Ingeniously crafted, deliciously funny, and warmly uplifting, Groundhog Day the Musical is modern musical theatre at its sophisticated best. 

With the original smash hit London 2016 season having won the Olivier Award for Best New Musical, Groundhog Day the Musical went on to play on Broadway in 2017, again starring Best Actor winner Andy Karl. Karl was back as scornfully arrogant weatherman Phil Connors in London last year, where a return season could be seen as a warm-up for this Australian premiere.

Not just a follow-up for Aussie composer and lyricist Tim Minchin, Groundhog Day the Musical also sees the return of a slew of creatives from Matilda the Musical, including director and developer Matthew Warchus, set and costume designer Rob Howell, lighting designer Hugh Vanstone, and illusion designer Paul Kieve. 

Despite the shared pedigree, this is far from another family-friendly musical. By turns witty, charming, and affecting, the book by Danny Rubin, based on the iconic 1993 movie he co-wrote with director Harold Ramis, places the action squarely in the world of adult relations. Written before the #MeToo movement, the unselfconsciously sexist actions of Phil are actually somewhat jarring, much as there are plenty of pay-offs and lessons learnt along the way. 

Capably supported again by orchestrator and musical supervisor Christopher Nightingale, Minchin reaches new heights of artistic creativity here, collaborating closely with Rubin to create a perfectly integrated piece of musical theatre. There are mere seconds of the show that do not have music playing. Inspired by the concept of Phil’s reaction to the repeated events of each Groundhog Day, Minchin and Nightingale riff on the opening tunes to present fascinating musical variations that cleverly alter each time to reflect Phil’s mood.

While there is a strong crowd-pleasing vibe to the musical, Minchin and Rubin show full respect for audience intelligence. Potentially interpreted as an allegory about mental health issues, the endlessly recurring day represents Phil feeling trapped in a depressive state, a condition he does not leave until he eventually learns to use the time in humane and constructive ways, finally deriving the energy he needs from the positive and grateful reactions of others. 

Director Warchus keeps action at a lively clip, the audience held in rapt attention throughout. A trademark of his direction, Warchus works with Kieve to deliver some truly gasp-worthy how-did-they-do-that stage tricks. A car chase seen from overhead is just one of the delightful and surprising sequences.

While the story is tightly focused on Phil, his producer associate producer, Rita Hanson, and his old friend Ned Ryerson, there is a delightfully eclectic mix of characters within the ensemble, and it is impressive to see how many small stories are deftly told by the end of the show.

Picking up on the snowy setting, Howell delivers a series of wittily constructed collages of small screens that are laid out like a snowflake. Colourful costuming helps delineate the multiple personalities amongst the merry townsfolk of Punxsutawney.

Karl remains in peak form, bringing sufficient likeable charm to cover the initial obnoxious boorishness of Phil and then neatly moving onto an affecting state of vulnerability as Phil’s brash confidence gradually wears down. 

A gifted singing actress, Elise McCann more than holds her own as Rita, cultivating warm sparks of chemistry with Karl. Reliving the same day, Rita has none of the character arc of Phil, and yet McCann ensures that Rita’s journey through her responses to the growth in Phil is just as interesting. 

Tim Wright initially gives Ned Ryerson a light Ned Flanders vibe, later delivering an emotional wallop when a deeper aspect is revealed to the generally awkward fellow. 

Looking suitably glossy, Ashleigh Rubenach also reveals more to her character when sweet local girl Nancy Taylor steps into a spotlight to reveal her inner life in act two opener “Playing Nancy.”

One of Australia’s best actresses, Alison Whyte is inexplicably wasted under a little old lady wig as B&B proprietor Mrs Lancaster. 

Ensemble players are uniformly strong; vocal performances, in particular, are at an absolute premium.

Melbourne is home to legion lovers of musical theatre and there is every reason that they should flock to this memorable Australian premiere season of Groundhog Day the Musical. So clever is the concept that even those odd folk who claim not to like musicals would be very likely to enjoy it. 

Groundhog Day the Musical plays at Princess Theatre, Melbourne until7 April 2024. For tickets, click here. 

Man in Chair reviewed the Broadway season of Groundhog Day the Musical.

Photos: Jeff Busby

Ever the force of nature, iconic musical Rent returns to rekindle the flame for a new generation. 

In the chance that a musical theatre newcomer has happened across Man in Chair, taking this chance to share the tragedy of composer Jonathan Larson’s all too short life. Having written the book, music, and lyrics for 1996 Broadway musical Rent, Larson succumbed to an aortic dissection on the day of the first off-Broadway preview, never seeing the acclaimed Broadway opening night, the Pulitzer Prize for Drama, and the Tony Award wins for Best Musical, Best Book, and Best Score.  

Produced countless times by smaller companies, this is the first local professional production of Rent since the memorable original season some 25 years ago. Deriving from a smaller scale production at Sydney powerhouse Hayes Theatre, this Australian tour sees Rent produced on an impressively grand scale, comfortably filling the capacious stage of the mighty State Theatre at Arts Centre Melbourne. 

Despite the scale, the production is far from overblown, simply presenting a set of chosen family friends adrift in a concrete and steel jungle where upmarket urban renewal is rapidly encroaching upon their tenuous freedoms. The production is an overall success, yet there is a varying range of achievements from the creative team.

At the heart of the success of this staging is the lovingly insightful work of director Shaun Rennie. Jonathan Larson’s sung-through magnum opus can be unwieldy in its myriad details and yet Rennie ensures the minutiae land with clarity, focus, and affecting authenticity. 

Special mention of just a couple of lovely moments: Collins first sees Angel atop a ladder, so Angel appears and descends to earth like an actual angel. Having confessed their HIV status and feelings of attraction in “I Should Tell You,” Mimi and Roger have their euphoria perfectly visualised when they are lifted and rotated on tabletops by the company.

Dann Barber’s set design surrounds the friends’ central abode with industrial scaffolding and full height rear apartment tower walls. Rennie has ensemble members turn the set pieces to bring key moments to downstage attention, greatly aiding the rapid fire storytelling. Lighting design by Paul Jackson also helps to draw the eye, and the decorative Christmas lights have the right balance of Bohemian improvisation. 

While direction and performances are strong, establishment of characters is done no favours by Ella Butler’s drab costumes. When designing for a 2000-seat theatre (or even, for that matter, a 200-seat theatre), distinctive looks go a long way to aiding character identification by newcomers, who are sure to be plentiful. 

Unlike, say, In The Heights, Rent is no dance show. Luca Dinardo has over-choreographed the work, often featuring busy movement that has little, if any, root in character. In a key successful sequence, lively choreography helps make act one finale “La Vie Bohème” a vivid joy.

Musical director Andrew Worboys leads five fellow musicians in the rocking on-stage band. In a classy, well-deserved touch, each musician has their headshot and bio in the souvenir program.

Supporting character Collins comes to the fore thanks to the expertly calibrated and superbly sung performance of Nick Afoa. Tenderly slowed down, Afoa’s delivery of eulogy “I’ll Cover You (Reprise)” is beautifully moving. Rising performer Carl De Villa is a delight as dear Angel, bringing abundant humour to the cherished drag artiste.

Somewhat stymied by dreary costumes, Jerrod Smith nevertheless brings jaded rocker Roger to life, largely due to his expressive and powerful vocals. Martha Berhane sparkles as Mimi, vocally and visually conveying the tantalising appeal of the young performance artist. 

Rennie’s sensitive direction pulls no punches from the tragedy of HIV-positive people at he time, with De Villa and Berhane particularly convincing and affecting in portraying their characters’ plights.

Burgeoning leading man Noah Mullins trades upon his fresh-faced look to appear convincingly as an outsider to the core group. Mullins clearly conveys Mark’s affection for his found family and the vulnerability of his frustration at not being able to do more for everyone other than record their stories. 

Thndo brings a gracious presence to lawyer Joanne, her performance rising across the night to come to a high point in feisty duet “Take Me or Leave Me.” 

In a highly auspicious Australian debut, Calista Nelmes is a knockout as passionate protestor Maureen. Protest piece “Over the Moon” can often be tedious but in Nelmes highly capable hands it is freshly thrilling, the sense of danger boosted by the perilous staging. Following the protest Nelmes maintains Maureen’s magnetic charisma in the group, going on to deliver further powerhouse vocals. 

Filled with covers for the eight lead roles, the ensemble is packed to the brim with talent, ensuring that featured roles are delivered impeccably. A couple of standouts are Hannah McInerney vibrantly delivering the voicemails of Alexi Darling and Sam Richardson as troubled New Yorker Gordon in “Life Support.”

The Melbourne musical theatre fan who has not seen Rent may be a very rare species but RENT-heads and newcomers have plenty to enjoy in this generous, terrifically performed revival.

Rent plays at State Theatre, Arts Centre Melbourne until 7 March 2024. For tickets, click here.

Rent plays at Civic Theatre, Newcastle in March 2024. For tickets, click here.

Rent plays at His Majesty’s Theatre, Perth in May 2024. For tickets, click here.

Rent plays at Canberra Theatre in June 2024. For tickets, click here.

Photos: Pia Johnson 

Stage Bugs Productions ramp up the camp for a devilishly delightful season of wickedly witty cult favourite, Ruthless! The Musical.

All too rarely seen on local stages, 1992 Off-Broadway classic Ruthless! The Musical is given a lusciously glossy production with sharp direction and a terrifically talented cast. The mother of all backstage musicals, the theatrical in-jokes and generous peppering of references to Gypsy, A Chorus Line and more will bring extra enjoyment to well-versed theatre tragics. 

The book and lyrics by Joel Paley keep the laughs coming at a hectic pace, the black comedy building to a riotous, not to mention deadly, climax. Whilst mercilessly skewering backstage shenanigans, Paley deftly builds in plenty of surprising twists and turns to keep the story roaring along. 

Guided by brazenly rapacious agent Sylvia St. Croix, burgeoning child star Tina Denmark soon takes matters into her own fiendish hands to rise from understudy to leading role. Has talent skipped a generation or is there more to Tina’s demure wallflower of a mother, Judy Denmark? 

Perfectly matching the outlandish material with oversized performances, director Chelsea Matheson pushes stage energy to the max and yet skilfully prevents the overall effect from tipping over the edge. All six performers are attuned to the same camptastic playing style, resulting in a whole that is funnier than the not inconsiderable sum of its parts. 

While Paley’s lyrics probably have the edge over Marvin Laird’s music, the abundant songs are pleasantly enjoyable. The title song “Ruthless!” is the closest to a genuine ear worm. Co-musical directors Dave Barclay and Ned Dixon bring the score to life, with Dixon conducting five fellow musicians behind the set. Percussion occasionally threatens to overpower stage vocals but the overall sound balance is good. 

Choreographer Michelle David shows judicious restraint, focusing movement on tapping Tina and on the precious moments when all six performers grace the stage at once.

