A sure contender for one of the top musicals of all time, Miss Saigon steps out of the shadow of its older sibling to be seen as an acclaimed and adored masterwork in its own right.

London is currently benefitting from the Australian music theatre model, where shows are so much better when they are brought back afresh rather than dragging on ad infinitum. Both Miss Saigon and Cats, sensational musicals to begin with, are currently blessed with cutting edge stagings and top class casts.

This glossy production utilizes the 2002 design concept of Adrian Vaux (further enhanced here by designers Totie Driver and Matt Kinley), seen in Australia in 2007. There is ongoing talk of Miss Saigon becoming a movie, but on stage it is already as close to a movie as a piece of music theatre can be. Aided by Bruno Poet’s painterly lighting, the scenes spin, dissolve and crosscut with all the speed, excitement and flexibility of a movie. Coupled with Laurence’s Connor’s serious, grounded direction, this is adult theatre that is gritty, thought provoking and highly affecting.

The original composition work of Alain Boublil (book, lyrics), Claude-Michel Schönberg (concept, book, music) and Richard Maltby Jr (lyrics) has been subtly tweaked and updated by American lyricist Michael Mahler. Ellen (superb Australian actress Tamsin Carroll) has a new song, the lovely “Maybe,” which is more of a heartfelt ballad than the beltable showstopper “Now That I’ve Seen Her.”

Mick Potter’s sound design aids to the thrilling feel of the show. The incoming flight of the helicopter has now been enhanced with whooshing wind on the audience as well as the travelling sound effect. The actual onstage helicopter is incredible, and is surely the most impressive it has ever been. The sight of Chris half hanging out of the chopper as it careens away is heart stopping.

Staging elements aside, Connor’s meticulous direction is the true star of the show. Acting throughout the show is performed with actors directly facing each other, rather than cheating front, and this adds significantly to the immersive, filmic feel. Sidestepping the mawkishness of instant love, Connor presents Chris and Kim’s whirlwind love affair as inevitable and highly believable. It helps to have such a masculine leading man for Chris (Alistair Brammer) and a divinely innocent cherub, who can sing like an angel, as Kim (newcomer Eva Noblezada).

Ensemble direction is extraordinarily detailed, with the entire company always having a strong and unique purpose. The action on the street in Bangkok is hilarious – watch out for a gay Mormon missionary, as well as a girl who can do incredible things with a ping-pong ball!

At this performance, the role of The Engineer was played by highly accomplished Filipino-German performer Romeo Salazar. It is highly unlikely that the majority of the audience would have had any idea that Salazar was not the regular star. Currently filling in s Kim’s cousin Thuy, Ethan Le Phong has a particularly lovely singing voice. Rachelle Ann Go’s talent and sultry looks ensure that the role of Gigi is not lost as the show progresses. Hulking Hugh Maynard is a powerful presence as John.

Thank you to Cameron Mackintosh for bringing back Miss Saigon. Next stop, the rest of the world (again).

Miss Saigon has an open run at Prince Edward Theatre, London

Miss Saigon was reviewed 7.30pm 21 January 2015

Photos: Michael Le Poer Trench; Michael Murphy

Prolific theatre director Jamie Lloyd presents an unrelenting, devilishly dark take on Stephen Sondheim and John Weidman’s revered, if troubled, musical fantasia of despair, dander and death.

In a decaying, abandoned amusement park, the ghoulish proprietor beckons the assassins, a gun for each of them in his coat pockets. The Menier space is configured with coloured rows of bleachers on two sides, between which the company of 16 remain as they come in and out of the collage of vignettes.

Soutra Gilmour’s relatively simple design features a couple of macabre, oversized amusement park remnants. A clever touch is the use of a bumper car for Samuel Byck’s second tirade (which is set on a freeway to the airport). Gilmour’s costumes, along with the hair and make up design of Richard Mawbey, keeps the performers very in close in appearance to the real life characters they portray.

Lighting designer Neil Austin cleverly uses the strings of fairground light globes to create flashes to accompany gunshots. Austin draws the eye along the long playing space, and creates eerie mood through use of shadow.

Chief amongst Lloyd’s accomplishments is the extent to which the lead performers remain so entirely in character throughout the show. It may sound like an obvious point that should just be taken for granted, but it is all too easy for the principal characters in Assassins to meld into the group when they are not in the spotlight. Here, each character is instantly recognisable from the moment the cohort enter, and remains so throughout.

Lloyd keeps the momentum flowing from scene to scene, holding back almost of the applause for the final bows. Avoiding any possibility of glorifying the assassins, Lloyd ensures that the violent punishment of the death sentences is clearly conveyed. There is little levity in the piece, save for the deliciously vapid humour of Sara Jane Moore. The use of a puppet for Moore’s bratty child is a cute touch. Chris Bailey provides some neat choreography, particularly for the five ensemble members.

Musical director Alan Williams leads a tight band of eight musicians, who deftly perform the wide range of musical styles.

The 2004 Broadway version is presented here, with the Balladeer and Lee Harvey Oswald played by the same actor. Jamie Parker neatly underplays the Balladeer, keeping him strictly as a gently amused observer, similarly capturing the pained confusion and bewilderment of Oswald.

Broadway star Aaron Tveit is a classy presence as John Wilkes Booth, singing sweetly and oozing charisma as the vain, desperate killer. Catherine Tate provides many welcome laughs as addled housewife Moore.

Simon Lipkin drips menace as The Proprietor, skillfully providing additional roles such as several of the unfortunate presidents and even the live voice of the radio.

Carly Bawden gives a polished performance as icy nutjob Lynette ‘Squeaky’ Fromme. Mike McShane effectively portrays the weary defeat of Samuel Byck, impressively holding back from overdoing his two big monologues. Stewart Clarke, as pained immigrant Giuseppe Zangara, and David Roberts, as oppressed labourer Czolgosz, give nuanced, focused performances.

Both Andy Nyman as Charles Guiteau and Harry Morrison as John Hinckley expend a little too much manic energy and movement in their performances, putting their work slightly out of focus with their castmates.

Melle Stewart provides a classy cameo as anarchist Emma Goldman, and joins Marc Akinfolarin, Adam Bayjou , Greg Miller Burns and Aoife Nally in providing strong support as ensemble members.

Assassins is playing a sold out season at Menier Chocolate Factory, London until 7 March 2015

Assassins was reviewed 8pm 22 January 2015

Photos: Nobby Clark

As melodious as it is heartbreaking, Kander and Ebb’s The Scottsboro Boys is a brilliantly conceived combination of upbeat song and downbeat drama.

Having transferred to the West End after a sold out 2013 season at the Young Vic, The Scottsboro Boys can now be considered more successful in London than in New York, where it played a total of only 78 performances on Broadway in 2010. This raises the question as to whether American audiences found it too difficult to smile and clap about a tragedy that should never have been allowed to occur.

In presenting the true story of nine black youths falsely accused of rape in 1931, the musical draws on the unique conceit of an inverted black and white minstrel show. The performers are black, and they portray a smattering of white characters using broad, exaggerated stereotypes. The use of minstrelsy means that the painful story is punctuated with high energy, toe-tapping song and dance, engaging the audience and breaking their hearts all the more.

John Kander and Fred Ebb’s music and lyrics are a marvelous pastiche of soaring gospel and temperate spiritual music, seasoned with the tambourines and tap shoes of minstrels. The result is a score as instantly accessible as an audience could ever be grateful to hear. The songs rank with the best in the Kander and Ebb canon, and have the added bite of the social commentary that elevated numbers such as “If You Could See Her” from Cabaret. One of the best here is “Southern Days,” which begins as an exquisite Negro spiritual, then segues into darker lyric variations.

David Thompson’s concise but powerful book ensures that the dramatic story is grounded in realistic scenes between the big musical numbers. The central injustice is so incomprehensibly unfair that it is just presented in a brisk, matter of fact way rather than trying to explain or justify it.

Multi-talented director/choreographer Susan Stroman really excels herself here in terms of creating a unique piece of theatre. Energy levels are sky high, and company dance numbers are as thrilling as they are inventive. Generally more at home with a traditional book musical, Stroman has shaped The Scottsboro Boys as a true concept musical, in which all the elements support each other to the greater good of the story.

Displaying her expertise with props, Stroman tells the entire story with just a set of chairs. This exposes the content and the cast, which are both more than up to the scrutiny. Crisp comical shadow puppetry illustrates Haywood’s courtroom ditty “Make Friends With The Truth.” A whiz with tap, Stroman stages a terrific tap trio in “Electric Chair,” in which youngest cast member Keenan Munn-Francis is particularly impressive.

