear the People Sing?. 

In a carefully considered, very generously proportioned program, highlight after everloving highlight pours forth in swift succession. Each song and each performer seems miraculously better than the last, until the roof practically blows off the theatre when the full company takes to the stage together. 

Full credit must be given to producer Enda Markey for the vision and drive in creating this genuinely incredible concert. The concept for the show is ingenious, and the fact that Markey’s vision is so fully realised signifies something of a superhuman effort behind the scenes. Just the logistics of corralling a set of international cast members is mind-boggling. The quality of production is there in every detail, and the concert can be seen as nothing less than a heartfelt gift to lovers of musical theatre. 

Each of the eight international lead performers is quite extraordinary. Add to this the highly talented ensemble of 12 fellow performers, nestled on stage amidst the orchestra of 24 musicians. For each of the leading ladies, it is at least a three-frock affair; the men, likewise, provide dashing glamour and a touch of sartorial variety.

Peter Rubie’s lighting design provides added gloss. Tom Brickhill’s sound design distinguishes every instrument and voice with clarity. A couple of minor missed technical cues on opening night will no doubt be smoothed over for subsequent performances. 

The musical performance benefits from the orchestrations of Jack Earle, a highlight of which is the neatly blended overture, which succinctly samples the hits of each Boublil & Schönberg musical. 

World class musical director Guy Simpson brings his inimitable flair to the podium, ensuring that the beloved songs are heard at their best. 

Director Andrew Pole achieves a charming sense of personable ease from each of the lead performers, who casually deliver pithy preambles as they hand the baton to each subsequent singer. Songs are given their full emotional heft in fully committed performances given by stars who often have significant background experience in the roles. 

The concert begins with a deep dive into 1989 hit Miss Saigon, distinguished by a welcome return to the Australian stage for David Harris, and Australian debuts for Korean star Sooha Kim and West End leading light Rachel Tucker. Kim made an instantly strong impression with Kim’s soaring prayer “I’d Give My Life For You,” before she and Harris had the audience swooning to “The Last Night of the World.”

Headliner Michael Ball brought necessary gravity to “Bui Doi” and fellow West End legend John Owen Jones gave a passionate rendition of Chris’ heartfelt power ballad “Why God, Why?”.

Australian globetrotter Suzie Mathers presented three versions of Ellen’s act two ballad before handing over to Tucker to bring it home with most recent version, “Maybe.” In a role he will sadly never play in a full production, triple threat Bobby Fox tore up the stage with the Engineer’s fantasia “The American Dream.”

In the lone song from Boublil and Schönberg’s first show, La Révolution Française, French stalwart Marie Zamora brought such expression to “Au Petit Matin” that its meaning shone through with no need for surtitles. 

A singer of considerable emotional intelligence, Tucker brought fresh interest to the upcoming 2024 revival of Martin Guerre by putting her personal stamp on world premiere song “Turn Back the Seasons.” Harris’ agile tenor gleamed in Martin Guerre power ballad “I’m Martin Guerre.”

The first half concluded with a wonderful multi-lingual arrangement of Fantine’s megahit ballad “I Dreamed A Dream” before the full company soared through Miss Saigon act one choral thriller “This is the Hour.”

Local musical fans not familiar with 2007 Broadway flop The Pirate Queen may well be moved to seek out the cast recording after hearing Tucker sing Grace O’Malley’s stirring anthem “Woman” and Harris belt the lovely melody of “I’ll Be There.” The show received a memorable introduction at the top of act two when Fox dazzled with some of the Irish dancing that was a feature of the show. 

Then finally it was time for the big one, as the orchestra launched into the instantly recognisable overture of Les Misérables. 

The lead performers had fun singing the factory roles in “At The End of The Day,” and Fox and Tucker amused as those dastardly Thénardiers with “Master of the House.” Both of these numbers, and more, were enhanced by the invaluable work of the ensemble singers. 

To hear original 1985 cast member Ball revisit his role of Marius to sing “Empty Chairs at Empty Tables” was unforgettable, as was the gorgeous trio “In My Life/A Heart Full of Love,” in which Ball was joined by Mathers as Cosette and Kim as Eponine. 

