Gently charming chamber musical A Man of No Importance enjoys a starry revival for its second New York outing.

In the 2002 follow-up to their epic musical masterpiece Ragtime, composers Lynn Ahrens and Stephen Flaherty, and book writer Terrence McNally operate on a far more intimate scale with A Man of No Importance, which was based upon the 1994 film. Man in Chair was fortunate enough to attend a performance of the premiere season, which starred dear departed Roger Rees as bus conductor Alfie Byrne, with Faith Prince as his loving sister Lily and a young Stephen Pasquale as attractive bus driver Robbie Fay.

Further reduced to a single act and slightly smaller cast, A Man of No Importance nonetheless retains its rather leisurely pace; happily the show’s tender appeal also remains. It must be noted that it is a shame that memorably amusing company number “Art” has been jettisoned in this more compact version. 

Renowned director John Doyle, who is the outgoing artistic director of Classic Stage Company, helms a tight, if somewhat abstract, staging. Conceived as a memory play, the company members of the St. Imelda Staunton Players reenact the rocky road of their challenging production of Oscar Wilde’s Salome. While Alfie’s coming-out story may now seem somewhat twee, the idea of a work of art being almost instantly subject to cancel culture is certainly timely. 

As is one of Doyle’s trademarks, many of the cast carry musical instruments, impressively supplementing the playing of music director Caleb Hoyer and three fellow band members, who are positioned overhead. In a striking moment, a piano accordion creates a constricted wheezing sound when Alfie finds himself in a tense, sexually charged situation. 

Through years of conditioning, musical theatre aficionados are attuned to expect nothing less than a romantic happy ending. A Man of No Importance very satisfyingly turns this on its head, replacing a rosy romantic resolution with a deeply affecting focus upon the power and meaning of community acceptance and forgiveness. 

The casting of Jim Parsons as Alfie automatically brings attention to this revival. An established stage performer, Parsons’ boyish appearance colours the future of Alfie, in that his relative youth suggests that the freshly outed man has time to explore the implications of his sexuality. Despite playing the lead role, Parsons draws no undue attention to himself, proving to be a generous ensemble performer. 

As Lily, Mare Winningham movingly conveys the gnawing conflict of a sister devoted to her brother and yet torn by her devotion to her faith. A sweetly expressive singer, Winningham tugs at the heartstrings in 11o’clock ballad “Tell Me Why.” 

Mary Beth Peil is a delight to watch as Mrs Grace, a modest woman who innocently swells with importance during play rehearsals. Peil entertainingly contrasts this main role with a featured sequence as a boisterous publican.

A. J. Shively proves one to watch as bus driver Robbie, deftly balancing the sensitive and the masculine angles of Robbie and expertly nailing the musical’s one rousing showstopper “The Streets of Dublin.”

A Man of No Importance plays at Classic Stage Company, New York.

The A Man of No Importance program can be read online.

Photos: Julieta Cervantes

Brimming with heart, hope and happiness, new Broadway musical Kimberley Akimbo is an inspirational joy.

Playing off-Broadway last year, boutique musical Kimberley Akimbo has been neatly upsized for its big fat Broadway debut. Adapting his 2001 play, book and lyric writer David Lindsay-Abaire has added a (Greek) chorus of four self-admittedly nerdy teens to sweetly support the main plot. 

Although the disease is not specifically named, Kimberly has the symptoms of progeria, which causes her to age at 4-5 times the usual rate. In high school with sweetheart Jeff and the other teens, exposition around Kimberly’s illness is aided by a Biology research project subplot. 

Making the Wormwoods (parents of Matilda) look kind, Kimberly’s drunken father and hypochondriac mother cope poorly with their daughter. For welcome comic relief, there is Kimberly’s outrageous aunt Debra, who is basically the love child of Jack Black and Melissa McCarthy.

Lindsay-Abaire teams again with composer Jeanine Tesori, and while the result is far from Shrek the Musical, the two shows share something of a connection in regard to the acceptance of self and compassion for outsiders. While the central theme is quite sombre, the score for Kimberley Akimbo ispleasantly upbeat, coloured by Kimberly’s unflappable optimism and positivity. 

Something of a female Fagin, aunt Debra leads the show-choir teens in two lively showstoppers, enticing them to join her scheme with “Better” and then seeing it through with “How to Wash a Check.” 

Director Jessica Stone keeps the slightly outsized characterisations down to earth, and judiciously balances moments of heart rending pathos with lashings of good cheer. Choreographer Danny Mefford benefits from the conceit that the teens are all in show choir, providing flashy yet naturalistic moves. And the ice skating number (without ice) is a marvel. 

One of Broadway’s most cherished divas, Victoria Clark is an absolute delight as dear Kimberly. Sentimental and self-reflective when required, Clark avoids any potential mawkishness as she quickly draws the audience to her breast and never lets go. In one of the most moving scenes, Clark is wordless, silently reacting to the sheer confidence of the future plans of her ebullient classmates. The 2023 Tony Award for Best Actress in a Musical is Clark’s for the taking.

Under Stone’s sensitive direction, Justin Cooley plays Kimberly’s love interest Seth as naturally as if both performers were the same age. 

Unlike the cartoonish Wormwoods, Kimberly’s parents are created with a more three-dimensional approach. Allie Mauzie gives an insight into Pattie’s pain, particularly when singing to her new unborn baby in “Hello, Darling.” At this performance, Jim Hogan was a terrific everyman as Buddy, delivering some very heartless lines while avoiding simple villainy. 

Bonnie Milligan is an absolute hoot as diabolical Debra, embracing the desperation and outlandishness of her character while somehow never going over the top.

Leaving the audience smiling as they wipe away a gentle tear, Kimberly Akimbo is a wonderful counterpoint for the big budget tourist-trap extravaganzas of greater Broadway. 

Kimberley Akimbo plays at Booth Theatre, New York.

Photos: Joan Marcus

People who have seen Lea Michele in Funny Girl are the luckiest people in the world.

No doubt about it, Lea Michele is the Greatest Star, singlehandedly salvaging a train wreck of a revival and tuning it into a white hot hit.

Not seen on Broadway since its original 1964 production, Funny Girl returns with a redesign of the 2016 London production, retaining direction by Michael Mayer and updates to Isobel Lennart’s original book by show-doctor Harvey Fierstein. 

Act one fairly flies by like a musical theatre dream, while act two stumbles a little when the focus strays from Fanny. Not every show can have a happy romantic ending, but it is hard to watch a successful woman putting herself second to the futile whims of a floundering no-goodnik like Nick Arnstein, devastatingly handsome though he may be.

Rain Karimloo is luxury casting as Nick, enjoying strong chemistry with Michele (and basically everyone else he interacts with). Karimioo’s dreamy vocals are a treat, and he does not soften any of the brutal edges of the reprehensible cad. 

The new design loses the charm of the London staging, which used theatre paraphernalia to create the scenes as the memory play unfolds. David Zinn’s scenic design has a central barrel-shaped pair of brick walls that open and close, achieving not much more than restricting the sightlines. 

Susan Hilferty’s costumes (and some killer wigs) vividly trace Fanny’s arc from ugly duckling in burlesque to elegant swan headlining the Ziegfeld Follies. 

You know you are at a golden age revival when the orchestra pit is actually in use. Under the baton of music director Michael Rafter, the band of 14 (including rafter on keys) seem to be having a musical party, such is the vibrancy and joy emanating from the pit. Jule Styne’s music sounds wonderful, especially the overture and entr’acte. The eventual cast recording is eagerly anticipated, and not just for the opportunity to enjoy Michele’s big finishes without the crowd screaming over the top.

Venerable veteran Tovah Feldshuh is a dynamo as Mrs Brice, bringing brio and warmth to all her scenes. As Fanny’s friend and confidant Eddy Ryan, Jared Grimes is given little to act by way of character development but he has an incredible tap solo in each act, both of which are superbly performed. 

But back to Michele. How to explain or describe the thrilling quality of her performance? Aided by Fanny’s frequent asides, Michele quickly forms an inalienable bond with the audience, retaining an endearingly vulnerable disposition even as Fanny’s fame and success grow. Michele traces Fanny’s arc in every aspect of her performance, including voice, dance and physical body language. 

From her first exquisite bell-like notes in “Who Are You Now?” through to her seemingly effortless belt and everything else in between, Michele displays absolute control of her vocals, performing with a potent combination of pure talent and devoted disciple to her craft. This truly is a performance for the ages, and is one of those storied turns that Broadway fans will ask each other if they saw in coming years.

Anyone lucky enough to be visiting New York in the coming months must see Lea Michele in Funny Girl. 

Funny Girl plays at August Wilson Theatre, New York.

Photos: Matthew Murphy

Cherished golden age treasure The Music Man roars back to life in this big budget, big star revival. 

Well known via two movie adaptations and countless school and community productions, 1957 musical comedy The Music Man is full of big brassy numbers, which are now even bigger in this upsized production. The cast of 40 includes around 18 child actors, creating a rich sense of life in small town America 90 years ago.

Presented as a vehicle for megastar Hugh Jackman (aka Australia’s own Hugh Jackman), The Music Man provides one of the great leading male roles, which Jackman embraces with all his might. Super-fit, as ever, Jackman sings and dances up a storm, even tap dancing in the finale. While his hair and costumes make Jackman’s Professor Harold Hill look like a visitor from the future, this is a small quibble in such a warm hearted, generous and highly entertaining performance.