Set design by Damien Jones and costume design by Britni Leslie initially draw from a delectable palette of pastels, moving to darker walls and shimmering gowns for the glamorous second act. With little or no wing space, the set change to act two is achieved by a clever storybook-like turn of the page. Leslie’s costumes are a feature in their own right, adding immensely to the viewing pleasure. Luxuriant wigs are also impeccably designed.

Lighting designer Jason Bovaird performs miracles with a relatively simple lighting rig, creating showbiz razzle dazzle when the divas lose themselves in the spotlight.

Ruthless! The Musical is blessed by the casting of Dolly Diamond, more than ably filling the commanding, not to mention ample, girdle of Sylvia St. Croix. An expressive chanteuse with well-honed comic timing, Diamond balances Sylvia’s chutzpah with moments of tenderness. 

Britni Leslie complements her design work with a splashy lead performance. In particular, Leslie achieves a remarkable vocal and physical distinction when harried housewife Judy Denmark transforms before our eyes to driven diva Ginger Del Marco.

The role of precocious starlet Tina Denmark is shared between two talented performers, and Man in Chair was fortunate enough to see both. Having a young adult performer play the eight-year-old brat works perfectly with the overall style of this production. 

In a dark wig to match Tina’s dark heart, Luisa Oro (left, below) has a pert smile that can flip to a wicked grin or spoilt pout in the flick of an eyelid. A terrific tapper, Oro radiates with Tina’s self-satisfied glee. With porcelain complexion and turbo blonde ringlets, Chloe Halley (right, below) brings to mind nasty Nellie Olesen. Halley successfully plays up the fun contradiction of an angelic appearance and a devilish interior, and sings up a storm. 

Where a lesser production might primarily focus on the three leads, the quality of this staging is significantly bolstered by the depth of talent in the three supporting players.

Shining in dual roles, Olivia Charalambous nails her every comic moment, gamely bringing a dopey daftness to lacklustre Louise Lerman then channeling a manic John Waters style for demented personal assistant Eve. 

Stephanie Astrid John commands the stage in the featured role of tortured third grade teacher Miss Thorn. John scores abundant laughs with her nuanced comic delivery and zany physicalisation. Miss Thorn’s lament, “Teaching Third Grade,” is every bit the tour de force.

Emma Clair Waxman further raises the comic energy with her relatively late act one arrival as vicious theatre critic, and vodka-swilling lush, Lita Encore. Dare I even type the name of Lita’s big number (“I Hate Musicals”) but Waxman certainly relishes the witty humour of the lyrics. 

An ideal fit for the masses of musical theatre aficionados in Melbourne, Ruthless! The Musical is sure to delight the devotees and the uninitiated alike.

Ruthless! The Musical plays at Alex Theatre, St Kilda until 24 March 2024. For tickets, click here.

The Ruthless! The Musical program can be read online.

Photos: Angel Leggas

Rejoicify, fellow citizens of Melbourne! Thrillifying Broadway musical Wicked returns in peak form for a very welcome third season at the suitably swankified Regent Theatre.

21 years after its Broadway premiere, Wicked retains a vibrant freshness, a sharp relevance, and a largely unmatched spectacular scale of production. The upcoming two-part movie adaptation is sure to only further raise the much-loved musical’s prominence and popularity.

Loosely based on the 1995 Gregory Maguire novel, Winnie Holzman’s book for Wicked taps incisively into the perennial teenage conflict between popular kids and outsiders. Many a Wicked fan has identified with Elphaba’s lament “I’m Not That Girl.” A broader political commentary comes from the concept of uniting people by fear and the depiction of corrupt leaders vilifying (or these days, cancelling) people to suit their own narrative. 

Far more musically integrated than a traditional Golden Age musical, Stephen Schwartz’s music and lyrics are masterfully sophisticated. Highlights include Elphaba’s I Wish song, “The Wizard and I” in which she sings of “a celebration throughout Oz that’s all to do with me!” – when Elphaba sings this, we have already seen this celebration; it was for her death. “Dancing Through Life” remains a brilliant exemplar of modern musical theatre, propelling plot with a heady mixture of vocals, dialogue, choreography, lighting, and key props and costume pieces.

Winners of 2004 Tony Awards, Eugene Lee’s scenic design and Susan Hilferty’s costume design are as impactful and imaginative as ever. Hilferty crafts myriad individual costumes for the full company, her work distinguished by the ingenious use of zany angles and curves along with richly textured fabrics. Lee riffs on the clock of the time dragon, with might mechanised dragon overhead and collages of clockwork cogs framing the action. Making a fabulous feature of hundreds of small embedded lights, Kenneth Posner’s lighting design completes the visual feast.

Directed by Lisa Leguillou, based on Joe Mantello’s original direction, action is kept brisk whilst ensuring that key plot points, especially those tied into The Wizard of Oz, are telegraphed clearly. Musical staging by Wayne Cilento boasts its own entirely unique dance vocabulary, perfectly complementing the quirky angles of Hilferty’s costumes. 

Musical director David Young has the orchestra of 14 musicians sounding sumptuous. The rollercoaster dynamics of the ensemble vocals are performed with pleasingly tight control. Solo vocal lines from ensemble members are sung out with bracing gusto.

A lovely soprano and remarkably assured actress, Courtney Monsma enriches the role of Glinda with a clear and captivating arc. Her vocals are as pristine as her physical and verbal comedy are delightful. In Monsma’s highly capable hands, there is never a moment when Glinda can be dismissed as vapid, lightweight, or “blonde.” Monsma meticulously tracks Glinda’s gradual journey from self-entitled brat to inspired, devoted friend and on to corruptible but troubled leader.

Making a highly memorable lead role debut, breakout star Sheridan Adams bides her time as Elphaba, performing gently in act one before literally taking flight in “Defying Gravity.” Adams incrementally commands the stage through act two, her powers reaching their zenith in Elphaba’s impassioned solo “No Good Deed.” Rejoined by Monsma, the perfectly matched pair ends the show on equal footing with precious 11 o’clock duet “For Good,”

Entering with Hemsworth-ian swagger, and a physique to suit Gaston, Liam Head is a key attraction as Fiyero, bolstering his triple threat flair by conveying a worthy depth to the initially arrogant young man. Head enjoys palpable chemistry with Adams, the pair making “As Long As You’re Mine” an intimately sensuous duet.

Shewit Belay makes the role of Nessarose, younger sister to Elphaba, her own. Whereas the role can tend to be quite insipid, Belay gives Nessa a real spitfire energy, particularly when reunited with Elphaba in act two. Belay’s crackling energy clearly and succinctly shows Nessarose become the Wicked Witch of the East.

Kurtis Papadinas deftly avoids the corny aspects of lovelorn munchkin Boq, playing the role with heartfelt sincerity, neatly underplayed passion, and deft comic delivery. 

A trio of stage veterans bring class and presence to supporting roles. Robyn Nevin is gleefully hiss-worthy as horrendible headmistress Madame Morrible. Simon Burke delights with a well-judged, gentle sparkle as The Wizard. Affirming the truism that there are no small roles, Adam Murphy brings quiet dignity to downtrodden professorial goat Doctor Dillamond.

Wicked’s legion local fans will need no aded encouragement to treat themselves to (at least) one more viewing. Newcomers should prepare to be absolutely awestruck. 

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

Photos: Jeff Busby

Making a welcome return, 2019 Handa Opera on Sydney Harbour hit West Side Story showcases a younger lead cast. Tightly drilled dance and wonderful music remain clear highlights. 

Since the original 2019 presentation of West Side Story on Sydney Harbour, audiences have had the chance to see a national tour of West Side Story as well as the high profile West Side Story movie remake. You cannot have too much of good thing. 

Written by the godly triumvirate of Arthur Laurents (book), Leonard Bernstein (music), and Stephen Sondheim (lyrics), the evergreen golden age musical is seen at its best in this confidently conceived production. With much of the action set on the streets, the outdoor staging is a natural fit. The enormous stage gives the high-energy dance plenty of room to breathe; when the stage teems with the full company the result is absolutely electric. 

Internationally renowned director Francesca Zambello returns to work with a less experienced cast, highlighting the authenticity of the youth of the performers as a close match for the characters. 

Played quite broadly, dialogue scenes and featured solo musical lines tend not to be at the high standard of the dance and music. In particular, classic charm song “America” suffers from this broad delivery (much as the fireworks at the song’s conclusion are fabulous). Individual performances will surely gain in depth and subtlety as the season progresses.

Any production of West Side Story stands in the shadow of the original direction and choreography of Jerome Robbins. From the very first crisp, sharp moves of “Prologue,” it is clear that the work of revival choreographer Kiira Schmidt Carper is first rate. 

Ensemble dance is uniformly excellent, achieving a level of spectacle over and above what can usually be achieved in a proscenium arch theatre. The characterful atmosphere of dance (and fight) scenes is heightened by use of body microphones, which usually tend to be turned off during dance sequences.

After the terrific full company dance numbers of act one, the “Somewhere” ballet of act two is decidedly underwhelming, featuring only a very small selection of dancers. The costumes change to pale colours, but with only half a dozen dancers, the message that the whole community might mend their differences does not come across. 

Musical director Guy Simpson leads a generous contingent from the Opera Australia Orchestra. As performed by 28 musicians, Bernstein’s venerated score sounds sumptuous, and company vocals are equally polished.

Even after 12 years of Handa Opera on Sydney Harbour, the miracle of balancing musicians and singers working outdoors remains a highly impressive feat. The talented revival sound designer is Jake Luther, working from the original sound design of Des O’Neill. Given that musicals are already performed with amplification, the form is more natural fit for the outdoor treatment than an actual opera.

Bringing Zambello’s cleverly conceived concept to life, set designer Brian Thomson strews the stage with seemingly abandoned subway carriages, the graffiti-covered set pieces bearing the logos of the shark and jets and scrawled names of the characters. The famous balcony scene has a soaring height, and the revolve to reveal Maria’s bedroom is very impressive. 

On par with the standard of the sound, lighting designer John Rayment performs his own miracles, drawing the eye to tight points on the vast stage and flooding the space with light despite the absence of the usual indoor theatre lighting rigs. 

Costume designer Jennifer Irwin creates a casual, lived-in feel. Distinctive use of colour means that all 3000 audience members can easily tell the Sharks (reds and yellows) from the Jets (blues and greens). 

Making a highly auspicious professional musical theatre debut, opera singer Nina Korbe plays Maria with a calm and centred presence. A pleasure to hear, Korbe’s vocals are rich and warm, affectingly conveying the myriad passions experienced by the headstrong young woman. 

In this version, Maria sings “Somewhere” and this is a memorable highlight of Korbe’s performance. 