Veteran actor Julian Glover brings a distinguished and wry presence to the role of The Interlocutor. Dawn Hope is a gracious, sympathetic onlooker as the silent character of The Lady, who is eventually shown as representing racial activist Rosa Parks.

The London is season is anchored by a superlative lead performance from Brandon Victor Dixon as indomitable prisoner Haywood Patterson. A magnetic, charismatic actor, Dixon fully engages our sympathy and affection for the noble Haywood, giving a performance that is all the more compelling for his gentle, understated approach. Dixon’s singing style is also tender, almost sensuous at times, and is an absolute pleasure to hear.

The entire cast are true triple threats, who are expending their maximum possible performance energy. If the show had begun again from the start as soon as it ended, I would have been absolutely delighted.

The Scottsboro Boys plays at Garrick Theatre, London until 21 February 2015

The Scottsboro Boys was reviewed 7.45pm 23 January 2015

Photos; Jonah Persson

A pristine exemplar of Broadway creativity at its zenith, The Lion King illustrates with sterling clarity why it is the world’s highest grossing musical.

The aisles of the Regent (which were created by removing seats for the first season of The Lion King) are once again graced by all manner of beast and bird as this epic pageant makes its very welcome return. One of the very few musicals that can fill the cavernous Regent auditorium on an impactful scale, The Lion King remains an immersive and affecting visual and aural feast.

Birds flutter overhead, rhinoceros and elephant parade by, and crisp, rhythmic percussion pours forth from the Juliet boxes. Visionary director Julie Taymor’s unmatched ingenuity and inventiveness provide a cavalcade of gorgeous stage pictures, both mighty and intimate in scope. While Taymor’s costumes are a riot of lush colour, it is her puppets and masks (co-designed by Michael Curry) that really set the production apart. No photo can do justice to the brilliant movement and expression of these aspects of the design.

While there are flashy effects and eye-popping moments, such as the deadly wildebeest stampede, the true mark of quality comes in the musical’s generous patience with quiet, heartfelt moments. There is time for ritual, time for tradition, time for affection, time for grieving. The central theme of allocation and preservation of natural resources remains a prescient one, with the elements of family and community pride give a shining example in this age of long hours and high fences. Elton John and Tim Rice’s movie hits provide toe-tapping pleasure, but it is the added music, particularly from Lebo M and Hans Zimmer, that provides ethereal beauty.

Having visited Sydney and Brisbane, this return tour arrives in Melbourne in top condition. The adult leads are particularly strong, their characterisation and timing sharply honed over months of performances.

Rob Collins, as the noble Mufasa, demonstrates how to be strong father and powerful man while still maintaining a gentle and sensitive side. Josh Quong Tart drips resentful venom as Scar, deftly projecting the bubbling wrath of a brother who feels unjustly wronged where a lesser actor would be tempted to resort to camp villainy. Cameron Goodall achieves a dazzling range of expression as bristling do-gooder Zazu; it is a shame that Zazu’s act one charm song “The Morning Report” has been cut.

Buyi Zama returns as effervescent spiritualist Rafiki, a role she has played around the world. Zama’s dialect and body language are a delight, and the joy she experiences from being on stage is infectious.

Nick Afoa is well cast as Simba, his impressive, manly physique offset nicely by his doe-eyed countenance. Afoa finds an impish, restless energy in the young adult Simba, before settling into confident maturity as Simba reclaims his rightful place. Afoa’s attractive, breathy singing voice could see him cross over as a pop vocalist in a heartbeat. Afoa has a sweet stage partner in the elegant Josslynn Hlenti, a physical actress with a lovely singing voice.

Energy lifts with the arrival of crowd favourites Pumba (Russell Dykstra) and Timon (Jamie McGregor). McGregor has perfected his vocal inflection and comic timing, scoring plenty of laughs as madcap meerkat Timon. Dykstra throws himself into the daggy dorkiness of stinky, well-meaning Pumba.

As the rabid hyenas, Ruvarashe Ngwenya, Terry Yeboah and André Jewson have shown significant improvement in communicating all their dialogue and vocals while leaping about manipulating complex puppets. This is no mean feat.

Adam de Leon had terrific energy and verve as Young Simba on opening night. Likewise, Annette Tran is a spunky, plucky Young Nala.

A musical that more than lives up to its hype and legend, The Lion King is a glorious treat for young and old.

The Lion King plays at Regent Theatre, Melbourne.

Man in Chair also reviewed The Lion King Sydney.

Photos: Simon Parris

Thank goodness for independent theatre producers. While commercial producers churn out rehashed retreads, StageArt have the courage, vision and passion to present this highly original, Tony Award-winning musical that is as much fun as you can have at the theatre.

I saw In The Heights on Broadway, and went a second time in the belief that it would never be seen in Australia. I have never been so glad to be wrong.

Approaching this production, there was a niggling fear that this cherished musical would prove too fiendishly difficult and too culturally inaccessible for the local theatre scene. Highly driven, exacting producers Katherine Armstrong and Robbie Carmellotti have galvanised the work with a series of wise choices. Rather than just focus on the dance (which is of an amazing standard), they have employed an insightful, meticulous director, an expert music director and, best of all, have hand picked a dream cast of incredible triple threats who suit their roles to perfection.

A chief accomplishment is the extraordinary level of integration of production elements. It is clear that every member of the cast and creative team is on the same page, from the authentic props to the clever design to the whirling, singing chorus members who are always in character.

Winner of the 2008 Tony Award for Best Musical (as well as Best Score, Best Orchestrations and Best Choreography), In The Heights is set in Manhattan neighbourhood Washington Heights, where a close knit Hispanic community face a tumultuous period of change during a particularly hot summer. The hip hop/rap/salsa sound of Lin-Manuel Miranda’s score is as surprising as it is electrifying, but if the score is radical, the storyline is rather more traditional. As addictive and catchy as the music is, the lyrics are even more ingenious, featuring dazzling internal rhymes and intricate speech rhythms.

No background is needed to meet and enjoy these endearing characters. You know you have the audience fully engaged when they let out whoops of joy at the opening act two sight that two characters have spent the night together. When the story takes a melancholic turn in act two, the audience is fully absorbed and respectful of the drama.

Director James Cutler finds the perfect balance between the fever pitch energy of the cast and the control and focus needed to sell the characters and tell the story. Yvette Lee’s dazzling choreography is intricately woven throughout the action. Musical director Cameron Thomas makes juggling the range of styles and the lightning tempos seem effortless, producing a terrific sound from six musicians. When the combined elements of acting, dance and song really take flight, such as in act one finale sequence “The Club” and “Blackout,” the effect is truly thrilling.

All aspects of design provide high quality support to the performances. Merinda Backway’s sets make extraordinary use of the tight stage space to place the action clearly in its uptown locale. Kate Sinclair’s costumes, of which there are a great number, are a key aspect of each character and their arc. Jason Bovaird basks the stage in the orange glow of oppressive heat, also creating ongoing visual interest with innumerable lighting cues that match the excitement and modern feel of the music. Marcello Lo Ricco’s sound design is a little loud at times, but reliably picks up every word, an asset that is of extra value in a new show with particularly dense lyrics.

Overall, the production elements and performances are at a level that would fill a 1000-seat theatre (or higher), giving the show incredible impact when viewed in the relative intimacy of Chapel off Chapel.

Stephen Lopez was born to play Usnavi, capturing the lead character’s loquacious, compassionate nature. Lopez instantly bonds with the audience, gaining their trust and affection as he leads the way through the intertwined lives of the local residents.

Where a regular musical may have one I wish song, for its chief protagonist, act one of In The Heights gives a number of characters a moment in the spotlight to soar through a ballad or rap about their hopes and dreams.

Charming young actress Anna Francesca Armenia gives a lovely performance as Nina, a young woman struggling to fit in and succeed at an Ivy League university. Projecting warmth and affection, Clarence Marshall and Bianca Bruce ground the younger characters as Nina’s proud, conservative parents Kevin and Camila. Both Marshall and Bruce are excellent singer actors; Marshall shows Kevin’s vulnerability in “Inútil” (Useless), while Bruce shows her fiery side when Camila takes over in “Enough.”