Ball also took on Javert, crooning “Stars” before joining Harris and Owen Jones for a beautifully harmonised arrangement of Valjean’s iconic prayer “Bring Him Home.” 

The full company thrilled with act one finale-to-end-all-finales, “One Day More,” before concluding with the concert’s title song “Do You Hear The People Sing?”

In the final icing on the cake, the two Great Men, Boublil and Schönberg themselves appeared on stage, joining the company to graciously acknowledge a hearty standing ovation.

Did we hear the people sing? We certainly did. And what wonderful people they were. This concert will live in the memories of all who attended. Fellow musical lovers are given the strongest possible urging to attend the remaining performances in Melbourne and Sydney. 

Do You Hear the People Sing? plays again at Hamer Hall, Arts Centre Melbourne on 28 September 2022. For tickets, click here.

Do You Hear the People Sing? plays again at Concert Hall, Sydney Opera House 30 September – 2 October 2022. For tickets, click here.

Footnote: the program for Do You Hear the People Sing? makes the rare inclusion of a headshot for every orchestra member. Just another sign that producer Enda Markey is all class. 

Photos: Jeff Busby

Devilishly subversive musical Urinetown makes a very welcome return to the Melbourne stage in this creative, timely, and high-spirited production.

While the water shortage angle of Urinetown may seem something of a practical joke in La Niña-soaked Melbourne this week, the fee hikes and corporate opportunism cut close to home in the current inflationary environment.

Winner of three 2002 Tony Awards, including Best Book (Greg Kotis) and Best Score (Mark Hillman and Kotis), Urinetown plays with musical theatre audience expectations, contrasting an infectiously merry score while pulling no punches on the impact of climate change and corporate corruption. Officer Lockstock and Little Sally share exposition (but not too much exposition) in meta style, calling out cliches and skewering tropes with many a knowing wink.

Director Mark Taylor and his creative team make the clever move of setting the show in the Australian outback, the floor painted a recognisable shade of parched ochre by set designer Sarah Tulloch. 

Taylor’s work brings to mind the inventive style of Broadway director Alex Timbers, in which stage items are imaginatively repurposed to tell the story, and performance energy is kept frenetically high. This results in an arresting performance, which grabs the eager audience by the collar and does not let go. Although the physical humour occasionally threatens to interfere with the main action, the overall pace is well-judged. As an added bonus, musical theatre fans will appreciate Taylor’s cheeky nods to iconic musicals such as The Sound of Music, Wicked, Les Misérables. 

Taylor is expertly supported by choreographer Sophie Loughran, who has crafted witty, vivacious choreography. The very high standard of dance by the ensemble playing The Poor is an absolute highlight of the show. 

Musical director Ben Samuel and conductor Ashton Turner deliver a lively rendition of the deceptively challenging score. The band of nine musicians, including Turner on keys, sounds a little thin in David Barrell’s sound design, but, pleasingly, vocal amplification is handled with perfect clarity. 

Framing the stage in sheets of clear plastic, Tulloch’s simple yet effective set design readily supports the deliberately rough and ready vibe of the production. Costume designer Harry Gill captures the sun-bleached Australian aesthetic for The Poor, contrasting The Rich with vivid colour. Also handling props, Gill provides a terrific touch for tycoon Cladwell, who sports a brass garden tap for a cane. 

The lighting design of Aron Murray seems somewhat hampered by budget restrictions. While backlighting is used a little too often, Murray makes creative use of the resources available, particularly in lighting the plastic sheets.

The ensemble cast of 16 is well matched in energy and playing style, resulting in a richly realised performance. 

Looking every bit the precocious ten-year-old, Chloe Halley has killer comic delivery as plucky moppet Little Sally. Dom Hennequin provides a unique characterisation of narrator Officer Lockstock, colouring the deadly officer’s humour with a laconic drawl. 

