A once-in-a-blue-moon convergence of material and artists, Carousel: A Concert all too briefly recalls not only the dawn of the Golden Age of Broadway but also the glorious 21 years of treasured Melbourne institution The Production Company. 

Presenting an existing concert adaptation by Tom Briggs, producer Enda Markey has conjured a shimmering mirage for lovers of classic musical theatre. Wisely prioritising available time and resources, Markey has focused on the glorious Rodgers and Hammerstein score, with a lush orchestra of 22 musicians on stage and a full company of richly talented singers.

Masterful musical director Guy Simpson helms a richly detailed performance of Rodgers’ infinitely melodious score. Simpson’s exacting work is ably supported by sound designer Tom Brickhill, who expertly captures and balances every instrument.

In a sign of the dedication of the full company to the project, the entire performance is done “off book,” intricate harmonies and all. The use of microphones on stands retains the concert feel, but this is a fully acted, deeply movingly presentation of Carousel. 

Working with artists as gifted at acting as with singing, director Petra Kalive delivers a fully realised emotional performance, with heartfelt pathos neatly balanced by warm comedy. The concert version makes partial use of a narrator (here, the redoubtable Tony Llewellyn-Jones), but the abundant gifts of the performers drive the story along, easily allowing for brief gaps in the edited book. 

If there is one aspect missing in this concert presentation, it is full company choreography. The prologue, “The Carousel Waltz”, is played by the orchestra with no action from the cast, meaning that we do not see Billy in action as a barker at the carousel nor Julie’s original attraction to him. “June Is Bustin’ Out All Over” remains a rousing company number but the dance break is completely cut. 

Thankfully, the one key choreographic that is retained is the famous act two ballet, in which Billy watches his daughter Louise dance with a carousel barker of her own. Working with gifted dancers Jasmine Durham (Louise) and Ben Obst (Barker), choreographer Phillip Connaughton deftly captures the blend of artful dance and concise storytelling that original choreographer Agnes de Mille brought to this sequence.

Lighting designer Gavan Swift delivers the visual appeal of the concert, with festoons of globes arranged carnival-like overhead, later also suggesting a heavenly sky full of stars. Costume designer Casey Harper-Wood keeps mostly to traditional concert attire of black, with touches of earthy brown tones for the principals. 

Leading lady Anna O’Byrne eschews concert glamour for a heartfelt, fully grounded characterisation of Julie Jordan as a relatively ordinary young woman carried away by the intoxicating lure of romance. An actor of significant emotional intelligence, O’Byrne not only sings the role beautifully but also makes the best of the controversial elements of domestic abuse in the story, from which director Kalive does not shy.

British actor Danny Whitehead, now living in Australia, makes a highly auspicious local stage debut, capturing the full swagger of handsome barker Billy Bigelow. Whitehead sings the celebrated role with flair, exhibiting a rich baritone and neatly drawing out aspects of Billie’s vulnerability in his songs.

Kerrie Anne Greenland delights as Carrie Pipperidge, providing welcome cheeky humour. Greenland’s vocals not only showcase her full bodied soprano but also the depth of expression she brings as an accomplished actress.

Greenland is wonderfully partnered by versatile tenor Blake Bowden as Carrie’s cherished beau, Enoch Snow. Bowden makes terrific use of his lustrous tenor voice, also bringing a sweetly comical adorkability to Mr Snow.

Veteran soprano Marina Prior brings a light touch to earthy Nettie Fowler, delivering iconic hymn “You’ll Never Walk Alone” in characteristically gilded tones. 

Andy Conaghan brings a devilish twinkle to Billy’s ne’er-do-well chum Jigger Craigin. Paula Arundell tampers down the sexual undertones of carousel proprietor Mrs Mullins, rendering the role relatively ineffective. Tony Llewellyn-Jones is all class, bringing heart and backbone to mill owner Mr Bascombe and an unsentimental candour tone to the Starkeeper. 

The ensemble is blessed with sterling talents, many of whom are leading performers in their own right. Joshua Robson and Genevieve Kingsford are just two examples of the invaluable strength on stage. 

If you are reading this review in Melbourne on the morning of Sunday 8 September, there is one more opportunity to see Carousel: A Concert. Get to the Princess Theatre now! 

Rodgers & Hammerstein’s Carousel: A Concert played at Princess Theatre, Melbourne 7-8 September 2024. For tickets to the 8 September performance, click here.

Photos: Jeff Busby

Returning for a welcome encore season, this delectably dark production of Sweeney Todd is arguably stronger than its original 2015 season.

A co-production of Victorian Opera and New Zealand Opera, Sweeney Todd was the third instalment in the very well received Victorian Opera Sondheim Trilogy. Current artistic director of Victorian Opera, Sweeney Todd director Stuart Maunder was general director of New Zealand Opera at the time. 

Original leads Teddy Tahu Rhodes and Antoinette Halloran played Melbourne (2015) and Auckland (2016). The production was revived with Halloran now joined by Ben Mingay in Perth (2019), Adelaide (2021), Sydney (2023), and this current Melbourne season. 

Sweeney Todd remains a popular title thanks to the intoxicatingly complex music and lyrics of Stephen Sondheim and the pitch black comedy of the book by Hugh Wheeler. The hardy life of this production lies in Maunder’s meticulous direction and the impressive scale of the set and costume design by Roger Kirk. 

Maunder leans into the quirky mania of the full set of lead characters; in fact, remorseless killer Sweeney comes close to being the calmest of the lot. The comedy is expertly realised but never at the expense of the heart of darkness. Dramatic stakes remain chillingly high and the pathos lands with full weight.

Kirk’s various wooden set pieces handsomely fill the Playhouse stage, creating a claustrophobic world of chaos. The costume palette, particularly for the ensemble, is well chosen, with blacks and greys highlighted with splashes of red, creating a cohesive atmospheric stage picture. 

Philip Lethlean’s lighting design creates wonderfully murky shadows, bathing the stage in blood red at the story’s most gruesome moments. With the orchestra offstage, sound designer Jim Atkins balances the music perfectly, although it must be mentioned that with the strength of the singers and musicians involved it would be great to somehow hear an acoustic performance. 

Leading the Victorian Opera Chamber Orchestra of twelve musicians, conductor Phoebe Briggs draws out an impressively rich sound. Characterful featured solo moments are played with great flair. Creating the initial spooky atmosphere, the organ prelude was recorded on the Melbourne Town Hall Grand Organ, played by Calvin Bowman.

Setting the gold standard for an opera company presenting a musical, Victorian Opera primarily casts opera singers in Sweeney Todd. The twelve voices of the ensemble are superb and are an invaluable asset to the high quality of the performance. 

With a physique as imposing as the burnished darkness of his baritone voice, Mingay portrays a Sweeney who is physically frightening even without a razor in his hand. Mingay commandingly captures the all-consuming vengeful drive of Sweeney, leaving no doubt that the tragedy will unfold to its bitter end. 

Retaining her lusty, busty characterisation of bloodthirsty Mrs Lovett, Halloran has found new layers of fiendishness; in a couple of instances, she audaciously adds the suggestion of violent acts committed by Mrs Lovett herself. Halloran’s richly detailed, impeccably sung performance is rounded out by moments of tenderness, and she enjoys sparkling chemistry with Mingay. 

Mat Verevis immerses himself in the tremulous vulnerability of Tobias, continuing his characterful expression through all of his singing and delivering a compelling climactic mad scene. 

As the poor dear Beggar Woman, Margaret Trubiano wins the audience with sharp comic timing, amusingly flipping between the woman’s pitiful cries for alms and her fiendishly saucy attempts at prostitution. Trubiano also sings the role with plaintive beauty. 

Playing a virile Judge Turpin, Adrian Tamburini creates a solid match for Sweeney. Although it was cut for the 2015 season, the Judge’s self-flagellation number “Johanna (Mea Culpa)” is re-inserted, with Tamburini giving an unflinching performance of the deliberately disturbing scene. 

Kanen Breen returns as Beadle Bamford, magically and amusingly concocting a mix of both fey and sinister stylings. 

Delightfully dressed as a cross between Captain Hook and Willy Wonka, Euan Fistrovic Doidge brings delicious flair to the colourful role of showy barber Pirelli. As strong an actor as singer, Doidge nimbly delivers the patter of “The Contest” and successfully lands the humour of the reveal of Pirelli’s true self.

Lustrous soprano Alessia Pintabona sings with requisite sweetness as Johanna, capably partnered by fine lyric baritone Lachlann Lawton as the noble Anthony. 

Playing for little more than a week, local fans will need to act promptly to catch this crowd-pleasing rerun season of Sweeney Todd.

Sweeney Todd plays at Playhouse, Arts Centre Melbourne until 21 September 2024. For tickets, click here. 

The Sweeney Todd program can be read online. 

Footnote: not one to be political as a rule, but it is amusing to note that the mention by Mrs Lovett of “popping pussies into pies” earns extra snickers at this time.

Photos: Charlie Kinross

A grand concert staging heralds the world premiere of new Australian work Quasimodo the Musical, with a full complement of soloists, choir, and orchestra allowing the score to be heard at its very best. 

Completing the relatively rare triple crown of writing music, lyrics, and book, Samuel Kristy has brought new life to classic 1831 Victor Hugo novel The Hunchback of Notre Dame. Richer and darker than the well known Disney animated version, the romantic and tragic story is faithfully rendered in this new musical. 

A disabled infant left on the steps of Notre Dame cathedral, “Quasimodo” is raised by Archdeacon Frollo. The lustful Frollo impels Quasimodo to abduct the beautiful gypsy Esmeralda, beginning an extraordinary bond between Quasimodo and Esmeralda that lasts until their shared tomb. 

Providing a welcome opportunity to revisit the stunning interior of the Capitol Theatre, this concert season fills every square metre of the stage with artists. A contingent of 24 musicians of Royal Melbourne Philharmonic Orchestra are joined by a vast contingent of Royal Melbourne Philharmonic choristers and an appealing set of highly talented lead singers. 

