Engaging, inspiring, and delightfully amusing, Anna O’Byrne’s intimate and candid recollection of her journey of Becoming Eliza makes for a throughly entertaining evening. 

From her shy beginnings on violin in the school musical orchestra pit, O’Byrne skips briskly over her star turn in Love Never Dies and digs right into the story of Eliza and My Fair Lady. Living in London at the time, O’Byrne travelled to Sydney for the auditions, inspired by the thought of playing her dream role and working with her dream director (and musical icon), Dame Julie Andrews.

Having had the canny thought to make and keep copious notes during the audition and rehearsal process, O’Byrne has written Becoming Eliza herself, ensuring the that the reminiscences are as highly personal as they are intricately detailed. Working with director Sharon Millerchip and musical director Guy Simpson, O’Byrne has studded the narrative with a host of carefully selected songs, all previously sung by Andrews. 

From “In My Own Little Corner” (Cinderella) for her humble origin to “I Have Confidence” (The Sound of Music) as inspiration for her journey to the auditions and on to “Supercalifragilisticexpialidocious” (Mary Poppins) when she just wants to swear when rehearsals are especially challenging, O’Byrne sings with characteristic golden vocal beauty and affecting depth of expression. 

Subbing for Simpson at this performance, inimitable maestro Michael Tyack does deft work on the grand piano, picking up the multitude of cues with polished flair. Musical accompaniment is bolstered by a string trio of violin, cello, and double bass. 

Although we all know that O’Byrne played Eliza in My Fair Lady (and won a Helpmann Award for Best Actress in a Musical, if you please), O’Byrne still conjures up a tense retelling of the process that has the audience cheering when she ultimately lands the role. 

Described initially as a glowing being sitting in what is effectively Jesus’ chair at the Last Supper-like audition panel, Andrews’ part in the story is extensive. From introducing herself as “Mum” at the first rehearsal to “Julie-fying” O’Byrne’s vowels and consonants and on to giving detailed and insistent notes, a full and wonderful picture is generously revealed, allowing the audience access to a person and process usually only known form afar.

But it is not just not the content itself that makes Becoming Eliza so riveting and enjoyable. O’Byrne’s performance is totally compelling, not the least of which is for her absolute confidence in the material, as she jumps from story to story, often breaking up a song with additional tidbits and details. In full flight, O’Byrne is something of a force of nature, holding the audience firmly in her palm for the breathlessly brisk 75-minute running time. 

Not holding back about difficult passages in the process, O’Byrne shares her frustration at the challenge of nailing the comedy in the Ascot box scene. Here is a quote about this scene from Man in Chair’s review of the premiere season of Andrews’ 60th anniversary staging of My Fair Lady in Sydney 2016: “Revealing a talent for comedy, O’Byrne is hilarious at Ascot, taking Eliza from a rigid, trained automaton to an alluring centre of attention.”

Further musical highlights include “Thoroughly Modern Millie” (title song of the 1967 film) and the rare treat of hearing songs from 1995 Broadway musical Victor/Victoria: “If I Were A Man” and the melancholic “Living in the Shadows.” Another rarity is “Say A Prayer For Me Tonight,” a song cut from My Fair Lady. 

1968 movie Star is represented by the whimsical “Burlington Bertie from Bow” and also provides the encore with the tender “My Ship,” described by O’Byrne as Andrews’ favourite song to sing. 

This encore comes after what is arguably the musical standout of the night as O’Byrne concludes her story of Eliza with joyously soaring ballad “I Could Have Danced All Night,” which ends on a stunning high note that has the audience instantly on their feet in acclaim. 

O’Byrne’s next stage outing, whatever that may be, is very keenly anticipated. Meanwhile, there is always her 2016 album Dream through which to enjoy her glorious voice. 

Becoming Eliza played at Comedy Theatre, Melbourne on Saturday 26 August 2023.

Becoming Eliza plays at Geelong Arts Centre on 22 November 2023. For tickets, click here.

Man in Chair reviewed Anna O’Byrne in My Fair Lady in Sydney 2016 and My Fair Lady in Melbourne 2017. 

Photos: Jeff Busby

Firmly established as the first lady of vocal fluidity, Bernadette Robinson draws generously upon her unique gift to summon a sumptuous smorgasbord of international Divas. 

The title of new work Divas reads as a witty inversion of the show that originally brought Robinson to the attention of theatregoers. Songs for Nobodies focused on quiet women on the fringes of life who admired and cherished iconic female singers. Here, the spotlight is squarely on the artists themselves, with no less than ten diverse and iconic divas brought fleetingly, dramatically, and ovingly to life. 

The term tour de force might tend to be bandied about somewhat freely but there really is no better way to describe Robinson’s extraordinary performance, the sort that really needs to be seen with your own eyes and heard with your own ears. Any one of Robinson’s respectful, nuanced, uncanny vocalisations is a treat to see and hear; ten in a row is an absolute feast. 

Skipping between accents, age groups, eras, and styles, Robinson barely takes a moment to launch afresh into each new Diva, summoning the spirit of each woman with almost superhuman focus. 

As the audience enters, musical director Mark Jones warms the house with gently tinkling ivories, gradually joined by fellow musicians Jonathan Skovron and Bryn Bowen on guitar and drums. Playing arrangements by Jones and Martine Wengrow, the trio requires similar musical flexibility to Robinson, which they deliver with understated flair. 

Divas is staged before a vivid overhead Warhol-esque artwork by Peter Simpson, illustrating the ten divas that Robinson is set to incarnate. Lighting designer Matt Cox, spotlights each artist when their time comes, but only after theatrically allowing Robinson and the music to have a chance to be recognised first. 

The creation of Divas is credited to Robinson and prolific director Simon Phillips.  Robinson clearly has a strong connection to the highly personal snippets of stories she tells. The economical script relies (quite safely) on a degree of pre-knowledge from the audience, cutting straight to one or two key emotional turning points in each artist’s life that provide additional heft to the second and third song in each bracket. 

Phillips has drawn a relaxed and natural performance from Robinson, and she makes a wonderfully confident connection with the audience in the guise of each character. Robinson and Phillips’ respect for the divas is shown not just in the fact that the vocal impressions are never played for laughs but even more so in the fact that the entire program is entirely devoid of camp. The death of Shirley Bassey’s daughter, Karen Carpenter’s diet issues, and Amy Winehouse’s denial of rehab are handled with candid and affecting poignancy. 

Among the most startling of Robinson’s transformations are the switch from the wail of Kate Bush to the earthy boom of Shirley Bassey, and from the perky twang of Dolly Parton to the powerhouse belt of Parton’s goddaughter Miley Cyrus. Just when we seem to have heard every possible facet of Robinson’s voice, she comes out with a soaring cadenza of crystalline high notes as Maria Callas.

Musical highlights of Divas include Edith Piaf classic “Non, Je ne regrette rien,” a very personal Dolly Parton rendition of “I Will Always Love You,” and “Being Alive” (Company) in the style of Barbra Streisand’s The Broadway Album. 

A fitting showcase for a truly unique talent, Divas is sure to attract existing fans of Bernadette Robinson whilst also earning her new acclaim. 

Divas plays at Fairfax Studio, Arts Centre Melbourne until 10 September 2023. For tickets, click here. 

Photos: Peter Wallis

Taking on the saucy sexism of 1962 Broadway farce A Funny Thing Happened on the Way to the Forum, innovative Sondheim repertory company Watch This achieves varied results with an all female-identifying cast.

This sweetly sung production retains a good many of the laughs embedded in the hysterical book by Burt Shevelove and Larry Gelbart but the overall production fails to fly, weighed down chiefly by noble intentions. Where the original show is breathlessly daring, this production is cloyingly sweet; with danger exchanged for safety, the usual hysteria deflates to the level of mild amusement.

The aim of softening the sinfully sexist humour of A Funny Thing Happened on the Way to the Forum is a noble one in this present era where there is rising pressure on all entertainments to fall into line with current societal mores. 

Director Melanie Hillman casts all of the roles with female actors, with no changes to the original characters or story. The conceit works well in numbers such as “Everybody Ought to Have a Maid”, in which the various lustful descriptions of a maid are completely softened with women singing the lines. In another example, the positioning of courtesans as Roman statues is a clever way to show these women as voiceless objects to be merely admired for their beauty.

Where the concept runs out of steam is in the increasingly complicated machinations of the original plot based on lust gone mad. The climactic chase scene is a particular flop, with the sexless interactions being just too hard to follow. 

A secondary issue is the lack of understanding of the vaudevillian comedy style. The ensemble cast of ten is filled with appealing, talented performers but there is lack of authentic comedy chops. The lone exception is veteran Judith Roberts (Erronius), who delights with her old-school hoofing and deadpan delivery. Roberts understands that seriousness is at the heart of comedy; too many of the cast members smile and mug through their scenes, dissipating the essence of comedy. 

Production values for the season are very solid. Budget constraints prevent the construction of three house fronts, but Sarah Tulloch’s abstract Roman columns, statues, and checkered floor make for a visually appealing setting. Costume designer Jemima Johnston avoids dressing any of the cast as “men,” using dress styles that could be seen as gowns for women or tunics for men. Colours and trimming are smartly realised.

Musical director Trevor Jones leads four fellow musicians in a slick performance of Stephen Sondheim’s delightful score. At times, the band is nicely boosted by three of the cast members. Jones’ meticulous musical direction ensures that Sondheim’s music and lyrics are performed with aplomb. With sound design by Marcello Lo Ricco, balance and vocal amplification are reliably pristine. 

A warm and engaging performer, Charmaine Gorman is a capable, if constrained, Pseudolus.