Leading man Finn Alexander balances the sincere heroism and tongue in cheek romance of Bobby Strong with charismatic flair. Amy McMillan skilfully takes Hope Cladwell from innocent heroine to rampant revolutionary. 

Quin Kelly brings a commanding presence to Cladwell, and sings with a very attractive baritone. Daniel R. Nixon is delightfully camp as Cladwell’s fey shadow Mr McQueen. 

Maddison Coleman exhibits a terrific belt as Miss Pennywise. Ashlee Noble brings daffy humour to Officer Barrel. Mike Gardiner deftly contrasts the dual roles of ill-fated Old Man Strong and self-serving Senator Fipp. 

The hard working ensemble work as a strong team, with each player embracing their featured moment to shine. Special mention to stellar dancer Adeline Hunter, who is a standout as Little Becky Two-Shoes.

The capacity opening night audience were quick to give Urinetown a full standing ovation. Many local musical theatre fans may not have seen Urinetown before and this season is the ideal first experience with the show.

Urinetown plays at Chapel off Chapel, Melbourne until 6 November 2022. For tickets, click here.

Photos: provided

Superbly cast and ingeniously staged, the luxurious new production of The Phantom of the Opera is peak musical theatre at its entertaining best.

Undoubtedly one of Melbourne’s all-time favourite musicals, The Phantom of the Opera returns afresh for its third season in this splendiferous and thrillifying new staging, which has toured the UK and USA since 2012. Insightfully directed by Laurence Connor and sturdily choreographed by Scott Ambler, the production retains costume designs by Maria Björnson while replacing the luxuriant sweeping curtains of Björnson’s set designs with large scale constructed sets by Paul Brown. 

It is difficult to overstate the cultural impact of The Phantom of the Opera following its 1986 premiere at London’s Theatre Royal, Haymarket (where it still plays today). Grand showman composer Andrew Lloyd Webber oversaw the release pop singles, complete with video clips, as the double album swept the world’s music charts. The 1990 Australian premiere was so eagerly anticipated that ticket prices rose for the first time to a princely $50, with stars Anthony Warlow and Marina Prior swiftly becoming household names. 

Connor’s direction sidesteps camp Victorian melodrama to present grounded, clarion storytelling in which the emotional stakes are kept engrossingly high. There is no shying from the monstrosity of the Phantom, adding to the complexity of Christine’s hypnotic fascination with him. 

While the London production of The Phantom of The Opera has suffered the cost-cutting measure of its orchestra being reduced to 14, this production has the luxury of the original 27 musicians. Benefitting from the decades of experience of musical supervisor Guy Simpson, Webber’s music is heard at its best, with musical director Anthony Barnhill presiding over a lush instrumental and vocal performance. Sound is wonderfully immersive and crystal clear, with the sound design of Mick Potter skilfully overseen locally by Nic Gray and Shelly Lee.

Even the most stubborn of purists will be sure to marvel at the achievements of the new design. No specific spoilers here, but it is safe to mention that the giddily perilous descent to the Phantom’s lair is a highlight. The theatre managers’ office is a characterful addition, the gilded false proscenium and boxes glide elegantly into view, and the over-sized statues of the Paris Opera House roof provide the ideal vantage point for the Phantom’s declaration of war.  

If there is one loss in this version, it is the collaboration between Björnson and original choreographer Gillian Lynne for act two opener “Masquerade,” which previously featured an increasingly terrified Christine seeing the Phantom and his icons amidst the costumed guests. Although glossily staged, in Ambler’s hands “Masquerade” is now simply a generic musical theatre number. 

His London Phantom year cut short, and having waited another year for this season, Josh Piterman makes a stunning hometown debut in this most iconic of roles. A stellar singing actor, Piterman embraces the darkness to craft a humanistic portrait of a desperate man tortured by his own existence. In superb voice, Piterman imbues his vocal performance with aching expression; in particular, mega power ballad “The Music of the Night” soars to new heights, with fresh life breathed into the well worn lyrics. 