Veteran director Jerry Zaks is completely at home in a classic like this, and his experience shows in every moment. Comedy is delightfully old school without ever feeling corny. Despite the show’s familiarity, Zaks ensures that every plot point lands with clarity, pacing is kept brisk, and stakes are kept suitably high.

There is just one way in which the original show is not fully respected, and that is changes to lyrics. Meredith Willson famously performed the rare feat of writing the music, lyrics, and book for The Music Man. It is one thing for new lyrics (credited to Marc Shaiman and Scott Wittman) to be added to “The Sadder But Wiser Girl” and “My White Knight,” but to rewrite fluffy patter song “Shipoopi” from the inside out seems unwarranted. The old lyrics may have had the potential to offend women, but it is not clear whether anyone actually ever took the slightest notice of these lyrics, let alone took offence to them. Given the respect shown to the rest of the material, these changes come across as somewhat jarring. 

Working not just with a huge cast but with a huge performance space, choreographer Warren Carlyle delivers stunning full company numbers, with the dance breaks of every big number significantly expanded with new dance arrangements by David Chase. “Seventy-Six Trombones” fills the stage with a full dancing orchestra, with similar witty, eye-catching success seen in “Marian the Librarian” and “Shipoopi.” 

With a glorious orchestra of 24 musicians, the musical performance of Willson’s score is another clear feature of the production. One small change to the song list is the excision of brief act two opener “It’s You”; thankfully, traditionalists can hear the Quartet sing this as a bonus track on the cast recording.

Design by Santo Loquasto has a wonderful vintage feel. Viewers of 2021 AppleTV hit Schmigadoon will feel instantly at home with the lovely painted backdrops and detailed period costumes. One more word about the costumes: despite the story taking place over a few short days, the lead players change outfit basically every single time they step off the stage. That’s the big budget of a Broadway blockbuster in action. 

At this performance, Lauren Blackman played iconic heroine Marian Paroo. With more of a true soprano voice than usual portrayer Sutton Foster, Blackman sings the score delightfully, and gives Jackman as good as he gives her in the romance department.

Supporting roles are characterfully cast. Shuler Hensley brings a rough and ready backwater bravado to Harold’s one-time fellow crony Marcellus. 

Living legend Jayne Houdyshell commands the Pick-a-Little Ladies as Eulalie Mackecknie Shinn. Mark LInn-Baker, a relative newcomer to the cast, voices Mayor Shinn a little too intelligently for his malapropisms to really make sense. 

Marie Mullen brings warmth and frisky enthusiasm to Marian’s mother Mrs Paroo. Benjamin Pajak takes little Winthrop Paroo on a fully realised journey of burgeoning self-confidence. 

Gino Cosculluela displays extraordinary dance skills as wrong ‘un Tommy Djilas.

Musical comedy on the sort of grand scale seen only on Broadway, The Music Man is a welcome treasure for old school devotees as well as being a terrific introduction to a classic for newcomers of younger generations. 

Footnote: Broadway shows are currently fundraising for Broadway Cares/Equity Fights AIDS. After the curtain call of this performance, Jackman auctioned off the signed boater hat he had worn in that show. When two bidders continued to battle it out, Jackman offered a second hat and the bidders paid $US15,000 each to walk away winners. What an incredible result!

The Music Man plays at Winter Garden Theatre, New York until 15 January 2023.

Photos: #1-#5 Julieta Cervantes; #6 Joan Marcus

Musical theatre’s new guilty pleasure, & Juliet is an accelerated endorphin rush that leaves the cheering crowd on a giddy high. 

A jukebox musical so in touch with its identity that it literally starts with a jukebox on the stage, & Juliet corrals more than two dozen of et 100+ hits of mega successful songwriter Max Martin into a sassy, sexy musical comedy.  Achieving the same comic touch of famous song recognition as Moulin Rouge, the musical rips through songs faster than you can you say “Who sang that?” (Hint: the answer is often Britney, or Katy, or Backstreet Boys, or…you get the drift).

WIth a very amusing book by David West Read, & Juliet takes a modern lens magnifying glass to the deconstruction of Shakespeare’s Romeo & Juliet, playing the game of “what if” to the continuing story after the original famous play is over. Read uses the meta device of having Will Shakespeare and his determinedly feminist wife Anne Hathaway squabble over plot points as their work unfolds around them on stage. Both also take on roles in the story.

New inventions for & Juliet include Juliet’s non-binary BFF May, and Parisian father and son Lance and François de Bois. 

Luke Sheppard’s direction and Jennifer Weber’s choreography are sky high in energy; it is almost as if they do not trust audience’s attention if they relax the colour and movement for even a moment. With the amount of visual effects, scenic changes, costume changes, and confetti cannons, the staging borders on being over-produced but there is certainly plenty of bang for everyone’s Broadway buck. 

WIth all this hoopla, it is pleasing to note that & Juliet is no hollow spectacle, populated as it is with appealing characters played by terrific performers. The show is genuinely engaging, and somewhat unpredictable, and the music is utterly infectious. 

At this performance, the role of Juliet was played by Rachel Webb. Clearly a star on the rise, Webb played the massive role as if it were totally her own, easily winning the audience over with her magnetism and sheer talent. 

With a charming stage presence, Stark Sanders is a cheerily likeable lead as Will. Betsy Wolfe delights as Anne, quickly gaining audience affection and keeping them in her hand all night.

Newly minted discoveries Justin David Sullivan (May), Philippe Arroyo (François), and Ben Jackson Walker (Romeo) are each excellent in their own way. Sullivan is particularly endearing as May, tenderly bringing the audience towards them with their sweet, sympathetic performance. The romance between May and François (who even have their own Marius and Cosette meet cute moment) is beautifully paced and developed.

Melanie La Barrie (of Matilda fame) has fabulous tricks up her sleeve as Juliet’s blossoming Nurse, Angélique. 

Finally, the most luxurious of casting comes in the form of opera and musical theatre star Paulo Szot as Lance de Bois. 

As close to a guaranteed good night out as can be had by young people in the theatre, & Juliet is set to usher countless new fans into a love of musical theatre. 

& Juliet plays at Sondheim Theatre, New York. For Broadway tickets, click here.

& Juliet plays at Regent Theatre, Melbourne from 26 February 2023. For Melbourne tickets, click here. 

Photos: Matthew Murphy

Streamlined and stripped of sophistication, sentimental favourite Joseph and the Amazing Technicolor Dreamcoat rests upon the proven attraction of its sunny, clap-a-long familiarity.

Still going strong after more than 50 years, Joseph and the Amazing Technicolor Dreamcoat returns to Australia in an all-new 2019 West End revival production. While there are certainly elements to enjoy in this new staging, the fundamental concept at play is inherently flawed. 

Director Laurence Connor and choreographer JoAnn M. Hunter enjoyed world-wide success with their work on Andrew Lloyd Webber’s 2015 hit School of Rock. Perhaps in an effort to replicate the appeal of the child cast of School of Rock, a significant number of roles in this new production of Joseph and the Amazing Technicolor Dreamcoat are played by children, creating the unfortunate feeling of attending a professional theatre but watching a dinky school production. 

Four of Joseph’s 11 brothers are played by children, as are roles previously doubled by adult actors: Potiphar, the Baker, and the Butler. 

Where this exercise starts to take on the appearance as a miserly cost-cutting exercise is that the Narrator also takes roles usually played by the adult cast, one small example being Potiphar’s Wife but the most poorly considered one being the role of patriarch Jacob, doting father who favours Joseph with the titular dreamcoat. The climactic father and son reunion is lost and the story’s emotional heart is gone, leaving a hollow spectacle. 

Worst of all, the one role that is played by an actual adult performer, that being the coveted role of Pharaoh, is given to an ex-football player with no musical theatre experience. This egregious insult to legitimate stage performers is utterly tone deaf to the recent years of suffering of artists during lockdowns. The characterisation of Pharaoh is famously modelled on Elvis Presley, a conceit that Shane Crawford has no chance of conveying, so the glossy spectacle around act two showstopper “Song of the King” falls in a dull heap.

Setting aside the flawed concept, there are positive aspects, as always, with the Australian performances. 

Euan Doidge makes for a warm and wonderful Joseph, giving an engaging, charismatic performance and singing the role in rich vocal form. Choice power ballad “Close Every Door” is a clear vocal highlight, beginning sensitively and moving to a stirring finish. 

At this performance, the role of Narrator, usually played by Paulini, was covered by Stephanie Wall. A lovely singer and excellent dancer, Wall inhabited the role as if it were fully her own, giving a sterling and memorable performance. 

Alex Hyne shines as Reuben takes the lead in “One More Angel in Heaven.” Daniel Raso, as Simeon, exhibits impressive vocal power in “Those Canaan Days.” 

On stage almost continuously, the ensemble delivers a terrific performance, singing the much-loved songs in strong voice and dancing up a storm in newly arranged dance breaks. An early dance highlight is the extended tap break in “Joseph’s Coat”, and the breakout can-can sequence in “Those Can-Can Canaan Days” is great fun. The production still concludes with the mighty “Joseph Megamix”, which is guaranteed to bring audience to their dancing feet and leave them with smiles on their faces. 

Die hard musical theatre fans will most likely appreciate the nostalgia value of this revival of Joseph and the Amazing Technicolor Dreamcoat. Overall enjoyment will depend on the strength of  each theatregoer’s rose-tinted glasses.