Rounding out the ensemble cast of A Funny Thing Happened on the Way to the Forum are Milo Hartill (Hero), Jacqui Hoy (Hysterium), Mel O’Brien (Philia), Sophie Weiss (Domina), Luisa Scrofani (Miles Gloriosus), Cathy Woodhouse (Senex), Sarahlouise Younger (Marcus Lycus), and Kristie Nguy (all the ensemble/proteans roles including courtesans).

Perhaps one day the time will come when audiences can appreciate that humour (and, for that matter, drama) that originated in past eras can be enjoyed despite not approving of the morals or message on display. When that day comes, A Funny Thing Happened on the Way to the Forum might soar again. 

A Funny Thing Happened on the Way to the Forum plays at Chapel off Chapel, Melbourne until 24 September 2023. For tickets, click here.

Photos: Jodi Hutchinson

Blessed with a top flight creative team and terrifically talented cast, new bio-musical Elvis: A Musical Revolution shines in its best possible light.

David Venn Enterprises has steadily grown their reputation with crowd-pleasing productions of lesser known musicals, moving from Bring It On to The Wedding Singer and on to Cruel Intentions the ‘90s Musical. Making the leap to an original production of their own, Elvis: A Musical Revolution arrives in Melbourne in solid form, some inevitable teething issues sorted in the first leg of its tour in Sydney. 

Benefiting from audience awareness from the 2021 movie Elvis, the book by Sean Cercone and David Abbinanti moves along at a brisk pace, for the most part avoiding the mire of Wikipedia entries that beset bio-musicals. While that familiarity is an advantage, the secondary effect of the movie is that some of the story beats of Elvis’ life do not have the same impact they may have had without being seen so recently.

In line with the subtitle of the show’s name, there is a solid focus on the musical revolution heralded by Elvis’ blazing success. Elvis’ love for his mother also features, along with him being drafted to the army, his string of increasingly far-fetched Hollywood movies, and on to the legendary 1968 comeback special before finishing with a glimpse of the glitzy Vegas-era Elvis. 

Abbinanti’s second contribution is the terrific arrangements of the mighty Presley catalogue of hit songs. Expert musical direction from Daniel Puckey brings those arrangements to toe-tapping life, with Puckey leading nine fellow musicians in an electric, if unseen, musical performance. Ensemble vocals are equally strong. Musical mashups are also a highlight, a standout being the impressive recreation of Sinatra and Presley swapping signature tunes “Love Me Tender/Witchcraft.”

Storytelling is at its best in musical montage sequences, with early musical inspirations explored in “Welcome to Beale Street,” and those madcap movies gently mocked in dazzling act two sequence “Movie Medley.” If there is a flaw with the music selections, it is that they basically follow the timeline of song releases; more care could have been expended with matching song lyrics as commentary on particular situations and life stages.

With the story told in quite broad strokes, director Alister Smith nonetheless ensures that focus is sharp and supporting characters are vividly drawn. With song and dance at peak levels, Smith keeps energy for dialogue scenes just as high, and does not shy from unpleasant elements of the characters.

Certainly the splashiest show to play at the Athenaeum Theatre in many a year, the design collaboration of Dan Potra (sets) and Declan O’Neill (lights) results in a proscenium-filling, constantly changing stage picture that not only looks lush and glossy but also allows for an easy flow as the frequent montage scenes unfold. Video design by David McKinnon provides added texture with projected period footage and helpful displays of the year as the story moves back and forward in time.

The collaboration continues with choice costume designer Isaac Lummis pairing with hair and make up guru Trent Whitmore to craft a parade of period looks to catch the eye and deftly support the storytelling. Lummis has a gift for period costumes with a touch of wit; such costumes are seen in abundance here. 

Making slick use of the of the costumes is just one of the achievements of choreographer Michael Ralph. Working with a rear overhead walkway, Ralph literally fills the space with nifty, spirited dance performed by his tightly rehearsed ensemble. Opening act two number “Blue Suede Shoes” is a thrilling standout.

In a star-making lead performance, Rob Mallett commands the stage in a croony characterisation that neatly avoids impersonation. Possessing a tireless, rich bass baritone voice, Mallett delivers the hits as they deserve to be heard, giving an overall performance that is easily an attraction in its own right. 

An unrecognisable Ian Stenlake sets aside any vanity to play gormless schlub Colonel Parker. Although the script has Parker blustering Elvis into line rather than insidiously gaslighting him (as per the movie), the self serving character nonetheless comes off as ignominiously creepy. 

Noni McCallum makes maximum use of minimal scenes to craft a warm and affecting characterisation of beleaguered battler Gladys Presley. Matt Hayward supports McCallum as Vernon Presley, also shape shifting himself into a range of varied cameo roles. 

Always a delight, Kirby Burgess begins as perky recording studio assistant Marion before hitting her strides in the featured role of Ann-Margret, high profile Hollywood co-star to Presley. When playing Ann-Margret, as well as occasionally dancing in the ensemble, Burgess’s dance moves draw audible gasps from the audience. 

Ben Hall charms in a trio of roles. Sienna Embrey is endearingly sweet as early Elvis flame Dixie. Talented performer Annie Chiswell languishes in a one-note version of Priscilla Presley. 

Ensemble highlights include authentic rhythm & blues and gospel singing from Charly Williams and well-timed comic delivery from Hanlon Innocent as bassist Bill Black.

Clearly not aimed at the Sondheim crowd, or even the Rodgers and Hammerstein set, Elvis: A Musical Revolution is sure to entertain fans of the King. When the key musical sequences are in full flight, it is jukebox musical theatre at its best.

Elvis: A Musical Revolutionplays at Athenaeum Theatre, Melbourne until 17 December 2023. For tickets, click here.

Photos: #1, #2, #4, #5, #7 Ken Leanfore; # 3, #6 Daniel Boud

Melbourne favourite Mamma Mia! returns for a fifth, and surely not final, season. 

As part of the ongoing celebration of being able to safely return to the theatre, this festive season of Mamma Mia! brings to mind the beloved show’s key role in drawing theatregoers back to Broadway after the tragedy of September 11. 

With the jukebox musical hitting new levels of sophistication with Moulin Rouge! The Musical and & Juliet, the wholesome goodness of heart-on-its-sleeve Mamma Mia! can seem a little bit twee. But once those familiar guitar riffs start playing and the backing harmonies fill the air, the audience is soon carried along on blissful waves of nostalgia. 

The genius of Mamma Mia! is in the simplicity of its construction. Working from a concept by Judy Cramer, book writer Catherine Johnson penned a featherlight, feel-good fantasia that sets up the cavalcade of hit songs and then has the good sense to get out of their way and let them work their magic. 

Is the show being cast younger or are we all getting older? Such a guaranteed good time, Mamma Mia! has that if-you-build-it-they-will-come quality that could just trade on its blue chip title. Thankfully, the current tour has been lovingly cast with terrific talent, particularly with Elise McCann and Sarah Krndija looking for all the world like a real mother and daughter as they play Donna and Sophie Sheridan.

Working with a talented cast, director Gary Young has clearly mined the text for all possible emotion and humour. Despite the fanciful premise, characters are firmly grounded in reality and their humanity affectingly shines through. 

Musical supervision from Stephen Amos and musical direction from Hayden Barltrop sees the deceptively difficult songs of Benny Anderson and Björn Ulvaeus performed with the authentic ABBA sound. Tom Hodgson’s lively choreography imbues full company numbers with an infectious party atmosphere.

The current tour is a return of the brand new Australian production that premiered in 2017. Handsome set design by Linda Bewick remains a clear improvement over the basic simplicity of the original, and costumes by Suzy Strout are awash with lush tropical colour. 

McCann tenderly captures the everywoman vibe of dynamo Donna, enjoying warm chemistry with her every co-star. McCann’s natural performance is at its peak through act two, when she delivers lovelorn lament “One of Us” and maternal reflection “Slipping Through My Fingers” with extraordinarily gentle vocals, drawing the audience ever closer to her. The subsequent explosion of “The Winner Takes It All” features meticulously calibrated expression. Bravo!

Krndija is a vivacious delight as Sophie, elevating the role with sharp acting and well honed comic expression. The Sky of Lewis Francis is on the bland side but that is not really an issue given the female energy powering the show.

Martin Crewes plays it straight as genuine love interest Sam Carmichael, playing a key role in raising the stakes of realism at the heart of the romance.

Deone Zanotto nails the delicious vanity of serial divorcée Tanya. Opposite the effervescent and acrobatic Pepper of Jordan Tomljenovic, “Does Your Mother Know” is a true showstopper. 

Bianca Bruce projects earthy warmth as Rosie, setting off serious sparks with Tim Wright (as Bill Austin) in “Take A Chance On Me.”

With basically all of the audience aware of the “reveal” of Harry Bright’s sexuality, Drew Livingston deftly leans into the camp aspects of the role to rousing comic effect. 

A welcome sight for the multitudinous lovers of the show and the perfect opportunity for newcomers to discover its pleasures, Mamma Mia! is jukebox joy for the ages.

Mamma Mia! plays at Princess Theatre, Melbourne until 10 December 2023. For tickets, click here.

Footnote: When seen at Princess Theatre in 2018, the space had been prepared for the mega-season of Harry Potter and the Cursed Child. It is very pleasing to report that the auditorium of the Prinny has been immaculately restored to her former glory, possibly never having looked better. 

Photos: #1, #2 David Hooley; #3-#6 James D. Morgan

Looking for a unicorn? Soundworks Productions’ Songs For A New World is that incredibly rare theatrical achievement in which a modern lens is imposed upon an existing show and actually achieves fascinating, entertaining results. 

Arriving in quick succession after their recent boffo season of Parade, Songs For A New World is also impressive for the high quality of the cast and band and for the classy production values at play. At a time when the number of independent musical productions are on the wane, Soundworks Productions has firmly established themselves as a major force; local musical theatre fans should keep the company firmly on their radar.