Billy Bourchier has an easy charm as Tony, singing the challenging role with flair. Bourchier’s bright tenor voice sings perfectly into the centre of each ringing note. Bourchier enjoys natural chemistry with Korbe, their voices blending beautifully in exquisite duet “One Hand, One Heart.”

Talented performer Kimberley Hodgson is somewhat miscast as Anita. Being shorter than Korbe and wearing her hair in a long thick ponytail, Hodgson’s Anita appears younger than Maria, unbalancing and undermining the dynamics of this key relationship. 

Making his Australian debut, highly experienced American artist Manuel Stark Santos is utterly compelling as Bernardo. Stark Santos commands the stage with understated flair, portraying Bernardo as a natural leader and creating sparks of chemistry with every acting partner, male or female. 

Playing amidst a talented troupe as the Jets, Patrick Whitbread struggles to stand out to any significant extent as Riff. It does not help that Whitbread is completely outshone by Luke Jarvis, who gives a sensational breakout performance as Action. With his powerful acting supported by the appearance of his bushy blonde ponytail and imposing physique, Jarvis makes Action the one to watch at all times. 

Scott Irwin returns as hard-bitten Lieutenant Schrank, bringing heft to the key role by not flinching from the unpleasant aspects of the racist bully. Wayne Scott Kermond brings the weary weight of the world to Doc, imbuing Doc’s pleas for peace and sanity with affecting pathos. 

The young cast is sure to grow and thrive as the season of West Side Story on Sydney Harbour continues. Paired with the overall experience of attending the lavishly designed outdoor venue, the entertaining spectacle is hard to beat. 

West Side Story plays at Fleet Steps, Mrs Macquaries Point, Sydney until 21 April 2024. For tickets, click here. 

Photos: Keith Saunders

As long as there are phoney celebrities, there will always be Chicago. 

Whereas the previous three outings were spaced ten years apart, this fourth Australian tour of the iconic 1996 Broadway revival comes only five years after the previous tour. Coming out of lockdowns, it was understandable for producers to program well known and much loved titles. Local audiences appear to be at very healthy levels again so hopefully the appetite for more adventurous fare will soon be met.

A key collaborator of composers John Kander and Fred Ebb, Bob Fosse directed and choreographed Chicago, which starred his wife and muse Gwen Verdon as the original Roxie. Fosse’s later flame Ann Reinking choreographed the 1996 revival, in Fosse style, and starred as Roxie. Passed down across the decades, it is brilliant to see the choreography performed so sharply and characterfully by the incredible ensemble of this new tour. 

The bare, black-clad aesthetic of Chicago derives from its origin as a concert staging by City Center Encores, a long-running series that was the inspiration and model for Melbourne institution The Production Company. 

With the band on stage and all cast members wearing a single costume, the pared back production design may be jarring for audiences members fresh from the spectacle of Wicked or Moulin Rouge. Here, it is the show that is firmly the star. Hit songs come thick and fast, choreography dazzles, and snappy book scenes feature black comedy, biting social commentary, and surprising moments of pathos. 

Costumes, by William Ivey Long, remain extraordinarily modern in their sleek black simplicity. John Lee Beatty’s scenic design highlights the onstage band in a gilded frame, dropping in glittering tinsel curtain for the showy finale. Nothing and no one looks to be from the story’s 1920s setting, but that does not matter when it is all so fabulous. 

Conducting an elite band of 14, musical director James Simpson draws out instrumental performances that are as smoking hot as the dancing. The “Entr’acte” threatens to blow the roof right off the Maj. A man of many talents, Simpson also takes his turn at the shared scene introductions with impressive confidence. 

Highly experienced musical theatre leading lady Lucy Maunder positively glows as Roxie Hart, projecting the glamorous allure of a 1920s Hollywood starlet. With liquid facial expression, silky movement, and a finely honed singing voice, Maunder commands attention throughout, completely running away with the show in her expansive act one number “Roxie.”

Given the shared focus on Roxie and Velma, it is hard not to compare the actresses playing the roles. Television star Zoë Ventura does not quite have the musical theatre chops to hold her own opposite Maunder, unbalancing the energy of the central duo. At this point of the tour, Ventura’s acting is not overly nuanced and her vocals sound undercooked; that said, Ventura blends beautifully when singing with her co-stars. Ventura’s dancing is solid, with delectable finale duet “Hot Honey Rag” ending the show on a reliable high.

Anthony Warlow charms and purrs his way through the role of louche lawyer Billy Flynn, the rare portrayer of this role to elevate Billy’s scenes and not just focus on his big songs. In terrific voice, Warlow also scores many a laugh through meticulously polished comic delivery. When Warlow and Maunder unite for company number “We Both Reached for the Gun,” the result is dynamite.

Powerhouse Asabi Goodman delights as Matron ‘Mama’ Morton, an endearingly devilish glint in her eye at all times. 

Peter Rowsthorn is a revelation as hapless hubby Amos Hart, bringing zingy fresh comedy to his all too brief scenes and nailing his big ballad “Mister Cellophane.”

Melbourne-born S. Valeri is a joy as rose-tinted reporter Mary Sunshine, portraying the character’s deceptive persona to perfection. 

A member of the supremely talented ensemble, special mention to Devon Braithwaite for his brazen bravado as salacious salesman Fred Casely. 

One day we might be treated to a new production of Chicago that returns to the original vaudevillian style. For now, this timeless, slick staging entertains with effortless ease. 

Chicago the Musical plays at Her Majesty’s Theatre, Melbourne until 26 May 2024. For tickets, click here.

Chicago the Musical plays at Capitol Theatre, Sydney from 9 June 2024. For tickets, click here.

Chicago the Musical plays at Festival Theatre, Adelaide from 4 August 2024. For tickets, click here.

Photos: Jeff Busby

Saving the last night of her current Australian tour for musical-loving Melbourne, Audra McDonald thrilled, charmed, and moved the adoring crowd with a glorious evening of song and story. 

Making a welcome return to Melbourne after almost ten years, McDonald was as sumptuous in voice as ever, the depth of her emotional delivery all the more nuanced and affecting with the passing years. Some of the songs were the same selections as heard in An Evening with Audra McDonald (2015) but the storytelling resonated even more richly with abundant sincerity and freshness. 

The key to McDonald’s unique gift is the unique and heartfelt interpretation she brings to even the most well known sings, allowed them to be heard and enjoyed afresh. Having started with a gripping rendition of “I Am What I Am” (La Cage aux Folles), McDonald pleased attendees by sharing that the focus of the concert would be the Great American Musical Theatre Songbook. 

A second jubilant Jerry Herman number opened the second half, with McDonald presenting a personal rendition of “Before the Parade Passes By” (Hello, Dolly!) 

Reticent to perform songs from her own storied stage career, McDonald still managed to slip in a couple of memories. “Mister Snow” (Carousel) took us back to McDonald’s first Tony Award-winning performance. Pushing down the microphone, McDonald stunned the house with an acoustic performance of evergreen classic “Summertime,” not sung by her character but an indelible element of Porgy and Bess. In an extraordinary duet with herself, McDonald crooned “Crazy He Calls Me” in both her own voice and that of Billie Holliday, whom she memorably portrayed in Lady Day at Emerson’s Bar and Grill. 

Interspersed between every musical number were delightfully candid anecdotes of McDonald’s family and her performing life. Already so well loved by the audience, McDonald only strengthened this affection as the evening progressed. Imbuing the tales with a sparkling sense of spontaneity, McDonald constantly had the audience in her palm, taking the opportunity to spread messages of love, kindness, and acceptance. 

A particularly amusing story saw McDonald outline her early success as a soloist in Show Choir competitions, winning a trophy as a precocious 14-year-old with the surprisingly saucy “Cornet Man” (Funny Girl). 

The audience were left uplifted for the interval, having been invited to sing along with soprano classic “I Could Have Danced All Night.”

Act one saw the first Sondheim number, theatrical charm song “The Glamorous Life” (A Little Night Music). McDonald shared more Sondheim in the second half, segueing from the soulful “What Can You Lose?” (Dick Tracy) to the searing ballad “Not A Day Goes By” (Merrily We Roll Along). Using the tender arrangement first sung by Mandy Patinkin (and also by Barbara Streisand), McDonald gently shared the blended version of Sondheim’s “Children Will Listen” (Into The Woods) with Rodgers and Hammerstein’s “You’ve Got To Be Carefully Taught” (South Pacific). 

In another terrific example of shining new light on familiar lyrics, McDonald dedicated “It’s Not Easy Being Green” to those who feel “othered.” This beautiful arrangement simply featured Gene Lewin on acoustic guitar. 

The regular trio of accompanying musicians were led by McDonald’s musical director Andy Einhorn on grand piano, with Mark Vanderpoel on bass and Lewin on percussion. 

McDonald concluded with a striking rendition of a much-heard classic “Cabaret,” sharing that she added the hit to her repertoire at the insistent urging of Anna Wintour on the occasion of Broadway reopening after the devastating period of lockdown. 

Performing a single encore, McDonald reprised the classic mashup “Get Happy / Happy Days Are Here Again,” which had also been the sentimental finale of her previous Melbourne concert. 

Melbourne’s musical theatre cognoscenti* attended the concert in their droves and were left thoroughly inspired and cheered by the generosity and depth of McDonald’s talent and warmth. 

Audra McDonald played at Hamer Hall, Arts Centre Melbourne on 17 May 2024. 

*A quick note to promoters: using marketing that only lists the television series credits of a major Broadway star is not the best way to connect with the desired audience 

Decadently staged and intriguingly cast, the eagerly anticipated new production of Sunset Boulevard makes its Australian premiere in scintillating form.

Arriving at the end of the British mega-musical era in 1993, world attention was keenly focused on new Andrew Lloyd Webber musical, Sunset Boulevard. The glittering procession of divas to play faded silent movie star Norma Desmond only added to the fascination. The musical later entered a deeper realm of affection with its 2016 London semi-staged revival, which enjoyed a 2017 Broadway transfer. A new, dramatically pared back West End revival in 2023 swept the 2024 Olivier Awards and will open on Broadway later this year.

With two existing revivals available, it is all the more thrilling that Australia has its very own new production of Sunset Boulevard. Lavishly staged and expertly directed, this sees a welcome return to the visual splendour of old Hollywood whilst also exploring the dark psychodrama, capped off with welcome sprinklings of devilish black humour. 

Based on the 1950 Billy Wilder film, Sunset Boulevard the musical is peak Andrew Lloyd Webber, almost sung-through with multiple recurring motifs and sweeping melodies. As an added attraction, Lloyd Webber delivers sumptuous orchestral music that has the sound of a highly atmospheric movie soundtrack. Musical director Paul Christ conducts an orchestra of 16 musicians to bring the musical arrangements to richly expressive life. 

Sharing writing credits on the book and lyrics, Don Black and Christopher Hampton expertly match Lloyd Webber’s musical achievements with pithy lyrics that are, by turns, clever, comedic, and characterful. 

