Perennial favourite Jesus Christ Superstar blazes back onto the stage, making a highly welcome return in this latest and greatest production of the classic Andrew Lloyd Webber and Tim Rice rock opera.

Jesus Christ Superstar is incredibly tight and lean, packing a slew of hit songs into a brisk running time of just 110 minutes, including interval. With the supremely simple concept of presenting the final week of the celebrated life of Jesus through a post modern lens, composer Lloyd Webber and lyricist Rice created a sung-through rock opera for the ages. 

Staged and performed in this new season as if for a 10,000 seat arena, Jesus Christ Superstar imparts gigawatts of electric energy as its fills the Princess Theatre with sound and fury. 

Such is the perfection of this touring cast that it is hard to believe that the production was not created directly upon them. Premiering at Regent’s Park Open Air Theatre, London in 2016, this staging has deservedly enjoyed a life well beyond this initial season, returning to Regent’s Park as well as touring the UK and the US. 

Crafted with utterly cohesive direction and design, the creative team has clearly worked in close collaboration with a singular vision. Every element of design supports the whole, with performance, music, and dance seamlessly blended to drive storytelling and just flat out thrill the audience.

Director Timothy Sheader presents Jesus and his followers as regular people in an extraordinary situation. Corruption of the High Priests creates a clear parallel to reckless abuses of power in modern society. 

With a timeless, universal setting, the performers wear comfortable grayscale costumes and play on a single set studded with abundant featured lighting. Designer Tom Scutt goes easy on the costumes, providing a sense of spectacle with the scale of the staging, expertly supported by  lighting designer Lee Curran. 

Scutt’s design extends to imaginative props, such as the High Priests’ croziers that flip to be microphone stands. In a dazzling touch that is previewed on the promotional poster, Judas is literally tainted by his acceptance of the 30 pieces of silver, his hands left dripping in silver paint. Sparkling gold glitter is also a recurring design element, used cleverly to offset the darkness of the 39 lashes suffered by Jesus. 

Choreographer Drew McOnie conjures a uniquely muscular vocabulary of dance, which is performed with sharp precision and unflagging energy by the triple threat cast. 

The first-rate work of musical supervisor Tom Deering is perfectly complemented by local musical director David Skelton for a sensational performance of the much loved and very well known score. Skelton on keyboard leads seven fellow musicians, with particularly stellar work from Simon Hosford on lead guitar. 

The production benefits immensely from the terrific work of sound designer Nick Lidster (for Autograph), supported here by local sound designer Michael Waters. The performance begins with leg-shaking volume, going on to feature pristine reproduction of vocals, aided, of course, by impeccable diction from the cast.

Michael Paynter wins hearts as a gentle everylad Jesus, bringing out highly affecting raw motion as Jesus suffers through the mockery of his trial and crucifixion. Paynter’s youthful appearance as Jesus clearly highlights the senseless tragedy of a life cut short. Such is the incredible power and quality of Paynter’s rendition of iconic rock tenor ballad “Gethsemane (I Only Want To Say),” it earned two mid-show standing ovations on opening night.

Javon King brings a strong sense of inner conflict to Judas, forging a strong connection with the audience and keeping them on the side of Judas despite the terrible betrayal he commits. A superb vocalist, King sets the standard with opening number “Heaven on Their Minds,” later bringing down the house with rocking finale “Superstar.”

Another incredible vocalist, Mahalia Barnes imbues Mary with serene devotion, delighting the audience with impassioned performances of classic ballads “Everything’s Alright” and “I Don’t Know How to Love Him.”

While Scutt’s aging rocker costume for Pontius Pilate undermines the sense of power of the character’s  position as Governor, the look nonetheless perfectly suits portrayer Peter Murphy, who sings the role of Pilate with a very well tempered, yet well preserved, rock edge. 

Elliot Baker as Caiaphas and John O’Hara as Annas bring significant presence to the scheming High Priests. Baker sings Caiaphas with that impossibly low rumbling bass sound. O’Hara brings a devilish sparkle to the eye of the manipulative Annas.

One of musical theatre’s greatest cameo roles, King Herod takes to the stage for one show-stopping number in act two and invariably walks away with the show at that point. Looking for all the world like the love child of Reg Livermore and Erika Jayne, Reuben Kaye memorably continues this great tradition. Entering draped in acres of gold lamé, Kaye soon shakes off the robes and devilishly scampers about the stage like a runaway Frank-N-Furter.

The source of the heady quality of ensemble vocals is made clear when each and every featured solo line is sung at the standard of a leading performer. The expertise and sheer commitment of the ensemble is a huge asset to the high standard of the production. Special mention to compelling performer Darcey Eagle, who gives her all to a featured role, credited as Mob Leader.

Sure to be the hot musical theatre ticket of the coming months in Melbourne (and perfectly timed for Easter), Jesus Christ Superstar is the very definition of must-see musical theatre. 

Jesus Christ Superstar plays at Princess Theatre, Melbourne until 22 June 2025. For tickets, click here.

Jesus Christ Superstar plays at Lyric Theatre, Brisbane from 29 June 2025. For tickets, click here.

Photos: Jeff Busby

Evergreen Broadway Golden Age classic Guys and Dolls flourishes with the super-sized outdoor Handa Opera treatment, the glittering Sydney skyline a worthy stand-in for New York City itself.  

Populated with cherished characters so well known as to be practically real, musical fable Guys and Dolls brings a pair of contrasting love stories to the same happy ending, all the while recalling colourful exploits of old world New York. 

Studded with hit songs, the score by composer Frank Loesser is one of the all time greats, partnered perfectly by the delectable comedy and surprisingly intricate plotting of the book by Abe Burrows and Jo Swerling. Often revived, a production of this scale is a new approach, the material proving eminently suited to an expanded staging.

The production process for Guys and Dolls may have been slightly set back by the departure of Artistic Director Jo Davies, who was to have directed, but the troops have clearly rallied and the fully realised boffo staging is neatly integrated in all creative aspects. 

Rising to the occasion of the high profile season, fast rising director Shaun Rennie shows a confident hand in his sweeping use of the vast playing space. Intimate scenes are placed well down stage, often backed by a scenic element, effectively drawing in attention to the more characterful moments. 

Rennie generally shows full respect to the original material, with just a couple of questionable choices, such as Lieutenant Brannigan’s “wascally wabbit” speech impediment and the characterisation of visiting gambler Big Jule as a cocaine-addled nut. With the larger distance between audience and performers, not all comedy lands as it should but the central romantic charm shines through in abundance.

Vividly offsetting the book scenes are the sensational company dance numbers from choreographer Kelley Abbey. Abbey delivers thrilling dance that deftly blends period styles, characterful motivation, and good old fashioned spectacle. Using dice rather than the traditional chairs, choice 11 o’clock number “Sit Down, You’re Rockin’ The Boat” explodes off the stage, with not one but two encores, each with its own choreography. 