1995 Jason Robert Brown song cycle Songs For A New World is well known to Melbourne audiences, having been staged both in the original format of four performers and with larger ensemble casts. The self-contained songs are often used in cabaret performances and every self-respecting musical connoisseur has a well worn copy of the World Premiere Recording.

Setting this season apart are two unique factors: traditional genders for some songs have been altered and the usually static staging of the show has been richly infused with dance; the title could well have been changed to Song and Dance For A New World.

Clearly working in close collaboration, director Lauren McKinnon and choreographer Benjamin Curé have explored the songs anew, sharing the spotlight between a supremely talented ensemble cast of 14 and adding varying degrees of dance to almost all of the songs. The risk for the insertion of dance was the creation of unnecessary distraction. The intelligence and flair of Curé, supported by McKinnon, sees swirling inner thoughts brought to vivid life through dance. It also helps that each cast member, strong singers all, can also dance, with around half being exceptional dancers. 

One device cleverly used is for a dancer to represent the singer, expressing the story in dance while the singer continues with the lyrics. In “Stars and the Moon,” shared here by three women rather than one, three male dancers represent each of the suitors. Featured dancers bring additional life to act one closer “The Steam Train,” conjuring the sporting energy described by the budding basketball player in the song. Full company dance enhances the opening songs and makes finale “Hear My Song” a real showstopper.

Taking inspiration from the second song, “On the Deck of a Spanish Sailing Ship, 1492” (in which passengers are literally en route to a new world), McKinnon sets the production on a ship-like set, with Curé often working the rigging or sail into the choreography. Emerging designers Harry Gill (set) and Sidney Younger (lighting) craft a visually appealing stage with various levels and movable pieces. Gill has a ceiling of warm glass globes overhead, and provides a memorable feature in “King of the World” when the storytelling is boosted with shadow-performers behind outstretched sails. 

Given the original focus of the show on songs (it’s right there in the title), all of this would be of little value without also having strong musical performances. The 14 performers all fit the term “powerhouse vocals” to a tee; individually they are strong, in full ensemble harmony the sound is incredible. 

On piano, musical director Mark Bradley leads eight fellow musicians, which is a generously-sized band for the scale of production. Bradley and co-musical director Benjamin Samuel deliver a pristine musical performance. If there is one criticism, it is that almost every soloist sings at their loudest volume, meaning that subtlety is in short supply, although there is plenty of emotion in the vocal expression. 

Changes made to the assigned singers include three women (Alessandra Merlo,  Mollie Williams, Chelsi Hardcastle) in “Stars and the Moon” and two women (Williams and Hardcastle) as part of an ongoing lineup of suffering spouses of Santa Claus in “Surabaya-Santa.” Rather than one woman, all of the female-identifying cast sing “The Flagmaker, 1775” as they sit and sew the sail. 

More significant changes include Benoit Vari fluttering his expressive eyelashes singing “Just One Step,” which was written for a wealthy wife on the edge. Gabriella Barbagallo brings a determined grit to the inner city basketball-playing youth singing “The Steam Train.” Written for a man and woman, Vari and Matt Hourigan memorably play the impassioned former lovers in “I’d Give It All for You.”

Further vocal highlights include Tayla Muir in “Christmas Lullaby” and Teo Vergara bringing the show home with “Hear My Song.” A significant feature of Vergara’s vocal performance is that they are one of the few to sing softly, with the song subsequently building to a rousing climax when the full cast join. 

The talented ensemble is rounded out by Cameron Davey, Campbell Bonello, Jayden Prelc, Nina Dell, Zac Parkes, and Zayneb Zerzouri. Special mention of the prodigious dance talents of Prelc.

A genuinely fresh interpretation, Songs For A New World is highly recommended for local musical lovers looking for great value theatrical entertainment. 

Songs For A New World plays at Chapel off Chapel, Melbourne until 15 October 2023. For tickets, click here.

Photos: Matthew Chen

More than simply a gig or concert, Home Grown: Musical Theatre by Australian Writers had the blissful vibe of a Love-in, with singers, musicians, composers, and audience members coming together to share their talents and their love of musical theatre. 

Approaching the impressive landmark of their tenth anniversary, Home Grown continues to enrich the local musical theatre industry as they facilitate, celebrate, and elevate Australian composers. 

And there is much to celebrate, with Australian musical theatre seasons this year including a high profile commercial season for Midnight: The Cinderella Musical (John Foreman, Anthony Costanzo), while Bloom (Katie Weston, Tom Gleisner) played the subsidised stage at Melbourne Theatre Company, and Bananaland (Keir Nuttall, Kate Miller-Heidke) enjoyed a premiere staging in Brisbane.

The program for this instalment of Home Grown was bookended by songs from upcoming professional seasons. Teenager Annie Jones kickstarted proceedings by belting Lydia’s lament “Dead Mom” from Beetlejuice the Musical (Eddie Perfect) and Kala Gare, supported by Connor Morel, memorably brought home the night with Rita’s “If I Had My Time Again” from Groundhog Day the Musical (Tim Minchin). 

Commemorating 20 years since the passing of Nick Enright, Imogen Spendlove thrillingly revived Bonnie-Mae’s torch song “I’ll Hold On” from Miracle City (Enright, Max Lambert). 

If the sense of a theme is coming through here, it is that this instalment of Home Grown was definitely a night for powerhouse female vocals. 

Belting “Hard As A Diamond,” Chelsea Gibb unleashed a devilish force as evil queen Eve, soon to be seen in a concert season of Villainy (Craig Christie). Strong vocals and gorgeous harmonies from peak trio Bree Tipoki, Danielle Matthews, and Angela Scundi brought vibrant life to “Cold War” from Confessions, a female spy musical.

Gare brought the house down with the premiere performance of “Delete The Crush,” which composer Yve Blake (of Fangirls mega-fame) mysteriously introduced without sharing the title or plot of her new musical.

Gentler numbers included Deirdre Khoo singing the endearing I Wish song “City of My Dreams” from The White Rose (Isabella Dymalovski, Oliver Thomson). “Found” from Gary is Jesus (Conor Neylon & Jackson Peele) was a true standout in the first half, with Ariana Rigazzi delivering a beautiful vocal line that sweetly enhanced the lovely tune and lyrics.

Mel O’Brien nailed the very funny lyrics of “Friends,” the first of two songs from Westberg (Darby James), a comedy thriller musical about a share house after an alien apocalypse. Anisha Senarante followed with sweet, optimistic ballad “Who I’ll Be.”

Another amusing number was the duet “Love is Dead” from “Jack of Two Trades” (Lucy O’Brien, Andrew Strano), sung with deadpan humour by Sean Donehue and Bek Schilling. 

Cassie Hamilton had the audience in the palm of her hand with a pair of songs from her own musical A Transgender Woman On The Internet, Crying. Performing to sharply arranged backing tracks, Hamilton scored abundant laughs with “Grinding on Grindr,” continuing the personal connection with “Is This What You Came For.”

Also performing their own material to stirring effect, Samuel Gaskin shared “Pressure” from RECKŌNING, the presentation completed with AV images and a recorded backing track. Gaskin’s heartfelt reflection of the timing of his appearance coming after the disappointment of the Referendum vote on the weekend moved the audience to give a full standing ovation. 

An I Wish song with the power of an 11 o’clock number, “Someone” from Caesar (Joey Dessman) raised the roof, as sung by Callum Warrender who landed an extraordinary final note.

Delightful host Gillian Cosgriff moved the evening along with delectably daffy humour and sharp comic delivery. Cosgriff treated the audience to her own wonderfully witty song “Presents,” which captures the sinking dread and guilt that accompany an unwelcome but well intentioned gift.

There is nothing but welcome gifts to be enjoyed at Home Grown. The tenth anniversary celebrations of 2024 are keenly anticipated. 

Home Grown: Musical Theatre by Australian Writers played at Chapel off Chapel, Melbourne on Monday 16 October 2023. 

The Home Grown: Musical Theatre by Australian Writers program can be read online. 

Revived and revised by Classic Stage Company, 1962 Broadway musical I Can Get It for You Wholesale benefits from a starry cast and darkly sharpened book. 

Famous for uncovering the young Barbra Streisand, golden age musical I Can Get It for You Wholesale is rarely seen, making this current season all the more appealing and intriguing. In an interesting connection, Jerome Weidman’s book (based on his novel) has been revised by his son John Weidman, himself an accomplished librettist. 

Returning the first person narration to antihero Harry Bogen, John Weidman and director Trip Cullman take advantage of the sheer likability of lead performer Santino Fontana, very effectively creating a sense of rising unease in the audience as Harry’s ruthlessly self-centred character comes to light.

Swiftly established as an industrious yet vulnerable boy in the balletic prologue, Harry goes on to bust a shipping strike by starting his own delivery company in New York’s garment district of the 1930s. Flush with success, Harry spoils his doting mother Mrs Bogen (Judy Kuhn), romances dear Ruthie Rivkin (Rebecca Naomi Jones), and beds Broadway star Martha Mills (Joy Woods). 

Additional casualties of Harry’s wanton destruction include best friend and partner Meyer Bushkin (Adam Chanler-Berat) and his wife Bianche Bushkin (Sarah Steele). 

The new book ensures that Harry pays for his recklessness, clearly indicating that there is no place for selfishness in a close community. 

Working from David Chase’s adaptations and arrangements, music director and orchestrator Jacinth Greywoode leads five fellow musicians in an economically reduced performance of Harold Rome’s score. There is a sense that Rome’s fascinating music would sound better with a more lavish band, but the quality vocals of singers such as Fontana and Kuhn go a long way to offset this. 