Expert sound design by Marcello Lo Ricco ensures the lush sound is beautifully balanced so that the sweeping arrangements of Hamish Ander can be fully appreciated. Maestro Andrew Wailes, serving as musical director and conductor, brings the sumptuous music to life with a precision that belies the newness of the work. 

Each of Kristy’s songs are enjoyable and immediately accessible, if a little hard to distinguish at first listen; a reprise in the finale does, however, leave a hummable tune in the romantic duet “Could You Ever Love Me?”. Soaring solo numbers abound, tempered by lighter comic songs such as “Pick That Little Pocket,” in which poet Gringoire trains as a thief and “Lady of the House,” a sly subversion of “Master of the House,” featuring Paul Hogan as colourful landlady Madame Falourdel.

While program notes for Quasimodo the Musical are very thorough, the concert is presented with neither narration nor captions. In the absence of the spoken dialogue, this does not support audience understanding beyond a fairly superficial level. 

The cavalcade of power ballads in act two are sung with full heart and yet the emotional impact is not fully realised because the stakes are not clear. Each of the 30+ numbers is accompanied by a projected image, providing a sense of location. These attractive images aid the context but on their own do not provide sufficient information to tell the story. 

These issues may have been corrected with the input of a director; nonetheless, the music can be readily enjoyed on its own merits.

The generous complement of musicians and singers are a spectacle in their own right, with richly coloured lighting by Jason Bovaird providing added visual appeal. The mind-boggling number of lighting cues provides ongoing interest, with Bovaird dynamically lighting not just the stage space but also the stunning white textured ceiling of the Capitol. 

The nine lead singers give their all to the new work, their acting through song elevating the concert performance. Being mostly off book allows the singers to readily express their characters and engage with the audience. 

The lead cast is well matched and yet it must be noted that Joshua Robson emerges as a clear standout as Quasimodo, his wonderfully warm baritone pouring forth in luxurious and richly expressive tone. A late I wish song, “I Must Be Me” is a highlight of act one from Robson, with “Immortal Is Our Love” a standout of act two.

A terrific stage partner for Robson, Enya Angel brings a beautifully soulful voice to Esmeralda in numbers such as “Will I Ever See You Again?”. Given Angel’s background in dance, it is hoped that she will have the chance to play Esmerelda in a fully staged production.

Des Flanagan plays against type as insidious cleric Frollo, drawing upon a darker tone of his sweet tenor voice. 

Ben Clark newly distinguishes two key roles, giving poet Gringoire a tender melancholy and giving traditional romantic lead Captain Phoebus a hearty bravado. Michael Lampard successfully colours thief Clopin a suitably sinister edge.

Always great value, Fem Belling plays three roles here, neatly crafting a broad contrast between the key roles of saucy temptress Devilina and kindly retired nun Sister Gadule. 

While Quasimodo the Musical has more work ahead to reach its full potential, the opportunity to hear the beautiful music in this world premiere concert presentation augurs well for its eventual future as a fully staged musical. 

Quasimodo the Musical in concert plays at Capitol Theatre, Melbourne until 22 September 2024. For tickets, click here.

Photos: Ross Green

Studded with hit songs and telling a truly inspiring story, hit bio-musical Tina, The Tina Turner Musical finally plays Melbourne, arriving in peak form. 

Wondrously warm and vocally superb, the powerhouse lead performance by Ruva Ngwenya is a key attraction of Tina. On stage almost the whole time and singing basically every song, Ngwenya captures audience affection the instant she appears, holding the audience firmly in her palm for the whole rollercoaster ride of success, abuse, despair, love, and, finally, even greater success. 

Portraying decades of her life, Ngwenya captures Tina Turner’s resilient joie de vivre, dances with nimble flair, and brings down the house with soaring vocals. Having the audience stand and dance for a concert finale is pretty much de rigueur for a bio-musical and yet the outpouring of joy at the climax of Tina feels especially cathartic.

The road to that thrilling finale is a long one, with Tina running for a bloated 170 minutes (including interval). Penned by Katori Hall, with Frank Ketelaar and Kees Prin, the book for Tina plays more like a bio-movie, including myriad scenes and characters as it chugs along through the years. Each of the background elements coalesces in Tina’s ultimate success but there are some long, generally humourless book scenes, particularly in the slow coverage of Tina’s early life and the middle of act two, in which the importance placed on the death of Tina’s mother does not feel earned.

To the credit of the writers, the show does not shy from the distressing horrors of racism and domestic abuse. A powerful point is made about racial slurs, having the hateful term that is heard in the South later used with casual cruelty by a high powered recording executive. Less assured is the act one climax which has the audience cheer Tina’s response to monstrous Ike Turner’s abuse with cartoonish violence of her own; Ike’s later slide into obscurity is a far more satisfying comeuppance. 

Collaborating closely with set designer Mark Thompson, lighting designer Bruno Poet, and projection designer Jeff Sugg, director Phyllida Lloyd delivers a musical in near constant motion. Seamless cinematic transitions help the story flow across time and place, with the stunning flip to the final concert scene being a particular highlight. Local resident director Leah Howard keeps energy levels high, drawing sharp, compelling performances from the cast.

Choreographer Anthony van Laast respects Tina’s own choreographic sensibilities, contributing dance that supports character and storytelling rather than simply being decorative. 

The killer combination of Thompson’s costumes and Campbell Young Associates’ wigs are an attraction in their own right, capturing the vital essence of each period with heady theatrical style. 

Blended into a cohesive score by orchestrator Ethan Popp, Tina’s extensive musical catalogue is heard at its best under the leadership of musical director Christina Polimos. Offstage for most of the musical, the sensational band fittingly appears on stage for the climactic Brazil concert that ends the performance on a high.

In a fiendishly difficult role, American actor Giovanni Adams brings authentic integrity to Ike Turner, gamely and believably leaning into the man’s worst traits. 

Deni Gordon infuses Gran Georgeanna with tender warmth. Jayme-Lee Hanekom is an absolute delight as Alline Bullock, devoted younger sister of Tina. 

Experienced musical theatre actress Nadia Komazec does her best with the underwritten role of road manger Rhonda Graham. 

Mat Verevis brings an uplift of fresh comic energy with the act two arrival of “stone the crows” Aussie hitmaker Roger Davies. Matthew Hamilton pulls off a neat contrast with suitably creepy record producer Phil Spector and earnest songwriter Terry Britten. 

On opening night, Zoe Desmier won audience acclaim with her plucky confidence and belting vocals as young Anna-Mae (young Tina). Cindy Chitenhe delivered her own adorable presence as young Alline. 

A welcome chance for local fans of the legendary Tina Turner herself to reminisce and pay homage to an extraordinary woman, Tina, The Tina Turner Musical shines through its slick production and excellent cast. 

Tina, The Tina Turner Musical plays at Princess Theatre, Melbourne. For tickets, click here.

Photos: Daniel Boud

Tonally fluid and breezily superficial, new Elton John musical Tammy Faye gamely attempts to capture and recreate the spellbinding powers of televangelists Jim and Tammy Faye Bakker. 

Premiering off-West End in London at the 300-seat Almeida Theatre in 2022, the transfer of Tammy Faye to Broadway is something of a tall order, in that it is a UK musical telling a distinctly American story. Clearly upscaled for its Broadway premiere in the vastly larger Palace Theatre, the musical sparkles along and yet struggles to make the connection between star and audience that is presented as being a key part of Tammy’s success. 

There are generations now whose only familiarity of Tammy Faye’s story would be from the 2021 movie The Eyes of Tammy Faye. Watching the musical must be a different experience for audience members with a first-hand recollection of Tammy and Jim’s extraordinary success story, which is recreated in broad, colourful strokes. 

Not telling much more than the recent movie, James Graham’s book plays almost like a Christian version of rags-to-riches story Jersey Boys but with scant acknowledgement of the corruption and duplicity of the stars. Tammy is mostly presented as a darling heroine who just happens to like a few nice things. 

Tammy’s compassionate treatment of gay men with AIDS is beautifully handled. Alternately, the homosexual actors involved in the live Christian stage shows camp it up as though they are in a Carry On film. 

Director Rupert Goold presents much of Tammy’s work and success simply on its own merits, robbing the story of subtext and tension. The audience seems to be expected to just accept and enjoy Tammy and Jim’s love and light mission, cheering them on as they overcome the big, bad, boring television pastors. 

Choreographer Lynne Page has fun with the peppy period dance styles, but the presentational format required leaves little room for subtlety or storytelling. 

Staged in front of a wall of television monitors, Tammy Faye is visually appealing with a cheeky retro vibe. Katrina Lindsay’s costumes are superbly realised, with Tammy’s, in particular, adding inestimably to the storytelling. 

Elton John’s music is partnered by lyrics from Jake Shears (of Scissor Sisters fame). Gospel-style numbers have suitable energy and Tammy scores with a couple of big ballads but there are few, if any, memorable or distinguishable tunes to savour.

Original London star Katie Brayben soars in Tammy’s big numbers, her focussed, compelling performance one of the clear attractions of the musical. 

As played by prolific Broadway star Christian Boyle, Jim comes off as goofily as a comic sidekick like Beauty and the Beast’s Lefou. This style makes sense at the beginning, when Jim and Tammy toured the US with puppets, but never develops or grows. While Tammy’s superior brains and talent make a very clear point about the early sexism she faced and gamely overcame, there is very little reason to see why she married Jim at all. 

Gifted Broadway veteran Michael Cerveris all but twirls a moustache as power driven conservative Jerry Falwell. As ever, it is a joy to hear Cerveris sing and yet his number “Satellite of God” is a dreary interlude, much as Cerveris’ final note is a stunner. 

The success of Tammy Faye may come down to the power of nostalgia for the US audience. There is a Broadway musical here somewhere; perhaps it will be revealed in time for the official opening night. 

Tammy Faye was reviewed at a preview performance 2pm Saturday 2 November 2024 at Palace Theatre, New York. For tickets, click here.

Photos: Matthew Murphy

Vividly justifying the very invention of musical theatre, Ragtime returns to New York City in a superbly cast, meticulously directed production that celebrates social progress whilst championing further gains.