In a Handa Opera first, the orchestra is released from the dank, dripping underground lair and displayed in pride of place over the stage. Blessed with the inimitable gifts of musical director Guy Simpson, the 26-piece orchestra sounds superb, especially playing the bold brassy new arrangements penned by Simpson and associate musical director Jack Earle. Special mention also of the pristine quality of the ensemble vocal harmonies, especially from the men. 

Plenty of the action of Guys and Dolls actually takes place outside, making the open air setting a neat fit. Brian Thomson’s stylised scenic design centres upon a fabulously oversized yellow taxi cab, with the yellow and black motif continuing on to scattered dice, roadworks, and even the mission pamphlets and turf form guides. 

Thomson’s work is intrinsically linked to that of lighting designer Bruno Poet, who frames the stage with coloured lights around a massive ONE WAY sign. Poet transforms the stage into purples and green for the tropical Havana jaunt, capped off by a giant neon Cuba sign flown in by crane. 

Costume designer Jennifer Irwin has a keen eye for period detail as she outfits the company in vibrant Technicolor tones, like an MGM movie musical on the stage. Putting Sky Masterson in a sky blue suit is a deliciously witty touch. Hot Box costumes are glitzier than usual but this clearly fits the outsized production. 

In a highly auspicious Australian musical theatre debut, athlete/singer/songwriter Cody Simpson proves a legit leading man. Looking every bit the breezy playboy, Simpson successfully sets Sky Masterson apart from the weary New York gamblers, nailing the romance and, most importantly, singing the role with an earthy, naturally masculine edge that is a pleasure to hear.

Missionary Sister Sarah Brown may often be a rather forgettable role, but radiant star Annie Aitken absolutely dazzles in the role. Aitken sings with rich warm beauty, lands the comedy, and enjoys sparkling chemistry (yeah, chemistry) with Simpson. 

Possibly the best dancer to play Nathan Detroit in the 75 year history of Guys and Dolls, Bobby Fox is the charming heart of the production. An emotionally intelligent performer, Fox instinctively finds and conveys the perfect blend of comedy and humanity.

Looking suspiciously young to have been engaged for 14 years, Angelina Thomson  nonetheless brings sassy warmth to Miss Adelaide, proving herself a terrific dancer and talented singer. 

Having owned the title role of Hamilton for the past four years, Jason Arrow makes a terrific follow up as loveable rogue Nicely-Nicely Johnson. A sharply comedic performer capable of rapid-fire vocals, Arrow shines in the featured role, deservedly winning abundant audience acclaim as he leads the highly memorable showstopper “Sit Down, You’re Rockin’ The Boat.”

Timon to the Pumbaa of Nicely-Nicely, Joel Granger delights as Benny Southstreet, making full use of his finely honed triple threat skills. 

Amidst the boyish dancers of the male ensemble, John Xintavelonis brings an invaluable characterful maturity to outspoken gambler Harry the Horse.

Tony McGill imbues grandfatherly missionary Arvide Abernathy with an endearing twinkle. Naomi Livingston brings added humour to bloodthirsty Salvation Army leader, General Matilda B. Cartwright. 

Enjoying a very well established reputation as Australia’s premier annual arts event, Handa Opera on Sydney Harbour is a truly unique night out. Blue chip musical comedy Guys and Dolls is sure to thrill thousands of happy musical theatre fans over the coming weeks.

Guys and Dolls plays at Fleet Steps, Mrs Macquaries Point, Sydney until 20 April 2025. For tickets, click here.

Photos: #1, #2 Neil Bennett; #3, #4 Hamilton Lund; #5, #6, #7, #8 Carlita Sari

Idina Menzel defies gravity all over again, flying high in original new musical Redwood.

An inspiring tale of self reflection and communing with nature, Redwood sees grieving parent Jesse take inspiration from the ancient, awe-inspiring redwood trees of California. Centred on the metaphor that the mighty trees take their strength from long, entangled roots, Jesse connects with arborists Becca and Finn to face her feelings over the loss of son Spencer and eventually return home to wife Mel.

The light rock chamber musical features a tight ensemble of only five performers, although technically the massive realistic redwood tree from scenic designer Jason Ardizzone-West counts as something of a sixth character. 

Giant LCD screens curve around the white-floor stage and out into the auditorium, immersing the audience in the truly beautiful video design of Hana S. Kim and lighting design of Scott Zielinski. The unique design features several amazing sequences, including the first sighting of the forest, the climb higher above the trees, the starry night sky, and the blazing forest fire. 

The relatively rare musical not based on IP, Redwood was co-conceived by Menzel and director Tina Landau. Landau also wrote the book and co-wrote the lyrics with composer Kate Diaz. On keys, musical director Julie McBride conducts eight fellow musicians playing Diaz’s light rock arrangements.

At first listen, the score plays out a bit like a series of 11 o’clock numbers in search of a show but there are certainly worse prospects, especially with powerhouse belter Menzel in the lead. Jesse (Menzel) performs in 13 of the 17 songs, four of which are solos. 

Initial storytelling is brisk and involving, slowing down to breathe when the action reaches the redwood forest. Landau draws impassioned performances from the tight company, grounding the moving tale in authentic humanity.  

Making a mockery of Hollywood stunt doubles and safety nets, Menzal joins co-stars Khaila Wilcoxon (Becca) and Michael Park (Finn) in scaling up and down the huge central redwood tree. The trio further impresses performing the “vertical choreography” of Melecio Estrella. Menzel ultimately takes the top prize, singing while hanging upside down. 

In a true above-the-title lead performance, Menzel gives her all to the towering role of Jesse, endearingly the taking the audience with her on a compelling journey of self discovery. In peak form, Menzel’s power belt thrills as she soars through song after song.

Wilcoxon brings salty humour to the indignant crankiness of tough nut Becca. Unrecognisable under bushy long hair and beard, Park brings a mellow serenity to veteran naturalist Finn. 

Zachary Noah Piser brings a full sense of character to Jessie’s deceased son Spencer, bringing the musical home in superb form with the actual 11 o’clock number, “Still”. 

De’Adre Aziza lets the warm love of Mel shine through the long periods of disappointment and confusion when Jesse disappears from her life. 

Running for only two more weeks on Broadway, Redwood will live on in its upcoming cast recording, which is sure to provide inspirational listening, not to mention some new audition pieces for Broadway belters.

A touching and memorable musical, it will be interesting to follow the future of Redwood beyond this Broadway season. 

Redwood was reviewed 8pm Saturday 3 May 2025 at Nederlander Theatre, New York where it plays until 18 May 2025. For tickets, click here.

Photos: Matthew Murphy, Evan Zimmerman

Not a day goes by

Not a single day

But you’re somewhere, a part of my life

And it looks like you’ll stay

A luxurious cast of living legends and rising stars bring a hearty smorgasbord of classic Stephen Sondheim songs to vivid life. Is it the stars or the songs that are the Old Friends? Either way, it’s a wonderful concept for an affecting and engaging tribute, and a fabulous piece of entertainment in its own right. 