Mark Wendland’s scenic design sees the cast continually arrange a set of tables and chairs, with the New York City skyline represented upstage by silhouettes of bobbins and mannequins as part of the rag trade setting. 

Ann Hould-Ward’s costumes and J. Jared Jonas’ wigs are brimming with period flair. It is just a shame that the climactic act one fashion parade is compered but not not actually seen, breaking one of the theatrical rules for success: show, don’t tell. 

One of Broadway’s very best musical theatre actors of recent years, Santino Fontana is in reliably plummy voice, looking sprightly and boyish even in the very close proximity of the tight house at Classic Stage. Fontana leans into Harry’s darkness, not flinching in his commitment to portraying the irredeemable villain. 

A quick mention of one memorable incident at this performance: Fontana came on stage for act two without a crucial prop in his pocket. The only thing more endearing than his ad libs to cover his quick dash to retrieve the prop was the muffled cry of anguish heard from a member of the backstage crew. 

Judy Kuhn is all class as Mrs Bogen (thankfully, that surname does not have the same implication in the US as “bogan” does in Australia). 

Rebecca Naomi Jones captures all audience hearts as the vulnerable yet determined Ruthie. Adam Chanler-Berat and Sarah Steele are sweetly endearing as Meyer and Bianche, making the couple’s plight all the more moving. 

In the Streisand role of secretary Miss Marmelstein, Julia Lester is a characterful delight, stopping the show in act one with her character’s self-titled song.

An incredible chance to see such a strong cast up close and personal, the season of I Can Get It for You Wholesale also provides the welcome opportunity to visit / revisit a bygone Broadway musical. 

Footnote: this may be too early to call, but are Playbills on deathwatch? Classic Stage works sustainably by providing the smallest possible cast sheet, with a QR code link to the 45-page program online. 

I Can Get It For You Wholesale plays at Classic Stage Company, New York until 17 December 2023. For tickets, click here.

The I Can Get It For You Wholesale program can be read online. 

The I Can Get It For You Wholesale show guide can be read online. 

Photos: Julieta Cervantes

Compelling modern classic Miss Saigon makes as strong as possible a case for its return, with a spectacular staging and sensational cast. 

Having missed out on the Australian premiere season in 1995, Melbourne audiences were pleased to finally see Miss Saigon at Her Majesty’s Theatre in 2007. Fifteen years later, the show is back at the same theatre, filling the space far more grandly with Matt Kinley and Totie Driver’s lavish production designs.

The pedigree of this new season harks back to the 2014 West End revival, which was filmed for home cinema and also transferred to Broadway in 2017. The sympathetic and insightful work of director Laurence Connor is continued by Australian production director Jean Pierre van der Spuy. Stage energy is at a premium, successfully creating a vivid sense of life in every scene. Musical staging by Bob Avian and Geoffrey Garratt utilises the generously sized cast to conjure grand pageantry. 

While it is hard to overstate the spectacle of the now-famous helicopter, which arrives at the peak of the drama in a crucial flashback sequence, it is important to note that the human drama of Miss Saigon more than withstands the presence of any such theatrical device.

Controversy has tended to follow Miss Saigon since its 1990 premiere, in which a caucasian male played a mixed race lead role. It is pleasing to note that casting for this season cuts no corners to present the most talented performers in roles that befit their nationalities. Also, the respectful incorporation of customs and rituals seems more prevalent in this staging. 

While it may seem perverse to create a stage entertainment from a time of great difficulty, Miss Saigon follows a centuries-old tradition to stage tragedies. The story here is certainly played as a searing tragedy, the affecting impact of which prevails beyond the final curtain. 

Claude-Michel Schönberg’s score for Miss Saigon may be generally considered second best after Les Misérables but that is far from a damning comparison, the gorgeous romantic melodies of Miss Saigon now beloved in their own right. Lyrics by Alain Boublil and Richard Maltby, Jr have been tweaked with additional lyrics by Michael Mahler for a smooth, modern tone.

Schönberg’s music benefits from one of the world’s best musical supervisors in Guy Simpson for the Australia production, with Orchestra Victoria under the experienced baton of Laura Tipoki for a lush, colourful musical performance. Vocals are also at a premium, with the overall sound design of Mick Potter (supported in Australia by Shelly Lee) presenting a clarion, impeccably balanced mix. 

Looking back over the history of radical breakout performances in musical theatre, the best comparison of the extraordinary reinterpretation of The Engineer by Seann Miley Moore would have to be Alan Cumming’s original outrageous turn as The Emcee in Sam Mendes’ 1998 revival of Cabaret. Moore redefines The Engineer from the inside out, infusing every possible aspect of the role with an emotionally intelligent, devastatingly affecting blend of devilishly driven desperation mixed with kittenishly playful high camp. 

The success of Moore’s performance rests on the fact that the interpretation perfectly fits the existing material, as well as the fact that Moore has the sheer talent to pull off the audacious work to an immaculately high, fully realised standard. This is a performance for the ages and demands to be seen by all devotees of musical theatre. 

Far from carrying the show, Moore is more than capably supported by a well chosen, highly talented ensemble of lead players.

Abigail Adriano makes an outstanding professional lead role debut as Kim, singing the role like a dream and grounding the tragedy with her aching vulnerability. Completely believable in her arc from innocent youth to blazingly determined mother, Adriano instantly takes herself to the top tier of actresses to have played this highly demanding role.

Enjoying an international career, Australian-American tenor Nigel Huckle returns to play passionate US GI Chris. Huckle’s handsome, open face engagingly conveys the irresistible lure of romance, his innate likability creating a captivating conflict for the audience in regard to the character’s intrinsically bad behaviour. 

Huckle and Adriano sweep the audience along in the first half of act one as Chris and Kim’s whirlwind romance unfolds, the intensity of their passion underscoring the remainder of the drama. 

Talented singing actress Kerrie Anne Greenland plays Chris’ US wife Ellen with a maturity that belies her years.  

As Chris’ best friend John, Nick Afoa gives a touching performance as the character’s authentic masculinity melts away in later life.

The dramatic impact of Kim’s betrothed Thuy is slightly undermined by Laurence Mossman’s baby faced appearance, although this equally serves to underscore the message that these are children thrown into the hell of war. Mossman nonetheless pays the role with full dramatic intensity. Kimberley Hodgson makes a memorable impression as Kim’s Dreamland compatriot Gigi, giving a beautiful rendition of elegantly wistful I wish song “The Movie in My Mind.”

The full ensemble works as one to bring the era and story to vivid life.

Any local musical theatre fans who think they have already seen Miss Saigon are impelled to return for this superb production; newcomers should prepare to be absolutely blown away.

Miss Saigon plays at Her Majesty’s Theatre, Melbourne until 16 December 2023. For tickets, click here.

Footnote: the pre-show message about mobile phones not being invented yet was cute at Hairspray but the tone is misplaced for the drama of Miss Saigon.

Photos: Daniel Boud

Pre-golden age musical Pal Joey goes through the re-write ringer to become a Rodgers and Hart jukebox musical to mildly entertaining but forgettable overall effect.

You know you’re watching a dance show when the leading man gets dressed after a bedroom love scene and puts his tap shoes back on.

And you know a dance show is in trouble when the comic leads earn the most enthusiastic applause.

This time last year, venerable institution New York City Center, home of the iconic Encores! series, struck gold with their gala season of Parade, which transferred to Broadway and won the Best Revival of a Musical Tony Award. This year’s gala season is a splashy affair, close to fully staged and fully cast, and yet the material itself lets down the show, despite the amount of work that has clearly been expended.

Bowing on Broadway only three years before Oklahoma!, Pal Joey has long been known for a troubled book; not surprising given that book musicals were not quite invented at the time. 

Based on the work of John O’Hara (in turn based on his own novel), the new book by Richard Lagravenese and Daniel “Koa” Beaty keeps the same Chicago nightclub setting and roughly the same time period, making the significant change to several lead roles, including Joey, as black characters. (The same conceit was already used last season with Some Like It Hot to more entertaining and impactful effect). 

The City Centre Encores! 1995 cast recording of their Pal Joey is an all time gem, making the excising of several songs here a disappointment, not to mention the vastly reduced orchestrations, with a Big Band sound but played a by a not-very-big band. In place of the cut songs are multiple other Rodgers and Hart classics, primarily from The Boys from Syracuse and Babes in Arms (both also memorably recorded after their Encores! seasons). 

The jukebox label is particularly apt given that so many of the songs are sung as performances by the night-club characters, ie not in any sort of characterful / storytelling context. Worse still, many songs are not just altered almost beyond recognition but are also frequently interrupted and cut. Only the occasional song that is allowed to really take flight lands with any value. 

Joey Evans is a something of a cad, juggling romances to help himself get ahead as a nightclub  entertainer. He cheats on sweet singer Linda with wealthy widow Vera Simpson, not that there is much of an impact to Linda discovering this. Mrs Simpson tries to constrain Joey to please high-paying white audiences but on the big night, surprise, surprise, he buckles and blows everything with a performance that is true to his own style.

Pal Joey is co-directed by Tony Goldwyn and tap legend Savion Glover, who also not only choreographs but also performs on stage as part of Joey’s shadowy Greek Chorus of tappers. Several dance sequences reach quite thrilling levels and yet only leave the lasting impression of watching a dance concert. 

Triple threat Ephraim Sykes gives Joey his all, walking away with a very respectable lead performance. 

Aisha Jackson charms in the completely underwritten role of Linda, soaring through cherished standards “Where or When” and “My Funny Valentine.”

Elizabeth Stanley plays Vera Simpson as just a little too modern and unencumbered by morals; she does, however, sing a meticulously calibrated rendition of Pal Joey’s most enduring hit “Bewitched, Bothered and Bewildered,” starting soft and low before building to a genuinely stirring climax. 