In a very welcome stage appearance, Francesca Arena provides the heart of the show in Usnavi’s dear Abuela Claudia. Arena immerses herself in the role, creating a nuanced characterisation of a weary, beloved elderly lady. She flexes her considerable vocal strength when Abuela breaks into song with “Pacienca y Fé” (Patience and Faith).

The local hair salon, in the process of closing, is populated by boss Daniela and employees Vanessa and Carla. Laura Marcucci is the sassy, curvy Daniela, a driven woman with a loosely concealed heart of gold. Experienced belter Marcucci really shines when Daniela lets fly in act two and inspires the full company into an impromptu parade “Carnival del Barrio” (Neighbourhood Carnival). In the key role of Vanessa, Bianca Baykara displays impressive acting talent as she manages to portray a young woman who is plagued by low self-esteem despite her exotic beauty.

James Elmer gives a winning performance as Benny, a bold young man on the cusp of independence. A seriously talented dancer, Elmer also proves a skilled rapper, and his cheeky grin makes him a clear audience favourite. Providing further youthful male energy is Andrew Doyle, giving an appealing performance as Usnavi’s frisky younger cousin Sonny.

Many of the wow moments in the choreography come from awesome break-dancer Peter Sette, playing Graffiti Pete. Sarah Calsina is cutely naïve as devout Christian Carla. Gareth Jacobs gives Piragua Guy a merry twinkle in his eye, and impresses with his strong vocals in “Piragua.”

Further members of the stage cast, all giving the show everything they have, are Demi Sorono, Jake O’Brien, Elandrah Eramiha, Joshua Martin, Ashleigh Kiven, Timothy Philip Doherty, Nicolas Mena and Samantha Bruzzese.

In The Heights is must-see music theatre.

In The Heights plays at Chapel off Chapel until 8 March 2015

Photos: Belinda Strodder

To borrow a backhanded compliment from the great Mel Brooks, Sexercise the Musical is, in my opinion, “surprisingly good.”

Written and produced on a scale of Off-Broadway musicals, Sexercise has a few flaws, but these are gradually overcome by the charm and energy of the cast and the solid concept for the show.

Taking advice from a couple’s counsellor, Sam and her husband Joe attempt to cure their relationship slump by indulging in a healthy bit of sexercise. The relationship lens is expanded to include subplots for counsellor Rhonda and friends Tania, Andy and Shane. While this is a boon for the talented supporting actors, it also contributes to a bloated running time of 140 minutes (including interval).

Set in present day Melbourne, Sexercise employs a knowing wink to avoid the cultural cringe. In a world of kikki.K, Foxtel and Mount Waverley Secondary College graduates, writer Derek Rowe creates characters that are recognisable yet not overly stereotyped. The temptation could have been to write a segmented revuesical, but the inclusion of a storyline is a wise choice for maintaining interest.

Also contributing the music and lyrics, Rowe goes a very long towards redeeming his involvement in that-other-show-with-sex-in-its-title. Songs are enjoyable, if not entirely hummable, on first listen, with a fresh sound that is not derivative of other sources. Individual songs are mainly set apart by the concept being covered, from online dating to tedious sex to aging gracefully.

Director Sara Grenfell deserves great credit for not only inspiring energetic performances from the cast, but for earning their trust so as to adopt all manner of intimate, close physical contact and sexual representation. It is all good, clean fun, but the cast’s camaraderie and familiarity allows the audience to relax and enjoy a show that could potentially be uncomfortable in lesser hands.

Dana Jolly’s choreography is similarly peppy, and benefits immensely from the impressive dance skills of the cast.

Musical Director Trevor Jones leads a confident presentation of the all-new score, also deftly completing the under-appreciated job of orchestrations and arrangements. The number of musicians is not clear (as the band is not listed in the program) but the musical accompaniment does seem a little slight overall. Sound quality on opening night was affected by the raw sound design of Your Show Pty Ltd, with too many crackles and pops heard throughout the night.

Adrienne Chisholm’s uncluttered stage design keeps action brisk and clean. Chisholm’s costumes are varied, modern and colourful. Her choice to present the counsellor Rhonda as a buttoned up professional when the character has many new age traits and practices is an odd one. (Similarly, it is odd that we learn of Rhonda’s shady past after we have already seen her let her hair down.)

Nicole Melloy anchors the show with a strong, poised performance as Sam, the restless, devoted Mum who casts aside yoga to rediscover sex with her husband. In an upbeat show, Melloy sells her downbeat ballad “Don’t Need I’m Sorry” thanks to her soaring vocals. Lyall Brooks has a charismatic presence as Sam’s schlubby husband Joe. Melloy and Brooks are terrific in two sex-related numbers: “Are We Done Yet,” as they re-enact their tepid, intermittent sex life for the counsellor, and “Work Out With Each Other,” as Joe and Sam throw themselves into sexercise. Melloy and Brooks also show themselves to be team players when they perform as ensemble members in boy band parody “Planet Earth.”

Fem Belling, as counsellor Rhonda, and Kristin Holland, as buff friend Shane, also throw themselves into their bedroom number “Love or Lust or Whatever.” Belling provides an act one highlight with “Computer Dating Man,” a number that is enhanced with fun video accompaniment.

Comic energy lifts palpably with each stage appearance of Lulu McClatchy as despondent lesbian Tania. Channeling her best Rebel Wilson vibe, coloured with her own inimitable flair, McClatchy scores plenty of laughs. Masculine, young actor Cameron MacDonald proves his acting versatility by convincingly playing an indecisive, middle-aged man. McClatchy and MacDonald offer strong support throughout, and enjoy their moment in the spotlight in “It Might Be Different This Time.” McClatchy also charms the audience, especially one lucky woman, in “Want What I Got.”

Don’t go along expecting Sondheim or spectacle, but for a diverting laugh, Sexercise is pleasant entertainment.

Sexercise the Musical plays at Alex Theatre, St Kilda until 15 March 2015

PS It would be remiss not to mention the brand new Melbourne venue Alex Theatre. A spectacular Broadway wall collage sets the scene in the foyer. The 500 seat theatre, with moderate-sized mezzanine, enjoys uninterrupted sightlines and comfortable seats. Being a step up in size from Chapel off Chapel, this is a welcome addition to the Melbourne theatre scene. Now if they could just magically conjure some easy parking.

The minute you walk in the joint…your eyes are immediately drawn to red hot dynamo Verity Hunt-Ballard in her already legendary, award-winning performance as sweet Charity Hope Valentine.

Set Design, by Owen Phillips, may have a very Emperor’s New Clothes feel, but the Phantom’s chandelier hanging from Miss Saigon’s helicopter could not eclipse the star wattage emanating from Hunt-Ballard. In a blistering tour de force, Hunt-Ballard makes the fifty year old show vibrant, fresh and compelling. Lyrics and text pour forth in such a stream of consciousness that they seem to be natural, spontaneous reactions. In fact, the simplicity of the fluid staging makes the whole show seem to be an ongoing impromptu fantasia on relationships; it just all seems to be unfolding with a force of its own. Ross Graham’s pinpoint lighting design aids this filmic continuity.

Hunt-Ballard imbues our plucky heroine with a life far beyond the text on the page, capturing our hearts only to break them time and again. Her Charity is a jangling bundle of nerves, self-deprecating yet fiercely determined, naive yet worldwise, eternally hopeful yet ready for defeat. Speech patterns distinctly set Charity apart from the society she yearns to enter, creating as clear an example of class snobbery as that endured by Eliza Doolittle. Hunt-Ballard also sings up a storm and dances with charismatic flair.

The show’s freshness is enhanced by the groovy adaptation of the score, with electric guitar replacing the brassy Broadway sound. Andrew Worboys’ musical direction is a superb example of songs emanating organically from scenes, with snatches of introductions heard as songs approach. A brilliant example of this comes when Charity and Oscar sing “I’m The Bravest Individual” to an accompaniment that sounds like elevator muzak. The opening lyrics of “Rhythm of Life” also work brilliantly as used by churchgoers in explanation to Charity and Oscar.

Worboys also plays cranky ballroom manager Herman, but his rendition of “I Love to Cry at Weddings” is diminished by having to go back to sit at the piano. Additionally, his casual, festive green shirt does not match the character at all.