Having begun life as a one-off gala tribute concert in May 2022, Sondheim’s Old Friends played a full West End season in late 2023 before moving to this current Broadway season. The fact that producer Cameron Mackintosh focuses the program on Sondheim musicals that he produced in London is acknowledged on stage; thankfully, there are no glaring gaps in the lovingly curated line up. 

Helmed by Matthew Bourne, Sondheim’s Old Friends mercifully skips patter and narration to present an uninterrupted cavalcade of beloved songs. Adding context, performance levels are often somewhat heightened to allow the songs to stand alone. 

Songs are generally grouped by their original musical, with exceptions where needed for dramatic impact. Full company numbers are a treat, with highlights including “Comedy Tonight,” “Into the Woods,” “A Weekend in the Country,” and “Sunday.” 

Collaborating with artistic consultant Julia McKenzie, Bourne takes poetic licence to refresh a couple of numbers. The “maids” referenced in “Everybody Ought To Have A Maid” are now the men who are singing the song. A little bit of “Bounce” is deftly interpolated into “I Know Things Now.” “Could I Leave You?” is winningly played as sung by a man who is fed up with his husband. 

Bourne’s musical staging is boosted by further collaboration with choreographer Steven Mears, who makes the most of triple threat talents in the younger cast members. 

Music director Annbritt du Chateau conducts a generously sized orchestra of 14 musicians. A clear highlight for the musicians is the toe-tapping overture from Merrily We Roll Along, played as the entr’acte for act two.

Designed by Matt Kinley, the simple yet elegant staging sees the orchestra in view upstage behind two curved staircases. Larger set pieces move into place for a Sweeney Todd bracket and, later, return for the “Tonight Quintet.”

Tentpole stars Bernadette Peters and Lea Salonga head a gifted company of talents, each of whom has ample opportunity to shine in the spotlight.

Jeremy Secomb makes for a darkly brooding Sweeney Todd. Gavin Lee soft-shoes through “Everybody Ought To Have A Maid” and later brings out the dramatics for “Could I Leave You?”

Jason Pennycooke captures the vaudevillian stylings of “Buddy’s Blues.” Bonnie Langford runs the gamut A to Z for a captivating rendition of “I’m Still Here.”

While many numbers are mined for humour, there are moments of stillness and power, not the least of which is a compelling performance of “Send in the Clowns” from Peters, who delivers similar impact with “Losing My Mind” in act two. In a thrilling moment, Peters returns to her iconic role of Dot for “Sunday.”

Salonga successfully plays well against type as a bloodthirsty Mrs Lovett in “The Worst Pies in London” and “A Little Priest.” Salonga later raises the roof with her own take on “Everything’s Coming Up Roses.” 

Beginning with Peters sending herself up, the full company joins a massed version of beloved charm song “Broadway Baby.” Later, Peters kicks off another full company number, with the deeply moving tribute “Not A Day Goes By,” clearly dedicated to the great composer himself; a photo montage of Sondheim accompanies the song, leaving not a dry eye in the house. 

A delectable sampler for newcomers and a treasure trove of memories for devotees, Sondheim’s Old Friends is a welcome dose of musical theatre magic. 

Sondheim’s Old Friends was reviewed 3pm Sunday 4 May 2025 at Samuel J. Friedman Theatre, New York where it plays until 15 June 2025. For tickets, click here.

Photos: Matthew Murphy

A joyful celebration of humanity and devotion to dreams, plus a healthy dose of body positivity, Real Women Have Curves raises the roof with infectious music and delightful comedy.

Based on the 1990 play and 2002 television movie, Real Women Have Curves is a perfect fit for a musical adaptation, with the Latina community of characters inspiring composers Joy Huerta and Benjamin Velez to pen wonderfully rhythmic and melodious songs.

The lovechild of In The Heights and Kinky Boots, the new musical follows a vibrant set of women working in a garment factory in 1987 Los Angeles. Curvy teenaged activist Tracy Turnblad Ana García strives to fulfil her dreams and fight for human rights, juggling a blossoming romance along the way. There may never be any real doubt that the mission to make 200 dresses in three weeks will be fulfilled, but the fun is in the process coupled with coming to know the individual women. 

In the time taken for the show to reach Broadway, deportation of immigrants has risen sharply in public consciousness, making the meaty parts of the story incredibly prescient. In a dramatically tense scene, the largely undocumented female factory workers hide in fearful silence while a neighbouring factory is raided. Deft work by book writers Lisa Loomer and Nell Benjamin means that the message is conveyed powerfully without being spelled out laboriously. 

Director / choreographer Sergio Trujillo brings elegant movement to every aspect of the production. Not only do the sets glide smoothly into place but even the graffiti-inspired video images transition in funky style. With character work at the fore, Trujillo eschews complex dance for soulful movement, spreading joy when company numbers erupt into festive dance. 

The most talked about scene is sure to be the title song “real Women Have Curves,” which sees the hot and bothered women strip down to their undergarments and embrace their curvy physiques. This empowering production number stops the show and earns a well-deserved mid-show standing ovation. 

Given the focus on fashion (if that is the correct term for women’s dresses in the late 1980s), costume designers Wilberth Gonzalez and Paloma Young balance realistic daywear with a rainbow of splashy gowns, convincingly creating signature outfits by Estela Garcia, sister of Ana. 

In a breakout debut, Tatianna Córdoba beams her way into audience hearts as Ana. From her I Wish song “Flying Away” onwards, Córdoba balances pathos, comedy, romance, and song with the consummate flair of a far more experienced performer, Set to be an inspiration to young women of similar body types, Córdoba handles her role with perky confidence and focused flair. 

Justina Machado brings commanding power to formidable matriarch Carmen Garcia, suffusing the role with warmth despite Carmen’s often brutal treatment of daughters Ana and Estela. 

Florencia Cuenca gives embattled designer Estela a backbone of her own, convincingly earning and holding the respect and affection of the other women. 

Mason Reeves is winningly adorkable as fellow cub reporter Henry, who sweetly and wholeheartedly falls for Ana astray work together on a newspaper internship. The romantic arc is uncharacteristically free of obstacles, all charm emanating from the fresh chemistry of Reeves and Córdoba.

Each of the factory women establishes a strong and distinct character, earning audience affection with merry humour to make the dramatic moments all the more keenly felt.

Sure to emerge as an audience favourite in the coming months, Real Women Have Curves is the ideal blend of inspiring substance and musical theatre joy. 

Real Women Have Curves was reviewed 7.30pm Sunday 4 May 2025 at James Earl Jones Theatre, New York. For tickets, click here.

Photos: Julieta Cervantes

The jewel in the crown of the musical theatre canon gleams all the more brightly in this immaculately staged revival, with the great Audra McDonald leaving her all on stage as ferocious stage mother Mama Rose. 

As if grasping for fame was not hard enough already in the dying days of vaudeville, this Mama Rose faces an additional hurdle, with the role clearly not played as colour blind casting. When Herbie asks Rose why she dresses June in a blonde wig, there is an extra layer to the question. With the book unedited, the issue of race is not addressed directly but the challenge is there and Rose works all the harder to overcome it. 