Amy Manford delights as Christine, singing the role with a gorgeous full bodied soprano and committing wholeheartedly to the reality of Christine’s horror. Alone on stage, Manford has the audience in her palm for act two reflection “Wishing You Were Somehow Here Again,” and her coloratura phrases at the conclusion of “Think of Me” vividly display the operatic aspect of her talent. 

A charismatic actor and luxurious tenor, Blake Bowden elevates Raoul well above the potential blandness of a traditional musical theatre hero. Crystallising the chemistry between Manford and Bowden, “All I Ask of You” is a swoon-worthy pleasure. 

A key success to this season is the similarity in age and stature of the Phantom and Raoul. With affecting clarity, this aspect highlights the agony of the Phantom in wishing he could be in Raoul’s place with Christine. Would that he could not have pursued this desire in such a bloodthirsty manner. 

The supporting leads are impeccably cast. David Whitney and Andy Morton bring endearing exasperation to new theatre owners Messieurs Firmin and André. Giuseppina Grech portrays grand diva Carlotta as a loveable rogue, with co-star Paul Tabone making gentle comedy of the pompous arrogance of fading tenor Piangi. Grech and Tabone both handle the operatic elements of their roles with vocal flair and knowing wit. 

Jayde Westaby is suitably stern and mysterious as forbidding ballet mistress Madame Giry.  Mietta White makes a highly auspicious mainstage debut as dear Meg, her skill for dance as graceful as her vocals are sweet. 

The very definition of “must-see musical theatre,” The Phantom of the Opera is a very welcome gift to the musical lovers of Melbourne. Prepare to fall under the Phantom’s spell all over again.

The Phantom of the Opera plays at State Theatre, Arts Centre Melbourne until 5 February 2023. For tickets, click here.

Photos: Daniel Boud

Commemorating 110 years since the indelible maritime tragedy, Titanic the Musical in Concert celebrates the lives of the passengers and crew with an impeccably cast, splendidly sung and played concert. 

One of the few Broadway shows to win the Tony Award for Best Musical but not have a commercial season in Melbourne, this lush concert from producer Paul Marrollo helps to correct this oversight. Titanic the Musical won five 1997 Tony Awards, and its gloriously melodious score, by Maury Yeston, can be heard in a cast recording treasured by many a musical theatre aficionado. 

Playing Jonathan Tunick’s original orchestrations, 26 musicians perform on stage, confidently helmed by meticulous musical director Stephen Gray. 

Two key features of Yeston’s score are his generous use of countermelodies and his sumptuous vocal harmonies for all of the ensemble singing. As the show progresses and basically every cast member has the opportunity to sing a solo, it quickly becomes clear as to why the massed choral singing is so wonderful: each and every cast member possesses a beautiful singing voice. Musicality is at a premium and the performance is all the richer for it.

Despite this innate talent and strong preparation, the score is not heard at its very best due to a combination of the echoey acoustics of Melbourne Town Hall and the sound design of Jarrad Gilson, which generally balances instrumental and vocal music well but includes a lamentable number of missed cues and often does not pick up the voices with sufficient clarity. Thankfully, the singers demonstrate excellent diction in their performances.

The concert staging  is based upon the 2012 chamber version of Titanic the Musical, which sees the roles shared by a smaller cast. 

Director Theresa Borg makes excellent use of space and heights, readily creating distinct zones of the ship and creating ongoing visual interest without the use of any scenery. 

Borg’s storytelling is capably supported by lighting designer Jason Bovaird, who successfully draws the eyes across the wide stage of Melbourne Town Hall. Bovaird adds significantly to the visual interest, drawing attention to the majesty of the rear pipe organ, and filling the soaring overhead space with lush streams of coloured light. 

Almost all of the ensemble cast of 23 plays at least two roles, the characters distinguished by small changes of costume along with varying physical expression. The success of Borg’s approach is exemplified by the pair of act one scenes, in which the rigidity of the elite first class passengers proclaiming “What A Remarkable Age This Is” is then neatly contrasted by the far more languid energy of Third Class, who share their life dreams in “Lady’s Maid.”