Director Dean Bryant guides and channels the whirlwind of energy to thrilling effect, achieving an unsettling discomfort in Charity’s plight that eschews the usual cheerful familiarity of classic music theatre. Showing respect for the source material, Bryant allows the quality of writing by Neil Simon (book), Cy Coleman (score) and Dorothy Fields (lyrics) to shine through, without feeling the need for extraneous additions and gimmicks. The only brief exception to this is the unnecessary addition of a fairy godsister for Charity in the final moments. After rightly trusting Hunt-Ballard to carry the show all night, this feel-good ending undermines the poignancy of the crushing final scene.

That Bryant and Hallsworth work brilliantly as at team cannot be doubted given the seamless integration of choreography throughout the scenes. From the frantic action of the overture, the show dances its way from scene to scene. Each of the three sections of choice dance number “Rich Man’s Frug” are given a character and purpose. “I’m A Brass Band” is a celebration of all manner of dance styles, which, likes the text, seem to just pop into Charity’s head as she moves. Hallsworth has matched the choreography well to each actor’s skills, creating a joyous cohesive whole.

Using a concept from the 2009 Menier Chocolate Factory production, Bryant keeps the lead cast lean by having two key actors play more than one role. The idea of one actor playing each of Charity’s men (Charlie, Vittorio and Oscar) is a particularly inspired one, suggesting a subtext that Charity has a “type,” and that all her men are a variation upon each other. It also gives a male actor a challenge and showcase on par with the actress playing Charity. Leading man Martin Crewes is more than up to the task, putting a unique spin on each of these male characters. His Vittorio is as suave as he is immature, and he keeps Oscar grounded in realism despite the hyperactive nervy edge required.

Debora Krizak makes an all too rare appearance on the Melbourne stage, giving us an earthy, world-weary Nickie and a spoilt British sex kitten as Vittorio’s slighted girlfriend Ursula. (I overheard a pair of gents at interval who had only worked out that these roles were played by the same actress by Krizak’s stunning pair of legs).

Kate Cole’s Helene is a sassy Southern complement to Krizak’s Nickie, the pair providing the jaded ying to Charity’s optimistic yang. Krizak, in particular, creates further layers by turning on a dime from flatly depressed to indulgently dreamy.

Tim Chappel’s red, orange and pink costumes are neatly contrasted by a set of multi-purpose green chairs. Changing Charity into white is a nice touch as she leaves the Fandango Ballroom, leaving her to don her signature pink again when her plans go pear shaped. The one odd costume choice is the conservative beige outfits for the Rhythm of Life church, which makes the congregation look much more Southern Baptist than New York. Wig design, also by Chappel, adds loads of character to the girls of the Fandango Ballroom.

Believe the hype. This is a landmark production that is not to be missed.

Sweet Charity plays at Playhouse, Arts Centre Melbourne until Saturday 7 March 2015.

Photos: Jeff Busby

Willy Russell’s classic musical packs considerable punch when presented as an understated, softly spoken drama.

I do not often focus on producers in reviews, but it is difficult to describe the success of this staging without looking at the production as a whole. A highly talented, high profile cast (in no need of “exposure”) have been attracted to the realm of independent theatre and have been rewarded with a classy presentation featuring high than expected quality sets, costumes and lighting and amazing sound. Full credit goes to producer Enda Markey and Hayes Theatre Co for delivering the goods at such reasonable prices.

Russell’s book and lyrics have a poetic air, but the simplicity of his rhymes is potentially tedious in the wrong hands. Director Andrew Pole has clearly workshopped natural delivery of the text, including dialing down the melodramatic nature of the heavily foreshadowed plot, a feat handled particularly well by Michael Cormick (Narrator) and Bobby Fox (Mickey).

Cormick somehow avoids the over-the-top nature of the Narrator’s ominous premonitions, delivering his lines in a gently sinister whisper that keeps plenty of volume in reserve for the climactic moments. Cormick maintains a twinkle in his eye that can switch from mischievous to malevolent in a second, and is a wonderfully present scene partner for his fellow actors.

In a highly capable ensemble cast, Fox stands out for his flawless delivery and the spark he keeps bubbling under the surface throughout. “Seven, but I’m Nearly Eight” illustrates Fox’s ability to make the simple poetic structure disappear, and his highly sympathetic portrayal of Mickey’s descent into depression is masterfully handled.

I noticed an interesting inversion in the structure on this viewing: whereas traditional musical comedies often have a dramatic note before the act one curtain (often along the lines of “boy loses girl”), dramatic musical Blood Brothers offers its only optimistic plot point at the end of act one, when the Johnstone celebrate their relocation to the country in “Bright New Day.”

Designer Anna Gardiner has made excellent use of the intimate Hayes, with solidly built sets that fold out to reveal interior settings. The deliberately depressing greys of the textured walls are nicely offset by the cheery tones of Gardiner’s costumes. Decades of growth are traced through the impressive array of costumes. While Mrs Lyons does not quite look “posh” enough in act one, her act two appearance is an improvement; likewise, working class struggler Mrs Johnstone looks more suitable in act two with her pretty hair tied back.

Musical director Michael Tyack achieves very pleasing results with only four musicians (himself included) Particularly pleasing is the gentle, highly natural sound by sound consultant Thomas Brickhill. Musicians and vocalists sound so much better without the exhausting high volumes so often heard in Melbourne boutique productions.

Helen Dallimore is just a touch glossy for the browbeaten Mrs Johnstone, but achieves a lovely relationship with her stage children and effectively engages audiences empathy for her plucky character’s plight.

Blake Bowden does not have a chance to show off his operatic tenor, but achieves a lovely characterisation of sheltered, well-to-do Edward. There is an age difference between Bowden and Fox, but their similar hairline and height aid their depiction of the separated twins. Duets “My Friend” and ‘That Guy” benefit from the authentic camaraderie and spirit achieved between the pair.

Christy Sullivan traces an interesting and believable arc for long-term playground friend Linda. Bronwyn Mulcahy’s portrayal of skittish society wife Mrs Lyon benefits from the uniform understated performing style of the cast.

Highly capable actress Erin James succeeds in differentiation between a dizzying number of supporting characters. Jamie Kristian delivers the surly menace older brother Sammy. Phillip Lowe provides flexible support as Mr Lyons and a range of other cameo roles.

With Blood Brothers joining current Australian productions of Sweet Charity, Man of La Mancha and In The Heights , independent producers are providing a wealth of opportunities for performers and a raft of relatively affordable entertainment for audiences. Long may this welcome trend continue.

Blood Brothers was reviewed 1pm Sunday 1 March 2015 at Hayes Theatre, Sydney, where it plays until 15 March 2015.

Photos: Kurt Sneddon

Blue chip title Dirty Dancing twirls back into town in a production that is surely resistant to help or hindrance from this, or any other, reviewer.

With the title as the star attraction, producers John Frost and partners have been able to take a chance on two relative unknowns as the leads, and this may be the best feature of this tenth anniversary tour.

Kirby Burgess is a wonder as lead character Baby, a burgeoning young woman who sees the changing world of 1963 through rose tinted glasses. Balancing a wide-eyed countenance with a supremely fit and strong physique, Burgess’ dance talents see her convincingly tell the story of Baby’s rapid rise as dance partner and young lover. Burgess’ acting skill and commitment to the role help her to rise above the material to create an endearing heroine whose charms are from cloying.

Kurt Phelan is a terrific dancer, especially when paired with knockout dancer Maddie Peat (as Penny Johnson). A little too young and sweet faced to be a dangerous Johnny, Phelan nonetheless performs with energy and flair to make the storyline as convincing as possible.

The show is now well established as a kind of play with songs, but given that all other elements match traditional music theatre presentations, the absence of singing from the characters is still frustrating and underwhelming. Baby needs an I wish song, rather than a few seconds listening to the radio and dreaming about dancing couples, her father needs a reflective ballad, her parents need a proper duet, and, most of all, the climactic dance would contain so much more punch if Baby and Johnny were singing “(I’ve Had) The Time Of My Life.”

The frustration at the lack of singing from the characters is compounded by the presence of strong music theatre talents in the roles. Adam Murphy, as Baby’s saintly father Jake Houseman, is an excellent music theatre singer. Teagan Wouters, playing Baby’s older sister Lisa Houseman, at least gets to do daffy comic number “Lisa’s Hula,” but her sensational belt is nowhere to be heard.

Of the background songs performed by the supporting players, Mark Vincent soars with “In The Still Of The Night” and “(I’ve Had) The Time Of My Life;” a full blown music theatre role for Mark Vincent is highly anticipated.