Director George C. Wolfe and his team show the nonsensical gimmick across the street how to ready do a revival. The iconic book of Arthur Laurents, music of Jule Styne, and lyrics of Stephen Sondheim are treated with the utmost respect, as is the audience, and still the whole affair feels utterly fresh and vibrant. 

Wolfe delivers plenty of warm humour, yet brittle tragedy remains at the fore. There are larger-than-life characters, but the compelling drama is firmly grounded in truth, and is all the more affecting for it. 

Eschewing the original Jerome Robbins choreography, choreographer Camille A. Brown firmly places her own stamp on the work. The trenches-in-strobe-lighting as the kids age up is missed but there are abundant delights, not the least of which is the tremendous extended dance break for Tulsa is “All I Need Is The Girl,” superbly performed by Kevin Csolak.

Music supervisor Andy Einhorn contributes new orchestrations and arrangements, and conducts a lavish orchestra of 25 musicians. Performing in the orchestra pit (remember those?), the orchestra delivers that most famous of overtures in superb style.

Scenic designer Santo Loquasto retains a constant air of theatricality, providing a series of smart, tight settings within an ever present proscenium arch. Costume designer Toni-Leslie James brings a sneaky air of refinement to the depression era setting, and pairs with Loquasto to have great fun with the hammy “acts” desperately stitched together by Rose. 

By turns electrifying, hilarious, and devastating, Audra McDonald is in absolutely thrilling form as Rose. Completely immersing herself in the role, McDonald has Rose steamroll her way through all obstacles with power to spare. McDonald’s engagement of her soprano head voice is expertly handled to heighten emotion and not detract from memories of previous pure alto belters in the role. To bring home the tour de force of Rose’s Turn, Rose “sees” our standing ovation, imagining all the acclaim she would have received had she not been born too soon and started too late. 

Broadway legend Danny Burstein is the ideal partner for McDonald, his Herbie a loveable pro who exudes palpable warmth and charm. The fact that a Herbie of this strength cannot cope with Rose’s ultimate insanity is all the more powerful when the dear man’s exit finally comes. 

Joy Woods is elegance personified as acclaimed ecdysiast Gypsy Rose Lee. Woods takes Louise on an extraordinary arc, playing her early shyness in heartrending fashion and birthing the glamorous strip tease artiste in completely believable style. 

Lesli Margherita brings full life to late entry Tessie Tura, joined by Lili Thomas (Mazeppa) and Mylinda Hull (Electra) for a suitably sassy take on the much loved charm song “You Gotta Get A Gimmick.”

Generously produced in all regards, the lavish staging has an incredibly large cast, encompassing adults, children, and sweet little Tana June as Chowsie. 

Any and all musical theatre lovers who visit New York this year should need no additional urging to do all they can to catch this must-see engagement of Gypsy. 

Gypsy was reviewed 7pm Tuesday 6 May 2025 at Majestic Theatre, New York. For tickets, click here.

Photos: Julieta Cervantes

Sunshine in a bottle, Boop! is a delectable confection that happily entertains the delighted audience without expecting much of anything in return.

The featherlight scenario for the new stage musical sees Betty Boop tire of fame and take a day off, travelling in her Grampy’s time machine to present day New York. Not in the 1920s anymore, Betty enters a technicolor world in human form, changing the lives of a family, Mary Poppins-style, and learning a lesson or two of her own as she finds love along the way. 

Book writer Bob Martin* keeps the present day references zipping along, scoring plenty of genuine laughs. Dramatic tension is low to non-existent but there are some timely swipes at notorious identities and the lessons learned unfold with nary a trace of schmaltz. 

A creation of Max Fleischer of Fleischer Studios, Betty Boop makes for an ideal musical heroine, being a natural songstress and dainty dancer. While Martin’s book and Mitchell’s direction steer the show towards traditional musical theatre for a wide audience, the broadly comical hi jinx of Grampy, his true love Valentina, and the (admittedly precious) comical dog Pudgy give the musical something of an identity crisis as to whether it is ultimately intended for adults or children

Composing his first musical, David Foster pens a score full of catchy tunes, with snappy lyrics from Susan Birkenhead neatly matching the wit of the book. Music director Rick Fox conducts 14 musicians in the generously sized orchestra that brings the new music to rich, toe-tapping life.

While there are recent newcomers to the dual crown of director / choreographer, Jerry Mitchell is a proven force; his name on the credits is basically a guarantee that a musical comedy will zing along with dazzling flair. Mitchell’s work here is reliably stellar, elevating the fairly simple source material into a cavalcade of wonderful song and dance. 

Helming the creation of the new musical, Mitchell’s style has clearly inspired scenic designer David Rockwell, projection designer Finn Ross, and costume designer Gregg Barnes to craft dazzling designs that perfectly complement the terrific dance numbers. Opening grey scale tap number “A Little Versatility” makes for a splashy start, with the dancers going on to embody jazz music itself in “I Speak Jazz” for another early highlight. 

Cohesive design reaches its zenith with act two opener “Where is Betty?”, which sees the company sport costumes that are half colour, half black-and-white, allowing the entire stage, including backdrops, to flip instantly back and forth from Betty’s original world to the present day. 

Barely off stage for a few minutes, breakout star Jasmine Amy Rogers is and utterly engaging delight as Betty Boop. Rogers manages to retain the cutesie accent without it grating, readily winning abundant audience affection with her warm hearted presence along with her sharply honed song and dance skills. 

Australia’s own Ainsley Melham helps the musical keep one foot in reality with his charming, down-to-earth leading man Dwayne. Melham’s vocal performance is particularly strong, characterised by a natural earthy tone that is a pleasure to hear.

Stephen deRosa hams it up as Grampy, winningly partnered by the fantabulous Faith Prince as Valentina. 

Ingenue Anjelica Hale shows impressive poise and polish as burgeoning teen Trisha, clearly indicating a long career on the stage to come. 

Puppeteer Phillip Huber steals many a scene presenting the extraordinary of actions and expressions of dear little Pudgy the dog. 

Easy to enjoy, Boop! is Broadway being Broadway, and is sure to be enjoyed by scores of theatregoers as it finds its market. 

Boop! was reviewed 2pm Wednesday 7 May 2025 at Broadhurst Theatre, New York. For tickets, click here.

*Bob Martin is very special to this website as he created and played the character in The Drowsy Chaperone from which this site takes its name. 

Photos: Matthew Murphy, Evan Zimmerman

Broadway is at its best when even a bio-musical is a solid gold hit. Sterling talents collaborate to bring the story of ill-fated crooner Bobby Darin to supremely entertaining life. 

Australian audiences are, of course, already familiar with the story of American singer Bobby Darin, the popular entertainer who defied childhood illness to live his life to the fullest until dying at only 37 years old. Australian musical Dream Lover enjoyed hit seasons in Sydney (2016) and Melbourne (2017-18). 

New musical Just in Time tells the same compelling story with basically the same hit song catalogue.  Based on a presentation by Ted Chapin, book writers Warren Leight and Isaac Oliver have collaborated with director Alex Timbers to fashion a brisk, slick show that zips along free of the quagmire of facts that stymies most bio-musicals. 