Power ballads “With One Look” and “As If We Never Said Goodbye” deserve their status as high profile hits, taking their place along lesser known gems such as “Surrender,” “New Ways to Dream” and blissful waltz “The Perfect Year.” Matched pair of charm songs “The Lady’s Paying” and “Eternal Youth Is Worth a Little Suffering” bring musical levity to acts one and two respectively. 

Director Paul Warwick Griffin displays keen insight into both the Hollywood studio system and the haunted mind of Norma Desmond. Avoiding any camp indulgences or excesses, the fantastical story is compelling at all moments, swept along with a heady mixture of stirring pathos and leavening humour.

Choreographer Ashley Wallen has crafted a crisp, angular vocabulary of dance, tightly performed by the talented company. The ensemble is in full flight during opening number “Let’s Do Lunch” although it is not clear why it is necessary to have lead and featured characters awkwardly dance while they sing their solo lines. Far more successful are the dance breaks in “The Perfect Year” (Norma and Joe) and “Too Much in Love to Care” (Betty and Joe), which are beautifully staged and performed. 

In a herculean effort, Morgan Large delivers both the set and costume designs, each as splendidly realised as the other. Norma’s world is silvery monochrome while the real world has moved onto Technicolor, a contrast sharply denoted in the shared stage for act one finale “This Time Next Year.” While the Paramount studio set is fairly plain and it is disappointing not to have a proper replica of Norma’s Isotta Fraschini (the focus of a key plot point), the ornate intricacy of Norma’s mansion is a triumph. 

Period costumes for the company are on point, tending more towards the realistic than the theatrical. A fun touch is seen in the menswear associates in “The Lady’s Paying” sporting hot pink socks. Norma’s cavalcade of outfits are nothing short of eye-popping, from her initial black and gold robe to her glittering New Year’s gown to her black ensemble with white fur trim for the studio visit. Large moves Norma away from her traditional turbans, giving her long wavy hair that is clearly meant to be a wig but is curiously never established as such. With signature costumes of his own, Joe enjoys a clear arc from struggling writer to pampered kept man.

Mark Henderson adds significantly to the air of mystery with a lighting design that makes strong use of shadows and glistening half light. George Reeve contributes stirring projections, particularly those depicting cars in motion. Sound design by David Greasley is well balanced, with featured orchestral parts crisply distinguished. 

This new season of Sunset Boulevard centres upon the star casting of Sarah Brightman as Norma Desmond. Much as Norma is described as the face of Hollywood, seen by 30 million fans, Brightman will always be remembered as the original Christine Daaé in all-time mega-hit The Phantom of the Opera, playing the role in the premiere London and Broadway seasons and being heard on the cast album that sold some 40 million copies. Brightman has not played a stage role in more than thirty years, added to the allure of her Australian appearances as Norma. 

Brightman successfully captures the aura and stature of Norma’s stardom, deftly mixing subtle humour into the affecting pathos. While Brightman’s quasi-operatic vocal styling supports the sense of vulnerability and encroaching mania in Norma, there is an inherent difficulty in that this style of singing does not readily support clarity of diction. Also, not belting any of Norma’s singing tends to flatten out the role by removing the danger and drama that can come from bursts of fury and passion. Nonetheless, Brightman cultivates audience attention and finishes strongly with a spellbinding mad scene. 

Still young and yet a stage veteran, Tim Draxl excels as doomed writer Joe Gillis. Crisp and compelling, Draxl’s diction and expression are immaculate, bringing the largely through-sung material to vivid life. In particular, it is very hard to recall a stronger performance of the admittedly repetitive title number, with which Draxl stops act two when it has only just begun. 

Draxl and Brightman work together smoothly to successfully cultivate the unusual “romance” of Joe and Norma. Draxl has a boyish edge that somewhat undermines the potential seediness of Joe but supports the more mainstream romance with fellow screen writer Betty Schaefer. 

Ashleigh Rubenbach is a delight as Betty, singing ever so sweetly and leaning strongly into the character’s intelligence rather than her youthful innocence. In the underwritten role of Betty’s fiancé Artie Green, Jarrod Draper is suitably bright and charming. 

Wielding neatly understated power, Robert Grubb gives manservant Max Von Mayerling a tender, troubled soul tinged with a healthy spirit of assertive protectiveness. Grubb sings “The Greatest Star of All” with authentic reverence, putting Norma’s character and background into clear perspective. 

Paul Hanlon brings warm compassion to iconic film director Cecil B DeMille. Troy Sussman is perfectly cast as movie studio executive Sheldrake. Dean Vince delivers lashings of foppish flair to lead the male ensemble in “The Lady’s Paying.”

A theatrical event that has garnered international attention, Sunset Boulevard is must-see musical theatre for local lovers of old school musical drama and stage spectacle.

Sunset Boulevard plays at Princess Theatre, Melbourne until 11 August 2024. For tickets, click here. 

Sunset Boulevard plays at Joan Sutherland Theatre, Sydney Opera House from 28 August 2024. For tickets, click here.

Silvie Paladino plays Norma Desmond at certain performances of Sunset Boulevard. 

Photos: Daniel Boud

Joyful extravaganza Beauty and the Beast the Musical makes a wonderfully welcome return in a slickly streamlined production boasting a brightly polished young cast.

Almost 30 years after the much-loved original Australian production, Beauty and the Beast the Musical benefits from a modern presentation of the original design and some judicious tweaking of the score. Amidst the stage magic, the key focus is clearly upon the performers, who successfully bring the full romance and humour of the time-honoured story to life. 

Only those of a certain age will recall the impact of the 1991 animated movie musical Beauty and the Beast, the first of its kind to be nominated for an Academy Award for Best Picture. The trailblazing continued with the 1994 Broadway premiere of Beauty and the Beast the Musical, signifying the beginning of what came to be known as the Disneyfication of Broadway and what was a clear sign to the British mega-musicals that Broadway could stage lavish spectacles of its own.  

Linda Woolverton adapted her screenplay for the book of the stage musical, with prolific lyricist Tim Rice joining the team to pen additional lyrics in place of original lyricist Howard Ashman, who had tragically died of AIDS in 1991. Composer Alan Menken’s collaboration with Ashman and Disney set in place an extraordinarily prolific career.

The new production seen here originated in the UK in 2021, touring and then playing the West End in mid-2022. Moving up to double duties as director and choreographer for the updated production, original choreographer Matt West expanded the dance numbers and fine tuned the action, retaining and enhancing magical stage effects. 

Stanley A. Meyer’s original scenic design is now partly displayed using rear LCD screens, with perfecty integrated video designs by Darrel Maloney. The physical set for the Beast’s castle is missed but there is plenty of visual splendour to go around. Maloney’s stylised projections mean that the fearsome wolves are now represented on screen rather than being danced by ensemble members in fluffy outfits. 

Original costume designer Ann Hould-Ward has revised her original work, going easier on the actors playing enchanted objects and yet still providing a gorgeous array of designs. The ensemble members in particular wear an incredible number of costumes, each designed and crafted immaculately. 

Three numbers have been trimmed from the score in this version. Excision of early Belle solo “No Matter What” means she does not have a full song of her own until “Home.” Removal of “Maison de Lune” wisely keeps attention on the blossoming relationship between Belle and the Beast but means that Gaston disappears from the story for a long stretch. Finally, cutting childish fight number “The Battle” allows the late act two action to move straight to the showdown between the Beast and Gaston. 

Additions to the score include new dance arrangements for act one showstoppers “Gaston” and clear crowd favourite “Be Our Guest.” West adds a tap-dancing finale to “Be Our Guest,” also delivering a fabulous Busby Berkeley sequence where an overhead camera shows the cast making snowflake patterns in a circle on the floor. 

Menken’s score sounds sumptuous as played by an orchestra of ten musicians led by exacting music director and conductor Luke Hunter. 

An ideal Disney princess, Shubshri Kandiah emanates luminous grace as Belle, singing the role with hearty sweetness. Kandiah strikes the perfect balance of inherent vulnerability and stalwart self-reliance, ensuring that Belle’s fierce intellingence shines through at all times. 

Brendan Xavier benefits from a costume and prosthetic design that allows him to be more readily seen when playing the Beast. While Xavier’s boyish voice tends to undermine the scariness of the Beast, he certainly delivers the vocal power in glorious act one finale “If I Can’t Love Her.”

Supporting roles are perfectly cast, with the performers at peak strength after Sydney and Brisbane seasons. Rohan Browne is dashingly debonair as living candle Lumière, singing and dancing his way through “Be Our Guest” with true triple threat style. Gareth Jacobs delghts as t-t-tense human clock Cogsworth, scoring laughs a-plenty in the characterful role. Jayde Westaby brings abundant warmth to life-sized teapot Mrs Potts, connecting strongly with the audience and crooning the choice title number “Beauty and the Beast” beautifully. 

No longer portrayed as an operatic diva but rather a gossiping luvvy, Madame is brought hilariously to life by Alana Tranter in a delectable characterisation. Hayley Martin deftly sidesteps the potential salaciousness of walking feather duster Babette by confidently imbuing her with her own agency.

On opening night, Zanda Wilkinson brought cheeky cheer to teacup Chip, fully animating the plucky lad with just his face on display. Wilkinson shares the role of Chip with Jared Bickerton, Bibi Brudan, Ronin Cooper Jackson, and Cru WIlliam York Lee. 

In a classic example of the current appreciation for the indispensable value of swings, the plum role of self-obsessed brute Gaston was played on Melbourne opening night by Rubin Matters. Every inch the smirking vainglorious braggadocio, Matters totally owned the role in memorable style. 

Nick Cox delivers further comic moments as madcap Gaston sidekick LeFou. Experienced stage performer Rodney Dobson rounds out the adult cast as Belle’s dear father Maurice.

“They can sing, they can dance

After all, Miss, this is France”

All members of the highly talented ensemble give their all to the performance, proving themsleves a key attraction of the spectacular entertainment. 

Sure to be an unforgettable experience for many a young theatregoer, Beauty and the Beast the Musical is a sure fire delight for theatre lovers of all ages, after all:

“No one’s gloomy or complaining

While the flatware’s entertaining”.

Beauty and the Beast the Musical plays at Her Majesty’s Theatre, Melbourne. For tickets, click here. 

Photos: Daniel Boud

A world premiere of an original Australian musical is a rare event indeed, and is all the more special when the musical is as intelligently conceived, strongly performed, and confidently produced as Castro’s Children. 

With a unique and innately emotional focus for a musical, Castro’s Children shares a vivid snapshot of the sacrifices made by thousands of parents protecting their children from the fallout of Fidel Castro’s regime. 