Joseph and the Amazing Technicolor Dreamcoat plays at Regent Theatre, Melbourne until 28 January 2022. For tickets, click here. Musical theatre guest star alert Trevor Ashley plays Pharaoh in Melbourne 27 December 2022 – 1 January 2023.

Joseph and the Amazing Technicolor Dreamcoat plays at Capitol Theatre, Sydney from 11 February 2023. For tickets, click here. Trevor Ashley plays Pharaoh for the Sydney season.

Footnote: local theatre fans who collect souvenir programs should prepare themselves for disappointment with the program for Joseph and the Amazing Technicolor Dreamcoat, which only features production images from the UK production (there are, of course, headshots of the Australian cast)

Photos: Daniel Boud

Classic ‘90s sitcom Friends is lovingly and oh-so-knowingly revived in bumper nostalgia trip, Friends the Musical Parody. 

Condensing ten seasons into a single-act 100-minute show, Friends the Musical Parody features all of the much-loved characters and iconic memorable moments that made Friends such a monster hit. With plenty of Friends fans in the audience on this Melbourne opening night, the theatre was filled with laughter and applause of recognition as the memories came flooding back.

Creating a parody of something that is already funny is not easy, but book and lyric writers Bob and Tobly McSmith have extensive experience, having written nine shows like this one. The book is the strongest part of Friends the Musical Parody, driving the show along with plenty of laughs. A winning feature was the use of the actor’s names for guest stars, eg Monica is not dating Dr Richard Burke, she is dating (a very geriatric) Tom Selleck.

With music by Assaf Gleizner, the songs are mixed in their success, with the best few sampling well-known musical theatre numbers from shows like Chicago and Rent. Performing to pre-recorded music takes out some of the spontaneity of live performance, but it is pleasing to note that synchronisation is tight. The musical accompaniment that leads into scenes is spot on and really captures the tv sitcom vibe.

In an odd choice, actor Dom Hennequin (who plays Gunther) comes on before the show in an attempt to “warm up” the audience. The actual show takes a few minutes to get into full gear to recover from this dull beginning. Set in Central Perk and Monica and Rachel’s (mysteriously spacious) apartment, the show really jumps up a gear when jilted bride Rachel arrives on the scene, bouffant wedding dress and all.

Under Dash Kruck’s energetic direction, the bright and breezy pace never flags. Infusions of further energy arrive each time a guest character makes an appearance. Cameron Mitchell’s snappy, tightly performed choreography adds to the entertainment value. 

Each of the six lead players pick up the amusing quirks and foibles of their characters. Tyran Stig amuses with the exaggerated tension of Ross. Maverick Newman fully physicalises the bouncy loveable vibe of Chandler. Eleanor MacIntyre delights with Rachel’s pouty, spoiled preciousness. 

Newman scores further points with a number of appearances as the wonderfully obnoxious Janice, she of the machine gun laugh and unflappable self-confidence. 

The multitudinous fans of Friends are sure to be amused by Friends the Musical Parody.

Friends the Musical Parody plays at Athenaeum Theatre, Melbourne until 17 December 2022. For tickets, click here.

Photos: Oliver Toth, Accent Photography

Thoroughly disproving the law of diminishing returns, Mary Poppins soars again as the current Australian revival tour brings everyone’s favourite nanny back to her spiritual home at Her Majesty’s Theatre, Melbourne.

While the original season of Mary Poppins stood in the shadow of the classic 1964 movie, the stage musical now stands proudly as a theatrical treasure in its own right. Co-created by Cameron Mackintosh, the 2004 musical blends the original Sherman Brothers songs with new songs and additional music and lyrics from George Stiles and Anthony Drewe, also boasting a book by Julian Fellowes, direction by Richard Eyre and Matthew Bourne, and choreography by Bourne and Stephen Mear. 

Arguably the most artful Disney screen-to-stage musical this side of The Lion King, the super slick production currently benefits from the additional polish and shine that came as part of the 2019 London revival.

William David Brohn’s orchestrations have extra snap and fizz, richly brought to life by musical director Geoffrey Castles. Illusionists Paul Kieve and Jim Steinmeyer now have even more magic tricks up their sleeves. While not presented on the original scale seen in London, Bob Crowley’s storybook scenery remains perfectly charming, and his cavalcade of costumes are a lustrous attraction in their own right. The addition of an oversized “Punch” puppet in act one finale “Playing the Game” brings an extra touch of spectacle. 

Directing this Australian tour, James Powell builds confidently upon the abundant character and heart of Eyre’s original direction, deftly bringing out fresh humour and neatly nuanced expression from the supremely talented cast. The emotional arc, centred upon the very necessary thawing of Mr Banks, is as affectingly heartwarming as it is ever timely.

Richard Jones expertly recreates the choreography of Mear and Bourne, delivering boffo production numbers that truly bring down the house. “Jolly Holiday” is a technicolor dream to rival Dorothy’s arrival in Oz.  “Supercalifragilisticexpialidocious” is a riot of precise, rapid fire movement. Tap extravaganza “Step in Time” completely stops the show in act two.

Practically perfect, Stefanie Jones is a marvellous Mary, dispensing wit and wisdom with a deliciously plummy vocal tone that melts into a golden soprano in song. An elegant dancer to boot, Jones truly makes the role her own in a warmly memorable performance. 

A rascally twinkle in his eye, Jack Chambers brings effortless charm to earthy everyman Bert. A crisply polished dancer, Chambers’ tap solos in “Step in Time” are quite literally jaw-dropping. 

Playing the rare musical couple that are simply best friends, Jones and Chambers enjoy a relaxed chemistry stemming from the perfect match of the their triple threat skills, which each utilises in gently underplayed style. 

Expertly taking Mr Banks from emotionally stilted patriarch to warmly loving father and husband, Tom Wren provides dramatic heft to neatly balance and ground the show’s fantastical elements. Lucy Maunder is a lovely Mrs Banks, and although her dialogue includes a few too many Australian vowels, the ways in which she highlights the theatricality of the former stage performer make for many a delightful moment. 

Hannah Waterman appears born to play poor old Mrs Brill, scoring an abundance of hearty laughs (more than this reviewer has ever seen in this plum role). As hapless houseboy Robertson Ay, Gareth Isaac delivers physical comedy with flair. 

Australia’s leading lady Marina Prior is luxury casting as Bird Woman, singing classic lullaby “Feed the Birds” with tender sweetness. A gifted comic actress, Prior tears up the stage as nasty nanny Miss Andrew in a terrific pair of act two scenes. 

Robert Grubb brings experienced presence to Admiral Boom and Chairman of the Bank. Lisa Sontag is a delightful scene partner for Grubb as indulgent pet parent Miss Lark. 

On opening night, Harriet Alder played Jane Banks with a well-judged mix of petulance and pleasantness. Straight-faced delivery and vocal precision from Sebastian Sero brought out the cheeky boyish humour of Michael Banks.

Special mention to Stephen Anderson who contrasted noble Northbrook with the delightfully frazzled Park Keeper. 

Blue chip family entertainment, Mary Poppins is must-see musical theatre magic. 

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

Mary Poppins plays at Festival Theatre, Adelaide. To join the waitlist, click here.

Photos: Daniel Boud

One for the fans, tick, tick…BOOM! is given a simple yet creative production that deservedly honours the spirit and talent of Broadway composer Jonathan Larson.

tick, tick…BOOM! returns the audience to a far distant 1990, when franchised British musicals dominated Broadway and artistic communities could still manage to survive in Manhattan. Before the extraordinary success of 1996 musical Rent, a success he was never to see, lead character and narrator Jon struggles to compose high concept sci-fi musical Superbia while moonlighting at the Moondance Diner. 

Originally written by Larson as a self-performed solo work, tick, tick…BOOM! was eventually brought to the stage with an expansion to three players. Touching on the theme of selling out, and including the spectre of HIV along with the presence of answering machines and remote suburban parents, devotees will appreciate the aspects of Larson’s life that went on to be featured in Rent. 

While the threat of AIDS over his chosen family of friends surely contributed to Larson’s concept for the title of this show, the fact that he died suddenly of an aortic dissection (on the day of the first off-Broadway preview of Rent) adds true poignancy to the title in retrospect. 

One slight difficulty in this season is that Melbourne does not really have a equivalent concept to “off-Broadway.” While the Comedy Theatre is clearly the most suited of the city theatres for tick, tick…BOOM!, the house has nonetheless recently hosted Come From Away and Jagged Little Pill, giving the audience something of an associated expectation that is not met in a small show like this. Even with an enlarged cast of five, the single-set production is quite basic, and the audience appears to take some time to come around to what is on offer. 

With musical references including reverential nods to our beloved Stephen Sondheim, director Tyran Parke is the perfect conduit to mine the text and score for artistic lifeblood. While the struggles of Jon, his best friend Michael, and girlfriend Susan could be dismissed under the modern lens of privilege, Jon’s pursuit of his musical dreams ultimately conveys a vulnerability and nobility that are tenderly affecting. 

On keyboard, musical director Kohan van Sambeck leads four fellow musicians in bringing the variegated flavours of Larson’s light rock score to life. Affectionate Sondheim homage “Sunday” brings knowing laughs of enjoyment, and “No More” brings the strongest aural connection to Rent. 

Collaborating with characteristic flair, set designer Christina Smith and lighting designer Matt Scott frame the action in towering brick walls upon which giant shadows and vibrant city lights are cast. 