The featherlight premise for Eleanor Bergstein’s book achieves a degree of drive in act one, as Baby learns to dance and falls in love, but almost blows away in act two as the story quickly runs out of narrative. Despite a fleeting reference to current events, such as Martin Luther King’s “I Have A Dream” speech, the whole affair is entirely superficial. It attempts to cover this with a breezily rapid pace, as if the audience will not realise that nothing much is happening if the projected scenery (by Jon Driscoll) and gorgeous costumes (by Jennifer Irwin) change every minute or so.

As a representation of a film on stage, the video screens and projections create quite a grandly immersive world that fills the space effectively. The sequence where Baby and Johnny rehearse on a log, in a grassy field and in the water includes a few amusing moments, but when the main laughs come from enjoyment of the scenic and lighting effects there is something wrong.

Taken for what it is, Dirty Dancing is harmless fun, which is sure to be enjoyed by fans of the movie looking for a good night out. It just seems a shame to have all those resources expended on the revival of a derivative, overly simplistic show.

Dirty Dancing plays at Princess Theatre, Melbourne

Photos: Jeff Busby

A truly thrilling new work of high class and polish, An American in Paris is the rare new musical aimed mostly at a discerning adult audience. While the use of the term “a new musical” in relation to a collection of Gershwin standards is wearing little thin, when the music is this infectious no one is really complaining. “I Got Rhythm,” “’S Wonderful,” and They Can’t Take That Away From Me” have been heard in other recent musicals, but when the score is adapted and arranged by Rob Fisher you know you are in very safe hands, and the orchestra of 19 sounds wonderful. The production achieves an integration of artistic and creative elements that is thoroughly realised. Having a single director/choreographer allows for a seamless vision in which dance flows organically in and out of scenes. The show is largely told through dance and is also about dance. Christopher Wheeldon choreographs not only the incredible cast but also the scenery, props and costume changes. Scenery dances into place so naturally that each new scene is not evident until a final lighting cue, from Natasha Katz, completes the picture. As the show progresses, the methods of storytelling blend to the point that it does not matter whether the plot is being advanced by text, lyrics or dance. The audience is completely absorbed in the world on stage and is completely cognisant of the dance vocabulary in use. Prolific designer Bob Crowley aids the cinematic flow, which, when combined with projections by 59 Productions, creates fluid visuals that are even more beautiful to watch than a movie. A scenic highlight is the recreation of the grand interior of Galeries Lafayette. The multitude of Crowley’s costumes is not only eye-popping but also creates a fascinating, rich cross section of society. A grey prologue signals the end of Nazi occupation of Paris, and the city slowly blooms back into colour. Observing the kindness of selfless young Lise Dassin, Jerry Mulligan rips up his train ticket and stays, as does his injured, sweetly nerdy friend Adam Hochberg. Jerry is a designer and Adam is a composer, so they find a way in the to Lise’s ballet, which is sponsored by woman-of-means Milo Davenport.  Fey Mama’s boy Henri Baurel covets Lise, and Milo courts Jerry. While the story could be boiled down to a “love quadrangle,” Craig Lucas’ book gives the characters have a richness beyond the superficial. Henri seems insipid but fought bravely in the resistance during the war. Adam is a clown but harbours unrequited love. Jerry is ostensibly the good guy, but deliberately exposes Henri’s singing career and knocks over crippled friend Adam. A happy ending seems inevitable, but the path is an intriguing and involving one. Wheeldon casts the story aside momentarily in act two for a fabulous showstopper to “I’ll Build A Stairway To Paradise,” as Henri imagines his song and dance routine in New York. Wheeldon also pokes fun at his primary genre with a mock-classical performance piece about Uranus. The term triple threats is often bandied about, but these performers are the real deal. While dance is their chief strength, they are charming, natural singers. The real appeal, however, lies in the natural integration of their talents. Particularly when they dance, they are always acting. Handsome dancer/singer Robert Fairchild is dream casting as leading man as Jerry. Charismatic Leanne Cope underpins Lise’s vulnerability with a core of iron. Brandon Uranowitz is a goofy delight as Adam. Max von Essen is all class as Henri. Jill Paice is a little young to play society matron Milo, but she channels Cate Blanchett to create a sensual characterisation and she looks a million dollars. Veanne Cox and Scott Willis give sterling support as Henri’s blue blood parents. Along with On The Town, the presence of An American in Paris makes for an exciting season for fans of pure music theatre dance. An American in Paris was reviewed at 8pm Wednesday 1 April 2015 at Palace Theatre, New York. Official opening night is 12 April 2015. Photos: Angela Sterling

An obvious and appealing title to become a stage musical, The Hunchback of Notre Dame features soaring music and heightened drama packaged in a impressive and inventive production. With a score including songs from the Disney film but a book written by revisiting the Victor Hugo novel, the focus shifts in favour of an adult audience, with dark dramatic themes driving the action. The result is much more Les Misérables than The Lion King. Peter Parnell’s book is void of Disney homogenisation, with hunchback Quasimodo being deaf with related speech difficulties, and his keeper Frollo hiding insidious, lustful urges behind the façade of his holy orders. The ending of each act is loud and dramatic, and the final denouement is certainly not the patented Disney happy ever after. Two Broadway titans have joined forces to write the compelling score. Alan Menken’s music and Stephen Schwartz’s lyrics fit so naturally with their film songs that it becomes very hard to pick the difference. Plenty of storytelling occurs through the songs, and they provide numerous climactic moments with big finishes. Quasimodo (Michael Arden) has the early I wish classic “Out There,” as well as the gorgeous “Heaven’s Light” later in act one.  Frollo (Patrick Page) reveals his lustful demons in searing power ballad “Hellfire.” Esmeralda (Ciara Renée) has the sweet 11 o’clock number “Someday,” which was heard over the closing credits of the Disney film. This song clinches the Les Mis connection , based on the fate that befalls heroines after they sing their big ballad. Produced on an impressive scale, the stage features an elaborate two-storey wooden construct representing Notre Dame cathedral. The mighty bells, so often referred into in song, hang overhead, and various locations are created with imaginative combinations of benches and balustrades. The lush choral singing is supported by 32 choristers, who are seated on rear pews. In a feature moment, this choir sings the entr’acte in Latin. Director Scott Schwartz (son of Stephen) uses an interesting concept in which the full company is dressed in grey robes, which are briskly discarded as they take on the various characters throughout the story. This includes Arden as Quasimodo, who puts on his dirty face paint and hump in plain sight after a Wicked-style prologue that explains the origins of the unwanted baby. With its adult themes, The Hunchback of Notre Dame is not a neat fit for the Disney brand, so it will be interesting to see if the show ever makes it to Broadway. The Hunchback of Notre Dame was reviewed at 1.30pm Thursday 2 April 2015 at Papermill Playhouse, New Jersey, where it plays until 5 April 2015. Footnote: If you are in New York and notice an interesting show playing at the Papermill Playhouse, go out and see it! The train trip is only 30 minutes, and the theatre is a very short walk from the station. They even do Thursday matinees. Photos: Matthew Murphy

Who knew that Jason Robert Brown, king of the introspective power ballad, had such a splashy, dishy, old-fashioned musical comedy like Honeymoon in Vegas in him?

Everyguy Jack Singer faces dual, equally funny obstacles in wedding his shiksa goddess Betsy. On her deathbed, his determinedly possessive mother Bea cursed him of ever tying the knot. Summoning the courage to elope to Vegas, Jack falls victim to slick shark Tommy Korman, and is forced to negotiate a weekend for Tommy with Betsy to cover insurmountable poker losses.

The daffy pleasure of the show comes from the way it both takes itself seriously, in terms of the future happiness at stake, and also approaches the music theatre format with reckless abandon, knowingly breaking all sorts of conventions to delicious effect.

Based on his 1992 film, Andrew Bergman has written what is essentially a regular book musical that is grounded in reality, but then Bergman, Brown and director Gary Griffin have cut free and loose with the format, merging the lead characters with ghosts, showgirls, lounge singers, hotel guests and flying Elvises.

Already flying high, the night gets an extra burst of energy when the location shifts from Vegas to Hawaii in act two. The band, seen often on stage, change to Hawaiian shirts, and Brown demonstrates that he can a pen a traditional-sounding Hawaiian song of welcome as readily as he can write a traditional-sounding Las Vegas lounge song.

While the happy ending seems fairly well assured, the twists and turns along the way provide plenty of enjoyment. Best of all the cast all seem to be having as much performing the show as the audience is having watching it. Every member of the hard-working ensemble has their moment to shine in a featured role of some sort.