Switched to a male performer, columnist Melvin Snyder provides Brooks Ashmanskas with choice cameo number “Zip,” in which he readily delights the audience. 

Basically stealing the show is Broadway legend Loretta Devine, nailing every comic line and singing and dancing with her trademark lashings of infectious verve.

If this season is a bust, there is no telling when or if Pal Joey will see the stage again. At least the world still has the 1995 recording. 

Pal Joey plays at New York City Center until 5 November 2023. For tickets, click here.

Photos: Joan Marcus

Boldly bizarre and and blessedly bittersweet, the final Stephen Sondheim musical Here We Are enjoys a world premiere season with high production values and a truly starry cast. 

A quick word first about the venue at the multi-billion dollar newly developed Hudson Yards, easily reached by subway on the 7 in the lower 30s on Manhattan’s west side. The Griffith Theatre, housed within the complex known as The Shed, has a black box off-Broadway vibe with an abundance of adaptable seating and every technical trick known to theatre, including, in this case, both fire and water on stage. 

A work in progress for over ten years, the trivially titled Here We Are is a collaboration between Sondheim and playwright David Ives, with direction by the redoubtable Joe Mantello. Sondheim’s score benefits from the masterful input of longtime collaborators Alexander Gemignani (musical supervision and additional arrangements) and Jonathan Tunick (orchestrations). 

With the loosest possible nod to commedia dell’arte, the story features characters who spend each of two acts on on two missions. Ives and Sondheim have stitched together two unrelated Luis Buñuel-directed films by using the same collection of characters.

In act one, the adaptation of The Discreet Charm of the Bourgeoisie (1972) sees a bourgeois claque of New Yorkers meet for brunch but then be unable to find anywhere to eat. Having set upon a fictional foreign embassy, the adaptation of the The Exterminating Angel (1962) sees the group spend the second act trying to leave. 

As with all Sondheim scores, categorisation defies description. The closest relation might be the dreamier elements of Passion, with the some ensemble moments hinting at A Little Night Music. With first rate musical preparation and performances, the songs are certainly heard in their best possible light. Playing backstage completely out of sight, the 14 talented musicians thankfully grace the stage for the curtain calls. 

Creating a debate that may be argued for decades to come, the songs come to a stop not far into act two. Was this the deliberate plan or did Sondheim leave this world before completing the score? Direction and performances are geared towards the latter; with all characters clearly established, the period of roughly 45 minutes allows for full focus upon the tension of the situation, ultimately leading to a cathartic resolution before Ives has one last surprise in store. 

David Zinn’s scenic design begins simply with just a stark white space. Various dining locations are conjured by ingenious flies and the appearance of hidden scenic elements. Act two opens with a grand coup de theatre for the transition to the embassy interior. Natasha Katz’s lighting design is a key aspect in the visual appeal of the glossy staging. Zinn’s sharp costumes speak volumes about the characters, from socialite to sacristan and from Romeo to revolutionary. 

Mantello has an easy enough time in act one, with the engine driven by the continued addition of new characters. Act two sees the full cast remain on stage for the whole time; the fascinating  variation in positions, combinations, focus, and energy levels is masterful. 

What singing actor worth their salt would turn down the opportunity to perform in a world premiere Sondheim musical? 

Radiant in powder blue négligée and peignoir, Rachel Bay Jones garners audience affection as sweetly vapid socialite Marianne Brink. Every bit the goodfella in velour leisure suit, Bobby Cannavale gives a gruffly entitled vibe as Marianne’s husband Leo Brink. Hiding their revolutionary leanings, Marianne’s sibling Francis Fritz is given a deliberately enigmatic portrayal by Micaela Diamond. 

Blessed with a stunning pair of sapphire Fendi pumps, Amber Gray amusingly captures the neurotic tendencies of power broker Claudia Bursik-Zimmer. Jeremy Shamos submits to the hen-pecked nature of Claudia’s husband Paul Zimmer. 

Steven Pasquale, thankfully given a romantic ballad, plays the exotic polyamorous Raffael Santello Di Santucci. David Hyde Pierce is reliably delightful as the Bishop, closet lover of women’s shoes. 

In multiple roles of servitude, Tracie Bennett and Denis O’Hare work through a year’s worth of wigs and costumes, varying their caricatures with delicious inventiveness. 

Here We Are may not be crafted for widespread appeal, but as one last precious gift from Stephen Sondheim, it is pleasing to see the new musical produced so lavishly and exactingly. 

Here We Are plays at The Shed, New York until 21 January 2024. For tickets, click here.

Photos: Emilio Madrid 

Smart idea! Rather than creating a tedious old bio-musical, recording sensation Alicia Keys has opened her mighty catalogue to an origin story, with new musical Hell’s Kitchen focusing simply upon a single tumultuous summer in the life of a young woman on the cusp of artistry.

With Keys heavily involved in creation and production of Hell’s Kitchen, and penning four additional songs, the resulting musical is as authentic and heartfelt as it is highly entertaining. 

While the scenario of a blossoming teenage girl railing against her mother is far from original, the exhilarating music and razor sharp choreography serve to significantly elevate proceedings. Seventeen-year-old Ali lives with her mother in Manhattan Plaza, a subsidised building for artists. There is a general In The Heights vibe to the warm community of characters and the snap and fizz of the choreography. 

Kristoffer Diaz’s book saves character development for a tight subset of key roles, the remaining friends and neighbours being more broadly drawn. While a significant amount of the storytelling is without much tension, veteran Broadway director Michael Greif shapes the overall arc to land a moving emotional development late in act two and bring the musical to a satisfying and uplifting conclusion. 

Keys’ legion fans will revel in the opportunity to hear her songs in this context and with the music played and sung so strongly. Six musicians perform on stage, suspended overhead on mobile balcony-like sets, designed by Robert Brill. 

Camille A. Brown’s choreography is a clear highlight of Hell’s Kitchen, both in regard to the creativity of the unique dance vocabulary and to the sheer strength with which it is performed. The combination of Keys’ music and Brown’s choreography is genuinely exciting and will be a clear attraction to the show’s life beyond this world premiere off-Broadway season. 

Animated projections by Peter Nigrini threaten to turn some songs into music video clips and yet yet the vibrancy of the protections is a neat match for the performance energy on stage. Outfitting the cast in funky street wear, costume designer Dede Ayite tends towards authenticity rather than theatricality, grounding the characters firmly in realism. 

Clearly produced with great confidence, the sharp combination of all aspects of design places the show at a stellar standard at this early stage in its life. (If there is one weak spot in the design it is a flashback to the mother’s youth that sees everyone suddenly dressed like the company of Hair). 

On par with, say, Eva Peron, the role of Ali is an extraordinary showcase, one that newcomer Maleah Joi Moon embraces for all she is worth. This is a star-making performance, not least for the strong bond Moon is required to make by frequently breaking the fourth wall and sharing her story directly wth the audience. Moon manages to keep Ali entirely likeable, even when the rebellious teen is clearly behaving badly, and her vocal performance is an attraction all of its own.

With such a large teen role at the centre, the creators have smartly stacked the deck of adults with stellar experienced talents. 

Shoshana Bean brings the perfect blend of strength and warmth to Ali’s harried mother Jersey. 

Brandon Victor Dixon is in super smooth form as Ali’s father Davis, called back to the scene by Jersey in her desperation to get through to Ali. Bean and Dixon sing a romantically flirtatious duet that has the audience all steamed up.

Ali’s piano mentor Miss Liza Jane is played with abundant grace and heart by Kecia Lewis. 

As clear a candidate for a Broadway transfer as is likely to be seen downtown, Hell’s Kitchen surely has a long and successful life ahead. 

Hell’s Kitchen plays at Public Theater, New York until 7 January 2024. For tickets, click here.

The Hell’s Kitchen playbill can be read online. 

Rehearsal photos: Joan Marcus

Spectacular feel-good entertainment, Back to The Future: The Musical combines peak Hollywood nostalgia with modern Broadway magic for a dazzling trip back to the past. 

For Gen X fans, Back to the Future represents a special time of travelling to the city to see a movie, when multiplexes and their franchised tent-pole blockbusters were all but a twinkle in a studio mogul’s eye.

Back to the Future is a brilliant idea for a stage-to-screen adaptation. Not only are ticket-buying parents the right age but the settings provide the creative team with two retro time periods to recreate. It is also a ripper of a story, with terrific early beats when Marty goes back in time and a plethora of fabulous payoffs at the climactic end of proceedings.

Back to The Future: The Musical opened in the UK in 2020, playing on the West End since 2021 and winning the Olivier Award for Best New Musical in 2022. The Broadway season at the landmark Winter Garden Theatre opened in June of this year.

With a book by Bob Gale (who co-wrote the screenplay with director Robert Zemeckis), the plot of Back to The Future: The Musical closely follows the movie, just excising the gun violence of the Libyan terrorists. Some famous lines, a couple of songs, and plenty of iconic moments are recreated, but director John Rando makes the wise decision to give stage Marty and Doc their own personality, banter, and energy. 

The movie readily opens up in to a musical with the merry Hill Valley townsfolk clad in distinctly garish 1980s before moving to the Rydell-like 1950s high school and malt shop. When Doc sings, dreamy back up singers and dancers miraculously appear. 

Original movie composer Alan Silvestri co-writes the music and lyrics for Back to The Future: The Musical with prolific songwriter Glen Ballard. The songs work very well in the context of the show but there are few if any memorable melodies to stand on their own. Rando and choreographer Chris Bailey compensate effectively with 1.21 gigawatt energy for all the company numbers, with further heavy lifting from video, lightning, scenic, and costume design. 