Hugh Sheridan plays against type as twitchy, nervy New Yorker Jon, immersing themself in the awkward stance and tone of the man. Barely off stage for the 90-minute running time, Sheridan works hard in a role that is focused on anxious tension and introspection rather traditional leading man charm or presence. Although their singing voice is not up to the full set of demands of the score, Sheridan nonetheless engages effectively with the audience and has a ready rapport wth their cast mates.

Elena Rokobaro gives a strong performance as Susan, conveying the young woman’s insecurity and restless yearning in neatly understated manner. Rokobaro soars in gorgeous hit ballad “Come to your Senses,” a number that Parke rightly stages with absolute simplicity. 

Finn Alexander deftly maintains an undercurrent of unlikability about Michael. The eventual reveal that explains his recent distance from lifelong best friend Jon lands with real weight thanks to the well crafted arc of Alexander’s performance. 

Sheridan Adams and Hamish Johnston humbly give selfless support, boosting vocals, playing brief cameo roles, and otherwise moving set pieces with well rehearsed polish.

Returning to the same theatre where Rent played its premiere Melbourne season almost 24 years ago, tick, tick…BOOM! is a chance for lovers of Larson to reflect upon the legacy of his all too short life.

tick, tick…BOOM! plays at Comedy Theatre, Melbourne until 12 February 2023. For tickets, click here.

tick, tick…BOOM! plays at QPAC Playhouse, Brisbane 1-5 March 2023. For tickets, click here. 

tick, tick…BOOM! plays at Sydney Lyric Theatre 20-26 April 2023. For tickets, click here.

Photos: Jeff Busby

A breathless, rollicking rush of a feel good musical comedy, & Juliet makes its Australian premiere in killer form, with a peak Australian cast of fantabulous powerhouse artists. 

The lone new production in the current sea of well worn revivals, 2019 UK hit & Juliet is the best new show that Melbourne musical lovers have never heard of. A cunningly creative confection, the show deftly blends the unlikely combination of 21st century pop and 16th century drama. 

A jukebox musical so confident in its identity that there is an actual jukebox on stage, the potential status of & Juliet as merely a guilty pleasure is successfully counterbalanced by book writer David West Read, who cannily infuses the coming of age fantasia with knowing winks at the sexism and tropes of Shakespeare’s day. When William Shakespeare’s wife Anne Hathaway takes the quill, the well known tragedy Romeo & Juliet veers freely into unexplored pastures, coloured with a distinctly present day focus of feminism, gender fluidity, and the transformative power of self belief. 

The show’s title refers to Anne’s first edit of her husband’s new play, in which Juliet does not take her life but rather sets off, Nurse in tow, on a journey of self discovery and romantic adventure. Also accompanied by non-binary BFF May and secondary BFF April (played by Anne Hathaway), Juliet speeds off to conquer new complications in cosmopolitan Paris.

Variations fly from the competing quills of William and Anne in act one, including the introduction of forbidding father Lance Du Bois and his lovelorn son François. In act two, the duelling authors cede control, allowing the story to unfold however the characters wish. 

Drawing from the mighty catalogue of prolific, prodigious song writer Max Martin, Read weaves some 30 hit songs into his original narrative. If there is one thing more amazing than the sheer range of artists for whom Martin has composed, it is the way Read has so ingeniously and seamlessly fitted the songs to the characters and storyline. From Anne and William arguing over plot points in “I Want It That Way” to Romeo reclaiming his place in the story with “It’s My Life” to Juliet responding to his return with “Since U Been Gone”, the songs advance the story and Read scores abundant laughs with his wonderfully witty writing. 

Arguably the cleverest repurposing of a song comes with Britney Spears hit “I’m Not A Girl, Not Yet A Woman”, in which May laments that their current physical gender status does not reflect their true self, preventing them from seeking romance by expressing themself as they would truly wish:

Bringing the fresh characters and brisk story roaring to life, director Luke Sheppard and choreographer Jennifer Weber neatly balance high wattage energy with tender interludes. Stakes are kept high, and the well constructed characters readily engage audience affection. Tightly rehearsed, Weber’s work is performed with equal measures of joy and precision.

Collaborating with scenic designer Soutra Gilmour, Sheppard cultivates a sense of spontaneity and improvisation to match the “real time” writing of the play. Paloma Young’s playful costumes are eye-catching in their deconstructed Elizabethan chic styling. Lighting designer Howard Hudson and video and projection designer Andrzej Goulding ramp up the spectacle with ever-changing visual fireworks. Dance numbers may take on the vibe of a watching music video clip live on stage, but the abundant effects are judiciously reined in for intimate scenes. 

With Martin’s variegated songs orchestrated and arranged to a unified sound by Bill Sherman, music director Michael Azzopardi helms a tight band to deliver a musical performance as exciting as the spectacle on stage. Even better, sound designer Gareth Owen keeps the music crisp and balanced, avoiding the temptation to ramp volumes up too high. 

With an extraordinary belt and a vibrant stage presence, Lorinda May Merrypor plays Juliet with the vocal power to match any one of the pop stars who originally performed these songs. Merrypor’s vocal performance is a clear highlight of & Juliet, and is one that will surely earn her legions of fans. 

All class, Amy Lehpamer conjures a rounded and compelling character for the little-known Anne, scoring points for all womanhood by imbuing Anne’s impassioned arguments with full believability. The audience’s conduit into the story and setting, Lehpamer dazzles with polished confidence, further colouring the role with heartfelt vulnerability. Well cast to fit Shakespeare’s roguish dynamic, Rob Mills is in full cheeky chappy mode, giving a highly likeable performance. 

Casey Donovan goes from strength to strength as adorable Angélique, filling the role with warmth and heart. Making a very welcome Melbourne appearance, international stage star Hayden Tee brings debonair style to Lance. In a nice touch for a show about young love, the only bedroom scene in & Juliet is between “mature age” characters Angélique and Lance. When Donovan and Tee romp it up with “Teenage Dream” / “Break Free”, the sparks of electricity could power a small town.

Rising young performer Blake Appelqvist gives a magnetic performance as the caddish Romeo. Pretty in pink, Appelqvist brings a showy rock star swagger to the self-absorbed man-child. 

Jesse Dutlow underscores the gentle nature of May with a determined focus. While the title character of Juliet takes her natural place centre stage, Dutlow captures the audience’s heartstrings as May emerges as the key romantic protagonist. Yashith Fernando rounds out the set of young leads as François, neatly underplaying the natural confusion of François’ sexual awakening. In the least flashy role, Fernando nonetheless crafts a captivating character, and displays truly lovely chemistry with Dutlow. 

The ensemble cast of lively individuals works cohesively as one to give a thrilling song and dance performance. 

An absolute gift to young theatregoers, & Juliet is set to spark a love for musical theatre in a whole new generation of fans. 

& Juliet plays at Regent Theatre, Melbourne. For tickets, click here.

Man in Chair reviewed the original production of & Juliet on Broadway.

Photos: Daniel Boud

A heady mix of energy, creativity and charm, The Tap Pack returns for 2023 with their crowd-pleasing show lovingly buffed up to shine at its best.

A terrific showcase for five male dancer/singers, The Tap Pack takes its suave inspiration from The Rat Pack of the 1950s. The nightclub set, suits with skinny ties, and classic swing tunes transport the audience all the way back to the good old, bad old days.

Co-created and directed by Nigel Turner-Carroll, the production boasts four musicians and a smartly updated set bearing the troupe’s name in red and white neon. Five sturdy wooden blocks flip between being a bar and steps, and sharp lighting adds the finishing touch to the classy production.

Trimmed to a single act with 90-minute running time, the slick show starts on a high and only gets hotter from there. Musical director Stefan Nowak deftly leads three fellow musicians through a variety of styles, supporting dance and vocals alike. To give just one example of Nowak’s flair, the dance break in Rodgers and Hart classic “The Lady is a Tramp Champ” wittily samples Guys and Dolls hit “Luck Be A Lady.”

At the heart of the cast for this season is the dazzling original trio of Jesse Rasmussen, Jordan Pollard, and Thomas J Egan, each billed as creative directors as well as cast members. Ben Brown returns as a guest and the Melbourne season is blessed by the presence of rising musical theatre leading man Thomas McGuane as featured vocalist.

The highly engaging performance sees each of the fellows share their dance origin story (verified at this performance by a parent of each of Rasmussen and Brown, who were sitting in my row). Tapping, singing, juggling, and doing comedy, each of the troupe have their standout moments whilst also smoothly working together with tightly rehearsed synchronicity.  

Rasmussen shines in a sequence that pays heartfelt homage to male dance stars of yesteryear. In a clear sign that the show has found its target audience, a resounding cry of “Ginger Rogers” rang out when Rasmussen asked the audience the name of Fred Astaire’s dance partner. Ginger is subsequently danced by the pack’s resident “ginger,” Mr Pollard. 

The dancing feet of Rasmussen, Pollard, and Egan share a spotlight in a unique unaccompanied sequence in which the tap beats play out like the dialogue of a western.

In a virtuosic display, Egan shines an extended improvised tap routine that is a true highlight of the show. 

Brown proves equally adept at dance and vocals, championing modern numbers in a sing-off with McGuane, who prefers the classics. A swoon-worthy crooner, McGuane delivers melodic Frank Sinatra standard “The Way You Look Tonight” and later brings new life to a mellow cover of Bruno Mars’ “Runaway Baby.”