Rob McClure generates megawatts of nervous energy as Jack. Brynn O’Malley is lovable, and quite gorgeous, as Betsy. Tony Danza sneakily counts on his pre-established gregarious charm to twist the knife as Tommy’s nefarious side plays out. Plus he plays the ukelele and tap dances! In Streisand wig and thick horn-rimmed glasses, Nancy Opel is a hoot as Bea.

The Broadway run of Honeymoon in Vegas has come to an end far too soon. Hopefully it will have a future life on other stages. Meanwhile, the terrific cast recording will keep the memories alive.

Honeymoon in Vegas was reviewed at Nederlander Theatre, New York, where it plays its final performance Sunday 5 April 2015.

Photos: Joan Marcus

“I’m unkillable,” proclaims Claire Zachanassian, and her portrayer Chita Rivera might well make the same decree, as Kander and Ebb’s final musical The Visit makes its long-awaited visit to Broadway.

In development and out-of-town tryouts since 2001, the show has burnt through a leading lady (Angela Lansbury) and several leading men (Phillip Bosco, John McMartin, George Hearn, Frank Langella, John Cullum), as well as changes in production teams.

Stopping the show for at least a minute of wild applause on her first entrance, Rivera certainly seems to have been the right choice to drive this star vehicle. Her male co-star for the Broadway season is veteran actor Roger Rees.

The Visit is a dark, adult chamber musical with an intriguing blend of vengeance and romance. Each of the 16 players in the talented, highly experienced ensemble cast has their own significant role to play in the story.

The world’s richest woman, Claire has returned to the decrepit European hamlet of Brachen to take her long-awaited revenge on the town and its residents. When Anton (Rees) looks particularly eager for Claire’s arrival, it is clear that the two young Follies-like figures on stage are the embodiment of lovers Claire and Anton in their youth. This conceit reaches its zenith in 11 o’clock number “Love and Love Alone” as Claire dances freely with her younger self.

The musical evokes a range of emotional responses as Claire proceeds with the brutally cold logic of her plan, and the questions of right and wrong are left entirely for the audience to decide.

Director John Doyle employs a smattering of absurdist elements and Brechtian devices in the non-naturalistic style of the show. Bright yellow costume additions represent expensive, newly purchased items. Claire’s entourage of butler and pair of eunuchs wear white masks and black glasses. Claire’s set of black valises is used as all manner of props, and the ominous black coffin she brings becomes anything from a park bench to an automobile.

Rivera is in dazzling form, and has the audience in the palm of her hand throughout. She conveys the layers of wounds and hurt that have shaped Claire into the driven, cheerfully malevolent woman she is today. As if Rivera hasn’t looked youthful enough for the whole evening, when she runs out, beaming, for her curtain call somehow further decades melt away. For fans of Rivera, this production is simply unmissable.

Kander and Ebb have written an instantly accessible, highly romantic score full of lilting waltzes that suit the European setting. Given that every cast member is an accomplished singer/actor, the score sounds wonderful. A cast recording is highly anticipated.

Rees projects a likeable, scruffy charm as broken shopkeeper Anton Schell, adding to the enigmatic nature of the story by creating a sympathetic angle on the man who selflishly broke young Claire’s heart.

Strong support comes from the whole company, which contains exceptional talents Jason Danieley, Mary Beth Peil and Timothy Shew to name but a few.

The Visit plays at Lyceum Theater, New York.

Photos: Joan Marcus

Jam-packed with all the ingredients of a surefire smash hit, Something Rotten is funny without being unnecessarily smutty, and clever without being particularly original.

**check back later for production images**

The love child of Spamalot and The Book of Mormon, the fact that the show’s writers are relative newcomers gives it a fresh enough voice, it just does not have anything unique to say with that voice. There are, however, an abundance of hilarious moments. All manner of music theatre references are woven into the book and songs; the more savvy the audience member, the more they will get out of the rapid-fire references.

Brothers Wayne and Karey Kirkpatrick have written the songs, with British comic author joining Karey to write the book. The songs are instantly hummable, and repeat listenings will sure reap rewards with the brisker lyrics.

“A Musical” is the highpoint of act one, when (the nephew of) Nostradamus tells the desperate Bottom brothers about the future attraction of musical theatre. It is hard to imagine this number not being the Tony Award telecast selection, as the cast sings and tap dances through a pastiche of famous musicals from A Chorus Line to Annie.

Like The Book of Mormon, part of the comic effect comes from the musical style not matching the singers, as the renaissance folk here sing catchy lite-rock song after song. Also, there is the humour of conservative types reacting with shock to progress, with Puritans replacing Mormon elders here.

The Puritans break out in fabulous act two number “We See The Light,” featuring clever fast costume changes. As potentially closeted Brother Jeremiah, Brooks Ashmanskas has many a tasty line, all delivered with gleeful relish.

Director/choreographer Casey Nicholaw (of Aladdin, The Book of Mormon and The Drowsy Chaperone fame) keeps the energy and the laugh rate high, colouring the central storyline with all manner of witty details from the supporting players.

Nicholaw has cast top Broadway comic leading men Brian d’Arcy James (Nick Bottom) and Christian Borle (William Shakespeare). While this is an attraction, there is also the sense that they are almost too good, leading to a slight sense of smugness about the whole procedure. The raw, edgy fire is not there in this self-satisfied production.

There is, however, nothing rotten about Something Rotten’s production values. The 19-member band sounds terrific. Scott Pask’s scenic design is endlessly lavish. Gregg Barnes’ costumes are as extravagant as they are detailed.

John Cariani is a delight as nervous Nigel Bottom. Peter Bartlett rings out his distinctive plummy tone as wealthy Lord Clapham. Heidi Blickenstaff is a magnetic presence in the little she is given to do as Nick Bottom’s wife, Bea. It is hard to imagine anyone but Gerry Vichi as Shylock, the enthusiastic Jewish money merchant who yearns to invest in musicals.

Something Rotten is diverting, highly amusing entertainment. Musical fans looking to continue the fun times of The Book of Mormon, Spamalot and are other such comedies will find plenty to enjoy.

Something Rotten was reviewed 2pm Saturday 4 April 2015 at St James Theatre, New York.

Overflowing with heart, invention and wonder, new musical Finding Neverland is an artful, amusing and affecting night at the theatre.

Non-musical Motown has graciously vacated prime Broadway house the Lunt-Fontanne Theatre to allow a real musical to take up residence while it tours. The 2004 film Finding Neverland, which was in turn based on the play The Man Who Was Peter Pan, proves to be an excellent source for a musical. Besides its central, slow burn love story, much of the storytelling is of the ever popular backstage variety, with vain, preening actors, harried producers and the creation of magical special effects.

In much the same way that Saving Mr Banks relies on our knowledge of Mary Poppins, Finding Neverland is fairly safe in assuming that the audience is acquainted with the story of Peter Pan. We can appreciate the subtle storyline elements that keep suggesting themselves to J. M. Barrie as he moves from the shackles of his proper Edwardian marriage to a friendship with a lovely widow and her four rambunctious boys. Well, one boy is more withdrawn and downhearted after the death of his father, but Barrie eventually brings Peter out of his shell and back to the land of the living.

Masterful director Diane Paulus ignores the accepted advice and works with children and animals to conjure a magical world that is completely involving and engaging. Every member of the ensemble cast has a role, and when the full singing and dancing talents of the whole cast are unleashed in company numbers such as “Believe,” “We Own The Night” or “Live By The Hook” the effect is spectacular.

Gary Barlow and Eliot Kennedy’s songs are inserted in James Graham’s book in a slightly old-fashioned, predictable manner, but there a couple of modern musical scenes, such as at two opener “The Word Is Upside Down” as the precious actors try halfheartedly to adapt themselves to a children’s play. The energetic number “Play,” as the actors let loose and come around to the performing style required is really quite superb. There are gorgeous ballads as well, such as “Neverland,” for Barrie and Sylvia, and “When Your Feet Don’t Touch The Ground,” for Barrie and young Peter.

Scott Pask has designed a highly attractive performing space, with the main backdrop being a lush collage of verdant trees, Edwardian wallpaper and blue skies. Kenneth Posner ‘s lighting design adds to the magic, particularly in the creation of Tinkerbell. There is also a stunning special effect near the very end of the show, but it would be highly remiss to reveal anything at all about this.