A significant number of characters are created, but the sheer number of these is something of a weakness of Peter Stone’s book. Barely any characters have more than one song, so it is difficult to engage with the arc of any characters. Painful as it is to write, James Cameron had the better idea, focusing his 1997 movie Titanic upon a compelling central couple, Jack and Rose. 

While even a fully staged production of Titanic the Musical contains little dance, choreographer Katie Ditchburn contributes a lovely company number for act one charm song “Doing the Latest Rag.”

Legendary musical theatre star Anthony Warlow is a key drawcard to Titanic the Musical in Concert, and yet the ensemble nature of the show means that no role is much bigger than any other. Warlow has the perfect authoritative presence for Captain E.J. Smith, and makes the most of one of the more fleshed out backstories. His vocal tone as sumptuous as ever, Warlow’s scant amount of singing certainly leaves the audience wanting more.

Juan Jackson brings a focused presence to ship designer Thomas Andrews, a man facing a constant inner monologue of doubt as he second guesses his grand design. In a neat storytelling device for the concert, Andrews states the time and location of each scene and keeps constant gaze over the action. Jackson brings an authentic manner to both of these aspects of his performance. 

As strutting peacock J. Bruce Ismay, director of the White Star Line, Kane Alexander brings a palpable sense of oily self-centredness, making Ismay’s cowardly assumption of a lifeboat space all too understandable. 

The work of Warlow, Jackson and Alexander culminates in dramatic trio “The Blame,” as the three men turn on each other with desperate vitriol. 

The ensemble cast is a pleasing mixture of veterans and newcomers.

Martin Croft and Natalie Gamsu honour the devoted passion of millionaires Isador and Isa Straus in 11 o’clock duet “Still.” John O’Hara delights as subtly camp steward Mr Etches. Lisa-Marie Parker is stylish and tantalisingly mysterious as spirited widow Charlotte Cardoza. Glaston Toft is reliably charismatic as J.J. Astor. 

Shining in one of the most endearing roles, Johanna Allen supports her performance with particularly crisp diction as aspirational Second Class passenger Alice Beane. Allen is very well-supported by Martin Lane in the relatively thankless role of Alice’s ever-patient husband Edgar Beane. 

Terrific singing voices abound in the young male cast. Jonathan Hickey (stoker Barrett) and Samuel Skulthorp (radioman Bride) are deservedly showcased in lovely countermelody duet “The Proposal” / “The Night Was Alive.” James MacAlpine (lookout Fleet), Callum Warrender (Charles Clarke), and Shannon Cheong (bandmaster Hartley) all prove themselves to be talents to watch out for in future. 

With only a few scenes, Madison Green brings full life to young Irishwoman Kate McGowan. Marissa Economo anchors a very moving scene in which new mother Marion Thayer must leave her husband and she and her baby board a lifeboat.

The cast is rounded out by Amy Fortnum, Ava Mason, Alessandra Merlo, Shanul Sharma, Daisy Valerio, and Samuel Ward, each of whom makes an invaluable contribution. 

Of the full company numbers, climactic act two sequence “To the Lifeboats” is particularly moving.

The dream remains that Melbourne might see a fully staged production. In the meantime, Titanic the Musical in Concert has presented a lovingly polished performance of the musical.

Titanic the Musical in Concert plays at Melbourne Town Hall until 6 November 2022.

Photos: Paul Mulligan

The quintessential, raise-the-roof Broadway musical comedy, Some Like It Hot bolsters a classic stage-to-screen adaptation with the insight of a post-modern lens. 

A new musical from Hairspray composers Marc Shaiman and Scott Wittman is bound to be attract interest, as is any new production from superlative director / choreographer Casey Nicholaw. Together, the appeal is irresistible an only increases with a book by Matthew Lopez (playwright of The Inheritance) and Amber Ruffin.

In trademark Nicholaw style, the entire show dances from start to finish. Tap dance is a major feature, with not one but two tap dance chase sequences, including the farce-like full company finale “Tip Tap Trouble.” Scott Pask’s lavish Art Deco design is utterly gorgeous. 