Leaving the audience cheering for more in a hearty standing ovation, The Tap Pack is a rosy trip down musical memory lane. Come for the dancing, stay for the vocals and humour. 

The Tap Pack plays at Comedy Theatre, Melbourne until 30 April 2023, For tickets, click here.

The Tap Pack plays at Playhouse, Canberra Theatre Centre on 6 May 2023, For tickets, click here.

The Tap Pack plays at Playhouse, QPAC, Brisbane 14-15 July 2023, For tickets, click here.

The Tap Pack plays at Studio, Sydney Opera House 20-23 July 2023, For tickets, click here.

Photos: The Tap Pack, 2018

Returning one year after its original season, Driftwood the Musical benefits from judicious fine-tuning to bring a finer polish to its engaging and moving human story.

A fluid memory play, Driftwood the Musical begins with the opening of a box of precious mementos on the eighteenth birthday of Eva de Jong-Duldig. Eva curiously quizzes her father Karl Duldig, and the story unfolds as Karl and Eva’s mother Slawa Horowitz-Duldig slip back and forth between the mid-1950s Australia and early 1930s Austria. 

The timelines remain intertwined as the storyline unfurls, until they catch up and Eva takes centre stage as a gracious young woman, her sense of self all the richer for having thoroughly investigated her family’s history. This year, the opening night performance is again deepened by the presence of Eva de Jong-Duldig herself in the front row.

A pair of talented artists, Karl and Slawa enjoy a fulfilling life in Vienna, bolstered by the presence of Slawa’s precious sister Rella and Karl’s brother Ignaz. Early festivities centre upon Slawa’s invention of the folding umbrella. Karl escapes the Nazi onslaught by travelling to Switzerland to play tennis, and before long the family escapes to Singapore before being forcibly taken to an internment camp in Northern Victoria. 

Based on the memoir Driftwood – Escape and Survival Through Art by Eva de Jong-Duldig, Jane Bodie’s original book for the musical has been rewritten by director Gary Abrahams. Although Abrahams has not made wholesale changes, there is a strong sense of tension in the story, especially throughout act two as the family attempts to establish a new life in Australia and Slawa pines for her missing sister Rella. The recreation of letter writing sounds decidedly un-theatrical but the sense of mystery and wonder in the unveiling of the past comes vividly to life.

The awful fate of Ignaz and he and Karl’s parents is told with chilling effect, while the long-awaited reunion of the sisters is deservedly joyous. 

As before, the AV design of Justin Gardam enhances the storytelling by displaying key photos and documents overhead, adding extra impact and making real the brutalities that seem impossible to have been real.

Jacob Battista’s realistic set design has the extraordinary benefit of featuring actual furniture and sculptures by Karl and Slawa. Kim Bishop’s authentic and attractive costume designs neatly convey the progression of time and place.

On grand piano, composer Anthony Barnhill performs and musically directs his score, along with Roy Theaker on violin and Karina Krusteva on cello. Practically through-composed, Barnhill’s lovely music provides constant atmosphere through delicate underscoring. The performers switch from spoken to sung word with effortless aplomb. Sound design by Marcello Lo Ricco is wonderfully natural. 

Barnhill’s lyrics include well developed through lines, such as “Everyone Needs Shelter” relating to folding umbrellas and war refugees, and “Something Missing” referring to the lack of relatives at Eva’s eighteenth birthday as well as Karl and Eva’s feelings when they have a child some seven years into their marriage. 

A set of strong singing actors, the cast members work closely together to  generate palpable warmth and vivacious energy. The cast is quick to engage audience affection, making the darker developments all the more moving and the eventual triumphs all the more uplifting. 

Returning to the cast are Anton Berezin as Karl Duldig, Tania de Jong as Slawa Horowitz-Duldig, and Michaela Burger as Slawa’s dear sister Rella. The tight ensemble cast is completed for this season by Bridget Costello as Eva and Nelson Gardner as Karl’s brother Ignaz and other roles. 

Berezin brings a grounded nobility to Karl, drawing audience sympathy without seeking any pity. Daughter of Eva and creator of the musical, de Jong brings all the joy and pain of generations of her family to her performance. Burger remains a vivacious delight, giving an even stronger performance in Rella’s difficult later life.

Gardner crisply distinguishes his roles, achieving real pathos when Ignaz “appears” to tell of the plight of he and his parents.

A charismatic stage presence, Costello proves a real find, bringing abundant heart and soul to young Eva. Blessed with a sweet soprano and an equally attractive speaking voice, Costello immerses herself in Eva’s search for the story in her family’s keepsakes, playing a key role in keeping the story at its compelling best. 

An Australian musical of impressive quality and innate humanity, Driftwood the Musical deserves every success as it spreads its inspiring message of joy and hope. 

Man in Chair reviewed the 2022 season of Driftwood the Musical.

Driftwood the Musical plays at Chapel off Chapel, Melbourne until 20 May 2023. For tickets, click here.

Driftwood the Musical plays at Glen Street Theatre Sydney 24-28 May 2023, Riverside Parramatta 31 May – 4 June 2023, Eternity Playhouse, Sydney 7-18 June 2023. For tickets, click here.

Photos: James Terry

What a difference the right star makes. Jason Donovan astonishes as a kookily unhinged Frank N Furter, single-handedly justifying the umpteenth return of the iconic cult-turned-mainstream hit Rocky Horror Show. 

Much as the website trumpets a “brand-new Australia production”, this is the just same simplistic UK staging of Rocky Horror Show seen here in 2014 and 2015. Of course, the entire cast is new but direction and design remain the same, with perhaps just an extra polish for the snazzy lighting and crisp sound design. The band, led by musical director Jack Earle, sounds terrific and vocals are just as strong. 

The production benefits from its current Melbourne home at the Athenaeum Theatre, a house that rarely sees a commercial musical season but provides the ideal characterful ambience for Rocky Horror Show. Seated on three levels, the audience feels satisfying close to the succulently salacious on-stage action. 

The occasion of the 50th anniversary of the original production of Rocky Horror Show is certainly a landmark occasion to be celebrated. While the sexual antics now seem comparatively tame compared to many a Netflix series, there is no doubting the lasting affection for the results of Richard O’Brien’s mighty achievement in penning the book, music and lyrics for the show. 

The juxtaposition of sheltered suburbanites with decadent deviants provides an evergreen spring of comedy, the conflict having an additional layer of humour at this time of burgeoning newfound conservatism. Perhaps Frank N Furter has the solution and antidote for us all with his call to “give yourself over to absolute pleasure.” 

The production starts timidly but swiftly hits full gear with Donovan’s entrance as that sweet transvestite, Frank N Furter. Donovan conveys what can only be described as an air of genuine danger; we all know the show and yet there is the sense that anything could happen next. Respecting the role as a serious characterisation, Donovan unleashes wicked sexual sparks, delivers authentic laughs and gasps, and concludes the story with real pathos. A team player, Donovan is the starry centre of the cast and yet freely and generously shines his light upon his fellow castmates. 

The ensemble cast may be otherwise short on marquee names but is impressibly high on talent. 

Ethan Jones and Deirdre Khoo delight as corruptible lovebirds Brad and Janet, both blessed with gorgeous musical theatre voices. 

Henry Rollo is devilishly sinister as Riff Raff, breaking out a compelling contrast in the musical’s climactic scene. Darcey Eagle is a living kewpie doll as Columbia, stealing a couple of key moments with pure and focused stage energy. Stellar Perry brings a unique presence to the sullen Magenta. 

As Rocky Horror himself, it is a great asset to have an actual music theatre performer in the role; Loredo Malcolm skilfully makes Rocky much more than the usual hunky eye candy. Ellis Dolan brings raw vocal energy and ready charisma to the dual featured roles of Eddy and Dr Scott. 

As with previous performances of this production, the tiny ensemble of Phantoms find themselves in the thankless position of often singing off-stage, moving sets and props, and being unrecognisable under thick black make-up highlights and wigs. 

The lone disappointment of the cast is Myf Warhurst as The Narrator. Miscast to begin with, Warhurst makes matters worse with smugly self-indulgent, completely unfunny audience interaction, sapping the energy with her every appearance. 

The performance of Jason Donovan as Frank N Furter is easily worth the price of admission to Rocky Horror Show. Catch him while you can. 

Rocky Horror Show plays at Athenaeum Theatre, Melbourne until 30 July 2023. For tickets, click here.

Rocky Horror Show plays at Crown Theatre, Perth from 6 August 2023. For tickets, click here. 

Rocky Horror Show plays at The Star Gold Coast, Broadbeach from 3 September 2023. For tickets, click here.

Rocky Horror Show plays at Canberra Theatre Centre from 29 September 2023. For tickets, click here.

Note: In Perth, Gold Coast, Canberra, and the final three weeks in Melbourne, Frank N Furterwill be played by three-time Olivier Award-winning UK star David Bedella. 

Nicholas Hammond will take on the role of The Narrator in Perth, Gold Coast, and Canberra.

Photos: Daniel Boud

Just in time for school holidays, Stage Bugs Productions returns You’re A Good Man, Charlie Brown to the stage in a vibrant production filled with winning performances. 

Before Bluey there was Snoopy, loyal and loving hound of awkward and anxious Charlie Brown. The Peanuts comic strip may have long dropped from circulation but the life lessons experienced by the keenly observed gang remain evergreen and ever endearing. 