Beginning with the townsfolk’s joy at the overthrow of President Batista, the mood quickly shifts when the intentions of Castro and the Communist party become clear. Under the guidance and care of visionary headmaster James Baker and US Catholic priest Bryan Walsh, Operation Pedro Pan saw children travel to Miami for temporary safety. Unfortunately for all, Castro’s rule continued and the majority of the more than 14,000 children stayed in America, growing up away from the homes and parents. 

Contributing both book and lyrics, Peter Fitzpatrick deftly brings the affecting stories of six plucky children to life. Act one sees parents make the heart rending decision to send their children away to safety, while act two moves between the arrival of the children in Miami and the outcomes of their adult lives some twenty years later. 

At the heart of the success of the storytelling is early number “Gloria,” which starts with the 15 child actors in a choral concert then gradually introduces the six key children one by one. The characters are vividly memorable, firmly underpinning the dramatic impact when their adult selves are later revealed. 

The emotional depth of the material is fully realised in act two, powerfully conveying how unnatural and destructive the separation was for these families. Particularly painful is the concept that the threat of Castro’s impact on children may have largely been spread as unfounded propaganda. The reunion of some children as adults is dramatically compelling, gently tinged with characterful comedy. The adults’ confrontation of Baker and Walsh is cathartic but the unavoidable sorrow of the entire regrettable situation remains keenly felt. 

Castro’s Children boasts a beautiful, immediately enjoyable score by Simon Stone. Act one is practically through-sung and, where there is dialogue throughout the show, it is often underscored. Spanish music is evocatively recreated, choral singing features lush harmonies, solo ballads and duets are powerful, and there is even a pair of comic songs mocking the insidious involvement of the American CIA.

Fitzpatrick and Stone bring their own work to the stage, with Fitzpatrick taking the lead as director and Stone serving as music director, playing keyboard and conducting a generous contingent of 11 fellow musicians. With 12 adult and 15 child cast members, full company singing is nothing short of glorious, enveloping the audience in lush sound from the very first notes. Full credit to the immersive sound design of Ben Anderson.

Fitzpatrick memorably presents a diverse set of characters, establishing clear driving forces and desires, sometimes with only brief snippets of scenes. In a judicious move, there is no attempt to have the cast “play” Cubans, completely avoiding any hint of clichés and stereotypes. Parents and children are universal characters and their stories effectively transcend any specific time, place, or culture.

Castro’s Children could be described as a concept musical, presenting aspects of a story largely through song and moving about freely in time and place. The fact that so much story is told, and all of it so clear and engaging, is testament to Fitzpatrick’s expert direction and the wonderful talents of the cast. 

The Cuban setting is gently suggested in Janette Raynes’ impressive range of costumes. The relatively simple stairs and bridge setting by Darren O’Shea and Michael Large is given character by a full width, subtly aged wall of fencing. Ian Scott’s lighting bathes the stage in colour, atmospherically suggesting different locations in the absence of any actual scene changes. Movement coordinator Roman Berry brings lively dance to town festivities, scoring extra points for recreating the effect of children on a rollercoaster. 

The cast of Castro’s Children fits the old chestnut “an embarrassment of riches.”  

Fem Belling belts soaring power ballad “Song for Carlos” on behalf of every mother. Paul Watson doubles as a father crippled with doubt and then as the blessedly self assured adult version of his original character’s son.

Tod Strike capably carries the emotional weight of James Baker, keenly portraying the man’s initial  driven passion and bringing humanity to his later realisations of misfortune. Tom Green brings merry warmth to Father Walsh, later capturing the brittle coldness of the church when confronted with gross misdeeds. Strike and Green are heard at their best in standout act one duet “My Chosen Universe.”

Madeleine Featherby comes to the fore in act two as adult Olivia, beautifully singing her 11 o’clock solo in “Pictures of Me.” Daisy Valerio captures a striking sense of vulnerability as adult Ana, whose current work in dance is nothing like she dreamed. 

Zak Brown demonstrates his range in a comic role, playing devilish CIA agent Culpepper, amusingly flanked by Noah Szto and Green as Frost and Snow. Bryce Gibson contrasts his early role as strident revolutionary Luis with miserably traumatised adult Pepe. Further invaluable dual roles are played by Drew Lane, Gabrielle Ward, and Laura Wong.

The heart of the story, the six child characters are engagingly and distinctively brought to life. 

Stephanie Anderson beams with the joy of dance as child Ana. Bessie Blaze captures the serious, reflective aura of a potential nun as child Maria. Archie Mendelssohn exudes lively energy as restless, baseball-loving child Pepe.

Lira Mollison brings a precious sense of delicacy to the devoted sister that is child Olivia. Daniel Nunan underpins the playground bullying of child Raul with a sense of dignity. Campbell Van Elst gamely throws himself into the awkwardness of bullied child Carlos.

Each giving their all in song, dance, and acting, the nine additional young cast members are Aria Aninipoc, Sasha Babushkin, Kailee Baulk, Elliot Frankeni, Chase Kendall, Scarlett May, Jaylen Nagloo, Lia Scantlebury, and Coco Shelmerdine.

The perfect balanced blend of thought provoking theatre and vibrant entertainment, Castro’s Children is highly recommended for Melbourne’s legion lovers and supporters of musical theatre. Special mention of the incredible value of the tickets at only $59 for a cast of 27 and orchestra of 12. Unbeatable!

Castro’s Children plays at Gasworks Theatre, Melbourne until 13 July 2024. For tickets, click here.

Rehearsal Photos: Teresa Madgwick

Bitingly bittersweet and timelessly tender, Elegies: A Song Cycle enthrals with a top flight cast and lovingly inventive staging. 

Heralding the auspicious arrival of brand new company Clovelly Fox Productions, Elegies: A Song Cycle benefits from the creatively insightful, emotionally intelligent direction of company founder, Tyran Parke. With a touch of magical Wonka-esque sparkle in his eye, Parke proudly and warmly greeted the opening night audience on stage, a practice he intends to maintain throughout the season. 

Premiering in 2003, Broadway composer Williams Finn’s Elegies: A Song Cycle is a highly personal collection of subtly woven songs playing tribute to an eclectic range of people he held dear. Being a song cycle, there is no formal narrative but there is a climax, where the individual stories of loss expand to the far broader spectrum of sorrow experienced by New Yorkers, and around the world, on September 11, 2001. 

Finn’s lyrics are deftly spare, painting a vivid picture and engaging the listener as soon as each set of lyrics is underway. Finn’s mother Barbara Finn is featured more than once, and he occasionally returns to figures mentioned in “Mark’s All-Male Thanksgiving.” The majority of numbers are stand-alone stories, with each new song inviting the audience into a world of characterful, melancholic, and occasionally humourous reminiscences. 

Incorporating suitably simple musical staging by Freya List, Parke’s direction produces an organic, comfortable vibe, as though the songs are unfolding spontaneously and naturally. The warm support shared by the ensemble cast of five serves to invite the audience to embrace the shared recollections. 

Accompanying the performance on grand piano, musical director Vicky Jacobs is an honorary sixth cast member, imparting emotive musical expression to perfectly complement the beautifully prepared vocal performances. 

In an abstract setting by Mikailah Looker, the five singers uncover memories beneath dusty sheets in the atmospheric, warehouse-like space of fortyfivedownstairs. Parke interprets Finn’s musical tributes as a way to keep each person’s name alive, highlighting each mention with the projected name overhead. Martyn Coutts and Lara Gabor’s unobtrusive projection design also includes  evocative black and white photos by Trent Parke. 

The structure of Elegies gives every cast member a number of opportunities to shine. The five generous performers in this production have an easy grace with each other, and there is a shared joy in the combined power of their storytelling through song.

Nadine Garner brings a depth of maturity and wordly presence. “Only One,” about a school mistress’ reflections as she nears the end of her life is an early movng highlight from Garner. 

In characteristically rich voice, Anton Berezin expressively leads “The Ballad of Jack Eric Williams.” Berezin brings a final tear to the eye of each audience member with Twin Towers reflection “Looking Up.”

Kerrie Anne Greenland demonstrates her range with both powerhouse and delictae vocals. Greenland takes the audience on a vivid ride with “Passover.” Working together as a driven writer and a distracted reader, Greenland and Garner delight in “Dear Reader.”

Marty Alix conveys poignant vulnerability with his lovely voice and gentle presence. Alix is adorably with charm song “My Dogs,” later supporting Garner with the deeply moving recollection of neighbourhood, “14 Dwight Ave., Natick, Massachusetts.”

Charismatic performer Glenn Hill charmingly brings to life the characters of “Mark’s All-Male Thanksgiving.” Hill later takes the audience on a solemn yet inspiring journey with “Venice.”

Boasting luxurious casting and affecting performances, Elegies: A Song Cycle is highly recommended for lovers of more serious musical theatre. 

Elegies: A Song Cycle plays at fortyfivedownstairs, Melbourne until 21 July 2024. For tickets, click here. 

The Elegies: A Song Cycle program can be read online.

Photos: Ben Fon

Next to Normal soars again, its West End debut season blessed with an extraordinary cast and a boldly confident new production.

The rare wholly original musical, Next to Normal won the 2009 Best Score Tony Award for Tom Kitt (music) and Brian Yorke (lyrics) as well as the 2010 Pulitzer Prize for Drama. 

Transferring to the West End after a hit season at Donmar Warehouse last year, this production comes alive on a grand scale while maintaining the highly personal focus on its tight ensemble cast of six performers. 

What initially seems like “Just Another Day” for a perfect loving family is soon derailed as Diana Goodman begins making sandwiches across the kitchen floor.  With treatment progressing through psychopharmacology, hypnosis, and ECT, there are shown to be no easy solutions, with Diana’s mental illness impairing not just her own life but that of her whole family. 

Director Michael Longhurst shows keen insight into the challenging material, presenting Diana’s journey through mental illness treatments with empathy and clarity, with requisite surreal touches of fantasy along the way.

Dan and Diana Goodman studied architecture and the house they built has clean modern Scandi lines. Designer Chloe Lamford houses the rocking band of six musicians upstairs in rooms that double as the second storey of the home. The smooth, sheer walls are the perfect canvas for psychedelic projections (by Cal Rosner) and lighting (by Lee Curran), the combined result strikingly recreating a sense of the dizzying effect of treatment on Diana’s mind. 

Particularly clever in the design is the use of a revolve for Diana’s sessions with each of her doctors. Whenever Diana is sitting opposite a doctor, the turntable slowly revolves, effectively conveying the perpetual sense of off-kilter disorientation.

Music is at a premium, with musical supervisor Nigel Lilley and musical director Nick Barstow preparing a thrilling sound from the six gifted musicians on stage. With the audience staying around for the playout, there is a heady feeling of having just attended a live rock gig. 