Lovingly presented in the style of Encores and yet technically a standalone season, the New York City Center stage proudly accommodates some 33 performers and 28 musicians. While the grandly staged original 1998 production of Ragtime reflected the 1990s flair for the mega-musical, the 2009 Broadway revival of Ragtime focused on the sheer humanity of the story, putting the characters centre stage, as does this season. 

Faithfully based upon the 1975 E. L. Doctorow novel Ragtime, the musical is relatively complex in plot, interweaving WASPs, African Americans, and Jewish Immigrants, along with historical figures, at the beginning of the twentieth century. The three groups give and receive racism, religious bigotry, and sexism, and yet the beginnings of inroads of understanding are gradually made. Doctorow ends the story with a hybrid family that is surprisingly, yet convincingly, fused from members of each of the three groups, reflecting an ideal future society of integrated harmony.

Featuring rapturous melodies and intricate lyrics, the songs of Stephen Flaherty and Lynn Ahrens are heard at their glorious best, with the sumptuous orchestra expertly conducted by music director James Moore. Practically sung through, audience comprehension of the densely plotted musical is aided by pristine diction and heartfelt expression. Occasional momentary pauses are successfully used to add emotional heft, the exception being the collective pause before the final note of the evening, which completely interrupts the climactic flow of music. 

Terrence McNally’s book deftly incorporates speeches made directly to the audience, allowing the characters’ inner voices to be heard and rollicking along the plot when needed. 

Confidently displaying intricate knowledge of Ragtime, director Lear Debessonet brings out myriad fine details, making for a performance that is as satisfying as it is entertaining. The talents of the starry cast are purely focused on character development and compelling storytelling, with the full company working as a wonderfully cohesive team. 

The even strength of the lead cast is seen as act one progresses and each performer entering the spotlight brings their character to life as commandingly as the last. 

The very rare musical to boast two 11 o’clock numbers, Ragtime soars home with Caissie Levy beseeching all that we can never go ”Back to Before” and then Joshua Henry as Coalhouse Walker Jr imploring his crew, and indeed all in attendance, to go out and “Make Them Hear You.”

Giving Mother an elegant grace bolstered by a core of steel, Levy shines as the emotional connective tissue of the piece. Colin Donnell gamely provides the all too rigid severity of Father, movingly allowing the man’s deeply rooted old world values to begin to bend by the conclusion of the story. 

Brandon Uranowitz is a force of nature as the determinedly driven immigrant Tateh. Uranowitz and Levy enjoy precious chemistry, making lovely music together in the sweet duet “Our Children.”

A powerhouse of the highest quality, Henry anchors the story’s great tragedy, exuding palpable joy at Coalhouse’s romance of Sarah and convincingly playing Coalhouse’s manic descent into unthinkable violence in response to injustice. Henry is beautifully partnered by Nichelle Lewis, who is heartbreakingly precious as young new mother Sarah. Lewis particularly shines in Sarah’s first number, “Your Daddy’s Son.” Together, Henry and Lewis raise the roof with inspirational duet “Wheels of a Dream.”

Newly minted star Shaina Taub (Suffs) is perfectly cast as tireless radical Emma Goldman. Todd Cyrus brings intriguing presence to famed illusionist Harry Houdini. 

Special mention to Tiffany Mann for her glorious gospel vocals at the beginning of act one finale “Till We Reach That Day.”

With every reason to be transferred to Broadway, if he hoped that this very welcome new production of Ragtime allows the musical to deservedly reach an ever wider audience. 

Ragtimeplays at New York City Center until 10 November 2024. For tickets, click here.

Photos: Joan Marcus

Watch selected highlights of Ragtime::

A stage musical version of The Outsiders may sound like a daffy gag from an episode of The Simpsons but the result is actually a dazzling, thrilling, and moving achievement. 

The winner of Best Musical at the 2024 Tony Awards, The Outsiders succeeds as a cohesive, expertly realised whole. A direct descendant of West Side Story (there is even a character equivalent to Anybody’s), The Outsiders ramps up the realism and flattens out the ballet, delivering engaging storytelling that is all the more compelling for its sheer believability. 

A tight company of 17 triple threats create memorable characters rooted vividly in the time and place of Tulsa, OK 1967.

Director Danya Taymor focuses the storytelling squarely upon these characters, eschewing the usual lavish Broadway stage design to simply use a single broad setting, with various locations creatively conjured from cars, tyres, and planks of wood. Direction, choreography, and design are intricately linked, the spectacle of the whole being even greater than the sum of the parts. 

Lighting and sound design work in tandem to pack a real punch, so to speak, in the frequent scenes of physical violence; knockout blows keenly and painfully felt. The fire at the church is a spectacular technical sequence, only topped by the climactic full company rumble in the pouring rain. 

A feature of the performances is the perfectly natural transitions from spoken word to sung vocals. This feature is facilitated by the deftly integrated book (Adam Rapp with Justin Levine) and music (Jonathan Clay and Zach Chance with Levine). Rapp and Levine have one of the great protagonists in Ponyboy, taking their lead from S.E. Hinton’s novel by having Ponyboy directly address the audience. 

The musical is a very faithful adaptation of the novel, and is also based upon the 1983 movie. The struggling “greasers” and affluent “socs” (“socialites”) duke it out for urban dominance, their battles spiralling out of control, raising the stakes ever higher. 

Playing music supervisor Levine’s orchestrations and arrangements, a rocking band of nine musicians, including conductor Matt Hinkley on keyboard, adds significantly to the quality and atmosphere of performance. 

Brody Grant completely immerses himself in the role of Ponyboy, having the audience in his palm from the opening moments. Brent Comer gives strong support as Ponyboy’s oldest brother and guardian Darrel. At this performance, Victor Carrillo Tracey brought genuine goodness to middle Curtis brother Sodapop.

Sky Lakota-Lynch makes for a very sympathetic Johnny. Joshua Boone bristles with unfettered bravado as Dallas Winston.

Emma Pittman sweetly captures the all too canny grace of Cherry.

Packing the power that must have been experienced when audiences first watched West Side Story back in 1957, The Outsiders respects the past and confidently takes the art form even further. This is must-see musical theatre at its best, destined to create throngs of new aficionados. 

The Outsiders plays at Bernard B. Jacobs Theatre, New York. For tickets, click here.

Photos: Matthew Murphy

Instrumental and vocal performances of the very highest calibre help to compensate for the complete lack of costumes and sets in this glorified concert presentation of Sunset Boulevard Sunset Blvd..

Transferring to Broadway after a hugely successful season on London’s West End, Sunset Blvd. is currently one of the hottest tickets in town, just about bringing Andrew Lloyd Webber back into popularity again. 

High on concept and low on storytelling, director Jamie Lloyd’s black box production places the full focus on the artists, with the hope and trust that the audience members have seen a fully staged production of the musical before and therefore might be able to follow the story. 

Designer Soutra Gilmour not only dispenses with sets but also delivers no props, much like a year eight drama class play. Gilmour’s costumes, if that is the correct term, resemble casual rehearsal wear in blacks and whites. There is no vicuna coat or silver cigarette case for Joe, and no cameras to trigger Norma’s final descent into madness. 

With no sense of place and time, key scenes such as Joe’s arrival at Norma’s mansion and Norma’s return to the studio are meaningless, much as the actors do their best to convey the wonder and awe intended. 

On a more positive note, the lighting design of Jack Knowles is indisputably stunning and the video design and cinematography by Nathan Amzi and Joe Ransom are superbly realised. Highlights of the live camera work include a younger Norma appearing as Joan of Arc during the “New Ways to Dream” sequence. Joe’s journey through the theatre and out onto the street during “Sunset Boulevard” is great fun, even if it completely shatters the fourth wall in the process. 

Lloyd has drawn towering performances from the cast, and these performances literally tower over the audience when magnified up onto the enormous pristine LCD screen. The effect works best when a character is shown on the screen in subtext to the actual scene playing on the stage; for example, seeing Betty’s fiancé Archie shed a tear while Betty works closely with fellow screen writer Joe Gillis. One puzzling misfire of the screen use is the display of only the back of the head of famed director Cecil B. DeMille, completely losing the humour and pathos of his key act two moments. 

Choreographer Fabian Aloise contributes music video type movement for the well rehearsed ensemble. 

Delivering a truly thrilling rendition of David Cullen and Lloyd Webber’s orchestrations, conductor Alan Williams leads a lush orchestra of 18 musicians. Musical excellence is completed by the superb vocals of the full company, all presented in immaculate, immersive condition by sound designer Adam Fisher. 

With the primary focus on drama, the twin comic songs ”The Lady’s Paying” and “Eternal Youth Is Worth a Little Suffering” are cut for this production. Movie-like credits are shown during the musical interlude after  “Every Movie’s A Circus,” which is usually a car chase, with further cinematic credits rolling during the play-off. 

Leading lady Nicole Scherzinger gives everything she has to the role of Norma Desmond, balancing drama with moments of humour, moving with lithe elegance, and delivering soaring vocals to raise the roof of the St James Theatre. Scherzinger’s relative youth and beauty rob the role of its usual frailty and vulnerability but her performance stands on its own merits and the audience adores her. Scherzinger’s performance of “With One Look” and “As If We Never Said Goodbye” absolutely bring down the house. 

At this performance, the role of Joe Gillis was played by Diego Andres Rodriguez. Rodriguez performed this massive role with abundant, charm, and charisma, and, it must be noted, is extremely photogenic in those massive close-up shots. Based on this performance, Rodriguez could readily assume this role as his own if and when regular leading man Tom Francis returns to the UK.

Curiously dressed as though she has just come from an aerobics class, Grace Hodgett Young nonetheless in habits the role of hardy ingenue Betty Schaefer with a compelling presence.

Largely seen on the LCD screen, David Thaxton still manages to flesh out the role of mysterious man servant Max in a fully rounded manner.

If the austere concept for this staging of Sunset Blvd. is accepted, there is certainly plenty to enjoy in the visuals, performances, and music. 

Sunset Blvd. plays at St James Theatre, New York. For tickets, click here.

Photos: Marc Brenner

A prime example of a lavish Broadway musical comedy, Death Becomes Her roars to life on stage boasting a pair of fabulous lead performances from Megan Hilty and Jennifer Simard playing deadly duelling divas. 