The 56-year old musical remains zesty and fresh, its comic strip styling ensuring that almost all dialogue scenes run no longer than a few frames: set up; punchline; good grief! Clark Gesner’s original book, music, and lyrics were enhanced by contributions from Andrew Lippa and Michael Mayer for the 1999 Broadway revival, which is the smart, streamlined version seen here. 

The conceit of adults playing young children is well served by the book, which draws from the original sharp writing (and drawing) of Charles M. Schulz. A key appeal of the show is the tartness of the children’s frankness with each other; no saccharine sentimentality here. There is also no particular arc or journey in the overall story; these eight-year-olds are doing well to identify where they find “Happiness” at the end of the show. 

Gesner’s songs (with input from Lippa) have a deceptive simplicity that allows them to sound charmingly spontaneous and natural, while actually being cleverly constructed and instantly catchy. Music director Matthew Nutley leads a band of five musicians in a tight performance of the score. Vocal preparation of the cast is first rate, with relatively complex songs like “The Book Report” and “Glee Club Rehearsal” flying smoothly.

Director Cameron O’Reilly keeps the tone bright and the pace brisk, guiding the talented ensemble cast of seven to craft sharp, well-observed characterisations. Avoiding caricatures, the actors thoroughly inhabit the roles and allow the witty humour to speak for itself. 

Working with co-set designer Damian Jones, O’Reilly makes clever use of the tight Alex Theatre stage space, with sets remaining on stage, playfully moved into place for each scene by the cast. The band is on stage, behind a colourful icy pole stick picket fence, and there is even a slide for the characters to make an entrance in real style. 

One more clever touch in the design is the custom-made proscenium arch, featuring blocks of the trademark clothing pattern of each character. Set, costume and lighting are vividly hued in rich primary colours, reflecting the vibrant world that kids love to inhabit.

Costume design by Britni Leslie is completely authentic and visually appealing. Woodstock in yellow pinafore, skivvy, and beret is a fun highlight, and the wigs of Sally and Lucy are impressively perfect.  

Choreographer Lisa-Maree Thomason collaborates confidently with O’ Reilly to deliver characterful, energetic dance and movement. The blanket ballet within and following “My Blanket and Me” is a delight, and “The Red Baron – Melodrama” has a wonderful old school vaudeville style. 

The construction of You’re A Good Man, Charlie Brown gives every character a chance to shine, which they certainly do in this well cast production. 

Dylan Mazurek wins hearts with the droopy-drawers melancholy of Charlie Brown. 

Britni Leslie is totally vivacious as ambitious Sally, bringing plenty of verve to act two hit “My New Philosophy.” Rebecca Symonds does not shy from the sharp tongue of Lucy, making the “crabby” character all the more engaging. 

Bradley Storer neatly underplays introvert musician Schroeder, staying true to the serious vision of the sincere little pianist. Jackson Howe has an adorable presence as Linus, coming to the fore to lead breakout dance number “My Blanket and Me.”

Dinesh Mathew is suitably perky and frisky as Snoopy. In the silent role of Woodstock, Samantha Stewart deftly conveys expression through her elegant dance skills. 

Terrific entertainment for children or anyone who ever was a child, You’re A Good Man, Charlie Brown is a pleasure for audience members of all ages. 

You’re A Good Man, Charlie Brown plays at Alex Theatre, St Kilda until 2 July 2023. For tickets, click here.

Photos: 3fatesmedia

Anchored by an exceptionally starry and talented cast, imaginatively conceived Australian musical Midnight finally arrives on stage for its keenly awaited World Premiere. Sturdily produced, Midnight has a warm, family-friendly ambience and a hearty entertainment value that is sure to be sharpened with judicious editing as its well deserved life proceeds.  

Extending the frequently adapted tale by adding a meatier first half, Midnight gives Ella (Brianna Bishop) and Prince (Thomas McGuane) a backstory stretching back to their first marketplace collision as lively eight-year-olds. Avoiding the simplicity of love-at-first-waltz, the longer romance establishes a real connection. Forthright Ella has time to open Prince’s eyes to the needs of the people, and she has the chance to overcomes her inherent mistrust of the royal family to see Prince for the man he really is. 

Aligning with many a Disney animated movie, the story begins with the death of a parent, and Ella and her Father (Raphael Wong) are soon ensconced with the seemingly pleasant Madame Bellington (Verity Hunt-Ballard) and her two daughters (Melanie Bird and Kristie Nguy). Mysterious Ms Madrina (Lucy Durack) appears as Fairy Godmother, sprinkling her magic on Ella’s beloved teddy bear Mr Abernathy (Matt Lee). Further additions include a bigger role for The King (Shane Jacobson), a sidekick for Prince named Andre (Lee), and a villainous Russian Emperor (Lyall Brooks). 

Midnight unfolds as ten-year-old Stella reads herself a bedtime story. On opening night, Stella was very confidently played by gracious young actress Isobel Lauber, who shares the role with Alberta Brudan, Liv Jacobson, and Elisha Villa.

Delivering a rich Alan Menken style of theatrical music, composer-lyricists John Foreman and Anthony Costanzo have penned a lush score filled with readily hummable songs. Additional music and lyrics are credited to Kate Miller-Heidke. Orchestrations by musical director Anthony Barnhill really allow the songs to be heard at their best. The lush music seems to be played by more than the seven musicians in the orchestra pit (yes, an actual orchestra pit – remember those?).

Musical numbers range from recurring I Wish song “Why Can’t I?” to charm songs “Quick on Your Feet” for the sisters and “Best Dressed” as the act two opener. Act one showstopper “Being the King” is later topped by “Stuffed!”, sung and danced by living teddy bear Mr Abernathy and friends. 

The book for Midnight is by Dean Murphy and Pip Mushin, both also serving as director. The pair has ensured that energy and verve are at a premium throughout the entire cast. Some of the faux-European accents are an odd choice but the delineation of colourful characters is very well established. 

While the overarching concept for the book is clever, it is unusual not to see a modern day sensibility worked into the story. At 165 minutes (including 20 minute interval), the show is too long. There appears to be more work to be done in pruning scenes and developing a stronger through-line of tension and connection.

Creation of the book has not facilitated storytelling through music and so the show frequently stops for the songs. And then the songs stop for the dancing, which is sharply choreographed by Kelly Aykers but makes no contribution to character or plot. 

Set design by James Browne is on an impressive scale, and transitions between the many scenes are smoothly and efficiently staged. Economical costume design by Harriet Oxley incorporates less changes than might normally be seen but plenty of glossy fabric and some standout designs, such as Ella’s elegant slimline ball gown. The detailed lightning design by Trudy Dalgleish completes the polish of the overall stage picture. 

Leading lady Brianna Bishop gives a winning breakout performance as Ella. Confident and yet somehow also endearingly vulnerable, Bishop makes a memorable impression as she soars through her scenes and songs. 

With traditional matinee idol looks, Thomas McGuane is the ideal leading man. The Prince also greatly benefits from McGuane’s dreamy vocals.

In dual roles, Lucy Durack particularly shines in act two when Ms Madrina weaves her magic. 

Verity Hunt-Ballard hits her strides when malevolent Madame Bellington lets her true dark colours show. 

As The King, Shane Jacobson gives a crowd-pleasing performance, the highlight coming in amusing showstopper “Being The King.”

Matt Lee is adorably daffy as sidekick Andre and brings down the house as tap dancing bear Mr Abernathy (featuring tap choreography by Lee himself). 

For a twist, only one of the stepsisters is selfish and cruel. Melanie Bird relishes the wickedness of self-centred Tiffany Bellington, while Kristie Nguy, in a highly auspicious professional musical theatre debut, is a delight as kind-hearted Rosalie Bellington. 

Raphael Wong is a solid presence as Father, although the chance to hear more of his powerful singing voice would have been appreciated. 

Every member of the ensemble gives peak energy throughout the entire show. Powerhouse company vocals are a pleasure to hear and the well rehearsed choreography is tightly performed. 

New musicals written and developed entirely in Australia are a rare sight indeed. Helmed by producers Spencer McLaren, Craig Donnell, and Dean Murphy, the sheer scale of production Midnight is a mighty achievement. Lovers of musical theatre will be keen to support the show and to enjoy the performances of the much-loved lead performers. 

Midnight plays at Comedy Theatre, Melbourne. For tickets, click here. 

Photos: Pia Johnson

A top flight cast and smoking hot band make for a compelling new production of jazz-infused Broadway gem City of Angels. 

Winner of a highly impressive haul of six 1990 Tony Awards, including Best Musical, City of Angels has been unjustly ignored by commercial producers in Australia, seen here again in an independent production, this time from Joshua Robson Productions in association with Hayes Theatre Co. 

A satirical look at Hollywood of the 1940s, City of Angels has an added relevancy at present. If, for some reason, your sympathy does not fall on the side of writers in the current WGA strike, it surely will after seeing the torment that detective novelist Stine endures in adapting his hit novel to a screenplay. A high concept show-with-a-show, the musical presents the film noir movie scenes in black and white with the “real life” studio scenes in living colour. 

The streamlined production uses a smartly designed single set, from set designer Simon Greer, with cinema reel floor, atmospheric venetian blinds, and a generous rear bandstand. Key pieces of furniture conjure the scenes, with items cleverly flipping from black and white to colour for nifty fast changes. 

Costume designer Esther Zhong contributes a cohesive sense of 1940s style. Much as wardrobe reflects the period, hair design (uncredited) undermines the look, with none of the female cast members adopting a 1940s hairdo. 