Broadway is all the richer for the return of leading Matthew Morrison, the rare music theatre actor who is not only a triple threat but also balances authentically masculine energy with an endearingly vulnerable side. Almost never off stage, Morrison puts his heart into the show and the rewards are significant.

Kelsey Grammer, as blustering producer Charles Frohman, may seem like a bit of a television name to sell tickets, but his twinkling charm and confident sense of savoir-faire prove to be entirely welcome. Laura Michelle Kelly sings sweetly and conveys a delicate allure as dear Sylvia. Carolee Carmello is all class as Sylvia’s society mother Mrs du Maurier, who may or may not be the inspiration for the crocodile in Peter Pan.

All sorts of skills, energy and confidence are required of the four boys playing Sylvia’s sons in each performance. At this session, Aidan Gemme (Peter), Christopher Paul Richards (Jack), Sawyer Nunes (George) and Alex Dreier (Michael) worked together with real chemistry. Gemme showed particular maturity, creating clear bonds with the adults in Peter’s life.

Despite evidence that may seem to indicate the contrary, Finding Neverland is actually not all that suitable for younger children. For all other theatregoers, however, it is highly recommended. Check you disbelief at the door. And take a tissue.

Finding Neverland was reviewed 8pm Saturday 4 April 2015 at Lunt-Fontanne Theatre, New York.

Photos: Carol Rosegg

Despite finding plenty to praise in Fun Home, I am afraid I am going to have to call Emperor’s New Clothes on this one. The uptown move of 2013 Off-Broadway darling Fun Home has generated plenty of buzz on Broadway, but it is challenging to see what the fuss is about.

For the first song it is not evident what the story is going to be about. There is clearly a framing device of a young woman looking back on her life, and she is clearly confident in her sexuality and identity as a lesbian. At the end of the first song, a hunky young handyman enters and there is a bolt of electric attraction from the father and the point becomes clear.

While Alison lives in a time when she can go to college and explore and embrace her sexuality, her father Bruce has been constricted and stunted in his growth, leading to a dysfunctional dual personality of antique-loving father and predator of young men. The tragic outcome of this fraught lifestyle is telegraphed early, and the story progresses in a steady fashion to this conclusion.

Based on the graphic novel of Alison Bechdel, Fun Home has a strong focus on visual images. Adult Alison is a cartoonist, and her reminiscences are based on her quest for people and objects from her past to sketch. In her journey back through her childhood, Alison learns more about herself and her father, seeing events in a clearer light the more she reflects on them.

The non-linear structure is tightly woven; various scenes, even from different time periods, occur simultaneously on stage. Director Sam Gold elicits natural performances from the cast of nine players, helping the child actors match the performance levels of the highly experienced adults.

Jeanine Tesori’s music is gently appealing, if not particularly melodic or memorable. “Come to the Fun Home,” in which the three children play at making an advertsement for their funeral home, is one of the more upbeat numbers, with a deliberately funky Jackson Five feeling. Lisa Kron contributes both book and lyrics, ensuring smooth transition between the spoken and sung word. In fact, many songs are quite conversational in tone.

Michael Cerveris and Judy Kuhn are two of the most abundantly talented singer/actors on Broadway, and both add significant authority and quality to the production. Cerveris succeeds at projecting a full spectrum of emotions despite the introverted nature of Bruce. Kuhn has a lovely ability to switch to delicate head voice for high notes, conveying a wavering fragility.

Beth Malone gives an unfussy performance as Alison, never drawing attention to herself but rather to Alison’s observances. Sydney Lucas is plucky and adorable as Small Alison, and Emily Skeggs is sincere and open as Middle Alison.

Oscar Williams and Zell Steele Morrow are energetic and well matched as Alison’s siblings Christian and John. If Joel Perez played four characters, as listed in the Playbill, I could not see when each began and ended.

While I found this more of a production to admire than enjoy, keen aficionados of edgy music theatre will most likely appreciate Fun Home.

Fun Home plays at Circle in the Square, New York.

Photos: Joan Marcus (2013 production0

From a source rich for musicalisation, epic historical romance Doctor Zhivago arrives on Broadway in the same sweeping, dramatically charged production that was seen in Australia.

***check back later for images***

The 2011 Australian tour was obviously considered a great artistic success given the minimal tweaks to the staging. The changes really boil down to two points: Lara is now a blonde while Tonia is a brunette, and beloved tune “Lara’s Theme” has been added to the score.

The inclusion of “Lara’s Theme” is a sentimental nod to the popularity of this tune (and a chance to use it in advertising). Thankfully, it has been used in a subtle way so as not to overshadow Lucy Simon’s gorgeous score. “Somewhere My Love” is sung by nurses on the front as a kind of cheerful folk song.

Simon’s own love themes are still all prevalent, the best of which are “Now” and “On The Edge of Time.” Beginning as a letter from a dead soldier to his beloved girlfriend and growing into Lara and Zhivago’s realisation of their own love, “Now” must be one of the most romantic songs ever written for a musical. Fingers crossed that the Broadway season means that the score will finally receive a cast recording.

Michael Weller’s book remains economically concise, with lyricists Michael Korie and Amy Powers covering much of the storytelling. To keep the air of excitement alive, director Des McAnuff sets the action faster and the gunshots and explosions louder. The opening sequence is particularly brisk, and some familiarity with the story would definitely help the audience at this point. One of the most admirable features of the book and direction is the use of crosscutting scenes that transcend what can be shown on film to create a dramatic juxtaposition of events occurring simultaneously.

Another aspect that would help audience understanding would be more distinctive costumes. Paul Tazewell, who is new to the team since Australia, must have had a brief to keep fabrics and colours drab. Surely there must have been a clever way to work around this and create a recognisable look for the key characters.

Michael Scott-Mitchell’s scenic design has been enhanced with digital effects on inbuilt screens. The ingenious concept of the setting sees large solid constructs represent any number of locations, thus swiftly facilitating flow of overlapping scenes.

It was disappointing not to see leading man Tam Mutu (so strong in London’s City of Angels recently) due to illness, but at least this performance was not cancelled. Bradley Dean was a solid replacement, a little lacking in charisma but with a strong singing voice.

Kelli Barrett is an angelic Lara, singing sweetly and playing the burgeoning romance convincingly. Lara is also a magnet for sleazy official Viktor Komarovsky and for her husband, Pasha. Tom Hewitt misses a little of the malevolence of Komarovsky, going for a safer (read: blander) characterisation.

Paul Nolan is blisteringly hot as Pasha, displaying a thrilling belt and taking the character on a believable journey from wide-eyed student to ruthless revolutionary. He also manages some very impressive Russian folk dancing. Nolan’s performance is truly exciting, and he is sure to break out as a star from this role.

Doctor Zhivago does not quite reach the Les Misérables standard for romantic musical drama but it certainly comes very close. Fans for this genre looking for fresh material will not be able to resist Doctor Zhivago.

Doctor Zhivago was reviewed 7.30pm Sunday 5 April 2015 at Broadway Theatre, New York.

To see photos of the Australian production, click HERE.

Frothy as the finest champagne and glittering like the most precious emerald, Gigi makes a welcome return to the Broadway stage.

Leading lady Vanessa Hudgens proves more than up to the task of carrying the sumptuous show, as she throws herself unreservedly into giving a polished performance of the endearing title character. The sum of Hudgens’ combined singing, acting and dancing talents are enhanced by a charming stage presence that draws and holds the eye whenever she is on stage. She clearly traces Gigi’s development at a key time, from awkward, trusting girl to assured young woman.

To her great advantage, Hudgens is surrounded by a terrific leading man and three character actors drawn from the upper echelons of Broadway royalty. Corey Cott is sensational as “sugar prince” Gaston Lachaille, a coveted young bachelor. Cott’s singing of title song “Gigi,” as Gaston who finally sees his young friend Gigi as a mature young woman he loves, is truly electric.

Victoria Clark creates yet another character of great warmth and heart as Gigi’s Mamita (grandmother). Sparks fly between Clark and fellow Broadway stalwart Howard McGillen (as Honoré) as they sing classic duets “I Remember It Well” and “I’m Glad I’m Not Young Anymore.” Willowy Dee Hoty completes the highly experienced trio as Gigi’s Aunt Alicia, relishing her role as the jewel-encrusted society matron and definitive snob. The song “Thank Heavens For Little Girls” has been re-assigned to Mamita and Alicia to avoid any potentially insidious implications of the song being sung by an elderly man.