Given its jazzy musical setting in Prohibition-era Chicago, iconic 1959 movie Some Like It Hot is ideal material for the musical stage, already having yielded the less-successful 1972 musical Sugar. Lopez and Ruffin stay very close to the machinations of the movie’s plot, sensitively refining the material to embrace diversity. Rather than using colourblind casting, the inclusion of people of colour is a logical part of the scenario, and racism of the day is explored. The issue of consent is respected by changing Joe’s seduction of Sugar on the yacht. Most significantly, donning a dress awakens feelings in Jerry, who embraces the disguise of Daphne and develops genuine feelings for besotted eccentric millionaire Osgood Fielding III. 

With the momentum of a roller coaster, energy never flags. Already an inherently funny story, the comedy level rises sky high with the pacy flow of snappy one-liners.

The enjoyment of Shaiman and Wittman’s score owes slightly more to skilful orchestrations than to melodies but lyrics from the pair strong. Enamoured by movies, Sugar scores a lovely I wish song with “At the Old Majestic Nickel Matinee,” also soaring with 11 o’clock ballad “Ride Out the Storm.” The title song makes for a fabulous act one full company finale. Celebrating the blessings of self discovery, Daphne’s “You Coulda Knocked Me Over With a Feather” looks set to join “I’m What I Am” as a knockout queer anthem for the ages. 

Each of the leading men are excellent in their own way. Celebrated star Christian Borle is absolutely hilarious as Joe/Josephine. J. Harrison Ghee is endearingly lovely as Jerry/Daphne, clearly winning strong support from the audience. 

Fresh from Six, Adrianna Hicks sparkles as Sugar. NaTasha Yvette Williams is a sassy delight as Sweet Sue. Kevin del Aguila gamely embraces the wacky lunacy of Osgood.

Leaving the audience on a breathless high Some Like It Hot is a must-see for lovers of Broadway at its tie-tapping best.

Some Like It Hot plays at Shubert Theatre, New York. For tickets click here.

Photos: Marc J. Franklin

Cleverly conceived and thrillingly performed, knockout bio-musical MJ the Musical is this year’s white hot ticket.

Set in a rehearsal room for the 1992 Dangerous World Tour, Michael Jackson’s story unfolds organically through memories stirred by an MTV interviewer. Dancers, managers, and back up singers (and their children) fill the flashback roles using the tour’s props and costumes. Playwright Lynn Nottage sidesteps the potential dreary linear bio-musical traps with this snappy approach, replacing the usual tedium with a vivid sense of excitement. 

The recollections move through the Jackson Five to teenage Michael to world-conquering king of pop Michael Jackson. While the show includes money troubles, pill-taking and relentless perfectionism, the 1992 conclusion means that later allegations against Jackson are not covered. This lack of deeper examination is frustrating, but if the show is accepted for what it is, the result is exceedingly entertaining in its own right.

Once firmly ensconced in the world of ballet, director / choreographer Christopher Wheeldon moves on from his delightful production of An American in Paris with an even more extraordinary vision for MJ the Musical. Collaborating with scenic designer Derek McLane and lighting designer Natasha Katz, the cinematic fluidity achieved is incredible and the dancing is nothing short of astonishing.

Highlights include the conjuring of Studio 54 for “Wanna Be Starting Something,” and the stunning shattered crystal visuals for “They Don’t Care About Us.” Wheeldon hits his strides at the top of act two, following “Billie Jean” with an ode to MJ’s favourite dancers Fred Astaire, Bob Fosse and the Nicholas Brothers. The subsequent neon cityscape for “Smooth Criminal” spectacularly completes this electric sequence. Iconic hit “Thriller,” as staged in the Dangerous World Tour production itself, is another clear highlight.

Mention must be made of music director Jason Michael Webb and music supervisor David Holcenberg, both of whom contributed the sensational orchestrations and arrangements. 