Lighting designer James Wallis contributes significantly to the twin threads of storytelling, even able to have colour and greyscale scenes on stage side by side. 

Flipping back and forth between realities as Stine writes and rewrites his screenplay, Larry Gelbart’s book for City of Angels is so clever that it can potentially outsmart audiences if not brought to life clearly. No danger of this under director Sam Hooper who crafts each character distinctly and presents the story beats with deft precision. While the laugh rate is slightly lower than that seen in other productions, the high quality of dramatic acting and vocal performances is of higher overall value. 

Performing on stage, music director Abi McCunn leads a sensational band of six fellow musicians in a blazing hot rendition of Cy Coleman’s melodic score. Jazz background music at the start of each act is an added treat. Damon Wade serves as co-music director. McCunn also contributed orchestrations, creating a hefty big band sound with seven musicians. 
Sound designer David Grigg ensures that vocal and instrumental performances are perfectly balanced, with every David Zippel lyric heard with crisp clarity. 

Glenn Hill and Aaron Tsindos lead the cast as the intrinsically linked duo of suffering screenwriter Stine and his hard bitten detective creation Stone. Hill readily generates sympathy and affection for Stine, drawing the audience into the writer’s artistic process and related plight. Tsindos maintains a dry intensity, allowing momentary twinkles in his eye for moments of obvious satire. Singing actors, Hill and Tsindos infuse their musical numbers with as much drama as their dialogue scenes, bringing act one to a stirring close with hit duet “You’re Nothing Without Me.”

City of Angels provides a slew of meaty female roles, with the four female leads playing dual Hollywood/movie character roles. Shannen Alyce Quan achieves particular success as twin secretaries Oolie and Donna, delivering lovely vocals and nailing the characterful humour.

Penny McNamee smoulders as femme fatale Alaura Kinsgley, contrasting this role with catty Carla Haywood, philandering wife of the Hollywood studio head.

Paul Hanlon infuses megalomaniac studio chief Buddy Fidler with blustery energy, anchoring the character’s annoying traits in a belief that he behaves as necessary to have each picture made. As Lt Muñoz, Marcus Rivera makes upbeat Latin charm song “All You Have To Do Is Wait” a lively highlight of act one. 

Doron Chester, Sian Crowe, Noah Janssen, and Katelin Koprivec deliver the jazzy scat vocals of the Angel City Four with smooth power, also playing multiple featured roles with flair. 

Musical theatre aficionados will need little encouragement to catch this slick and entertaining production of City of Angels. 

City of Angels plays at Hayes Theatre, Sydney until 23 July 2023. For tickets, click here. 

Photos: Grant Leslie

I Cain’t Say No to watching Rodgers and Hammerstein’s Oklahoma!, so this special cinematic release was the perfect way to spend a wintry Melbourne Sunday afternoon. 

The additional benefit of watching this gently innovative and yet completely respectful production again was the chance to help purge the memory of sitting through the execrable 2019 Broadway revival of Oklahoma!. 

Commemorating both the 25th anniversary of the production and the 80th anniversary of the musical itself, the global screening of Rodgers and Hammerstein’s Oklahoma! is more than a celebration of the lasting power of this groundbreaking musical; it is a celebration of the life span of musical theatre itself. 

Premiering on Broadway in 1943, Rodgers and Hammerstein’s Oklahoma! Is generally considered to be the first of a style of entertainment that continues to thrive today. Moving on from revues, Oklahoma! was the first piece of musical theatre to successfully integrate book, songs, dance, and design to tell tell a cohesive story. It introduced the dream ballet, and was one of the very first shows to release a cast recording with the original stage production’s orchestra and cast. Oklahoma! pre-dates the Tony Awards, but in 1944 was awarded a special Pulitzer Prize. 

This screening commences with a ten-minute special hosted by Imogen Lloyd Webber, Senior Vice President of Concord, representing The Rodgers & Hammerstein Organization. This brisk, entertaining introduction places both the original record-setting season of Oklahoma! and the 1998 production in context. There are insightful interviews from key members of the 1998 team: choreographer Susan Stroman (currently represented on Broadway with New York, New York), Shuler Hensley (Jud Fry), and associate choreographer Warren Carlyle (who choreographed Oklahoma! stars Hugh Jackman and Hensley in Meredith Willson’s The Music Man on Broadway last year). 

This celebrated 1998 production of Rodgers and Hammerstein’s Oklahoma! began at London’s National Theatre before transferring to the West End and then on to Broadway. Legendary director Trevor Nunn, of Cats, Les Misérables and Sunset Boulevard fame, directed the production, with choreography from Broadway’s Susan Stroman, of Crazy for You, Showboat and (later) The Producers fame. 

Nunn brought out the best in the much loved material by treating it with care and giving serious attention to the text. The sense of a plucky population waiting for their territory to become a state shines through, the distinction of farmers and cowmen is clear, and women have it all just as tough as men. To this end, Laurey is first seen in rough and ready overalls rather than the pretty dress of a traditional Broadway heroine. 

Placed against the hope of the people, Curly and Laurey’s romance is far more than a formulaic boy-meets-girl; the couple’s joy mirrors and amplifies the joy of their friends and family, who see a shining future for their state in this happy wedded union. There is strong impact in the action of the climax, which plays out with gritty realism, and there is no shying from the deadly consequences of the violence. 

A significant attraction of Stroman’s work here is that she was granted permission to create her own new work rather than recreating the original choreography of Agnes de Mille. Key numbers were re-orchestrated, including the “Dream Ballet,” which Stroman devised afresh. In what seems a simple and almost obvious idea now, Stroman had the vision to cut Dream Curly and Dream Laurey and have the actual actors dance their own roles in the ballet, to powerful effect.

While “The Farmer and the Cowman” is an especially lively and characterful full company number, the standout new orchestral arrangement and choreography comes in “Kansas City,” featuring a ragtime dance break that Will Parker has brought back home from city streets he visited in his travels.

In the mid-1990s, Australian theatregoers were fully acquainted with Hugh Jackman’s theatrical talents after his breakout performances as Gaston in the Australian premiere of Disney’s Beauty and the Beast and Joe Gillis in the Australian premiere of Sunset Boulevard. Jackman’s star turn as Curly in this production of Oklahoma! brought him to international attention and, although he went on to focus primarily on movies, he has starred on Broadway in hit seasons including The Boy from Oz (2003) and The Music Man (2022). 

Jackman makes for a ruggedly handsome, charismatic Curly and his baritone is wonderfully warm and engaging. Josefina Gabrielle deftly balances the plucky and vulnerable sides of Laurey, singing with a lovely soprano and dancing with lithe grace. 

National treasure Maureen Lipman perfectly captures the combined steely grit and affectionate compassion of matriarchal farm woman Aunt Eller. Shuler Hensley is suitably burly and creepy as embittered farmhand Jud Fry, with just a touch of vulnerability thrown in to garner a degree of understanding.

Jimmy Johnston dances up a storm as Will Parker. Vicki Simon plays Ado Annie with devilish innocence. Peter Polycarpou brings a sly twinkle to the eye of flirtatious peddler Ali Hakim.

Given the terrific singing and dancing talents of the ensemble, there is a surprising number of performers in the chorus and featured roles who look extremely authentic to the period and setting; this care in casting adds significantly to the genuine atmosphere.

Seen in a cinema, the filmed production plays very well, with judicious edits to skip across the scene changes and simply have the action flow on continuously. Cameras were clearly right in amongst the performers, with many compelling angles and shots achieved. A ten-minute interval allows a chance for a welcome stretch to break up the almost three-hour running time of the musical. 

Lovers of musical theatre are sure to appreciate this special screening, and are encouraged to take the chance to enjoy Rodgers and Hammerstein’s Oklahoma! in cinemas this week.

Rodgers and Hammerstein’s Oklahoma! plays in cinemas worldwide on 16 and 19 July 2023.

For worldwide access to Rodgers and Hammerstein’s Oklahoma! cinema tickets, click here.

Photos: supplied

Seen at its stirring and moving best, Jason Robert Brown musical Parade enjoys an all too brief must-see season from ambitious Melbourne company Soundworks Productions.

While Broadway enjoys the final week of the hit Tony Award-winning 2023 revival of Parade, Melbourne is blessed with this boutique independent season that matches the bold conception of the musical with a creatively realised and strongly performed production. 

As relevant now as when it premiered in 1998, Parade powerfully highlights the runaway destruction wrought by shared ignorance and rampant hatred. Incited by fake news, it only takes one allegation for all manner of accusations to be strewn at mild mannered factory manager Leo Frank. 

Book writer Alfred Uhry and lyricist Brown tenderly offset the harrowing twin tragedies of young Mary Phagan’s murder and Frank’s persecution for the crime with the burgeoning love of Leo and Lucille Frank, whose marriage grows from drily reserved to passionately devoted across the two years of the case. 

Revered Broadway composer Brown is at his career best with Parade, crafting beautifully melodious music that tears at the heart. Drawing upon a diverse range of styles, Brown deftly juggles big band, gospel, ragtime, lullaby, choral, and soaring ballads to highly impactful effect. 

Brown’s glorious music is given excellent treatment here, with musical director Benjamin Samuel helming a generously sized band of ten talented musicians. Vocal preparation is equally strong, with ensemble singing at a premium. David Barrell’s sound design keeps vocal and instrumental music clear and well balanced, aiding audience attention to Brown’s richly detailed lyrics. 