A confident and creative visual storyteller, Timbers ensures there is not an ounce of fat in the production. Scenes and snippets of songs are kept breathlessly brief, with every moment and every design element contributing intrinsic value to the storytelling. 

A key conceit is that star Jonathan Groff begins as himself, there to share Darin’s story but not to mimic or impersonate the man. Recalling the towering performance of Hugh Jackman in The Boy from Oz, Groff not only sings and dances up a storm but also shows unflinching confidence and heady charisma in developing terrific rapport with the all too willing audience. 

Peppered with multiple snappy asides to the audience, the book deftly integrates key information and delivers an abundance of warm laughs. When the story finally switches gears to dramatic aspects of Darin’s family life and his untimely death, the pathos lands with affecting power. 

Music supervisor Andrew Resnick incorporates more than 31 songs, providing almost constant music to accompany the performance. On keyboard, Resnick conducts ten talented fellow musicians on stage, occasionally becoming part of the action himself. 

Choreographer Shannon Lewis covers a range of styles with three back up “Sirens,” also showcasing Groff’s own considerable dance skills.

Scenic designer Derek McLane transforms the flexible space of Circle in the Square into an elegant supper club, replete with central tables and chairs for lucky patrons to (non-threateningly) enjoy close engagement with the stars. With a glossy main bandstand stage and a second performance space at the other end, all seats are afforded a close and intimate view of the production. Justin Townsend’s glamorous lighting design contributes to the sophisticated, glossy atmosphere.

Veteran costume designer Catherine Zuber has her usual wonderful way with colour, invaluably supporting the storytelling with the progress of period fashion and the varying scale of design to chart Darin’s success. Special mention of the witty floral yellow dresses for the song “18 Yellow Roses.”

Groff is capably supported by a tight troupe of players who gamely match his confident performance style. Veteran Michelle Pawk brings knowing wisdom to Darin’s driven, devoted mother, Polly Walden. Emily Bergl neatly underplays Darin’s sister Nina Cassotto, keeping her powder dry, so to speak, for a climactic scene in act two. Bergl successfully doubles as Mary Douvan, the ever hovering mother of Sandra Dee. 

In an auspicious Broadway debut, Gracie Lawrence plays high-profile singer Connie Francis with a deliciously dry sense of humour, seizing every opportunity to sing the role with abundant character. Arriving in act two Erika Henningsen, underpins golden girl Sandra Dee with a simmering tension that eventually sees Dee’s marriage to Darin implode. 

A unique night out, Just in Time is as much fun as can be had with a modern adult-oriented musical. 

Just in Time was reviewed 8pm Wednesday 7 May 2025 at Circle in the Square, New York. For tickets, click here. 

Photos: Matthew Murphy, Evan Zimmerman

Completely ignoring the old aphorism “if it ain’t broke, don’t fix it,” Roundabout Theatre Company fails to trust the wit and charm that has kept The Pirates of Penzance perennially on stage for some 145 years.

With the much loved Gilbert and Sullivan operetta now well and truly out of copyright, not even the title itself is safe. Rechristened Pirates! The Penzance Musical, the story is transplanted to New Orleans, introduced as being part of the US premiere season to secure local copyright for the work. The lively concept leads to some snazzy musical arrangements, while the book and lyrics fare less well. 

It cannot be denied that the resulting product contains many a merry moment, and that newcomers to the work will surely warm to the experience. Purists, on the other hand, will suffer with the cuts and twists to the score and the complete dumbing down of the text. It is assumed that adapter Rupert Holmes has an inordinately low opinion of the intelligence of Broadway audiences. Slashing through the wittiest of jokes and scenes, Holmes feels the need to provide a sodden explanation for every single plot development and character motivation. 

Director Scott Ellis and his team have cut numbers such as Frederic and Ruth’s combative duet “Oh! false one, you have deceiv’d me,” the Daughters’ delightful “How beautifully blue the sky” (with its gorgeous counterpoint from Frederic and Mabel) and the Major General’s precious “Sighing softly to the river” and yet have then added in numbers from other Gilbert and Sullivan operettas. 

Of these added numbers, act one encore “The ‘Sail the Ocean’ Blues” (based on “We Sail the Ocean Blue” from HMS Pinafore) is a ripper, with the full cast accompanying themselves on crisply percussive washboards. For the act two finale, a modicum of social relevance is neatly inserted, with the cast singing “We’re All From Someplace Else” (to the tune of “He Is an Englishman,” also from HMS Pinafore). 

Progress through the show is frustrating, with the adaptation flipping between moments of respect to the original material and then mad derailments into banal lyrics or dialogue and alterations of the score. An example of this sort of adaptation done well would be Hot Mikado, which set upon a deliberate style and stuck to it, resulting in a cohesive, enjoyable new version of The Mikado. 

Possibly the most successful aspect of the production is the superb quality of the music, both instrumental and vocal. Music director Joseph Joubert conducts an orchestra of 15 musicians, with the brass and banjos of New Orleans shining through. Full company vocals are at an absolute premium and are a true joy to hear.  

A terrific example of trusting the source comes in act two company number “When the Foeman Bares His Steel,” with the male and female countermelodies soaring out gloriously. 

Choreographer Warren Carlyle adds plenty of visual pleasure to proceedings, a highlight being the ringing tap beats of the Policemen in the aforementioned company number “When the Foeman Bares His Steel.” 

Set design by David Rockwell begins with a picturesque New Orleans square, into which the Pirate King rides the biggest stage boat since Anna Leonowens sailed onto stage in the 2015 revival of The King and I. 

Linda Cho’s costumes are deliciously detailed, most especially the colourful geometric patterns on the daughters’ dressing gowns. One misfire of costume design and direction is the lack of distinction between the looks of Ruth, frumpy nursemaid of Frederic, and Mabel, gorgeous maidenly daughter of Major-General Stanley. 

The performance is introduced by Gilbert and Sullivan themselves, taking the chance to explain the copyright issues and the tweaking of the operetta for the New Orleans setting. Preston Truman Boyd brings a suitably plummy tone to Sullivan but the true audience favourite is already David Hyde Pierce, beginning as Gilbert and then nattily zipping his way through the patter songs of Major-General Stanley. 

Ramin Karimloo delivers rousing chutzpah as the Pirate King, performing an impressive array of stunts in his big number “ I Am the Pirate King.” Tweaks to the book and score bring the character of the Pirate King more to the fore, which is a welcome move to make optimal use of charismatic star Karimloo.

The broad playing style of Jinx Monsoon is a solid fit for the comedy and her earthy vocals enhance the comic musical moments for Ruth.

Young tenor Nicholas Barasch is a delight as Frederic, his thick head of red curls giving him a “good boy” look fitting with his “slave of duty” persona. Barasch sings the role in gleaming tone, effortlessly soaring to lovely high notes. Samantha Williams is a lovely partner for Barasch as Mabel. Barasch is not required to sing in full operetta soprano style but her vocals sound sweet and full bodied nonetheless. 