Leading the well matched ensemble cast of six is Caissie Levy, giving an extraordinary powerhouse performance as Diana. Levy’s vocal gifts allow her to belt the score with unflinching power whilst retaining full control over nuanced expression and dynamics. A gifted actress, Levy underpins her vocal strength with affecting vulnerability; every thought, conflict, and realisation travels across Levy’s face and body with perfect clarity.

A compelling acting partner for Levy, Jamie Parker brings the sense of a lost boy to Diana’s husband Dan, drawing natural audience sympathy for a man who has been over his head in tumultuous challenges for so many years. 

Young actor Jack Wolfe is terrific as son Gabe, expertly conveying Gabe’s lack of interaction with most of the characters. Wolfe’s rendition of “I’m Alive” is a thrilling highlight. 

In Longhurst’s concept, daughter Natalie is something of a mini-me Diana, right down to the tousled blonde hair. Eleanor Worthington-Cox works a little hard initially to convey Natalie’s chaos but eventually settles and allows the audience to come to her.

Although Jack Ofrecio looks a little too baby-faced for the stoner / slacker aspects of Henry, he definitely captures Henry’s unfailing devotion to Natalie in what is ultimately a winning performance. 

In dual roles of The Doctors, Trevor Dion Nicholas gives Dr Fine an OCD edge of his own before moving to the larger role of Dr Madden, where he amusingly contrasts the mild mannered man with the scary rockstar persona that Diana visualises.

For newcomers or existing fans, this production of Next to Normal is premium West End fare that is not to be missed. Please join Man in Chair in praying to the gods of theatre for a cast recording. 

Next to Normal was reviewed 7.30pm 24 July 2024 at Wyndhams Theatre, London where it plays until 21 September 2024. For tickets, click here. 

Photos: Marc Brenner

Believe the hype! Guys & Dolls at flashy new London venue Bridge Theatre is dazzling, joyous, inventive musical theatre as its very best. 

Reinventing the all-time classic musical from the ground up, veteran director Nicholas Hytner adds so many clever touches that it is almost impossible to absorb them all on one viewing. Collaborating closely with set designer Bunny Christie and lighting designer Paule Constable, Hytner has crafted a truly unique immersive spectacle in which the action takes place in a central arena with audience at ground level and also seated in the round.

Multiple platforms rise and drop as the action moves about the space, with a crack stage management crew constantly directing traffic amongst the standing audience members. With so much real estate on offer, Hytner has the space and ingenuity to add multiple characterful locations, including barbershop, boxing gym, Mindy’s restaurant, and many more. Colourful neon signs fly in and out to help to establish locations. 

Hytner’s vibrant direction includes multiple small changes, and yet the time-honoured book by Jo Swerling and Abe Burrows remains pleasingly intact. One particularly audacious change takes place in the Havana sequence where Sister Sarah Brown now fights off a scantily clad gay male paramour so she can dance with Sky. At this point, this audience is so fully along for the ride that this cheeky chapter is breezily accepted as all part of the fun.

Lush with brass and woodwind, the new orchestrations from Charlie Rosen and arrangements from musical supervisor Tom Brady sound superb. 

Christie’s costumes balance naturalism and theatricality, with the flashiest outfits seen in Havana and, of course, on the Hot Box stage, where the action is suitably saucy but not too seedy. 

Choreography from Arlene Phillips and James Cousins is wonderfully crisp and energetic. Dance pours forth in every direction in Havana, and all male sequence “The Crapshooters’ Dance” is impressively athletic. The showstopper to end all showstoppers, “Sit Down You’re Rockin’ the Boat” receives not one but two encores, all the more incredible in that they each feature new variations on the choreography. 

Hytner and team have assembled a fabulous company of performers, all the while maintaining a clear focus on racial diversity and body positivity. 

George Ioannides has charisma to spare as worldly gambler Sky Masterson, enjoying ready chemistry with every scene partner. Celinde Schoenmaker brings a bit of a hard edge to Sarah, ensuring she is no easy pushover. 

Timmika Ramsay imbues brassy, ever loving showgirl Miss Adelaide with abundant heart, her momentary cracks of vulnerability bolstered by a backbone of sheer determination. A fabulous triple threat performer, Ramsay commands the stage of the Bridge and the Hot Box, thoroughly engaging the audience as the well known fiancée. 

Jonathan Andrew Hume exudes loveable charm as well-meaning sweetheart Nicely-Nicely Johnson.

Guys & Dolls at the Bridge Theatre is once-in-a blue-moon theatrical magic that has to be seen to be believed.

• Arrive in good time to marvel at the spectacle of London Bridge itself before entering the capacious and atmospheric foyer of the Bridge Theatre.

• It’s a longish act one, but if you don’t need the bathroom at interval, stay in the house to enjoy smooth harmonies and lively tap beats. 

Guys & Dollswas reviewed 7.30pm Tuesday 23 July 2024 at Bridge Theatre, London where it plays until 4 January 2025. For tickets, click here.

Enjoy the trailer featuring the original cast of this production of Guys & Dolls:

Photos: Manuel Harlan

Revived in a thoroughly charming a boutique production, rarely staged Stephen Schwartz musical The Baker’s Wife breaks bread at cherished London revival house, Menier Chocolate Factory.

Originally touring the US in 1976, the original production of The Baker’s Wife did not meet the music theatre yardstick of success, ie it did not play Broadway. The musical has retained a cult following, boosted by all time hit power ballad “Meadowlark.” 

Letdown by the sudden death of the previous baker, the fractious townsfolk of Concorde eagerly await his replacement. Upon the arrival of Aimable, his beautiful young wife Genevieve is mistaken for his daughter. Aimable thrills the town with his delicious baking until Genevieve absconds with handsome local romeo, Dominique. 

Based on a 1938 French film, the book of the The Baker’s Wife presents the audience with a quandary. A musical theatre audience is conditioned to root for the key romantic pairing, in this case Genevieve and Dominique, but to do so here is to support adultery. Raffish cad Dominique can be seen as something of a villain but Genevieve is an entirely sympathetic character, as is her husband Aimable. There are lessons learned before a happy resolution but the central tension in the storytelling remains. 

Having helmed a successful production back in 2005, director Gordon Greenberg returns to the work with keen insight. Having assembled a talented, experienced troupe of players, Greenberg successfully expands the focus of the musical beyond the main love triangle. Generational feuds and other unhappy marriages share the spotlight, with long suffering wives Denise and Hortense given strong agency. Searching together for Genevieve, Barnaby manages to resolve his feud with Claude but, left by his wife Hortense, dances alone in the finale. 

Wonderfully flexible, the intimate space of the Menier is completely transformed into a French village by city designer Paul Farnsworth; stucco plaster, weathered shutters, and wrought iron balconies abound. Some audience members sit at cafe tables, joined by the townsfolk as the musical unfolds. 

Farnsworth’s costumes suitably provincial, with just a touch of glamour reserved for the Marquis’ three “nieces.” Period details are ably supported by wig, hair, and makeup design of Sam Cox.

Musical director Dustin Conrad brings rich life to Schwartz’s wonderfully melodious score, with hummable, toe-tapping tunes coming in quick succession, particularly in act one. Although the performances are amplified, much of the singing is heard acoustically, with harmonies sounding quite glorious. Playing keyboard, Conrad leads a very strong band of eight fellow musicians, with the luxurious inclusion of a harpist.

Veteran performer Clive Rowe delivers a neatly understated central performance as baker Aimable, projecting soulful warmth in abundance. Rowe’s nuanced work ensures that Aimable is a rounded, sympathetic character and not a bumbling caricature. 

Lucie Jones is a delight as Genevieve, bringing down the house with her soaring rendition of “Meadowlark.” Part of the thrill of watching The Baker’s Wife on stage is to see “Meadowlark” in context and this aspect is realised with full impact. With Genevieve absent for much of act two, Jones’ presence is missed when she Is off stage.

A treasure of the London musical theatre stage, Josefina Gabrielle shines as cafe proprietor Denise, warmly providing moments of narration and audience engagement throughout the show. Finty Williams enjoys full audience support in her sympathetic characterisation of dear downtrodden Hortense. 

Joaquin Pedro Phoenix brings doe-eyed insouciance to self-centred scoundrel Dominique. Liam Tamne gamely does not shy from the uglier aspects of Barnaby’s mysoginistic treatment of his wife. 

If even a fraction of a percent of the fans of Wicked attended this season of The Baker’s Wife it would be standing room only. Elevated by sharp direction, lovely design, and strong performances, The Baker’s Wife is a treat to be savoured.

The Baker’s Wife was reviewed 3pm Saturday 27 July 2024 at Menier Chocolate Factory Theatre, London where it plays until 14 September 2024. For tickets, click here. 

Photos: Tristan Kenton

Boasting a starry cast, dazzling choreography, and epic production values, Kiss Me, Kate entertains in lavish style. 

With Broadway having already enjoyed two revivals of Cole Porter classic Kiss Me, Kate, renowned revival master Bartlett Sher has crossed the pond, as they say, to London for this decadently splashy affair. 

Working with his regular creative team, and, presumably, a massive budget, Sher takes full advantage of the vast stage of the Barbican Theatre. 

Michael Yeargen’s sets tower to dizzy heights, the central revolving set incorporating the stage, the star dressing rooms, and the back alley at the theatre where show-within-a-show The Taming of the Shrew the Musical is playing. Enormous as this central set piece may be, the Barbican space is so huge that there is still room to show the “wings” of the theatre, where stage management and waiting actors continue the backstage sense of the show. As the complications of the story unfurl and energy rises exponentially, the set plays its part in the excitement, rotating to allow chases through the “theatre.” 

In sharp contrast, the sets for The Taming of the Shrew are oddly childlike, as if drawn by an artist using their left hand. 

Costume designer Catherine Zuber reliably works her wardrobe magic, delivering both stylish 1940s day wear and fabulous Elizabethan costumes for The Taming of the Shrew. The Elizabethan costumes are crafted in glossy grayscale with liberal splashes of reds and purples. 

As with a good many golden age musicals, tweaks are needed to comply with modern taste. Hilarious though they are, Porter’s lyrics and Sam and Bella Spewack’s book benefit from Sher’s relatively minor updates. When director and star actor Fred Graham as Petrucchio takes Kate over his knee to spank her, the supporting cast and stage manager gasp as one, running on stage to swiftly intervene before he can even start. Supporting this further, Fred later tells the audience that female roles were played by boys in Shakespeare’s time and so the rough housing was not as hard to take. Curiously, despite removing the violence against a woman, there are still two times when leading lady Lilli Vanessi strikes Fred. 

Bill’s castmates censor the love song he is penning when he goes to rhyme “Bianca” with the threat “or Pappa spanka.”  Finally, unlike the 2019 revival which changed the final song to “I Am Afraid Ashamed That People Are So Simple,” this production retains the original title  “I Am Afraid Ashamed That Women Are So Simple” but has Fred take over the final sequence to state that he, as husband, will place his hands under his wife’s foot. This not only corrects the difficulty with the lyrics but makes for a lovely moment of sincerity and character growth for Fred. 