A screen-to-stage comedy adaption in the vein of The Producers, Dirty, Rotten Scoundrels, and Legally Blonde, Death Becomes Her succeeds by taking the camp conceit and iconic visual stunts of the 1992 movie and blending in a modern sensibility about body image and the endless, vacuous pressure on women to never look their age. 

The laughs flow freely and rapidly in Marco Pennette’s sharp book, with plenty of comedy also enjoyed in the score by Julia Mattison and Noel Carey. The musical is solidly faithful to the movie, with any changes easily able to be seen as improvements. If there is one hesitation, it is that the tight focus on the three main characters means that the slight story is stretched rather thinly across the evening.

Madeline Ashton (Hilty) stars in the musical Me, Me, Me, which may as well also be the title of her life story. Madeline’s character does everything so people will look at her, ie she does it. “For the Gaze.” This camptastic number features extraordinary fast costume changes, including Madeline as Liza, Dorothy, and Julie Andrews in Victor/Victoria. 

Visited backstage by her frenemy Helen Sharp (Simard), Madeline swiftly steals and weds Helen’s fiancé Ernest Menville, the noble plastic surgeon (Christopher Sieber). 

Now named Viola van Horn (Michelle Williams), a seductive sorceress shares her exotic potion for eternal youth, leading the undead Madeline and Helen down a nightmarish path of body horrors. They can be injured but they cannot die. A stage production obviously cannot use the CGI that characterised the outlandishness of the movie’s visual effects but the terrific illusions by Tim Clothier are satisfyingly close to the real thing (no spoilers!).

Esteemed choreographer Christopher Gattelli makes the well-deserved move up to the role of director / choreographer, delivering an expertly realised blend of physical humour and spectacular dance balanced with a well judged sprinkle of humanity. 

With no particular role to play, the scantily clad ensemble is little more than a set of dancing bodies. It is possible that there is a lower budget chamber version of this musical hiding inside the boffo spectacle playing at the Lunt-Fontanne. 

The scenic design of Derek McLane and lighting design of Justin Townsend blend together for eye-popping glamour and seamless cinematic transitions. The costume design of Paul Tazewell adds further impossible glamour, also contributing to the delectable visual humour on display.

Mattison and Carey’s songs are readily hummable, and if there is a degree of similarity between some of the numbers it can readily attributed to maintaining the single thread of the story. The musical enjoys sumptuous accompaniment from an orchestra of 18 musicians, led by conductor Ben Cohn. 

Hilty and Simard are dream casting, each bringing their inimitable comic stylings and killer vocals. In gorgeous voice, Hilty brings a cheeky playfulness to Madeline’s egocentric vanity and passive aggressive putdowns. Simard colours Helen’s withering responses with trademark deadpan expression, also singing up a storm. Sparks fly whenever Hilty and Simard share the stage, and the underlying gal pal affection of their devilish rivalry easily saves the show from tipping over into outright farce. 

Sieber brings loveable schlub energy to exasperated surgeon Ernest, gamely representing the fact that men have it so much easier in society’s view of the aging process. 

Given some of Tazewell’s most exotic costumes, Williams dazzles as the inscrutable Viola, slinking about the stage in style and singing the role with compelling flair. 

Josh Lamon delights in the featured role of Madeline’s sassy yet long suffering assistant Stefan.

Musical comedies like Death Becomes Her are at their peak with their original casts and productions. Early attendance is highly recommended for lovers of this classic form of the Broadway musical. 

Death Becomes Her plays at Lunt-Fontanne Theatre, New York. For tickets, click here. 

Photos: Matthew Murphy (2024 Chicago season) 

Fresh from a triumphant season at New York City Center, unabashedly wholesome Golden Age musical comedy Once Upon A Mattress delights in this limited Broadway season.

Centring upon the plight of Winnifred the Woebegone (the “Princess” of “The Princess and the Pea”), the musical is the ideal vehicle for leading lady Sutton Foster, allowing for plenty of physical comedy, leggy gymnastics, and soaring belted notes. 

The chance to see this all too rarely performed musical is a welcome opportunity for those who have recently devoured the biography of the musical’s composer, Shy: The Alarmingly Outspoken Memoirs of Mary Rodgers. The most significant musical theatre score penned by Rodgers, the charms of the music of Once Upon A Mattress are readily enjoyed, played by a 16-piece orchestra positioned upstage in the ongoing style of Encores. 

The original book is deftly and unobtrusively updated by television writer Amy Sherman-Palladino, a frequent collaborator of Foster’s. The comedy remains entirely family friendly, with nothing more expected of the audience than to sit back and enjoy.

Director Lear deBessonet keeps the action brisk and cheerful, neatly balancing a streamlined confection of winking comedy, appealing romance, and dishy dance numbers. The affection and attention of the full audience are held through every moment with nary a weak link in sight.

The savvy combination of David Zinn’s faux-regal sets, Andrea Hood’s pastel candy coloured costumes and choreographer Lorin Latarro’s old school hoofing give the delectable impression of watching an MGM movie musical live on stage. Latarro ramps up the comic dancing in company number “Spanish Panic,” later enchanting with act two charm song “Very Soft Shoes.” 

Strong as the full company proves to be, energy noticeably lifts with Foster’s arrival, when Fred (as Princess Winnifred is affectionately known) swims the moat to meet eligible bachelor Prince Dauntless. Foster once again proves her stellar comic chops, which are all the sharper for her well honed ability to push boundaries but never go too far. 

Perennially boyish actor Michael Urie makes for an adorkable Prince Dauntless, he who is afraid of stairs. Urie and Foster enjoy easy chemistry and support each other’s performances effortlessly. 

Ana Gasteyer chews up the scenery as the diabolically driven Queen Aggravain. David Patrick Kelly is a sprightly dear old King Sextimus. 

Daniel Breaker has the audience in his palm as the court Jester, also serving as an affable narrator of sorts. Brooks Ashmanskas does his usual hammy schtick as the shifty Wizard. 

The secondary couple is particularly strong, with Nikki Renée Daniels (Lady Larken) warmly partnering Will Chase in his role as vainglorious knight Sir Harry. 

As Broadway continues to move on to cutting edge technology and heavier dramatic issues, it is hoped that there will always be a place for charming family friendly fare such as Once Upon A Mattress.

Once Upon A Mattress plays at Hudson Theatre, New York until 30 November 2024. For tickets, click here.

Photos: Joan Marcus

By turns rousing, distressing, moving, and uplifting, unique new musical Swept Away celebrates the stirring bluegrass music of prolific folk rock group The Avett Brothers.

Based on The Avett Brothers’ 2004 album Mignonette, which was in turn was named after an English whaler boat that sank in the 1880s, Swept Away tells its own original story of unimaginable adversity and extraordinary sacrifice. 

With a tight focus upon only four characters, the 90-minute one-act musical opens on a dying sailor, known only as Mate, in a hospital bed. The ghosts of three others implore Mate to tell their story and the action dissolves back to the launch of the ship and the arrival of Younger Brother. Big Brother attempts to dissuade Little Brother from leaving their family farm for adventure but soon both are part of the crew as the boat leaves harbour. 

With a full cast of 16, the first half of Swept Away is joyously lively. The all male cast (a neat complement to the current all-female cast of Suffs) brings the music to glorious life, with rich harmonies at an absolute premium. Working under music supervisor Brian Usifer, the off stage band of eight musicians, including conductor Will Van Dyke, plays with spirited passion and skill. The overall quality of the music is sure to please The Avett Brothers’ legion fans as well as winning the band even more followers. 

The economical book by John Logan neatly incorporates some 14 musical numbers, including one original song for the musical, “Lord Lay Your Hand On My Shoulder,” in which big brother attempts to generate an atmosphere of prayer. As the men react in counterpoint to this solemnity, the number evolves into a terrific combined sequence, “Ain’t No Man/Lord Lay Your Hand.”

Director Michael Mayer works briskly to position the four lead characters in an emotional context so that the audience readily forms a strong attachment to them before moving into the more dramatic second half of the musical. Choreographer David Neumann works the full company in eye-catching movement, staying clear of theatrical dance to keep the musical grounded in a clear sense of realism.

Scenic designer Rachel Hauck has crafted a highly impressive set which begins as a spacious wooden ship deck with rigging soaring up overhead. Susan Hilferty’s costumes add to the highly authentic feel.

In the musical’s most gripping sequence, the ship suddenly encounters a violet storm. Neumann’s choreography and Kevin Adams’ lighting contribute to the highly unsettling action. In an extraordinary coup du theatre, the whole ship dramatically levers up, revealing a lifeboat with four survivors below. 

As the audience recovers from this intense sequence, Mayer gets to work on the far more challenging second half of the musical. Captain, Mate, Big Brother, and Little Brother are first seen six days into their ordeal without food, water, and shelter, an ordeal that goes on to stretch for some 16 days. The supreme talents and focus of the four actors bring this sequence to harrowing and deeply moving life, keeping the audience spellbound with the searing drama.

As the weathered and world weary Mate, John Gallagher, Jr. compellingly carries the emotional core of the musical, working with an intensity that appears completely natural but must actually be quite exhausting. 

Successfully forging a deep fraternal connection, Stark Sands (Big Brother) and Adrian Blake Enscoe (Little Brother) convey a world of life beyond their time on the ship. Sands sings with beautiful tenderness and Enscoe endears himself with passionate naïveté. 

Wayne Duvall gives strong support in the generally underwritten role of the gruff Captain. 

Some audiences may find the events of Swept Away to be unsettling. Seen as a message of human survival and hope, it is an uplifting work, produced and performed at the highest level of quality. 

Swept Away plays at Longacre Theatre, New York. For tickets, click here.

Photos:  Julieta Cervantes

Watch the official music video for “A Gift for Melody Anne” featuring the cast of Swept Away: 

Quirky, original, and sweetly adorable, new musical Maybe Happy Ending is a magical journey of love and wonder that gamely sees the very best in our throwaway world of consumer convenience. 

With a lineage tracing back to Neil Simon comedies, Maybe Happy Ending is, on one level, a romantic comedy about two neighbours falling in love. The modern twist is that the neighbours are both redundant helperbots, living out their remaining days in cubicle apartments on the outskirts of Seoul, Koreal. 