Boyd returns as the tap dancing Sergeant of Police, doing extra duty when he is not given a police chorus for “A Policeman’s Lot.” 

The talented ensemble members give their various roles plenty of personality to complement their excellent singing and dancing. 

Purists are warned to approach Pirates! The Penzance Musical with caution. Wider fans of Broadway musicals will most likely find plenty to enjoy. 

Pirates! The Penzance Musical was reviewed 7pm Thursday Thursday 8 May 2025 at Todd Haines Theatre, New York. For tickets, click here.

Photos: Joan Marcus

How Glory Goes.

Premiering off-Broadway almost 30 years ago, musical tragedy Floyd Collins makes its long awaited Broadway bow in this exquisitely realised, deeply moving production. 

Original director and book writer Tina Landau returns to direct this 2025 season, bringing her collaboration with composer and lyricist Adam Guettel to rich fruition. Based on a real incident in 1925 Kentucky, Floyd Collins pulls no punches in exploring the searing humanity of a young man facing a dark fate, expanding its reach to invoke judgments on the buzzards that hungrily circle a disaster.

Optimistic adventurer Floyd Collins dreams of the attention and tourism that will come when he discovers a wondrous underground cave. The attention and tourism arrive, not for a newly discovered cave but for the attempted rescue of poor Floyd, cruelly trapped underground.

Floyd’s brother Homer Collins initially leads the rescue charge, with first reporter Skeets Miller providing courageous and compassionate assistance. Floyd’s sister Nellie, back from the sanatorium after the her death of their mother, supports father Lee, a struggling farmer, and step-mother Miss Jane. 

While the story covers the media circus that ensues, director Landau ensures that the musical itself is handled with dignity and respect. A hefty contingent of family members, townsfolk, and visitors is clearly established, and fantastical sequences land with crisp clarity. 

Staged on the vast playing space of the Vivian Beaumont at Lincoln Center Theater, the musical begins with an empty stage, gradually filling as rescue equipment arrives, followed by food vans and carnival attractions. In the sets by dots, the “caves” are created by pieces of the stage rising and falling hydraulically. The thrilling opening sequence sees Floyd climb a set piece then hang on to a rope high over the stage, descending to explore further before being trapped in a mimed rock slide. 

The rescue attempts of Floyd focus as much on the practical process as on keeping his spirits as high as possible. Floyd’s close relationship with his brother Homer and his developing relationship with reporter Skeets are the heart of the show and are handled beautifully. Floyd can be visited by Homer and Skeets, and later dreams of seeing his dear sister Nellie. 

The vagaries of the press are amusingly handled in act two opener “Is That Remarkable,” clearly demonstrating how little it takes for reporters to seize upon misleading information and spread fake news. 

With so much open space, the lighting design of Scott Zielinski is of prime importance, definitely drawing attention back-and-forth to key characters during montages, and effectively creating the caves themselves with corridors of light and an abundance of dark. 

Sound designer Dan Moses Schreier creates the authentic sound of echoes, also adding to the tension with the fall of crumbling rocks. 

In a towering achievement, Jeremy Jordan conveys extraordinary emotion using just his voice, confined for the most part to a ledge where he cannot move his body, arms, and legs. Jordan has just his opening I wish song “The Call” to establish a close attachment from the audience, which he does very successfully. The care and love of those trying to help Floyd is believably centered upon Jordan’s engaging portrayal of the well-intentioned young man. Oh so tenderly sung, 11 o’clock number “How Glory Goes” is a cathartic climax for the awful tragedy that has searingly been portrayed. 

Jason Gotay gives Homer a forthright, impassioned outlook, never flinching in portraying Homer’s devotion to his dear brother. Taylor Trensch endearingly takes the audience with him on Skeet’s journey from rookie reporter to crucial rescue worker and affectionate supporter of Floyd. 

Lizzy McAlpine brings a rich inner life to helpless Nellie, earning well-deserved audience acclaim with her delicate act two ballad “Through the Mountain.” Marc Kudisch draws sympathy for suffering father Lee, clinging to hope in the face of futility. 

The large ensemble cast works together seamlessly to capture the time and place of the story and to vividly conjure a range of supporting characters. 

A treasure for true musical theatre lovers, Floyd Collins is certainly no GP crowdpleaser. The presence of such an authentic work of art on Broadway is cause for celebration. 

Floyd Collins was reviewed 8pm Friday 9 May 2025 at Vivian Beaumont Theater, New York. For. tickets, click here.

Photos: Joan Marcus

Cleverly reinvented, Smash the musical takes the scenario of Smash the television series in its own direction, crafting a welcome new entry to the ever-popular canon of backstage musicals. 

Forget duelling rivals Ivy Lynn and Karen Cartwright; Ivy is now a well established star and Karen her frequent understudy. Derek, womanising director of Marilyn Monroe musical Bombshell, is gone, replaced by flamboyant gay man Nigel. The musical’s composers are now husband and wife team, Jerry and Tracy. 

Given the connection of fans to the divisive 2012-13 series, the new direction for the characters is a bold move but one that pays off handsomely. Seasoned book writers Bob Martin* and Rick Elice pepper proceedings with witty wordplay and cheeky in-jokes. The Bombshell songs by Mark Shaiman and Scott Wittman remain, looking and sounding fabulous on the Broadway stage. 

One new thread to the story revolves around composer Tracy giving leading lady Ivy a book on Method Acting. Ivy has soon engaged insidious acting coach Susan Proctor, leading to Ivy basically becoming Marilyn, undermining herself and turning everyone offside. 

While Karen is, of course, a key candidate to replace the derailed Ivy, another contender is associate director Chloe, an actress who has moved into direction after being told her body shape is not suitable for acting. The musical successfully makes salient points about body image and pigeon-holing performers, with Chloe soon taking flight in the role and earning huge online support. 

Director Susan Stroman brings her expert skills at comic invention, delivering a raft of delightful characters that are a pleasure to spend time with. Television series choreographer Joshua Bergasse returns to mount his numbers for the stage to terrific effect. Close collaboration between all the creative team sees the rehearsal numbers definitely woven into the book scenes, resulting in a highly entertaining musical that is always in motion.

If there is one criticism of the writing, it is that the only songs in Smash are the ones in Bombshell; the characters who are creating the show are never given the opportunity to sing their feelings. The upside is that the Bombshell songs are still cleverly crafted so as to reflect upon the behind-the-scenes action.

The music sounds wonderful, boasting music supervision by Broadway veteran Stephen Oremus. Music director Paul Staroba conducts a generous orchestra of 18 musicians, a sample of whom have fun on stage, led by Staroba, for the Bombshell sitzprobe. 

Scenic designer Beowulf Boritt delivers glossy sets that smoothly transition with cinematic flair. A key scene is the recognisable interior of Broadway institution Sardi’s, with Ivy’s portrait hanging on the wall alongside Lin, Sutton, Audra, et al.

Costume designer Alejo Vietti brings similar levels of theatricality, having fun, in particular, with Ivy’s escalating transition into a present day Marilyn. The hooded black robes of acting coach Susan Proctor are also a highly characterful touch.