As Eliza Doolittle studied voice, Gigi studies deportment, grooming and jewelry. Heidi Thomas’ adaptation of Alan Jay Lerner’s book almost reaches breaking point in the portrayal of the deeply superficial lifestyles and the avaricious pursuit of wealth and material possessions, until the scenario is ultimately resolved through dear Gigi’s and Gaston’s pure and transcendent love. The running joke about suicide, however, could surely be cut in the name of good taste.

Hearing Lerner and Frederick Loewe’s ravishing score is a pure pleasure. Joshua Bergasse’s choreography does not reach the classical heights of On The Town, but it is sharp and stylised. Act one finale ‘The Night They Invented Champagne” is a true highpoint of energy and excitement. Director Eric Schaeffer has achieved a uniform playing style from the cast, channeling their energy and focus to stretch out the slender conceit of the operetta-like plot over the length of the show.

Derek McLane’s belle époque set design is based upon a double staircase, housed under the wrought iron curves that suggest the Eiffel Tower, which had just been built when the story is set. Various set pieces are added to create new locations, with the most sumptuous being the glowing red booths and lights of Maxim’s. Natasha Katz’s lighting brings out all kinds of details in the setting, and help to create the various locations.

Of chief attraction among the accomplishments of the creative team are the costumes of designer extraordinaire Catherine Zuber. A master of colour, Zuber uses a delectable palette of pinks, purples and reds to paint the elegant trappings of a bygone age. Feathers and floral attachments are skillfully used to add visual appeal. Gigi’s development is charted expertly through her costumes, and any show that gives the leading lady a new dress for the curtain call is a lavish one indeed.

Sure to be enjoyed by mothers and daughters, and music theatre fans seeking a return to the golden age, Gigi is designed to send the audience smiling out into the night.

Gigi was reviewed 8pm Monday 6 April 2015 plays at Neil Simon Theatre, New York.

Photos: Margot Schulman

A triumph of great casting over moderate material, It Shoulda Been You is a breezy, old-fashioned comedy that is as pleasant as it is forgettable.

Brian Hargrove’s sitcom/movie-of-the-week script benefits immensely from the devilishly dry delivery of Tyne Daly and Harriet Harris. As dueling mothers of the bride and groom, Daly’s Judy Steinberg slings the unwanted truth, while Harris’ Georgette Howard counters with withering putdowns. Each has delectable comic timing and both know how to sell a song. Daly has a while number about Judy trying to be “Nice.” In trying to keep her son a mama’s boy, Harris’ Georgette wonders “Where Did I Go Wrong.”

The women receive solid support from the fine actors playing the lesser roles of their spouses; Chip Zien is the cheery Murray Steinberg, and Michael X. Martin is stiff WASP George Howard.

The plummy tones of Edward Hibbert help him land every one of his laughs as indispensable wedding planner Albert.

While the story is ostensibly focused on the wedding of Rebecca Steinberg and Brian Howard, the main thrust of the emotional arc centres on Rebecca’s sister Lisa, a curvaceous young woman who self-esteem has been beaten down to the point where she believes she is not beautiful and cannot find love. Given the entertainment industry’s obsession with size 0 actresses, Lisa Howard gamely appears on stage in her slip as she sings “Beautiful,” and is rewarded with the final bow for her gutsy performance.

Sierra Boggess’ high soprano is all but wasted as bride Rebecca. David Burtka is an attractive stage presence as groom Brian. The awesome talents of Memphis leading lady Montego Glover are completely squandered as sweet bridesmaid Annie, and Nick Spangler has an equally underwhelming role as best man Greg.

While the presence of past boyfriend Marty (Josh Grisetti) leads to the title song “It Shoulda Been You,” and seems to indicate a predictable turn of events, there is actually a fairly large twist in the story, with another surprise that follows. Given the completely underwritten nature of the younger generation of characters, the drive of the final act of the show is all about the parents’ reactions to the revelations.

In the spirit of Calamity Jane, there is a triple wedding happy ending that leaves the audiences with a momentary buzz of good will. They are certainly not left with any of tunes to hum from Barbara Anselmi’s score.

Anna Louizos has designed an attractive, functional two–story setting in an upmarket hotel. Costume designer William Ivey Long has demonstrated his flair for vivid colour, but provides no surprise fast changes this time.

It Shoulda Been You was reviewed 8pm Tuesday 8 April 2015 at Brooks Atkinson Theater, New York.

The jewel in the crown of the current Broadway season, Rodgers and Hammerstein treasure The King and I gleams in a ravishing revival. The vision of esteemed director Bartlett Sher and team, in combination with the luminous talents of the cast, represents the current pinnacle of theatrical achievement. The Phantom’s chandelier and Miss Saigon’s helicopter, long held as the peak of heightened stage effects, have finally been usurped. Anna Leonowens and her son Louis enter on a boat so incredible that it would be difficult for readers of this review to believe, even if words could actually be found to describe the effect. No photos of this sequence have been released, leaving only one way to experience this wonder: buy a ticket and see it in person. Assembling the same stellar team of collaborators as for his acclaimed South Pacific revival, Sher shows an even greater level of confidence and inspiration for The King and I, a musical that is already considered one of the greatest ever written. Directing an almost arena-sized production, Sher is able to include every detail and nuance that the script possibly calls for, creating an immensely satisfying, fully realised staging. If there is one inbuilt flaw, however, it is the need for constant movement so as to perform towards audience members around the 180⁰ curve of the auditorium. Five-time Tony nominee Kelli O’Hara is dream casting as Anna, a role she was born to play. O’Hara expertly conveys the competing forces of ladylike grace and feisty feminism that fan the flames of Anna’s inner turmoil as she struggles to both respect and alter the King’s ways. And of course O’Hara’s golden soprano sounds divine as she sings all of Anna’s hit tunes.   Movie actor Ken Watanabe makes his US stage debut in an electric portrayal of the King. Whilst it is usually just assumed that the characters speak in English for the audience’s sake, it is clear here that that the King is practically daring anyone not to use English. Watanabe maintains a high level of deliberate nervous energy to convey the high wire of tension the King straddles as he balances his affairs of state and home. Watanabe’s natural singing style suits the conversational tone of the King’s songs. Watanabe and O’Hara enjoy terrific chemistry. At the moment when the King and Anna come together to dance arm in arm in “Shall We Dance,” a proverbial pin drop could have been heard in the auditorium. Often a problematic moment at the end of a long night, Watanabe, with help from Sher, makes the King’s crippling loss of face very clear, also developing a damaged voice and physical condition for the final deathbed scene. Ruthie Ann Miles skillfully conveys the proud carriage of head wife, Lady Thiang. Her rendition of “Something Wonderful,” while entirely lovely, is somewhat marred by the need to move about to include audience on all sides. This song is much more powerfully performed standing completely still. Ashley Park and Conrad Ricamora are fresh, appealing and talented as young forbidden lovers Tuptim and Lun Tha. Park is well served by “The Small House of Uncle Thomas” ballet, which gives her plenty of scope for drama, especially with Eliza dressed and coiffured to look exactly like Tuptim. The fate of these lovers seems especially moving in this production. Designer Michael Yeargan has filled the vast Beaumont performance space with illustrated panels, decorative beams, a massive rear fortress wall and lovely hanging blossoms. With the main playing space thrust forward of the wings, the epic scale feels intimate in this theatre. The only drawback to this, however, is that set and prop pieces must constantly be carried on an off stage. The design palette of burgundy, purple and gold is all the richer for Donald Holder’s luscious lighting. Given a massive cast of well over 40 to dress, costume designer extraordinaire Catherine Zuber has created a sumptuous picture of palace life, with wives, children and priests outfitted in exotic jewel tones of red, orange, purple and sapphire. Zuber tells a story with Anna’s dresses, taking her from the contrasting shade of forest green, through cooler blues to lavender and finally to rich dark burgundy, showing that Anna has finally accepted the ways of the Siamese people. Choreographer Christopher Gattelli adds some spirited movement to cover scene changes, as well as filling the large stage with the iconic polka of “Shall We Dance?.” Gattelli’s “The Small House of Uncle Thomas” ballet, based upon the work of Jerome Robbins, is as intricate and pristine as it is dramatically effective. Ted Sperling presides over a lavish-sized orchestra of 29 players giving an exquisite performance of the beloved score. This is must-see theatre, provided you can secure a ticket. The King and I was reviewed 8pm Wednesday 8 April 2015 at Vivian Beaumont Theater, New York Photos: Paul Kolnik