Jazz loving Oliver, a Helperbot 3, is fastidious, polite to a fault, and resolutely set in his ways. As a Helperbot 5, Claire may be a more recent model, but her charger is broken and her battery is losing its ability to retain power. In the vein of Toy Story, the helperbots retain precious memories of the value and support they brought to their owners. 

The “happy ending” that may eventuate refers to both the blossoming romance between the two robots and Oliver’s dream of finding his previous owner, James. If two robots could find love, what would this look and feel like? If James has retired Oliver, would he really have any interest in seeing him again? 

The unique scenario brings added interest to these central tropes as the one-act, 105-minute musical plays out very much like a movie. The book and lyrics by Will Aronson and Hue Park keep the audience guessing as to the outcomes, with twists coming all the way to the final scene. Gentle humour adds to the charm of the appealing story, with thought-provoking modern parallels bringing further interest. 

Aronson’s immediately enjoyable music is played by an offstage band of nine musicians, deftly led by conductor John Yun. The score heavily samples Oliver’s preferred musical style of jazz, with fictional jazz star Gil Brentley (Dez Duron) often performing live on stage in sync with Oliver’s record player. Romantic ballads and duets have a simple, tender elegance that is a pleasure to hear. 

Guided to Broadway by experienced director Michael Arden, Maybe Happy Ending has an engaging pace of storytelling that easily maintains audience attention. Oliver and Claire may be robots but their dreams and emotions clearly shine through their deliberately limited ranges of movement and expression. 

Visual design is intrinsic to the success of Maybe Happy Ending, with scenic, costume, lighting and video designers working in close collaboration to produce stunning, groundbreaking results. With distinctly cinematic flair, the apartments come and go via the iris lens of light-rimmed black curtains. Further settings include James’ apartment and a road journey shared by the helperbots. Internal memories are brought to life by complex large scale projections / videos. Claire has an interest in fireflies, which results in a gasp-inducing full stage spectacle of fireflies at night in the countryside of Jeju Island. 

Young veteran Darren Criss gives a pristine performance, bringing an endearing twinkle to C-3PO-like android Oliver. Criss imbues Oliver with affecting vulnerability beneath his compulsive manners, reflecting a world of inner thought and wonder at play. 

Helen J Shen makes a highly auspicious Broadway debut, also bringing a level of vulnerability to the more capable and self confident Claire. In both acting and vocal terms, Shen capably holds her own opposite Criss, the two making a truly captivating pair. 

Duron brings suave charm to jazz singer Gil Bentley. Marcus Choi plays the inscrutable James (and others) with neatly underplayed style. 

Sure to develop a dedicated cult following in addition to its mainstream appeal, Maybe Happy Ending is a most worthy addition to the varied tapestry of Broadway. Attendance is highly recommended for the romantic and adventurous at heart. 

Maybe Happy Ending plays at Belasco Theatre, New York. For tickets, click here.

Photos: Matthew Murphy, Evan Zimmerman

Watch the music video for “When You’re In Love” from Maybe Happy Ending:

Fabulous, Baby! Congregation-pleasing screen-to-stage adaptation Sister Act the Musical spreads the Sunday Morning Fever as it makes its long overdue Australian premiere tour in heavenly form. 

Premiering on the West End back in 2009 and on Broadway in 2011, Sister Act the Musical has become a particular favourite in the UK, enjoying three UK tours and two West End revivals. The current Australian tour is a replica of the 2022 West End revival, which treated London to a return season this year. 

While the soundtrack of the original 1992 movie Sister Act was hugely popular, the stage musical boasts its own original score by prolific tunesmith Alan Menken (music) and Glenn Slater (lyrics). For the Broadway production, the book by Cheri Steinkellner and Bill Steinkellner was sharpened by comedic playwright Douglas Carter Beane and this version continues in use.

Brimming with joy, Sister Act the Musical is rollicking, feel-good entertainment. The breezy storyline about a hapless wannabe lounge singer on the run is filled with endearing, quirky characters. The plot takes a little while to hit its strides, but once Deloris Van Cartier is ensconced in the convent and takes on the creaky choir, the musical really takes flight. 

Laugh out loud funny, the true heart of the success of the musical is the instantly accessible, toe-tapping music by Menken paired with wittily amusing lyrics by Slater. Song after song features infectious melodic hooks, generously shared between the dozen or so characters. Stand out numbers include convent warmer “It’s Good To Be A Nun,” act two opener “Sunday Morning Fever,” and merry charm song “Bless Our Show.” The initial choir sequence “Raise Your Voice” is also an especial delight. 

Amidst the rousing company numbers, ballads bring an inner invoice to characters, with Mother Superior lamenting that they “Haven’t Got A Prayer,” Deloris reflecting on her “Sister Act,” and burgeoning postulant Sister Mary Robert breaking out with late I wish song, “The Life I Never Led.”

Working with musical supervisor Steven Brooker, musical director Daniel Griffin, himself on keys, leads a tight, soulful orchestra of seven fellow musicians. 

Director Bill Buckhurst keeps energy unflaggingly high and characterisations broad. Choreographer Alistair David delivers relatively simple dance but adds particular value by inventively opening up each number in surprising ways. 

The simple yet very effective stage design is a collaboration between set designer Morgan Large and lighting designer Tim Mitchell. A series of concentric arches of stained glass window motifs, embedded lights fill the space with fabulous colour. 

Large’s costumes celebrate the late-1970s setting in deliberately seedy style. A double costume trick for earnest constable Eddie Souther in “I Could Be That Guy” has to be seen to be believed. Full company finale costumes sparkle with eye-popping colour, the habits lavishly remade in a rainbow of jewel tones. 

Having steadily built up an impressive résumé of musical theatre credits, much loved performer Casey Donovan deservedly takes on her first leading role as big-hearted misfit Deloris. With radiant presence and ravishing voice, Donovan lights up her every stage moment, successfully taking Deloris on a highly engaging journey from recalcitrant, self-focused starlet to soulful, impassioned sister. 

Hardy veteran Genevieve Lemon brings a stubborn twinkle to the eye of necessarily stern Mother Superior. The rare musical comedy without a central traditional love story, Sister Act instead focuses upon the push and pull between Mother Superior and her new charge, Deloris, with Lemon and Donovan enjoying wonderfully warm chemistry.

The supporting sisters each make their mark, with a particular delight being Bianca Bruce as the infectiously giggling Sister Mary Patrick. Sophie Montague conveys the resolute determination of Sister Mary Robert, raising the roof with power ballad “The Life I Never Led.” Rhonda Burchmore captures the world weary wisdom of Sister Mary Lazarus, scoring laughs when Lazarus unexpectedly proves a deft rapper.  

Continuing a successful move into musical theatre from opera, Raphael Wong earns an abundance of audience affection as kindly cop Eddie Souther. James Bryers works hard to bring an edge of menace to nightclub gangster Curtis Jackson. Damien Bermingham is a cheery composite of every catholic priest as Monsignor O’Hara. 

Guaranteed to leave the audience on a merry high, Sister Act the Musical is ideal festive season entertainment. 

Sister Act the Musical plays at Regent Theatre, Melbourne until 26 January 2025. For tickets, click here.

Sister Act the Musical plays at Lyric Theatre, Brisbane from 8 February 2025. For tickets, click here.

Sister Act the Musical plays at Festival Theatre, Adelaide from 22 March 2025. For tickets, click here.

Sister Act the Musical plays at Crown Theatre, Perth from 26 April 2025. For tickets, click here.

Photos: Daniel Boud

Decadently thrillifying in every possible regard, eagerly awaited movie Wicked: Part One faithfully serves the stage musical’s legion fans while ingeniously expanding its universe with dazzling creativity. 

Many a stage-to-screen movie musical has been thwarted by unnecessary interference with the book, song list, and design that made the original musical a success. Part of the joy of experiencing Wicked: Part One is realising what a close adaptation it is; every act one song is included, and book writer Winnie Holman serves as screen writer, in collaboration with Dana Fox. The respect shown to the original presumably also derives from the involvement of Universal and producer Marc Platt from the very beginning of the much-loved musical’s life. 

Surely matching the thrill and awe that The Wizard of Oz must have given 1939 audiences, Wicked: Part One fills the screen with extraordinary visuals that not only demand to be seen in a suitably large cinema but also will require at least one return viewing to fully absorb and appreciate. Film director Jon M. Chu adroitly balances design, music, and performances to conjure a splendidly realised whole.

Drawing further inspiration from the The Wizard of Oz and the 1995 Gregory Maguire novel Wicked: The Life and Times of The Wicked Witch of the West, the movie enriches and enlivens the world of Oz from within, organically adding eye-popping design elements and fascinating character details within pre-existing locations and songs. 

Production designer Nathan Powell crafts a magical world of riotous colour and quirky invention, all the more visually appealing for the amount of design that has been physically constructed rather than inserted via CGI. Costume designer Paul Tazewell complements the scenic sparkle with an almost impossibly vast range of stunning, characterful, witty costumes. 

The flashback to Elphaba’s birth is followed by a scene of she and her sister Nessarose as young children. “Something Bad” moves from an after class chat between Elphaba and Doctor Dillamond to an underground meeting between scared learned animals. “Dancing Through Life” thrills anew with a fantastic rotating library setting followed by a swarming subterranean nightclub.

As with Wicked on stage, Wicked: Part One upgrades the spectacle for Elphaba and Glinda’s visit to the Emerald City, with the Wizomania sequence of “One Short Day” expanded with new material including some new music. 

Finally, the movie ramps up the action and excitement leading to iconic finale “Defying Gravity,” giving the standalone movie a satisfying climax of its own, with the full set of characters seen again in the closing minutes.

The boffo scale of production extends to music, with Steven Schwartz’s revered score played by an orchestra of 80 musicians. Original music director Stephen Oremus conducted the songs while underscoring composer John Powell conducted the background music.

Choreographer Christopher Scott fills the screen with flashmob-like full company dance, also bringing individual flair to quieter moments of dance. As with the stage musical, the importance of choreography to storytelling in “Dancing Through Life” is expertly handled. 