Design elements are at their zenith with the super slick creation of the DeLorean itself. So amazing are the scenes with the time-travelling car that it is testament to the quality of the book, direction, and performances that the regular scenes more than hold up in comparison, with the audience cheering That Kiss at the Enchantment Under the Sea dance practically as much as the incredible flight of the DeLorean.

Having travelled to London to originate the role of madcap inventor Doc Brown, veteran stage and screen star Roger Bart continues in the role for the Broadway engagement. With the role amped up with a number of lively songs, Bart is a natural fit for the role, making the character his own with zany comic invention and energy. 

As Marty McFly, Casey Likes proves himself an extraordinarily charismatic lead performer, singing, dancing, skate boarding, and playing guitar all without breaking even the slightest sweat. Likes has a charming sparkle and conveys the authentic vim and vigour of young Marty in convincing and endearing style. 

UK actor Hugh Coles also continues from the West End premiere, giving underdog George McFly a quirky bundle of ticks and raw nerves. 

Family entertainment of the highest order, Back to The Future: The Musical is guaranteed to impress all but the most cynical of theatregoers. Hopes are high for an Australian season before too long at all. 

Back to the Future plays at Winter Garden Theatre, New York. For tickets, click here. 

Photos: Matthew Murphy

Never have the lyrics of “It’s a hit!” been sweeter than in this boffo Broadway revival of Old Friend Merrily We Roll Along, which already stands as a certified palpable hit. 

Based on the 2012 London production, which was filmed for cinema release in 2013, Merrily We Roll Along enjoys its first Broadway outing since its ill-fated, much-chronicled original 1982 production directed by Hal Prince. 

What has changed in the meantime? The Stephen Sondheim score is known and loved by musical theatre aficionados, the all-youth casting is long gone, but perhaps most simply and yet significantly, audiences raised on premium TV fare are perfectly capable of following the fractured timeline of George Furth’s book.

Director Maria Friedman, who once played Mary herself, returns to direct her 2012 London staging for Broadway, having re-tuned proceedings with a twelve week warm-up off-Broadway this time last year. The level of nuance and insight in Friedman’s direction is breathtaking. She clearly knows these characters inside out and has mined the text, with her superb cast, for every possible skerrick of meaning and connection. 

The casting of three huge stars in the lead roles appears to put the focus squarely on the central trio but watching the performance it is clear that this is Franklin Shepard’s story. The reverse-direction life reflection begins and ends from Frank’s perspective. The subject of multiple declarations of love, romantic and fraternal, Frank is the sun and the universe orbits around him. 

Friedman’s sharp direction ensures that all connections and “Easter eggs” are seen with satisfying clarity. Pathos of the drama is genuinely heartfelt, balanced neatly with welcome comic moments that land with similar flair. 

Production for Broadway is wisely understated, eschewing any sort of unnecessarily lavish or technical design elements to keep focus trained upon the multi-faceted lead characters. Soutra Gilmour recreates her single set design, the band positioned overhead and a couple of hidden glitter curtains ready to establish show-within-a-show scenes.

Similarly unshowy, Gilmour’s costumes are deliberately muted in brown, black, and white. The most striking costumes are the crisp black and white geometric outfits for the Gussie and Joe’s early 1960s party, as well as Gussie’s dazzling shimmery silver gown for “Gussie’s Opening Number.” In an interesting touch, the three leads, especially the two men, wear basically the same costume for the whole show, consolidating the idea that the memory is all in Franklin’s mind.

Music director Joel Fram ensures that Jonathan Tunick’s orchestrations of Sondheim’s score sound crisp and expressive, although the music could have sounded lusher with more than 13 musicians in the band. 

In arguably the best work of his career, Jonathan Groff sets aside his boyish breeziness to play a troubled and troubling man. Groff captures the entitlement and weakness around temptation that characterise Frank whilst always playing an affecting streak of vulnerability and self-doubt that makes him truly compelling. When Frank falls to the ground in tears outside the divorce court, so real is Groff’s performance that it is almost too painful to watch. A generous performer, his chemistry with all co-stars is warmly real.

Daniel Radcliffe furthers his terrific musical theatre performance in How To Succeed in Business Without Really Trying (2011) with this technical and exacting performance as Charley Kringas. His finely calibrated rendition of patter breakdown “Franklin Shepard, Inc” is an electric early showstopper. Radcliffe ensures that noble Charley is sweetly sympathetic and yet firmly determined when necessary. 

Lindsay Mendez appears born to play Mary, throwing herself into the prickly role with a disarming absence of vanity, Mendez scores every laugh from Mary’s snarky asides, with the character’s warmth and tenderness all the more appreciated when it is allowed to appear. 

In the very capable hands of Krystal Joy Brown, the depth of Gussie’s arc is keenly observed. Brown brings out a different look for each phase of the actress’ life, allowing the character’s status at each stage to inform her physical and vocal performance. 

Blessed with a highly characterful voice, Reg Rogers enlivens the supporting role of Broadway producer Joe Josephson. 

This season’s white hot ticket, Merrily We Roll Along is a production to be cherished by the legion of longtime fans of the musical. The mainstream popularity is sure to attract new comers, who are set to fall in love with the characters and music afresh. 

Merrily We Roll Along plays Hudson Theatre, New York. For tickets, click here. 

Photos: Matthew Murphy

Boldly producing the work on a grand scale, creative team members behind Hamilton transport gothic musical thriller Sweeney Todd across to mainstream popularity with inspiring and electrifying results. 

Showing supreme confidence in the enduring quality of Sweeney Todd and its potential for broad appeal, director Thomas Kail collaborates with Hamilton lead producer Jeffrey Sellers on this epic new production. Filling the mighty Lunt-Fontanne stage with grandeur, the production has regularly filled the 1500-seat auditorium since officially opening in March of this year. 

There is a sense that only the Hamilton team could achieve such a stirring result, showing utter respect for the material whilst also presenting it for mass popular consumption. As written by revered composer Stephen Sondheim, Sweeney Todd tends toward the operatic, and yet here is a full house cheering with all their might for “Epiphany,” “A Little Priest,” and “By The Sea.” What do  the audience members make of the dissonance of “The Letter” and the elegant sophistication of “Johanna (Quartet)”? They appear to take it all in their stride, coming out all the musically richer for the experience. 

Scenic design by Mimi Lien makes dexterous use of a (traditional) overhead bridge and large set pieces all sitting under a massive arch. A further arch in the rear frames an abstract, smudgy representation of the city scape, able to atmospherically backlit by lighting designer Natasha Katz.  Katz makes extensive use of the dark, deftly pinpointing scenes and characters with tight shafts of light.  

The setting also features a stage left crane that delivers the new barber chair and rotates to contain Fogg’s Asylum. Above all, the cleverest touch of Lien’s design is that the bridge and rear arch are both on a slight angle, giving the overall stage picture a subtly nightmarish vibe. 

As would be expected in a production of this scale, the blood effect for the cutting of throats is suitably and creepily realistic, and the ride for each new corpse from the chair to the underfloor bakehouse is devilishly effective. 

Emilio Sosa’s costume design serves the principal characters well but is particularly impressive for the ensemble, who each appear individually attired in detailed period costumes on a scale usually only seen in opera. 

Lavish production values continue with the orchestra, which boasts a generous contingent of 27 musicians, expertly bringing rich, vivid life to Sondheim’s music, as orchestrated by Jonathan Tunick and supervised by Alex Lacamoire. 

Steven Hoggett’s choreography appears to take its cue for the choppy vocals sung by the ensemble in “God, That’s Good!”, featuring non-naturalistic, somewhat jerky moves, and a recurring movement whereby the company tilt and regain their footing as if on a heaving boat. 

Crossover artist Josh Groban may not be everyone’s idea of an intimidating Sweeney Todd, and yet his vocal tone has the requisite baritone and he acts the role with full grisly intent. There may be the absence of a natural growl in his voice, but signature numbers like “My Friends” and “Epiphany” sound rather glorious. 

Established Broadway star Annaleigh Ashford is a sheer delight as Mrs Lovett, imbuing the lusty, bloodthirsty woman with all manner of quirky vocal inflections and physical comedy, scoring abundant laughs along the way. Ashford’s Nellie is instantly drawn physically to Todd, and never finds herself far from his physique. The depth of Ashford’s performance is seen in the variety of styles she displays, in particular, taking on a totally different vocal and physical style when caring for Toby in “Not While I’m Around.”

Ashford and Groban enjoy clear chemistry, and Groban willingly submits himself as straight man to Ashford’s entangled romantic ministrations and delicious comic timing. 

Maria Bilbao interprets dear Johanna as basically deservedly finding herself in the asylum, such is the vacant mania she displays as Johanna crumbles under the ruthless attention of Judge Turpin, played with regal flair by Jamie Jackson. Ruthie Ann Miles brings enormous dignity and gravity to the Beggar Woman. 

A must-see production for all visitors to New York, the current staging of Sweeney Todd is as classy and memorable a production as a devoted theatregoer could hope to see. 

Sweeney Todd plays at Lunt-Fontanne Theatre, New York. For tickets, click here.

Photos: Matthew Murphy, Evan Zimmerman

A labour of love borne out over some 25 years, Barry Manilow and Bruce Sussman musical Harmony finally makes it to Broadway, at a time when, as ever, the musical’s powerful plea for peace is sadly as relevant and necessary as ever. 

Creatively and entertainingly telling a true story, Harmony serves to keep alive the memory of The Comedian Harmonists, a vibrantly talented, highly successful group of six young men who enhanced their lush harmonic vocals with mischievous comedy. Formed in Berlin in the 1920s and performing into the early 1930s, the group made multiple recordings and movies, touring the world to perform for legions of devoted fans. 

When word comes that the Nazi party has risen to power in Germany, the group makes the fateful choice to travel “home,” setting in motion increasingly traumatic treatment of the performers based on the Jewish contingent of their group. 