Other changes, most likely for expediency include the removal of Fred’s act one ballad “Were Thine that Special Face” and act two duet “From This Moment On” for Lilli and the colonel is not included.

Over above the comedy and romance, the key attraction of Kiss Me, Kate is Porter’s gloriously melodious score. Musical director Stephen Ridley leads an orchestra of 16 musicians in a vibrant performance of the score. Dance arranger Gareth Valentine has contributed new dance breaks for “Cantiamo D’amore” and “Too Darn Hot,” the latter an extraordinary highlight of the evening. 

Choreographer Anthony Van Laast makes terrific use of the space and the large cast to present dance on a grand scale. 

Appropriately described in the marketing materials as Broadway royalty, Stephanie J. Block is in peak form as Lilli / Kate. Brassy and blustery, Block nails the comedy in both roles. Vocally, Block has the luxury of an agile soprano for numbers like “So in Love” as well as a powerhouse belt for numbers such as “I Hate Men.”

Adrian Dunbar proves a terrific leading man, taking charge as director / producer / actor (and lover) Fred and sings with ready flair. Best of all, Dunbar excels with the comedy, scoring plenty of laughs both for himself and those for whom he plays the straight man. 

Firmly established West End star Charlie Stemp is in his element as Bill / Lucentio, flexing his triple threat skills with style. With Stemp in the cast, why would you not add Bill to “Too Darn Hot,” where he dazzles in a dance-off opposite Jack Butterworth as Paul. Stemp also has his own number, breaking out the tap shoes for “Bianca.”  

As Lois Lane / Bianca, Georgina Onuorah oozes glamorous appeal, deftly capturing the glowing innocence of a much admired young woman.  

Everyone’s favourite characters, the gangsters cum thespians are played in fine style by Hammed Ammashaun and Nigel Lindsay. Although the moment where they shoot the singing bird is cut, they have plenty more laughs to enjoy. Eleven o’clock showstopper “Brush Up Your Shakespeare” increases in delicious increments as the pair is handed hats and then canes, finishing with a full audience sing-a-long of the catchy chorus. 

Peter Davison drops in for the thankless role of General Howell, insensitive fiancé of Lilli. An amusing part of his scenes is the fact that Washington is such an easy target for the butt of jokes. 

To see golden age musical theatre so expertly and lovingly staged and performed is a joy. Kiss Me, Kate is not to be missed by visitors to London this summer.  

Kiss Me, Kate was reviewed 7.30pm Saturday 27 July 2024 at Barbican Theatre, London where it plays until 14 September 2024. For tickets, click here.

Photos: Jonah Persson

Well, well, hello, Imelda! Delayed four years, this lavish, heartfelt revival of Hello, Dolly! more than handsomely rewards its patient, grateful audience. 

Produced on a grand scale that completely belies its ten week season at the London Palladium, this new staging deftly balances fantastical opulence and grounded realism. A terrific star vehicle for Imelda Staunton, Hello, Dolly! complements its leading lady’s magnetic power with a mighty cast of 36 performers and a generous orchestra of 21 musicians. 

Director Dominic Cooke insightfully highlights the trepidation and joy of Dolly’s welcome return to society. A brief prologue sees Dolly carefully putting away her black dress, her year of mourning for her late husband Ephraim Levi now over. Offsetting the focus on financial security, the cut song “Love, Look in My Mind” is reinstated, this time in act two for a pensive moment as Dolly prepares to go back to Harmonia Gardens. 

In other musical changes, the opening is a mash up of musical numbers “Call On Dolly” and “I Put My Hand In” plus movie opener “Just Leave Everything to Me.” As with the 2017 revival, Horace opens act two with “Penny in My Pocket,” which progresses this time from the front of the curtain to Horace’s hotel room and on to his journey to the restaurant. 

Nicholas Skilbeck’s new arrangements include a longer dance break for “Dancing” and an all-new version of “The Waiter’s Gallop.”

Rae Smith’s set design creates an ongoing sense of movement with its mid-stage travelator and full back wall showcasing Finn Ross’ ever dynamic video design. The vast stage of the London Palladium looks wonderful when filled with dancing ensemble members but during book scenes, the stage is so wide that characters in conversation rarely stand anywhere near each other. 

Smith’s costume design strikes a balance between splashes of lush colour and earthy naturalism. The male customers at Vandergelder’s Hay and Feed look to be straight off a ranch whereas “Put On Your Sunday Clothes” fills the stage with gorgeous colour. 

A lovely design concept is seen in the extended dance break of “Dancing.” Leaving the millinery store, the background melts away and the performers are dancing up amongst the misty heavens. 

Smith’s creation of Harmonia Gardens conjures old world glamour with decadent curved staircase and waiters in dark burgundy velvet tails. Distinguishing the design from previous versions, Smith dispenses with red on red, having Dolly descend a gold staircase wearing an emerald shot silk gown. 

A riot of colour ensues in the epilogue, now specifically set two months later. Three couples happily tie the knot in a lavish summertime wedding (in which Dolly now finally wears a red dress).

Compared to a good many golden age musicals, less work is needed to make the work palatable to modern day sensibilities. Some colour blind casting is used, and the end of  “It Takes A Woman,” sees the wives enter to hen peck their husbands out of their store and back to their duties. 

Staunton anchors the show with ready charisma and cheerful confidence, displaying a lovely singing voice throughout her numbers. Playing it straight, Staunton nails all the comedy, deepening the impact of the storytelling by also bringing touching vulnerability. Staunton may not be said to have invented stairs but her rendition of the melancholic verses of “Hello, Dolly!” is an absolute revelation. 

Andy Nyman allows a very gentle undercurrent of warmth to Horace, making him an appealing catch and ensuring that the money-related “sign” to Dolly does not come completely out of the blue. 

London stage royalty, Jenna Russell plays Irene Molloy as a bit of a prickly pear, delightfully warming to Cornelius as the evening progresses. It is not clear why Minnie Fay is dressed and coiffured like a timid librarian but Emily Lane nonetheless brings a pleasant air to the role. 

A strong leading man, Harry Hepple makes for a charming Cornelius Hackl. Tyrone Huntley amuses as a suitably innocent Barnaby Tucker.

The perfect meeting of star and material, Hello, Dolly! is a memorable once-in-a-blue-moon treat. 

Hello, Dolly! was reviewed 7.30pm Tuesday 30 July 2024 at The London Palladium where it plays until 14 September 2024. For tickets, click here.

Photos: Manuel Harlan

Revived on a grand scale, the UK tour of A Chorus Line retains all the heart of the 1975 original, refreshing the orchestrations and staging to spectacular success. 

For almost fifty years, A Chorus Line has been basically done in the same way, either as a replica of the original Michael Bennett direction and Bennett and Bob Avian choreography or at least closely based on this. This revival, which originated at Curve Theatre, Leicester in 2021, presents A Chorus Line as if it was first produced today; the 1975 setting of James Kirkwood and Nicholas Dante’s book is preserved but the music and staging are thrillingly updated.

Working with designer Grace Smart, director Nikolai Foster retains the on-stage setting but fills the space with much more of the items that would be on a Broadway stage – bleachers, chairs, lighting and sound crates, scenery flats, and massive scenery boxes. In a clever touch, the scenery boxes rotate to show the hidden band of eight musicians. The stage is large enough for a side desk and chair, where director Zach often sits given that he is less often at the rear of the auditorium.

In a visual touch that is unrealistic for the period but works for a modern production, director’s assistant Larry often points a hand-held camera at the auditioning dancers, their images displayed as a live feed on a large vertical LCD screen on the back wall. This conceit particularly brings to life the small asides of dancers that are sung when another character starts to mime their downstage monologue. 

Lighting designer Howard Hudson increases the spectacle with multiple lighting rigs that move into place for various numbers. This could potentially be interpreted as a lighting designer at the theatre playing with lights for the show that is being auditioned. A standout effect is a set of five strips of white light that replicate overhead the image of the chorus “line” on the stage. 

Musical supervisor David Shrubsole has contributed new orchestrations, which bring a new feel to Marvin Hamlisch’s music. This is first noticed in Mike’s song “I Can Do That,” still upbeat but mellower, and again in Diana Morales’ “Nothing,” which is still as dramatic but sounds fresher overall. 

Working closely with Shrubsole is choreographer Ellen Kane, who responds to the changes in feel of the music with different choreography than usually seen. Overall, there is also far more choreography, with the dancers frequently moving away from the “line” to dance through more numbers. Mike’s choreography has more soft shoe along with the acrobatics. Kristine and Al have an elaborate routine for ‘Sing,” and the “One Rehearsal” and “Tap Dance” sequence is all new.  

All of the new aspects come together in spectacular fashion for the finale “One.” After the audition, the show cloth scrim comes down and the show appears to be over as Zach turns on the ghost light. Zach sees a single gold hat hanging in view, plucks it from the wire and begins a dance routine as if remembering his time on the stage. Completely changing tradition, the dancers chosen for the show do not enter first but rather the men begin the number on stage, with the women all entering after the first verse. Extended choreography sees pairs of dancers come centrestage for featured moments, The number builds in dazzling style, with dozens of gold theatre lights coming into view, pyrotechnic sparks shooting up from the stage and down from the flies, and fluttering gold tinsel released for the climactic kick line. The combined effect succeeds in leaving the audience on a giddy high.

Having a strong connection to the Sadler’s Wells stage, Adam Cooper brings additional weight to the role of driven director Zach. Cooper brings out Zach’s empathy for dancers, showing him always keenly listening to their stories and pushing them for what he knows they can achieve. Cooper shows Zach as deeply affected by his argument with Cassie, only breaking out of this funk to respond to Paul’s accident. 

Carly Mercedes Dyer is a glamorous Cassie, singing up a storm and delivering a compelling dance solo in “The Music and The Mirror.” 

The ensemble cast is filled with true triple threats, testament to the fact that performers today receive far more rounded training than when A Chorus Line was first produced. 

As Mike, Redmond Rance sets an extremely high standard with the first solo number “I Can Do That.” 

Jocasta Almgill brings a centred energy to Diana, nailing the emotional arc of her big number “Nothing” and also speaking for dancers with “What I Did for Love.” Manuel Pacific fully engages the audience, along with Zach, as Paul vividly tells his backstory.

Performed with no interval, the almost two hours of A Chorus Line fly by in a haze of emotion and enjoyment. This is integrated dance and musical theatre of the highest order, highly recommended for lovers of both forms. 

A Chorus Line plays at Sadler’s Wells, London until 25 August 2024. For tickets, click here.

Photos: Marc Brenner

Forty years on, it is still the case that nobody can do it like a steam train. Andrew Lloyd Webber’s Starlight Express arrives at the station to collect the next generation of wide eyed young theatregoers.