Over and above design and production, the success of Wicked: Part One lies squarely with the mesmerising performances of the impeccable cast. Director Chu clearly has his actors living and breathing these roles, allowing each to deliver vibrant, meticulously detailed performances for the screen.

In this first half of Elphaba’s story, Cynthia Erivo tempers the young woman’s passion and frustration with underlying vulnerability that gradually yields to self empowered strength. Erivo soars through Elphaba’s vocals, with touching ballad “I’m Not That Girl” a gentle highlight. “Defying Gravity” practically defies audiences not to cheer aloud in the cinema as Erivo takes Elphaba to the skies and beyond. 

With delicate vulnerability all of her own, Ariana Grande-Butera deftly rounds out Glinda well beyond the blonde hair tosses and sparkly pink dresses. A gifted soprano, Grande-Butera delights with Glinda’s songs, making the most of an extended conclusion to beloved hit “Popular.” Erivo and Grande-Butera enjoy crackling chemistry, leaving audiences who do not know the musical wondering how the two appeared to have grown apart as shown in the prologue. 

In a role he was born to play, Jonathan Bailey smoulders shamelessly as restless Winkie prince Fiyero, singing the role with ready flair. As sparks fly between the three leads, the love triangle between Glinda, Fiyero, and Elphaba is well established, leaving the audience wanting more for its resolution in the second movie. 

Sinister and aloof, Michelle Yeoh brings imperial inscrutability, not to mention lashings of elegance, to Madame Morrible.  Sporting trademark devilish twinkle, Jeff Goldblum is inspired casting as the not-so-wonderful Wizard. 

Ethan Slater gives eager, lovestruck Munchkin Boq a grounded, convincing characterisation. Peter Dinklage voices professorial goat Doctor Dillamond with affecting pathos. 

Across the leading, supporting, and ensemble performers, a world of inclusivity is confidently portrayed, setting the standard for all such projects. 

Wicked super fans will need no encouragement to see Wicked: Part One, it is more a question of how many times and how much to spend on additional merchandise. The popularity of the movie with a wider world audience will be interesting to observe, with the dazzling and engaging spectacle well placed to reach and attract even more viewers. 

Wicked: Part One plays in cinemas from 21 November 2024. For local session times, click here.

Photos: supplied 

Showcased by an elite cast of the best possible draft picks, new Australian musical One Day in September breaks out from the pack in a confidently presented, all too brief Development Season. 

One Day in September is presented by the newly formed Perryman Theatre Company and features direction by Trudy Dunn, daughter of revered Australian theatrical icon Jill Perryman, and choreography by Trudy’s daughter Mackenzie Dunn. 

The rare musical to feature both original music and story, One Day in September is the brainchild of Maverick Newman and Kohan van Sambeeck, who have written the book, music, and lyrics. As the title suggests, the musical focuses on AFL football, centring upon a group of players and partners for the fictional Melbourne Bears. 

Star recruit Sam Thompson enjoys an incredibly successful first season at the Bears but starts to spiral under the pressure of keeping his homosexuality a secret. The AFL remains the last bastion of players being able to come out, with no past or present AFL players being openly gay. 

Originally having the working title WAGs (being the affectionate acronym for AFL wives and girlfriends), One Day in September has a well-rounded focus on the full ensemble set of characters, deftly weaving in further issues such as ageing and drug use. It is a strength of the writing and the performances that each of the six players and six partners have distinct personalities and foibles. 

Matchmakers all, the existing WAGs set up new arrival Sophie Parker with surprisingly single Sam. A burgeoning influencer, Sophie loves the attention and glamour but the dream sours when she discovers Sam with his boyfriend Jesse. Feeling the pressure, Sam handles neither relationship well, recklessly causing further complications.

One Day in September is set here and now, and yet completely avoids any sense of jingoistic Strayan and the related cultural cringe. A further strength of the writing is that it does not seek to offer any pat solutions; there is no simplistic happy ending. Obstacles to coming out are explored, including the roughhouse homophobia of the clubroom, the defined factions of male players and female WAGs, and the intense physical trust the players must have with each other to successfully play the game. 

After introducing the players and partners, the musical has an unusual I wish song “The Game I Love,” sung by Sam who has already achieved his dream to play for an AFL club. Sam sings the song to his dear departed mother, hoping that she will be proud of him. Sam goes on to treat his devoted father poorly, his self-serving arrogance going on to rise in proportion to his sporting success. 

Having attracted a terrific set of young performers who already have extensive experience with large scale musicals, director Trudy Dunn draws fully realised characterisations from the cast. This is no mere reading, with energy and performance quality at peak levels. Dunn neatly balances scenes of affecting pathos with moments of delightful comedy. Storytelling is crisp and engaging, leading to a compelling climax from the full company. 

The full set of storylines crystallise with extraordinary company number “One Day,” which is the type of song to often end act one but is presented here as the climax. Sam brings the show home with an 11 o’clock number that emerges from final company number “The Grand Final.”

The orchestrations of Jason Arrow are played by four crack musicians, with composer and music director van Sambeeck as conductor and on keyboard. The rocking band is rounded out by Dave Ellis on guitar, Anthony Chircop on Bass, and Dave Beck on drums.

Choreographer Mackenzie Dunn keeps movement relatively simple for the WAGs but pulls out all the stops for the players. Training, warmup, and matches are stylised as crisp, tight, authentically masculine dance in thrilling sequences that are a memorable highlight of the production. 

With the band positioned in view upstage, the design by Bianca Pardo is relatively streamlined at this point, with a wise focus on costumes, particularly Brownlow Medal gowns for the WAGs. Straightforward lighting by Tim Bonser effectively draws the eye to key action. Sound by Michael Waters achieves a good balance between music and vocals, improving this across the opening night. 

A superb leading man, Keanu Gonzalez shines as Sam Thompson, commandingly engaging the audience and retaining their affection even as Sam’s behaviour degenerates. A true triple threat, Gonzalez not only serves as associate choreographer but also dazzles as Sam breaks out in an extended solo dance routine in “White Line Fever.”

Lorinda May Merrypor brings her powerhouse belt to the role of Sophie, carefully bringing believability and sympathy to a role that might be hard to believe in less capable hands. 

In the somewhat underwritten role of Jesse, boyfriend of Sam, Yashith Fernando brings gentle humanity and lovely singing. Completely avoiding any sort of stereotypes, Fernando presents the audience with a relatable character whose rights are abundantly clear and yet for whom there are no answers. 

The most fleshed out pair within the players and partners is married couple Maya and Nathan. Ashleigh Rubenach grounds the WAGs as Maya, underpinning Maya’s sunny established confidence with the encroaching invisibility of a husband who is past his sporting prime. Des Flanagan may be a tad young for Nathan but in this presentation gives a sterling performance, particularly in Nathan’s moving retirement speech. 

Nick Simpson-Deeks provides many a welcome laugh as a roving Bruce McAvaney-like commentator. In sharp contrast, Simpson-Deeks brings touching sensitivity to Sam’s downtrodden Dad.

Each giving strong, invaluable performances, the ensemble cast is completed by Mia Dabkowski-Chandler (Kat), Joshua Russell (TJ), Olivia Charalambous (Jen), Axel Duffy (Harry), Zoe Ioannou (Lil), Lachlan Beck (Jimmy), Catty Hamilton (Dan), and David Duketis (Damo). 

Already at a very impressive level of polish, it is strongly hoped that One Day in September will go on to enjoy a fully produced season. First stop: Melbourne; next stop: the world. 

One Day in September plays at Athenaeum Theatre 2, Melbourne until 30 November 2024. For tickets, click here.

The One Day in September program can be read online. 

Photos: Matthew Chan

Creative direction and vibrant performances breathe abundant life into altogether ooky musical The Addams Family. 

With sentimental memories of the mid-1960s television series recently bolstered by Netflix smash hit Wednesday, the timing is ideal for this season from OSMaD. Given that the 2013 Australian premiere of The Addams Family only played Sydney, this is a welcome opportunity to enjoy the musical, which is presented with scenery and costumes from the professional production. 

Well received by fans, if not by critics, the initial 2010 Broadway version of The Addams Family musical was extensively rewritten, with the resulting work being all the stronger. Gone, thankfully, is the giant squid living under the stairs (!!), with act two now having something of a Midsummer NIght’s Dream feel as couples make their way back to each other. 

The simple premise of Marshall Brickman and Rick Elice’s book sees the “normal” Beineke family visit the Addams mansion so that the parents of young paramours Lucas and Wednesday can meet. Secrets unfurl in the after dinner game “Full Disclosure,” and Fester conjures a storm to trap the visitors on site until true love triumphs. 

Music director Ashton Turner conducts a band of twelve highly talented musicians in a slick performance of Andrew Lippa’s instantly catchy score. Turner’s work with the ensemble is boosted by the inclusion of eight singers, who are imaginatively positioned left and right of stage in full costume as oil paintings that have come to life. Sound designer Jake Sipcic balances instrumental and vocal music perfectly, and the presence of the additional singers means that full company singing is nothing short of tremendous.

Beginning with impeccable casting, director Joel Anderson insightfully adds empathetic humanity to the larger-than-life characters of The Addams Family. The winning comedy keeps the audience fully engaged over the longish running time of 165 minutes (including interval) with the resolutions of the happy ending drawing rousing cheers from the opening night audience. Amidst a smattering of modern references, the visual gag from Hamilton is a cracker. 

Choreographer Dylan Henry makes excellent use of the roaming Ancestors, who have been kept from the crypt by Uncle Fester to aid his romantic ministrations. Strong dancers all, the twelve Ancestors boost many a number with their tightly rehearsed, sharply performed moves.

Lighting designer Peter Verhagen adds significantly to the spooky atmosphere, using haze and shadows for a suitably Gothic effect.

Demetrius Kiriakidis leads the family with delectable brio and panache as the charmingly self confident Gomez Addams. Prolific trouper Melanie Ott glides about the stage as sweetly supercilious Morticia Addams, delighting in rousing featured numbers such as “Just Around the Corner.” A well matched comic pair, Kiriakidis and Ott also burn up the floor with their “Tango de Amor.”