As a piece of musical theatre, Harmony has a unique blend of delightful entertainment and moving drama. A memory play presided over by the character of long surviving member “Rabbi,” the musical features fabulous production numbers showcasing the style of music and comedy performed by The Comedian Harmonists. 

With relatively simple staging elements, director / choreographer Warren Carlyle keeps the focus squarely upon the six young men. Show-stopping numbers such as “How Can I Serve You, Madame?”, “We’re Goin’ Loco!”,  and “Come to the Fatherland!” are a joy to watch, but there is often a sting in the tale of such scenes. As the musical progresses, the Nazi presence rises inexorably, ultimately taking a direct toll on the group.

Much as his career is rooted in pop, Manilow’s music is perfectly suited to musical theatre. Repeated melody lines are instantly accessible, leaving the audience with tunes to hum after the show. Following brisk early exposition, the musical really takes off with gorgeous ballad “Every Single Day,” sung by Rabbi. A second ballad highlight is the tender act two duet between devoted wives Mary and Ruth, “Where You Go.” 

Broadway royalty, Chip Zien masterfully inhabits the elder Rabbi, connecting deeply with the audience and also having fun with a slew of cheeky cameo roles; every time an older man comes into the story, there he is. Such is Zien’s command of the material and the audience, when he is finally outlining the fates of the six men, the whole house listens in respectful attentive silence. 

The six performers of The Comedian Harmonists are wonderfully cast, each bringing distinctive talent and presence to their role: Bobby (Sean Bell), Rabbi (Danny Kornfeld), Harry (Zal Owen), Erich (Eric Peters), Chopin (Blake Roman), Lesh (Steven Telsey).

Feisty Ruth is brought endearingly to life by fast rising star Julie Benko. Mary, wife of Rabbi, is played with delicate sweetness by star soprano Sierra Boggess.

A bittersweet tale, to look at Harmony in the most positive light is to rejoice in the opportunity to keep the memory of The Comedic Harmonists alive and to take inspiration from the keenly felt message of the role of every person in preventing unchecked cruelty. 

Harmony plays at Ethel Barrymore Theatre, New York. For tickets, click here.

Photos: #1-#5 Julieta Cervantes; #6 Adam Riemer

Full to overflowing with feel-good frivolity, Spamalot merrily makes a welcome return to Broadway with a top flight comedy cast and glossy new production. 

Hailing from a banner year for Broadway, Spamalot won the 2005 Best Musical Tony Award over a particularly strong and successful set of competitors: Dirty Rotten Scoundrels, The Light in the Piazza, and The 25th Annual Putnam County Spelling Bee. 

Based upon “Lovingly ripped off from” the movie Monty Python and the Holy Grail, original Python Eric Idle slickly blends the movie with iconic Monty Python skits plus fresh material for a ripping result. Compared to lesser works that have followed, it is uplifting to see just how briskly economical and genuinely funny Spamalot is, more than holding up to the passage of time. 

As well as being wickedly funny, Spamalot boasts a beating heart of traditional musical comedy. With cheeky nods to shows from West Side Story and Fiddler on the Roof to The Phantom of the Opera and Les Misérables, Spamalot knows its place in the canon, delivering crowd-pleasing production numbers on par with the best of them. “Knights of the Round Table” is a fabulous Vegas-inspired act one showstopper, “Run Away” is a grand act one finale, and “You Won’t Succeed on Broadway” is just one of the splashy numbers in act two. 

Idle’s book maintains a breathless pace and, having also written the lyrics, the neatly integrated songs are as funny as the scenes. Co-written with John du Prez, the toe-tapping score is terrifically catchy. 

Making a significant career leap with justifiable confidence, Josh Rhodes performs double duty as director and choreographer, delivering an effortless flow of splashy song and dance, balanced with sharp character comedy work and crisp story telling. 

Featuring a striking combination of scenic and projection design by Paul Tate dePoo III, the setting houses a full width battlement at stage level backed by stunning projections for the top half of the set. Jen Capri’s costumes nod to the original production, also delving glamorously into further flights of fancy. 

A known quantity, Spamalot has attracted a stellar comic cast for this splashy revival. 

James Monroe Iglehart (Aladdin) plays it relatively straight as King Arthur, accompanied by Christopher Fitzgerald (Waitress) as the nobly subservient Patsy.

Michael Urie (Ugly Betty) is delightfully fey as fearful Sir Robin. Newcomer Nik Walker breaks out as Sir Galahad. Subbing for Alex Brightman (School of Rock) until January, Taran Killam (Hamilton) steps up as Sir Lancelot.

Fitzgerald, Urie, Walker, and Killam capably demonstrate their range by playing multiple unique featured roles, as does acrobatic comic talent Ethan Slater (Spongebob Squarepants the Musical) in a mind-blowing cavalcade of quirky, distinctive roles. 

All this, plus choice Broadway comedienne Leslie Rodriguez Kritzer (Beetlejuice the Musical) as The Lady of the Lake. Bringing the glamour (with thanks, apparently, to Ozempic), Kritzer makes a splash with devilishly expressive vocal stylings. 

Pretty much the most fun that can be currently enjoyed on Broadway, Spamalot is set for a bumper return season. A good time is guaranteed for all. 

Monty Python’s Spamalot plays at St James Theatre, New York. For tickets, click here.

Character photos: Matthew Murphy

Everybody Say Yeah! Kinky Boots is joyously revived by James Terry Collective in a super slick production that is slightly smaller in scale but sky high in talent.

This new life as an independent production has a parallel to New York. Having won six 2013 Tony Awards including Best Musical, Kinky Boots closed on Broadway after six years and then recently reopened off-Broadway. 

Having eclipsed the source material, which was a little-seen 2005 British film, juggernaut stage musical Kinky Boots boasts music and lyrics by pop icon Cyndi Lauper and book by prolific Broadway scribe Harvey Fierstein. Fierstein’s book is judiciously lighter on his usual zingy one-liners and endearingly big on pride and heart. Lauper’s peppy score may have an over reliance on repetitive lyrics but is brimming with infectious tunes propelled by an authentic disco pulse and authentic Broadway ballads.

The raw humanity of Kinky Boots benefits from the relatively intimate setting of Chapel off Chapel, facilitating a strong connection to be forged between audience and characters. The detailed two-level set, sourced from CLOC Musical Theatre, looks spectacular in the space, especially when illuminated so beautifully by lighting designer Jason Bovaird. Likewise, the costumes (and boots!) from CLOC Musical Theatre and Notable Theatre Company look fabulous. 

Director Martin Croft brings the quirky characters to vibrant life, the details of their working class world more than holding up to the close scrutiny allowed by the close proximity of the stage and audience. Excision of the two child actors who would usually have played young Charlie and young Lola/Simon is no loss, the father and son theme coming through as strongly as ever. Croft does not shy from the brutal impact of judgemental hate speech, making the ultimate enlightenment of the small-minded characters all the more rewarding. 

Not daunted by the tight floor space, co-choreographers Luca Dinardo and Jordan Charles Herbert deliver sharp dance routines performed with crisp precision. Lola’s Angels may be reduced from six to four but those four easily do the work of six. “Sex Is in the Heel” and act one finale “Everybody Say Yeah” are genuine showstoppers, and the full company finale and curtain call really bring down the house. 

The stellar work of musical director Nathan Firmin is a key attraction of this season. The generously-sized 11-piece band absolutely rocks Lauper’s score and the vocal performances are uniformly excellent. Ensemble harmonies are particularly tight. This peak musical work can all be comfortably enjoyed thanks to the reliably detailed sound design of Marcello Lo Ricco. 

Charismatic lead performer Christian Charisiou is in top form as Charlie Price, singing the role superbly and finding the perfect balance of bravado and vulnerability in the young man struggling to assert his identity in both his newly-inherited business and his strained relationship with his vain fiancée. 

Most impressively, Charisiou solves the problem of the musical’s weak point, which is the sudden descent into anger for Charlie halfway through act two. Rather than simply let fly with fury, Charisiou plays this scene with tightly controlled rage that develops gradually and believably, keeping the audience firmly on his side as he subsequently soars through “Soul of A Man.”

With little musical theatre experience, Carl de Villa makes a wonderful Lola, singing the hefty role with vivacious flair and dancing up a storm with Lola’s Angels (Carter Rickard, Lachlan Erard, Cody Green, Jayden Prelc). Supremely glamorous as Lola, de Villa is not afraid to appear awkward and uncomfortable when Lola dons the garb of a traditional “man” to blend in at the factory. De Villa faces the bigotry that is thrown at Lola with grace and steely nerve, making the scene of Lola’s breakdown all the more heartrending. 

Looking a bit too young for Charisiou’s Charlie, Jessica Faulkner is nonetheless a delight as eccentric factory worker Lauren. Faulkner really lets loose to terrific effect as Lauren unveils her litany of past relationships in “The History of Wrong Guys.”

Kelsey Halge gamely brings the necessary unlikeable brittleness and superficiality to Nicola, self-centred partner of Charlie. Likewise, Joseph Lizacic does not hold back from the broadly phobic and bigoted views of Don, eventually earning the character a worthy redemption.

In an early cameo, Callum O’Malley makes a memorable impression as Charlie’s footwear industry friend, rocking the house as Harry and his band perform “Take What You Got.”

The Price & Son factory is filled with distinctive characters all brought warmly to life. Drew Holmes amuses as fastidious foreman George. Sally Bourne brings a cheeky glint to straight shooter Trish. Keegan Vaskess plays Pat with palpable heart.

Special mention to ensemble members Samuel Allsop and Nicolas van Litsenborgh who portray a fully fledged romance for their two factory worker characters without so much as a single word of dialogue.