Well established in independent musical theatre as an insightful and intelligent director, Mark Taylor again delivers compelling and thought provoking work. At all times, every one of the seventeen performers is completely tuned in to their own character, their fellow characters, and the place of all of them in the story. The depth of humanity achieved is as impressive as it is deeply moving.

Equally impressive is the perfectly integrated work of choreographer Freya List, who has clearly collaborated closely with Taylor. Not just tightly performed, List’s completely character-driven choreography creates inventive stage pictures, with highlights including the street car ride of “The Picture Show” and the eruption of malicious glee that follows the verdict at the close of act one. 

Set, props, and costume designer Harry Gill makes a tremendous contribution to the success of the production, conjuring abundant period atmosphere with his dusty costumes and deceptively simple single set. A faded confederate flag is painted on the floor, the Red Hills of Georgia are etched on the backdrop, and thin jagged beams represent tree branches overhead. Clearly custom-made, Mary Phagan’s lilac dress is a beauty. 

Lighting design by Sidney Younger adds plenty of atmospheric shading, and effectively draws the eye across the wide stage to key points of action. One questionable choice is the occasional use of bright lights shining directly into the audience’s eyes to emphasise musical beats. Colouring of the backdrop adds appealing variety to the single set. 

Perfectly cast, Aaron Robuck captures the introversion and bewilderment of Leo Frank in a neatly understated performance. When Frank enacts the crimes in the trial, vaudeville-style, the effect is quite startling. Robuck’s singing of optimistic power ballad “This Is Not Over Yet” is a standout of his involving and sympathetic performance. 

Montana Sharp conveys the determination beneath the surface of the gentle Lucille. Share and Robuck successfully take the Frank marriage on an emotional journey, culminating in the heart rending duet “All the Wasted Time.”

Strong as a group, each member of the ensemble cast capitalises their chance to shine.  

Adeline Hunter is fragile perfection as Mary Phagan. Guillaume Gentil brings a cheeky twinkle to untrustworthy witness Jim Conley. Samuel Skuthorp vivaciously brings out the ambitious conceit of reporter Britt Craig. 

In fine voice, Mike Gardiner gives authority to Judge Roan and the injured Old Soldier. Sophie Loughran contrasts Mary’s poor mother Mrs Phagan with the polish of society dame Sally Stanton.

Inexplicably ignored by commercial producers, Parade is a marvel and this production deserves to be seen by all of Melbourne’s serious lovers of musical theatre. 

Parade plays at Chapel off Chapel, Melbourne until 6 August 2023. For tickets, click here. 

Photos: Matthew Chen 

Marvellous maestro John Foreman pulls out all the stops to helm a truly fitting showcase for the extraordinary talents of Leading Ladies Casey Donovan, Silvie Paladino, and Caroline O’Connor. 

In the kind of sumptuous orchestral concert usually reserved for visiting overseas stars, Foreman and his fabulous Aussie Pops Orchestra bless a cavalcade of musical theatre hits with far more lush accompaniment than usually heard in traditional theatre seasons. The Ladies sport a dazzling array of glamorous gowns, and a creative lighting plot provides the finishing touch in visual appeal. 

Cleverly conceived, the concert begins by highlighting previous starring roles for the soloists before delving imaginatively into uncharted territory in the second half. There are duets from each combination of singers as well as a generous selection of trios, all supported by terrific arrangements for the orchestra and vocalists. 

In addition to leading the music, Foreman brings his characteristic warmth and good humour to the stage, performing his duties as genial MC with a seamless blend of formality and improvisation. Foreman’s authentically relaxed manner spills out to the soloists, making for highly enjoyable repartee in place of the stilted dialogue often seen in such concerts. 

In killer form, Casey Donovan may be the youngest of the three singers but she is steadily amassing an impressive catalogue of roles. Donovan reprises “When You’re Good to Mamma” from the most recent season of Chicago then recreates “Get Out and Stay Out”, the 11 o’clock power ballad sung as Judy in 9 to 5 the Musical. 

Donovan really breaks out in act two, bringing palpable emotion to gorgeous Waitress the Musical ballad ”She Used To Be Mine” then later bringing down the house with power anthem “And I Am Telling You” from Dreamgirls. 

Silken-voiced songstress Silvie Paladino returns to her first role as lovestruck teen Eponine, performing much loved Les Misérables hit “On My Own” before following up with iconic ballad “I Dreamed A Dream,” sung by Fantine, the role Paladino played on the West End when she was a little older. 

Paladino blends beautifully with Donovan for Whitney Houston hit “I Will Always Love You.” In act two, Paladino wows the crowd with her rendition of “Defying Gravity”, seizing the chance to play Wicked witch Elphaba even just for one performance. 

International learning lady Caroline O’Connor must have the choreography of Chicago in her bones, bringing Velma roaring back to life with “All That Jazz.” O’Connor later scores laughs with Donovan as the pair sings their respective roles in Chicago’s “Class.” O’Connor plays a fabulous routine as she outlines her full Broadway career in the lead up to a perfectly calibrated rendition of Sondheim hit “Broadway Baby.”

Having memorably played Aldonza in Man of La Mancha, O’Connor takes the chance to switch to Cervantes for a beautiful arrangement of “The Impossible Dream.” In serious mode, O’Connor demonstrates her well-honed dramatic chops with a stirring performance of “Don’t Cry For Me, Argentina.”

A true delight, thoroughly entertaining concert Leading Ladies leaves the appreciative audience gratefully satisfied. Future performances from John Foreman’s Aussie Pops Orchestra are very highly anticipated.

John Foreman’s Aussie Pops Orchestra presented Leading Ladies at Hamer Hall, Melbourne Arts Centre at 2pm and 8pm on Saturday 12 August 2023. 

Photos: Aussie Pops Orchestra 

Ever the sparkling diamond, worldwide blockbuster Moulin Rouge! The Musical makes a triumphant and extremely welcome “victory lap” of Melbourne. 

Returning in killer form, the spectacular spectacular maintains its peak form with a couple of excellent cast additions and a full company of triple threats at their most threatening. 

Having recouped its investment and won the Best Musical Tony Award, Moulin Rouge! The Musical can only be described as a certified gold-plated hit. Easily the most spectacular production to ever fill the cavernous Regent Theatre, the full-to-bursting jukebox musical is basically guaranteed to dazzle and delight. 

Achieving the best kind of success as a stage-to-screen adaptation, the musical extends and enhances 2001 movie hit Moulin Rouge in every possible way. Now established as a fabulous piece of entertainment in its own right, the musical artfully juggles show-stopping numbers with breathless romance and heartfelt melodrama.

The success of the musical derives from the top flight Broadway creative team. John Logan’s economical book establishes a passionate love triangle and perilous financial dilemma in swift neat strokes. Music supervisor, orchestrator and arranger Justin Levine magically melds 70+ iconic pop songs into totally infectious mashups and medleys. 

Broadway’s most creative director, Alex Timbers acts as ringmaster and raconteur, balancing the spectacle of Derek McLane’s grand scenic design, Catherine Zuber’s eye-popping costume design, and Justin Townsend’s luscious lighting design with a set of flesh and blood characters that underpin the theatricality with true emotional stakes. 

Endlessly inventive and superbly performed, Sonya Tateh’s extraordinary choreography is a highlight in its own right. Tateh’s work reaches its zenith in a fantastical act two sequence on a bare stage as Christian sings “Roxanne” while the ensemble dance a nightmarish dream ballet. 

Full credit to resident director Jennifer Sarah Dean, resident musical director Matthew Carey, and resident choreographer Travis Khan for keeping Moulin Rouge! The Musical in such tight, commanding shape. 

Leading duo Alinta Chidzey and Des Flanagan return, the heady romance of Satine and Christian blessed by the pair’s individual charisma and abundant romantic chemistry. 

Simon Burke continues as adorably camp impresario Harold Zidler, readily balancing vibrant humour with moments of tenderness and of tension. Tall, dark and devilishly handsome, James Bryers is a terrific addition as the Duke of Monroth, providing a hiss-worthy villainous spoiler to the central romance. 

Another excellent addition to the cast is Bert LaBonté as noble artiste Toulouse-Lautrec. LaBonté grounds the role with warmth and seasoned maturity, contrasting the statesman’s physical vulnerability with unshakeable emotional strength. 

Ryan Gonzalez returns as impassioned Argentinian Santiago, setting off sparks with Samatha Dodemaide as Moulin Rouge stalwart Nini.  

The full ensemble cast gives the performance everything they have, singing up a storm and dancing like human dynamos. Company numbers are nothing short of spectacular, from the extended opening sequence to the act two rehearsal sequence and on to the encore, the brilliant wattage of the performers easily eclipses even the brightest stage lights.

The original Melbourne season of Moulin Rouge! The Musical sold out in advance four months before closing. Do not miss out on a ticket this time.

Moulin Rouge! The Musical plays at Regent Theatre, Melbourne. For tickets, click here.

Moulin Rouge! The Musical will host a very special Spectacular Sing-Along Performance on Tuesday 21st November 2023 at 7:00pm. For tickets, click here. 

Man in Chair reviewed the original Broadway production of Moulin Rouge! The Musical.

Man in Chair reviewed the original Australian production of Moulin Rouge! The Musical.

Photos: #1,2,4,5,6,7 Michelle Grace Hunder; #3 Daniel Boud