Marcella Rusciano-Barrow shines in the key role of Wednesday Addams, bringing powerhouse vocals to her songs and subtle quirky comedy to her characterisation. Sam Dyer captures the innocent, all-American virtue of Lucas Beineke. 

Joshua Saunders, doing double duty as head of wardrobe, is a true crowd pleaser as dear old Uncle Fester, bringing down the house with act two charm song “The Moon and Me.”

Jordan French displays incredible control as the devilishly slow moving Lurch. Erica Moffat good-naturedly takes on the role of ungainly young teenager Pugsley Addams to terrific effect. Latecha Khairy brings unbridled zaniness to delightfully kooky Grandma. 

Blessed with a fantastic scene as Alice Beineke breaks out of her previously prim and proper self, Liz O’Hanlon gives a highly memorable performance, ending act one on a high with her big number “Waiting.” In the somewhat underwritten role of Mal Beineke, Omar Moustafa makes a solid and reliable straight man.

Staging just one musical each year, OSMaD puts all of their resources into each season and The Addams Family is another lovingly produced hit. Local musical theatre aficionados will find much to enjoy. 

The Addams Family plays at Geoffrey McComas Theatre, Scotch College, Hawthorn until 14 December 2024. For tickets, click here.

Photos: Ken Spence Photography

A clever idea for a show and a perfectly timed Christmas presentation, sporadically funny new musical Love Actually? The Musical Parody falls short of its blue chip potential. 

While Love Actually? The Musical Parody looks suitably glossy on the Athenaeum Theatre stage, presented as part of the new Christmas Showtime Festival, an odd aspect of production is that there is no program, neither in printed form nor online. The basic website lists no names involved in the production. Unfairly, the actors are not credited anywhere, nor are any of the creative team, not even the writers / composers of the show.

The following comments about the creative team and cast of Love Actually? The Musical Parody uses names from the press release.

Poking fun with the most popular and well known Christmas movie of this century is a terrific idea. Just like pop songs “Last Christmas” and “All I Want for Christmas is You,” hit romantic comedy Love Actually rolls around every year and is broadly familiar to basically all potential audience members. 

The starry cast members of the movie Love Actually still shine brightly, so writers Bob & Tobly McSmith cleverly use those actors’ names for the parody rather than the far more forgettable character names from the movie. “Emma Thompson” is recognised for other key roles for her career, and “Alan Rickman” amusingly takes on the form of his iconic Harry Potter character Severus Snape. 

Songs are mostly serviceable with a couple of exceptions. “Liam Neeson” and stepson Sam invoke “Johanna” from Sweeney Todd when singing about the dear departed Joanna / Sam’s schoolmate crush Joanna. In a modern touch, “Hugh Grant” as the English Prime Minister is visited by Queen Elizabeth in a pastiche of King George III’s “You’ll Be Back” from Hamilton.

The multiple threads of the movie are all visited upon by the six hard working cast members. Scenes are punchy and short but are almost entirely written without punchlines or buttons, meaning that the scenes just cut to black with an awkward pause before the next scene. The stop/start jerkiness of three-minute scenes over a 100 minute show completely kills momentum and actively works against the comedy of the show taking flight in any way. 

Love Actually? The Musical Parody eventually gathers some steam in its finale, with “The 11th Hour Grand Gesture Number” deftly encompassing the climax to a number of threads. Had the whole show been like this sequence it would have been far stronger.

Under the direction of of David Venn, who also serves as choreographer and set designer, the cast members heighten the quirky vocal and physical attributes of the multitude of movie characters. Each of the six cast members plays a rather mind boggling number of roles, including multiple quick costume and wig changes. Costume designer Heidi Brooks successfully keeps outfits clearly recognisable as well as efficiently easy to switch. 

Working a pre-recorded backing track, music director Daniele Buatti neatly continues the parody vocal characterisations into the singing, and group numbers are particularly strong. 

Ian Andrew charms as Hugh Grant, Prime Minister of rom-coms, contrasting this crisply with love rat Colin who takes his sexy accent to America in search of hookups. Andrew also scores one of the films most popular scenes, as best friend of bride “Keira Knightley” who makes the already much-parodied cue card confession. 

Mitchell Groves has the perfect rubbery face for parody, ideally suited for Rufus, the painstakingly slow jewellery salesman played by Rowan Atkinson in the film. A strong singer, Groves amuses as “Colin Firth,” scoring extra laughs as the movie sex scene stand-in known cheekily as John the Humper. 

Sophie Loughran delights as “Emma Thompson,” portraying the poignancy of Karen’s Christmas present disappointment as a tender moment amongst the laughs. Loughran also highlights the working class sweetness of junior staffer Natalie, soon-to-be love interest of the PM. 

Belinda Jenkin brings a strong physicality to varied roles, most prominently a vapidly vague “Keira Knightley” and frisky Fosse-esque Mia Minge, office romance of “Alan Rickman.”

Jeremy Harland shows chameleon-like flair, immersing himself in a wide range of roles from “Alan Rickman (Severus Snape)” to aging rocker Billy Mac to US President “Billy Bob Thornton.”

Clearly a strong dancer, Massimo Zuccara plays a range of supporting roles and gamely draws attention to the predominantly white casting of Love Actually.

Die hard fans of Love Actually are the key audience of Love Actually? The Musical Parody. Watched with friends and a beverage or two, the parody is a novel way to experience the annual viewing of the much-loved movie. 

Love Actually? The Musical Parodyplays at Athenaeum Theatre, Melbourne until 23 December 2024 as part of the Christmas Showtime Festival. For tickets, click here.

Photos: Nicole Cleary

Even when the dark comes crashing through

When you need a friend to carry you

And when you’re broken on the ground

You will be found

“Worth the wait” is a cliché but very relevant in the case of 2016 Broadway hit Dear Evan Hansen, winner of six Tony Awards including Best Musical, Best Book (Steven Levenson), and Best Score (Benj Pasek and Justin Paul). Had the show premiered in Australia closer to the Broadway season, the very simple original staging may have been seen rather than this sparkling new Australian production. The passage of time has also helped to erase memories of the lamentable 2021 movie adaptation.

A very welcome “non-replica” production, the Australian tour of Dear Evan Hansen is an all-new staging that originated at Sydney Theatre Company in September, co-produced by the Michael Cassel Group.

The all-too-rare completely original Broadway musical, Dear Evan Hansen sees fragile teen Evan Hansen spend his time “Waving Through A Window,” interacting with the world through his phone rather than engaging in person. Levenson, Pasek, and Paul successfully balance the line between examining the phenomenon of viral social media sensations and actually providing heartfelt inspiration. Many a theatregoer will be genuinely moved by the act one finale message “You Will Be Found.”

Follow his counsellor’s advice, Evan types positive daily “Dear Evan Hansen…” letters, one of which is swiped by depressed schoolmate Connor Murphy and is later viewed by Connor’s parents as a suicide note. Not correcting the parents, Evan’s lie of omission spirals all the way to a moving finale that is tearful, yet ultimately uplifting, in its message of optimism and hope.

Book writer Levenson focuses on a tight group of eight characters, including Evan’s hard working single mother, Heidi. Pasek and Paul give each their own I wish song, with Heidi asking “Anybody Have a Map?” before Evan’s “Waving Through A Window.” The pair each has their own 11 o’clock number, with Evan finally coming clean, as best he can, with “Words Fail” and Heidi breaking even the hardest hearts with “So Big/So Small.”

Lovingly produced and featuring sensitive, insightful direction by Dean Bryant, Dear Evan Hansen is seen in its best possible light, performed by a crack ensemble cast in peak form. Bryant elicits nuanced, finely calibrated emotional performances from the cast, the pathos all the more moving for the compete of absence of histrionics.

Engagement with the characters and story is greatly boosted by early humour, with the email workshop number “Sincerely Me” a clear comic highlight. Sharp, perky choreography by movement director Shannon Burns adds to the upbeat vibrancy.

On keyboard, music director Zara Stanton leads eight fellow musicians in a bright, lively performance of Pasek and Paul’s pop-influenced, light rock score. Music supervisor Laura Tipoki works with Stanton to deliver an effortless air to the instrumental music and vocal harmonies. Sound design by Andrew Poppleton balances vocals and instrumentals to clarion perfection.

Jeremy Allen’s streamlined set design facilitates swift, cinematic transitions and allow unfettered focus on the central story. The clean white unit for the Murphy home conveys their sense of style with neat efficiency. Matt Scott’s lighting frames the stage with crisp, understated glamour. Generous use of warm colour subtly enhances emotion.

The stage really comes to life in sequences that showcase David Bergman’s pristine video projections. A sense of fluid, ever expanding social influence is deftly conveyed, along with the clear concept that people in the online spotlight appear larger than life. 

Isabel Hudson’s costumes are natural and comfortable with a theatrical characterful edge.

The role of Evan Hansen is a challenging one to cast in that the actor needs to look youthful but also draw upon profound emotional depth, all while singing like a pop angel. Possessing invaluable musical theatre experience as a child performer, Beau Woodbridge steps up to the role with poise and flair. Sweetly comic, Woodbridge gamely embraces Evan’s awkwardness and anxiety, and his performance of Evan’s breakdown will surely continue to grow ever stronger as the tour continues. In a deceptively effortless performance of the challenging score, Woodbridge’s high notes ring out with resounding power. 

Immersed in the role of frazzled single mother Heidi, Verity Hunt-Ballard gives an understated performance all the more touching for the sheer humanity of a very readily identifiable character. 

Her Cynthia Murphy the living embodiment of a raw nerve, Natalie O’Donnell brings infinite sensitivity and vulnerability to a woman struggling to deal with every mother’s worst nightmare, Fellow stage veteran Martin Crewes deftly captures the crumbling stiff upper lip of man’s man Larry Murphy, clearly showing an undercurrent of tenderness just below the surface of the grieving father’s stoicism. 

In a highly auspicious professional stage debut, Georgia Laga’aia gives struggling teen Zoe Murphy a sturdy backbone, also singing the role with rich vocal beauty. Harry Targett convinces as darkly brooding teen Connor Murphy, busting out some slick dance moves and bringing a cheeky twinkle to the character’s eye when he appears in dream scenes. 