It may not have any particular connection with the holiday season, but the festive fun of Kinky Boots will put all but the hardest of hearts in the mood for good will to all mankind.

Kinky Boots plays at Chapel off Chapel, Melbourne until 17 December 2023. For tickets, click here.

Photos: James Terry

A rare dark Disney musical, The Hunchback of Notre Dame sweetens a tragic tale with a beautiful Alan Menken score, which is all the more glorious when the 32-member choir takes flight.

The stage musical version seen in this very welcome Victorian premiere season is the second adaptation deriving from the 1996 Disney movie The Hunchback of Notre Dame, which rode in on the wave of extraordinarily successful animated movie musicals in the 1990s. Menken was joined by Broadway composer Stephen Schwartz as lyricist, and the pair has added further songs for the stage.

Original German production Der Glöckner von Notre Dame (1999), with a book by James Lapine, was a smash hit in Berlin but then went unseen for several years. A new English-language version in 2014 saw the book rewritten by Peter Parnell and further new songs penned by Menken and Schwartz. (The US season of this production was reviewed by Man in Chair in 2016).

The current incarnation of the musical decisively excises the Disneyfied happy ending and even cuts out the comic relief of Quasimodo’s trio of gargoyle pals. Parnell’s book returns to Victor Hugo’s original novel for inspiration and yet features its own complex story, particularly the backstory of how Quasimodo came to be under the guardianship of tortured and torturous cleric Frollo.

Focussing on one musical production per year, OSMaD is able to expend considerable effort on their works and the result for The Hunchback of Notre Dame is a particularly grand staging. The set design of Brenton van Vliet centres upon a sturdy rotating construct of Quasimodo’s tower, with a view of Paris and three majestic bells overhead. One of Notre Dame’s iconic rose windows appears behind the choir for ground level cathedral scenes.

Just slightly pre-dating Hamilton, the costume design for The Hunchback of Notre Dame calls for the stage performers to begin in neutral tones before “taking on” the costumes of the characters. Significantly, this means that the audience sees the actor playing Quasimodo put on the hunch and disfiguring make up, making it clear that this is a deliberate stage choice and not any sort of appropriation or mockery. 

The lush choir of 32 singers backs a further 30 players on stage for a whopping total of 62 performers, which would just not be possible in a professional production. Music directors David Barrell and Ned Dixon have prepared the singers to a meticulously high standard such that the beauty of the massed singing is a standout attraction of the season. Further musical splendour is heard from the orchestra of 14 musicians, conducted with absolute confidence by Barrell. 

Sound design by Marcello Lo Ricco and Steve Cooke is, as ever, crystal clear and impeccably balanced. The score calls for numerous solo lines from the stage ensemble as part of the narration and as comments from Quasimodo’s statue “friends.” Whilst these lines are always clearly heard, the atmospheric lighting design of Peter Verhagen often makes it very hard to distinguish who is singing, especially among the statues and gargoyles. Singers who are able to naturally draw attention to their contributions fare best with these solo lines. 

Director Joel Batalha impressively brings the complex story to rich life, not shying from the moral quandaries of the lead characters. In the evening’s most powerful scene, Batalha use stillness and silence to provide a palpable sense of weight to the impact of the attempted sexual assault of Esmeralda by Frollo. Although accent work could have used a clearer focus, the world of Parisians and Roma (referred to as Gypsies in the text) is well established. 

Working with a cast primarily consisting of singing actors, choreographer Caitlin Lamont delivers lively ensemble scenes, with highlights being “Topsy Turvy” and “Tavern Song.” 

Taken to the audience’s hearts as Quasimodo, Matthew Tomlin skilfully meets the physical and vocal challenges of the role while also delivering the emotional heart of the trusting and suffering character. After the extended prologue, Tomlin brings the show into focus with Quasimodo’s I Wish song “Out There,” later singing “Heaven’s Light” with tender sweetness.

In a powerhouse performance, Zak Brown makes Frollo a uniquely three dimensional villain, always carrying the character’s backstory and deftly balancing Frollo’s care for Quasimodo with his insidious use of psychological control. Brown’s richly burnished baritone is heard at its best, particularly in the anguished prayer “Hellfire.”

Ninna Aguirre brings a real humanity to Esmerelda, convincingly portraying the vivacious young woman as a person of authentic compassion. An expressive singer, Aguirre particularly delights in act two balls “Someday,” which was heard on the closing credits of the 1996 movie. 

A dashing and appealing leading man, Tom Liszukiewicz deftly offsets the lightly humorous vanity of military Captain Phoebus with the haunted aspect of his frontline trauma. Although not given a full solo number of his own, Liszukiewicz nonetheless impresses with a charming tenor voice as heard in numerous featured sequences. 

Pasquale Bartalotta makes for a lively and engaging Clopin, leading company numbers with charismatic confidence. 

The stage ensemble performers keep energy high, also very capably assisting with the movement of large scale sets. Cameo roles are strongly cast, greatly aiding the ongoing storytelling. The rear choir is spotlighted in the act two entr’acte, deservedly earning hearty applause from the opening night audience.  

A serious and pensive musical, The Hunchback of Notre Dame will reward lovers of the movie as well as audience members who prefer weighty musical drama over the more prevalent light and frothy offerings. 

The Hunchback of Notre Dame plays at Geoffrey McComas Theatre, Scotch College, Melbourne until 16 December 2023. For tickets, click here.

Photos: Ben Fon

Seen in a glossy, glamorous, gleeful new production, Grease purrs, shakes, and shimmies all over again, returning to make freshly minted stars of a whole new generation of highly talented performers. 

Although it must be so tempting to just throw Grease on stage and watch the takings roll in, this season really is an entirely new production and the results are nothing short of dazzling. Much as the iconic 1978 movie is phenomenally popular, the stage musical is not necessarily the greatest and yet it reaches new heights in this boldly designed, impeccably directed outing. 

Seizing upon the opportunity to helm a new production, director Luke Joslin oversees a fully realised, cleverly conceived staging in which the integrated combination of Eric Giancola’s inventive choreography, James Browne’s vivid costumes and ingenious sets, and Trudy Dalgleish’s spectacular lighting design come together to terrific effect. The overall result bears little resemblance to the 1950s but when it all looks this good that is a small quibble. Grease is sometimes presented with a simple single set, whereas this production is very well served by revolving bleachers and dynamic abstract blocks that conjure a multitude of locations. 

Gorgeous though they are, the costumes and wigs almost tend toward cartoonish, and yet Joslin ensures that there are living, breathing humans in the outfits, establishing each of the T-Birds and Pink Ladies with distinction and contributing abundant intricate details to life at Rydell High. The breathless pace sweeps the audience along in rapt attention, and it is hard to recall a performance of Grease that was so genuinely funny. 

Blessed with triple threats throughout the full ensemble and young lead cast, Giancola fills the multi-level bleachers with tightly synchronised, delightfully entertaining dance from big numbers like “Greased Lightnin’” right through to small numbers like “Freddy, My Love.” Choreography reaches it zenith for “Born To Hand Jive,” in which Cristina D’Agostino almost cha-cha’s away with the show in her scintillating cameo as Cha Cha DiGregorio. 

All this dance would be nothing without the much-loved music of Jim Jacobs and Warren Casey. Serving as both music supervisor and music director, Dave Skelton leads a rocking band, also delivering pristine vocals from the cast. 

Pre-publicity has shone the spotlight on the three adult guest stars. Patti Newton sparkles merrily as dear Miss Lynch. Jay Laga’aia plays DJ Vince Fontaine with a wink (in the stage version the character is meant to be 19), benefiting from the excision of Johnny Casino by being given the lively number “Born To Hand Jive.” Marcia Hines is luxury casting as Teen Angel, although the “gospel” ending of “Beauty School Dropout” falls a little flat. 

Joseph Spanti has charm to spare as Danny Zuko, achieving the added feat of actually looking like a high school senior. Almost too sweet to bring out Danny’s macho swagger, Spanti nonetheless makes a strong impression as a leading man. Act two favourite “Sandy” is in capable hands with Spanti’s effortless vocals. 

Annelise Hall effectively captures the blonde innocence of new girl Sandy Dumbrowski. Saddled with clunky movement during “Hopelessly Devoted to You,” Hall still sings the beloved song in lovely style. 

While Danny and Sandy are the best known characters, there is much interest and depth in the range of supporting leads, headed by Mackenzie Dunn as Betty Rizzo and Keanu Gonzalez as Kenickie. Grounding the story with a serious scene after much frivolity, Dunn launches into 11 o’clock number “There Are Worse Things I Could Do” to powerhouse effect. A highly charismatic stage presence, Gonzalez leaves the audience wanting more of devilish greaser Kenickie. 

Fast rising star Brianna Bishop shines again as self-satisfied teen Marty, nailing every laugh and leaving a memorable impression with early number “Freddy, My Love.”

Tom Davis delights as Doody, having the audience in his palm for act one charm song “Those Magic Changes.” Wearing a beret as Frenchy, Catty Hamilton makes the well-known role her own, and enjoys sweet chemistry with Davis.

Andy Seymour and Caitlin Spears are standout crowd pleasers as Roger and Jan, their blossoming romance played with authentic affection. Seymour gives a cheeky rendition of “Mooning,” and Spears nails every gentle laugh in “It’s Raining on Prom Night.”

Coming ten years after the previous Australian tour, there are plenty of past generations to take along new generations to enjoy Grease. Fans who think they may have seen the musical enough times are strongly encouraged to partake of one more viewing. 

Grease plays at Her Majesty’s Theatre, Melbourne until 10 March 2024. For tickets, click here.

Grease plays at Capitol Theatre, Sydney from 24 March 2024. For tickets, click here. 

Grease plays at Crown Theatre, Perth from 30 June 2024. For tickets, click here. 

Photos: Jeff Busby