Slickly updated in characters, music, and staging, Starlight Express is ideal family entertainment. The prospect of how exciting this show would look to a young first time musical goer is mind-boggling. Housed in a custom-designed, purpose-built auditorium at Wembley Park, no one is more than a few rows away from live “trains” whizzing by. Add in chest-thumping music and dazzling lights and lasers and the whole experience is probably as much fun as a child of any age could have at the theatre.  

Revisiting Starlight Express, it is clear to see how similar in concept and structure the show is to Cats, which premiered just a few short years earlier. Act one is almost all introductory songs as the various trains and carriages each have their moment in the spotlight. Instead of a Jellicle Ball, the show builds to a championship race between the various pairings of engines and carriages. 

Updates to the musical include the removal of all trains based on nationalities, avoiding the possibility of caricatures and stereotypes. As in real life, gone is the smoking carriage. The freight trains now carry fuels, with the new inclusion of hydrogen, of which we hear “it’s not a matter of if, it’s a matter of when for hydrogen.”

Whereas the character of Control was once a disembodied voice, a range of child actors now play this character. At this performance, Control was played by Cristian Buttaci, who performed with extraordinary confidence and vocal power. 

In a welcome modern update, diesel engine Greaseball is no longer a male character, meaning that their romance with dining car Dinah is a queer one. 

The immersive nature of the design begins when entering the foyer, which with its bars, music, and darkness is for all intents and purposes a nightclub. Tim Hatley’s set design features circular paths through the auditorium for train races. a central circular space features a doughnut revolve, a central rising platform, and a rear backdrop that is like a half bowl at a skating ramp. Watch the two Controllers on scooters do flips on that ramp!

The spectacle of the set design is inseparable from the lighting design of Howard Hudson and the video design and animation of Andrzej Goulding. Director Luke Sheppard brings out as much character development and snippets of plot as possible, with a key focus on the central be-true-to-yourself romance of Rusty and Pearl.

Arguably even more eye-popping than the sets and lights, the costumes by Gabriella Slade are truly stunning. Glamorous, characterful, and practical for skating, the costumes are a attraction of the overall production. a clear highlight is electric train Electra and crew, right down to their inflatable lightning bolt wings. 

Choreographer Ashley, Nottingham delivers all manner of stunts and speed skating for the full adult cast on roller skates. In a respectful touch, original choreographer Arlene Phillips, is engaged as creative dramaturg.

Helming a tight performance of new orchestrations by Andrew Lloyd Webber and Matthew Brind, musical director Laura Bangay leads a sharp off-stage band of seven musicians. 

All aboard for Starlight Express!

Starlight Express was reviewed 1pm Sunday 4 August 2024 at Troubadour Wembley Park Theatre, London. For tickets, click here. 

Photos: Pamela Raith

In a compelling new revival, Regent’s Park Open Air Theatre infuses familiar classic Fiddler on the Roof with an abundance of fresh life. 

First a word about the space itself. Set aside any images of a simple grassy slope for picnicking theatregoers; Regent’s Park Open Air Theatre is a handsome, purpose-built theatrical haven set amidst lushly verdant walls of trees. Arrive early for a fresh pizza dinner, to be enjoyed in any of the multiple spaces created for pre-theatre drinks and dining. The 1028-seat amphitheatre auditorium surely does not have a single seat with a bad sightline. Attending a show here is an experience in its own right and is highly recommended for summer visitors to London.

Given the regular appearance of Fiddler on the Roof on the world stage, it is hard to imagine that there are any fresh aspects to present. Wonder of wonders – director Jordan Fein and team have refreshed the well known musical, in particular, replacing the often solemn, reverent approach to Joseph Stein’s book and Jerry Bock and Sheldon Harnick’s score with hearty vigour and gusto. 

This approach begins with Adam Dannheisser as a virile, commanding Tevye, his verve and energy flowing out through the full company. Dannheisser keeps a twinkle in the eye of Tevye that keeps the character and during most of his trials. In his fury at Chava’s betrayal, Tevye upends the milk cart he has been painstakingly pulling about the stage, milk cans toppling and milk spilling out across the stage. 

Julia Cheng’s choreography sees numbers like “To Life” and the wedding dances erupt with passion and energy. There is a strong core of male dancers, with Daniel Krikler as Perchik an absolute standout. 

Designed with deceptive simplicity by Tom Scutt, the action unfolds on an orthogonal wooden floor with thatched overhead roof curved upwards. Giving a gently improvised feel, all scenes are created from some chairs and trestle tables. With no actual backdrops to change, scenes have room to breathe. The cast remaining on stage for much of the performance facilitates a ready flow and supports the improvised feel of a troupe of players working as one.

Fein has the actors speak with their own accents, avoiding any issue of imitation or stereotype. Loose and casual, Scutt’s characterful costumes have a highly natural feel and every cast member is seen as an individual character in their own right. Vanity is set aside, with little or no make up worn, no wigs, and a brilliant set of beards grown by the full male cast. 

Such is the sense of realism and community that the violence of the pogrom is very upsetting. Being outdoors, the intruders at the wedding carry live flaming torches, ready to set houses and fields alight. On a prettier note, cast members carry live candles for “Sunrise, Sunset” for a beautiful stage picture. 

In Fein and Cheng’s most original sequence, Tevye gathers the company on stage to help him with “Tevye’s Dream.” In on the game, the actress playing Tzeitel (Liv Andrusier) plays both Grandmother Tzeitel and Fruma-Sarah, the company manipulating white bedclothes to create Fruma-Sarah’s ghostly long arms as part of a fabulously original sequence. 

“The Bottle Dance” plays out quite traditionally before all genders dance together after the wedding toasts. In act two, rather than a ballet during “Chavaleh (Little Bird),” Hannah Bristow as Chava joins the Fiddler (Raphael Papo), playing her clarinet in a soulful musical interlude. Chava and her clarinet are also a key part of the final stage picture as the broken townsfolk depart Anatevka. 

Musical director Dan Turk leads an orchestra of 11 musicians in a lively performance, with energy to match the on stage action. Musical supervisor Mark Aspinall provides additional orchestrations, with Bock’s music given a distinctly klezmer sound. 

Lara Pulver gives Golde a firm backbone, and sings the role with a lovely darkly honeyed mezzo soprano. Pulver and Dannheisser enjoy palpable chemistry, their rendition of ‘Do You Love Me?” so personal and intimate that it almost feels like we are intruding by watching. 

With the prospect of attending Regent’s Park Open Air Theatre already so appealing, the thrilling quality of this current production of Fiddler on the Roof makes it likely to be a sold out season. 

Fiddler on the Roof plays at Regent’s Park Open Air Theatre, London until 21 September 2024. For tickets, click here.

Brisk, brash, and boisterous, Six the Musical returns to hold court with a fresh Australian tour.

Playing constantly in the West End and Broadway, the quick return season of Six the Musical is testament to the vociferous demands of devoted Australian fans. The wickedly witty show will most likely retain its popularity until there one day comes a time when theatre is overrun with stories of female empowerment; we are not there yet.

Written and developed in 2016 and 2017 by Cambridge University students Toby Marlow and Lucy Moss, Six the Musical owes a small nod to Hamilton for the reclaiming of history with a new lens but is ultimately a unique piece of theatrical entertainment in its own right. Whereas Hamilton reimagines America’s founding fathers as people of colour, Six the Musical is a musical fantasy in which each of the wives of Henry VIII can perform together in a flashy concert. 

Ostensibly structured around a singing competition based on the popular vote, the musical is sly in its subversive introduction of deeper meaning amongst the incredibly infectious tunes and fiendishly funny lyrics. The competition takes an all too believable twist, with the young women competing on the basis of who suffered most. It is not until final wife Catherine Parr takes centre stage that the centrality of everyone’s relation to Henry VIII is pointed out. Newly empowered, the six women finish by reclaiming herstory from their own central perspective.

Marlow and Moss cleverly connect the Tudor period with the present day, creatively using modern language for the adroit lyrics. In an inspired sequence, the selection of Anna of Cleves based on a painting is compared to swiping left or right on a dating app. Based on the initial competitiveness between the women, there is licence to be somewhat free with the facts but the issues facing women and the link between societal value and self worth land with far greater impact than a dry, historically accurate work.

Winning the 2022 Tony Award for Best Score, Marlow and Moss’ music is filled with delightful ear-worms. Lyrics are delightfully amusing even on repeated listenings, especially when performed as well as they are here. 

Strongly supporting the theme of female power, musical director Claire Healy is joined on stage by a terrific all-female band, known collectively as the The Ladies in Waiting. 

Originally directed by Moss and Jamie Armitage, associate director Sharon Millerchip works with a mostly new set of performers to capture the peak energy and deadpan humour that make the show such a blast to watch. The six performers are incredibly well matched and clearly support each other absolutely despite the snarky competition narrative. The slick choreography of Carrie-Anne Ingrouille is drilled to perfection by resident choreographer Cristina D’Agostino. 

Lighting design of Tim Deiling is a key aspect of the visual appeal of Six the Musical, with the distinctive costumes of Gabriella Slade adding dazzling spectacle of their own. 

Kimberley Hodgson begins proceedings with charismatic confidence as Catherine of Aragon, readily channeling Beyoncé-like bravado with “No Way.”

Inspired by the cheeky pop stylings Miley Cyrus, Deirdre Khoo brings a sparkle all of her own to particularly catchy pop ditty “Don’t Lose Ur Head.”

Original Australian cast member Loren Hunter returns as Jane Seymour, perfectly capturing the radiant elegance that reminds us why the world first fell in love with Celine Dion. 

Statuesque Zelia Rose Kitoko exudes the sassy confidence of Rihanna as she lists the riches of life freely available to Anna of Cleves in “Get Down.”

Chelsea Dawson sashays with the perky presence of Ariana Grande, the upbeat bop of “All You Wanna Do” deliberately at odds with her tale of sexual manipulation. 

Giorgia Kennedy brings the sextet of featured solos home with a more mellow Alicia Keys vibe, beginning the shift away from male dependence for the Queens with “I Don’t Need Your Love.”

A natural choice for lovers of Wicked and & Juliet, Six the Musical is sure to attract repeat viewings from its earlier season as well as drawing new aficionados to its unique brand of pop pleasure. 

Six the Musical plays at Comedy Theatre, Melbourne until 20 October 2024. Sing-along performance: 5pm Sunday 15 September 2024. For tickets, click here.

Six the Musical plays at Theatre Royal, Sydney from 25 October 2024. Sing-along performance: 5pm Sunday 1 December 2024. For tickets, click here.

Six the Musical plays at Playhouse Theatre, Brisbane from 2 January 2025. Sing-along performance: 5pm Sunday 2 February 2025. For tickets, click here. 

Photos; James D. Morgan – Getty Images