Jacob Rosario is perfectly cast as Evan’s friend family friend Jared, bringing much needed humour to offset the more poignant scenes. Carmel Rodrigues delights as determined do-gooder Alana, balancing the quirky humour of the role with a suggestion of darker self-serving motives.

As pristine a production of Dear Evan Hansen as could be hoped to see, hopefully Santa will reward a great many of Melbourne’s legion musical theatre lovers with tickets. 

Dear Evan Hansen plays at Playhouse, Arts Centre Melbourne until 16 February 2025. For tickets, click here.

Dear Evan Hansen plays at Canberra Theatre Centre from 27 February 2025. For tickets, click here.

Dear Evan Hansen plays at Her Majesty’s Theatre, Adelaide from 3 April 2025. For tickets, click here.

Photos: Daniel Boud

John Foreman’s Australian Pops Orchestra blends traditional New Year’s Eve favourites with a generous serving of musical theatre and pop hits for a thrilling presentation of their annual New Year’s Eve & The Day Before Gala Concert.

***rehearsal images – check back later for full production images***

New Year’s concerts are a custom the world over and Melbourne is fortunate to have its own tradition curated so lovingly by John Foreman. Showcasing three fabulous headline stars, the 60 piece orchestra is also joined by the eight-member Dana Jolly Dancers, resulting in a brightly polished performance that can truly be said to have something for everyone. 

While rousing numbers such as “The Liberty Bell March,” “The Radetzky March,” and “The Can Can” are regular inclusions in New Year’s concerts, the presence of stars Silvie Paladino, Josh Piterman, and Paulini sways the repertoire well into the musical theatre canon, along with pop, disco, and concert standards, clearly demonstrating the breadth of musical abilities of the musicians and singers along the way.

With more than twenty musical items on the bill, on stage banter is kept to a bare minimum, allowing the quality of the music to simply speak for itself. This streamlined flow keeps momentum at a peak, boosting the emotional impact of the sterling performances. Variety is at a premium, with the well planned program moving smoothly from orchestral numbers to dance numbers to solos, duets, and trios. 

The classy production sees the orchestra in full evening wear and the singers in multiple glamorous outfits. Lighting and sound are of pristine standard. All this, plus a free 14-page souvenir program!

A clear orchestral highlight is Tchaikovsky’s gorgeous “Waltz of The Flowers,” which is a joy to hear played by 60 musicians. Special mention of the exquisite work of Jacinta Dennett on harp. 

Not seen on the Australian stage for almost two years, the gala concert marks the return to the spotlight of gifted Melbourne performer Josh Piterman. Piterman soars through ”Tonight” from his breakout performance in West Side Story, also giving a beautiful rendition of “Bring Him Home” from his recent London triumph in Les Misérables. Drawing on all his experience in the title role, Piterman wrings full emotion from The Phantom of the Opera hit “Music of the Night.”

Having blown away anyone lucky enough to see her in Sunset Boulevard this year, much loved performer Silvie Paladino brings Norma Desmond’s two iconic hits into her repertoire. Paladino recreates every ounce of affecting emotion in “With One Look” and “As If We Never Said Goodbye,” her performance sounding all the more glorious with the 60-piece accompaniment. Paladino also revisits her London success in Les Misérables with a deeply moving rendition of “I Dreamed a Dream.”

A pop singer who has enjoyed much success on the musical theatre stage, Paulini brings her own flare and vibrancy to the concert. Reminding the audience of her success in The Bodyguard, Paulini livens proceedings with “I Wanna Dance With Somebody” followed later by a sweetly mellow performance of “I Have Nothing.” Paulini and Foreman reminisce about Paulini’s memorable involvement in the Victorian State Schools Spectacular, where she first sang West Side Story power ballad “Somewhere.”

Paulini and Paladino join forces for a toe-tapping duet performance of groovy ‘70s hit “No More Tears (Enough is Enough).”

Sporting a sparkling new set of costumes every time they shimmy on stage, The Dana Jolly Dancers Cover a wide range of styles, including ballroom, disco, and tap, all performed with grace and flair to an impeccably high standard. 

Leaving the capacity audience gratefully enlivened and entertained, the Gala Concert is an annual arts event to be cherished and celebrated. The 2025 instalment is eagerly anticipated.

John Foreman’s Australian Pops Orchestra plays their New Year’s Eve & The Day Before Gala Concerts again at 2pm and 8pm, Tuesday 31 December 2024. For tickets, click here. 

Photos: https://www.facebook.com/auspops

In a towering achievement, Victorian Opera lavishes high production values, sumptuous orchestra, and a peerless cast on revered Stephen Sondheim musical Follies.

Touted as the first professional fully staged production of Follies in Australia, Victorian Opera certainly delivers on this, filling the mighty stage of the 2500+ seat Palais Theatre, with 31 in the cast and 34 musicians in the pit. With only five performances over an all too brief six-day season, the level of creativity, care, and sheer talent is quite extraordinary. 

An early concept musical that broke the Golden Age mould, Follies unfolds on a single evening, where past showgirls of the Weismann Follies reunite before their theatre is ignominiously torn down. Haunted by showgirls past, the party guests perform their classic numbers while a core group of four characters reflect on the follies of their youth.

In a particularly cherished score, Sondheim delivers not just highly emotive, psychologically rich solos and duets but also a delightful set of pastiche numbers from the follies of old. James Goldman’s book weaves dry humour and poignant reminiscences with a relatively unstinting reflection on the ravages of age. 

Music director Phoebe Briggs helms a meticulously prepared performance of the melodious score by Orchestra Victoria, impressing particularly with delicate dynamics for the abundant underscoring. Briggs also proves a good sport by interacting with the stage characters as though she is the conductor of the reunion party band. 

Director Stuart Maunder clearly knows Follies inside out, delivering an expertly realised performance from the full company. Snippets of guest interactions at the reunion flow cleanly and smoothly, with gradual sharper focus on the two key couples building interest and engagement, and culminating in a powerful finale as the realism gives way to the heady fantasia of the Loveland sequence. 

Choreographer Yvette Lee works with a strong ensemble to create terrific dance sequences performed with well drilled precision and abundant flair. Moments for the inveterate showgirls are a delight, with company number “Who’s That Woman?” a memorable highlight.  

Prolific designer Roger Kirk puts every dollar of the production budget on view, crafting a grand staging that is a joy to behold. A rear broken brick wall and full scaffolding create the decrepit stage, and the transformation to Loveland sees this all disappear behind gauzy curtains adorned with ivy motifs. 

Kirk’s costumes are a treasure in their own right, with highlights almost too numerous to mention. A standout moment is the reveal of the “ghost” showgirls in mirror-studded outfits for “Who’s That Woman?”. The divergence of fortunes is clearly reflected in the chic appearance of Phyllis contrasted with the folksy effort of Sally. Loveland delivers full sets of new costumes, with the showgirls sporting eye-popping coloured creations after gliding about in ghostly silver for the rest of the night.

Gavan Swift’s lighting design creates atmosphere from the beginning, with the bedraggled effect of the old torn show cloth also projected onto the auditorium walls. Swift efficiently draws the eye across the seemingly vast stage as the story progresses. Showy scenes dazzle, in particular the rich oranges and reds for Phyllis’ Folly, “The Story of Lucy and Jessie.”

Sound designer Sam Moxham delivers a natural, well-balanced sound, although vocals become harder to distinguish when more than two singers perform at once. 

The core four are in exceptionally strong hands with Antoinette Halloran and Alexander Lewis as Sally and Buddy Plummer, and Marina Prior and Adam Murphy as Phyllis and Benjamin Stone.

Subtly giddy from the outset, Halloran craftily keeps the audience guessing at Sally’s stability and focus. Halloran sings solos such as “In Buddy’s Eyes” with ravishing tone, absolutely breaking hearts with iconic torch song “Losing My Mind.”

Lewis fills shoddy husband Buddy with an abundance of self-deprecating verve, earning keen sympathy with a bubbling undercurrent of vulnerability. Lewis channels the full vaudevillian showman with Buddy’s Folly, ”The God-Why-Don’t-You-Love-Me Blues”. 

In peak form, Prior absolutely glows as weary socialite Phyllis, balancing withering zingers with heart rending lovelorn pain. Prior dazzles, along with the male ensemble, in a fabulous performance of “The Story of Lucy and Jessie.”

A highly capable singing actor, Murphy imbues Ben with an initial unflappable charm that soon devolves to show the man’s fragile core and defensive cruelty. As Sally and Ben reflect on missing each other for “Too Many Mornings,” Murphy enjoys strong chemistry with Halloran, singing with his sumptuous baritone. 

Replacing an injured Geraldine Turner, Anne Wood makes for a superb Carlotta Campion, delivering a galvanising rendition of “I’m Still Here” with finely calibrated nuance. Rhonda Burchmore is in her element as tap-happy Stella Deems. 

Geraldene Morrow is an absolute joy as dear Hattie Walker, thrilling the audience with “Broadway Baby.” Colette Mann charms as Emily Whitman, ably supported by Tom Blair as Theodoe Whitman for “Rain on the Roof.” Evelyn Krape oozes personality as Solange La Fitte, characterfully crooning “Ah, Paris!”.

A glorious act two highlight comes with the return to the spotlight of Heidi Schiller, with Merlyn Quaife giving a deeply moving rendition of mock-Viennese waltz “One More Kiss,” more than capably supported by Nina Korbe as Young Heidi. 

Doing deceptively important work as the ghosts of the core four, impressive work all round is enjoyed from Young Phyllis (Taao Buchanan), Young Sally (Mia Simonette), Young Ben (Jack Van Staveran), and Young Buddy (Jacob Steen). 

No self-respecting lover of musical theatre will be in need of any encouragement to attend a production of Follies. This review serves simply to confirm and celebrate the wonderful talent on show and create further anticipation for lucky ticket holders in this coming week. 

Follies plays at Palais Theatre, Melbourne until 6 February 2025. For tickets, click here.

The Follies program can be read online.

Photos: Jeff Busby