While a significant part of the frenzied audience response relates to the recreation of Jackson’s incredible catalogue of hits, the lead performance of Myles Frost is an integral aspect of bringing this world to life. Effectively capturing Jackson’s gently soft spoken manner, Frost sings up a storm and is an incredibly lithe and fluid dancer. 

Tavon Olds-Sample is a standout as teenage Michael, looking uncannily like the star and performing key hits with great flair. At this performance, Young Michael was played by Christian Wilson, who played alongside his adult counterparts with terrific, and well-placed, confidence. 

A key feature of having tour company members play other roles is the combination of tour director Rob and Michael’s father Joseph Jackson. The swift transitions between these two characters clearly telegraphs Michael’s reaction to authority figures after enduring near-abusive pressure for his feather while performing as a young boy. At this performance, Antoine L. Smith brought out the commanding strength of Joseph tempered with the humanistic warmth of Rob. 

Theatregoers scarred by the memories of sitting through Thriller Live should take comfort in the vastly superior concept, performances, production values, and sheer creativity of MJ the Musical.

MJ the Musical plays at Neil Simon Theatre, New York.

Photos: Matthew Murphy

A Boomer bonanza, The Neil Diamond Musical: A Beautiful Noise* clearly illustrates the point that writing and singing dozens of hit songs does not necessarily make your life interesting.

*Yes, that’s the full title

A Beautiful Noise scores with its hit song catalogue and winning lead performance from charismatic star Will Swenson but flounders in its lamentably dull subject matter. A note in the Playbill from Neil Diamond himself references Broadway megahit Jersey Boys, but Jersey Boys this is not.

Book writer Anthony McCarten (screenwriter of Bohemian Rhapsody) frames the action around present day Neil Diamond sitting in therapy and discussing his lyrics. Every time the show gathers some steam and momentum from the fabulous energy of the ensemble (cutely credited as The Beautiful Noise), the pace nosedives again when we return to the tediously dry therapy session. 

Director Michael Mayer can usually be relied upon for an edgy, modern outlook but appears to have settled for straightforward simplicity this time around. There just is not a hook or set of beats upon which to hang any tension or drive.

Looking at the bright side, the audience bathes cheerfully in the warm glow of nostalgia, smiling at the fashions across the decades and happily singing along to “Song Sung Blue” and “Sweet Caroline.” Swenson is superb as Diamond, oozing ready charm and projecting genuine warmth in his husky, appealing vocals. 

Scenic design, by David Rockwell, is simple to the point where it may have actually been a budget issue. Simple abstract frames of taut wires move back and forth, with a multi-level rear set of platforms adding a touch of pizazz in act two. 

Music supervisor Sonny Paladino has crafted terrific arrangements, and the 13-piece band sound fantastic. Blended harmonies from The Beautiful Noise reflect the devoted work of the very talented ensemble. The ensemble members also expend serious energy performing Steven Hoggett’s choreography, which is diverting, if not particularly characterful or memorable. 

As the older Diamond, Mark Jacoby brings quiet authority, and musters a moving tear or two towards the end of the story. 

Robyn Hurder somewhat overplays the role of Diamond’s second wife, Marcia. The pair endures musical theatre’s longest break up, which is, completely unsurprisingly, caused by Diamond always being out on tour. At least the pair’s final duet is a lovely one – “You Don’t Bring Me Flowers.”

Fans of Diamond’s music will enjoy the chance to hear all the hits again. For everyone else, The Neil Diamond Musical: A Beautiful Noise is perhaps a show to skip.

Photos: Matthew Murphy (note: photos show the July 2022 season in Boston)

The wider world’s favourite Sondheim musical, Into The Woods shimmers in an exceptionally starry, pitch perfect revival that proudly symbolises all the joy and wonder that characterise the magic of Broadway. 

Originating as part of the City Center Encores! 2022 season back in May, the slick concert presentation of Into The Woods swiftly announced a move to Broadway, where it has continued its celebrated season since July. Clearly as much a favourite of the Broadway firmament of stars as of the public, the revival has seen any departing cast members replaced by equally talented performers.