Starring as Ivy, Robyn Hurder is somewhat hamstrung by Ivy’s unlikeability, and she also disappears for a significant amount of time while the focus is on replacing her. Nonetheless, when Hurder hits her strides as Ivy playing Marilyn she is highly impressive in all regards.

Brooks Ashmanskas uses his trademark schtick to terrific effect as increasingly frazzled director Nigel. Kristine Nielsen is a fiendishly funny scene-stealer as the wickedly self-serving Susan Proctor. 

Television series regular Krysta Rodriguez returns, this time to play adventurous composer Tracy. John Behlmann gives strong support as spiralling co-composer Jerry.

Caroline Bowman shines in the somewhat thankless role of perennial cupcake-baking understudy Karen. Bella Coppola brings dignity and soaring vocals in the breakout role of associate director Chloe, who saves the day as a Marilyn replacement. 

A must-see for musical theatre aficionados who have their own experience in and around the stage, as they will gleefully appreciate the setting of Smash. Given the reinvention, audience members who either missed Smash or have little memory of the series are at no disadvantage to thoroughly enjoy the stage version.

Smash was reviewed 2pm Saturday 10 May 2025 at Imperial Theatre, New York, For tickets, click here.

*Drawing attention once more to Bob Martin’s role in creating the persona of “Man in Chair,” the inspiration for the name of this site.

Photos: Paul Kolnick

Acclaimed modern musical Hadestown exudes sinister, seductive atmosphere in its premiere Australian tour. 

Winner of an impressive haul of eight 2019 Tony Awards, including Best Musical, Hadestown is exactly the kind of supremely artistic fare that Broadway likes to celebrate.  Boldly breaking the mould from Golden Age musical comedy stylings, Hadestown is heavy on potent atmosphere if a little light on story.

The titular Hadestown is the underground domain of Hades and his wife Persephone, visited by a distracted Eurydice who suffers languishes in a financially-challenged relationship with burgeoning young poet Orpheus. 

Frequently referenced in popular culture, the Greek mythology at the heart of Hadestown has been seen from Gluck’s Orfeo ed Euridice to the eternal winter of Severance while Gemma remains underground.

Blessed with the rare talent to write book, music, and lyrics, Anaïs Mitchell has collaborated with director Rachel Chavkin to craft a sung-through musical that is by turns romantically and politically charged. 

Orpheus and Eurydice meet cute and promptly fall in love. Orpheus’ devotion sees him follow Eurydice to the netherworld, his love facing its strongest test when Hades insists Orpheus lead Eurydice back above ground without ever turning around to check she is following him. 

Painted as a dark overlord of commerce, Hades’ armour is pierced by the memory of falling in love with his wife Pershephone. 

The musical weaves subtle yet potent messages of environmental change and corporate corruption, also reflecting the time of its writing by deriding the futility and cruelty of a building a wall. 

Director Chavkin cultivates the relaxed tone of a troupe of players assembled to tell a story through song. The musical boils down to a slight story that is thinly spread over two and a half hours (including interval). Chavkin holds audience attention through fascinating character portraits and tense, relatable dilemmas. 

Choreographer David Neumann supports the relaxed vibe with dance that feels spontaneous and improvised, much as it is actually very well rehearsed and performed. 

Mitchell’s music is instantly engaging and accessible, flowing smoothly from song to song. Intelligent lyrics tell the story with only the bare minimum of spoken words occasionally used between songs. 

On piano, music director Laura Tipoki leads six fellow musicians, all of whom (besides the drummer) are on stage in costume as part of the action. There is the feeling of being at a concert gig, with the musicians each introduced by name at one point, and each having their own (well deserved) bow at the curtain call. Special mention to Griffin Youngs on trombone, who performs some fabulous solos with terrific panache. 

Performed on an unchanging single set, by scenic designer Rachel Hauk, vital visual variety is provided by lighting designer Bradley King. Using multiple embedded lights and rich vibrant tones, King paints the textured plaster walls in cool or warm shades as the story moves between earth and the underworld. 

Christine Anu leads the company with understated flair as ringleader / narrator Hermes. With the grin of a Cheshire cat, Anu oversees an atmosphere of mystery and enchantment.

Rising young actor Noah Mullins is splendidly cast as Orpheus, perfectly capturing the innocence and vulnerability of the “poor boy.” Mullins sings Orpheus’ compositions in a sweet falsetto, switching to a fuller bodied tone when Orpheus takes charge to bring Eurydice home. Extra points to Mullins for the times deftly accompanies himself on guitar. 

At this performance, the role of Eurydice was played by Afua Adjei. A gifted young singer, Adjei convincingly conveyed the ambition and drive beneath the tender youth of Eurydice. A key highlight for Adjei was act two ballad “Flowers,” sung on stage alone with affecting power. 

At this performance, the role of Persephone was played by Sarah Murr. In a standout performance, Murr expertly captured the glamour and capriciousness of the goddess, balancing this with Persephone’s beating heart of empathy and compassion. 

Well established on the opera stage, resounding bass Adrienne Tamburini makes his presence keenly felt in the realm of musical theatre with his compelling performance as Hades. Key to the success of Tamburini’s performance is the character arc he achieves between the man’s insidious control of power and the warm heart of romance he shares when Hades melts at hearing Orpheus’ song and reunites with Persephone. 

An ensemble of three Fates and five workers is filled by eight triple threat performers who each establish a clear and vital stage presence. 

A different style of show that contributes to the rich tapestry of musical theatre, Hadestown is confidently staged and performed at the high standard that is an ongoing and reliable feature of Australian casts. 

Hadestown plays at Her Majesty’s Theatre, Melbourne until 13 July 2025, For tickets, click here.

Photos: Lisa Tomasetti

The world’s favourite musical thrills once more in this lavish, talent-packed concert that completely lives up to its “Arena Spectacular” title.

Part of a World Tour that began in September last year, Les Misérables the Arena Spectacular celebrates the 40th anniversary of this most epic and emotional of musicals. First presented in London in 1985, the much-loved music of Claude-Michel Schönberg and lyrics of Herbert Kretzmer (from the French text by Alain Boublil and Jean-Marc Natel) have been continuously performed around the world, enjoyed by millions both on stage and in cast recordings.  

Produced on a grand scale, Les Misérables readily holds up to the luxurious treatment of this arena spectacular, shining all the more brightly with the meticulous and insightful direction of James Powell and Jean-Pierre van der Spruy. Nuanced direction is particularly impressive given the high-level of familiarity of the work. Scenes are performed straight out to the audience rather than being more traditionally acted, but it is the myriad details of passion and expression that really set the performance apart. 

A particularly fresh addition is the cheeky asides of the Thénardiers, who each have very funny “ad libs” throughout their scenes. A minor edit is the removal of Young Eponine, although that does remove the impact of the reversal of fortunes of Eponine and Cosette as they grow up. A more jarring edit is the absence of the scene for Gavroche’s death, traditionally one of the most affecting scenes in the whole musical. 