In line with its Encores! origins, (and as seen in similar transfers including Chicago and Gypsy), the production features the band in plain sight on stage. And what a band! Along with the cast, the Encores! orchestra also remains with the show, conducted by none other than legendary maestro Rob Berman himself.

Part of the excitement of seeing this revival of Into The Woods comes from the pleasure of attending a Sondheim show presented as a mainstage, crowd-pleasing event. Young audience members know the 2014 movie and have probably performed in or seen the show in high school or college. When the audience greets the opening chord of “Giants in the Sky” with applause, you know that the house is filled with many a big fan of the show. 

Approaching the much-loved work with a well-judged balance of healthy respect and compelling creativity, director Lear de Bessonet quickly has the audience see past the minimal scenery and immerse themselves in the charming fantasy world. Most impressively, de Bessonet provides welcome laughs from new line readings and physical comedy whilst also ensuring that moments of pathos land with full emotional impact. In this facet, the production honours book writer James Lapine as well as all too recently departed composer Stephen Sondheim.

Scenic designer David Rockwell begins with tiny 3D model houses floating over the three key households. When the characters venture into the woods, numerous white hollow poles drop into view. 

Costume designer Andrea Hood uses a vivid selection of block colours, outfitting the wealthy characters in vibrant tones while the peasants (Sondheim’s word) wear far duller shades. In just one of Hood’s neat story-telling touches, Jack changes from drab to fab when he cashes in on the Giant’s loot. 

Usually it would take attendance of at least four shows to see as many high profile Broadway stars as are featured in Into The Woods. 

Sharing the role with Montego Glover, Patina Miller (Pippin) gives the first incarnation of the Witch an earthy cantankerousness before modulating her vocal tone with the return of the Witch’s youthful beauty. Dazzling in a metallic purple pant suit and cape, Miller neatly underplays the Witch as completely self-confident and in control, batting oversized lashes as she endures the presence of local muggles. “Last Midnight” is a carefully calibrated tour de force, with a new, imaginative visual ending.

Treasured star Stephanie J. Block (The Cher Show) brings a wide-eyed wholesomeness to the Baker’s Wife, scoring laughs with moments that are as inventive as they are completely in character. Emotion pours from Block as her voice soars in the final notes of “Moments in the Woods,” the number earning the loudest and longest applause of the evening. 

Respected Broadway veteran Brian d’Arcy James (Something Rotten) skilfully conveys the general helplessness of The Baker, taking him on an endearing journey towards warmth and the embrace of a new family. “No More” is a masterclass of putting all trust in the music and words and letting them work their magic.

Gavin Creel (Hello, Dolly!) delights in a vivacious performance as the quirky Wolf and Cinderella’s vainglorious Prince. The prancing pays off late in the show when the Prince simply gives it away in the realisation of the inane superficiality of it all. 

Andy Karl (Groundhog Day) is luxury casting as Rapunzel’s Prince, giving Creel a suitably egocentric fellow Prince with whom to merrily bounce back and forth.

Krysta Rodriguez plays Cinderella with a grounded, canny edge, avoiding the potential saccharine flavour of the soprano role. 

Young roles Jack and Little Red Ridinghood are characterised with what can only be described as a sassy zillenial edge. Cole Thompson is wonderfully open and engaging as Jack, while Katy Geraghty sports a wickedly knowing, bloodthirsty drive as Little Red. 

In one of the more creative inventions, the feet of the female Giant are worked by the brilliant puppeteers, Kennedy Kanagawa and Albert Guerzon. Having already played Cinderella’s Mother, and Little Red’s Granny, Annie Golden appears upstage to make further use of her richly expressive voice as the Giant. 

Proving that there are no small roles, Ann Harada oozes character as Jack’s beleaguered Mother, earning numerous laughs with her world-weary expression. 

Kanagawa steals many a scene as puppeteer to the utterly adorable Milky White, also providing incredible sound effects for the cow and the birds. 

If you are in New York before 8 January 2023, as they say in the show: go to the woods!

Into The Woods plays at St James Theatre. New York.

Photos: Matthew Murphy, Evan Zimmerman