Presented as a concert, the grand stage holds the generously sized ensemble and orchestra, with lead performers appearing as required. The combination of set design by Matt Kinley and lighting design by Paule Constable and Warren Letton sees massive overhead elements create the sense of locations. Three rear screens hold artful projections by Finn Ross, the two outer screens often switching to a high definition feed of featured soloists. 

Conducted by Adrian Kirk, the 26-piece orchestra has the sumptuous sound of a symphonic performance. Mick Potter’s sound design blends instrumental and vocal performances to perfection, also adding heightened drama with the scarily immersive sound of gunfire at the barricade.

Long associated with the role of Jean Valjean, Alfie Boe continues to mine the drama for affecting details. A sterling example of this approach comes in a small scene at the beginning of act two when Valjean reads the letter written by Marius to Cosette, delivered by Eponine. Boe has Valjean’s voice crack with emotion as he reads the letter, powerfully setting up the whole second act, in which Valjean goes to the barricade to protect Marius, carries Marius’ injured body through the sewers, and gives the children his full blessing for their union. 

Boe achieves particular power by underplaying Valjean’s reactions, justly relying on the expressive power of his voice and the extraordinary impact of his soaring high notes. 

The portrayer of Marius in the very first performance, Michael Ball continues in Les Misérables, now in the role of villainous baritone Inspector Javert. While a devilishly driven role does not play to Ball’s strength of warmth and humour, Ball nonetheless cuts a fine figure and brings clarion vocals to Javert’s big ballads. 

Joining the international cast for the Australian leg of the tour is renowned leading lady Marina Prior, who has the distinction of having played Cosette in the Australian premiere season of Les Misérables. Pairing with comedian Matt Lucas to portray the fiendish Thénardiers, Prior delights with her finely honed comic chops. Prior and Lucas set off sparks with their comic chemistry, performing their “ad libs” with infectious glee. 

The young adult roles are played by an immaculate set of rising stars, each with a depth of experience that belies their age. 

Rachelle Ann Go portrays the harrowing descent of Fantine with a blend of delicate grace and well supported vocal power. Beatrice Penny-Touré captures the sweet innocence of Cosette, singing the role with requisite sweetness while still bringing something of a backbone to the precious young woman. Shan Ako garners the full impact of tragic heroine Eponine, firmly underpinning the plucky character’s bravado with a precarious vulnerability. 

Jac Yarrow makes for a dreamy Marius, singing the role beautifully and glowing with the character’s love and respect for those around him. James D. Gish rounds out the lead cast with splendid singing as part of a supremely dashing portrayal of fearless student leader Enjolras. 

On the Melbourne opening night, Scarlett Sheludko performed Little Cosette with endearing frailty and tender vocals. Playing precocious street urchin Gavroche, Christopher Joseph readily matched his adult counterparts with confident vocals and bravura acting. 

There would not be a Melbourne musical theatre lover who has not seen Les Misérables at least once, if not multiple times. Fans of the musical will be richly rewarded by attendance at this very special presentation. 

Les Misérables the Arena Spectacular plays at Rod Laver Arena, Melbourne until 25 May 2025. For tickets, click here.

Les Misérables the Arena Spectacular plays at Brisbane Entertainment Centre 28 May – 1 June 2025. For tickets, click here. 

Photos: #1, #2, #5 Daniel Boud; #3, #4, #6 Danny Kaan

Melbourne’s own Eddie Perfect takes on the title role in Beetlejuice as his boffo Broadway musical makes its eagerly anticipated Australian premiere.

The lavish modern production is a heady twist on traditional musical theatre, integrating puppetry, projections, and prestidigitation with the best of Broadway design, a truly hilarious book and score, and a top flight local cast. 

Far from simply putting the 1988 movie on stage, book writers Scott Brown and Anthony King finessed Beetlejuice the Musical into a clever and funny work in its own right. As Beetlejuice himself says of the opening scene (the funeral of Lydia’s mother), “such a bold departure from the original source material.” Iconic moments from the movie draw audience cheers but the work can certainly be enjoyed on its own merits with little or no knowledge of the film. 

With a nod to commedia dell’arte, Beetlejuice faces twin quests; in act one he needs someone to say his name three times and in act two he needs to marry a living soul. The comic horror has a clear internal logic on the plight and privilege of the recently deceased, grounding the madness in our shared understanding of grief. 

An agent of chaos, ostentatious aggressor Beetlejuice gives proceedings an air of improvised madness; a significant part of the giddy fun is having no idea what will happen next. While act one neatly builds to a fabulous climax, act two spirals through increasingly spectacular set pieces before honing in on the familiar comfort of found family. 

The cohesive strength of Beetlejuice the Musical lies in the ideal match in comedic styles between Brown and King’s book and composer Eddie Perfect’s lyrics. Scenes transition seamlessly between the spoken and sung word with the laugh rate never faltering. 

Instantly accessible, Perfect’s music is filled with jaunty earworms (not to be confused with sandworms). Beetlejuice introduces the musical in devilish style with “The Whole Being Dead Thing.” Comic mania hits a high with act two charm song “That Beautiful Sound,” later topped again with game show company number “Creepy Old Guy.”

The depth of Perfect’s work lies in the balance he provides with emotional character-driven songs. Lydia earns audience devotion and acclaim with power belt “Dead Mom,” completing her poignant arc with 11 o’clock power ballad “Home.” “Ready, Set, Not Yet” includes twin Hamilton-esque rap soliloquies for straight laced home makers Adam and Barbara, with Barbara later celebrating her hard-earned growth with “Barbara 2.0.”

On keys, musical director Anthony Barnhill conducts nine fellow musicians in a blazing performance of Perfect’s toe-tapping score. 

Hit-making director Alex Timbers infuses Beetlejuice the Musical with his trademark air of ever-bubbling energy. Despite the fantastical setting, crisply drawn characters readily engage audience affection, raising the stakes of the ensuing drama, hilarious though it may be. 

As with his peak work on Moulin Rouge, Timbers acts as something of a ringleader, corralling all creative elements into a smoothly blended whole. The dazzle and dynamism of Connor Gallagher’s choreography, Peter Nigrini’s projections, Michael Curry’s puppets, Jeremy Chernwick’s special effects, and Michael Weber’s illusions come together for a truly splendid result. 

Costumes by William Ivey Long are reliably characterful, eye-popping, and glamorous. Not using a single set of parallel lines, scenic designer David Korins crafts the haunted house as the physical embodiment of the story’s zaniness. Over and above all creative elements, the lighting design of Kenneth Posner is a star attraction in its own right, achieving extraordinary results in literally painting the stage in vivid colour and framing the action in sparkling glitter. 

Having channelled his own comedic spirit into the role of Beetlejuice when composing the score, Eddie Perfect is, if you will allow it, the perfect portrayer of the title role. Beaming with infectious, childlike fun, Perfect is the eager audience’s ready conduit into the mystical world. With woke sensibilities already dismissed in the opening number, Perfect dives into Beetlejuice’s outrageous outlook, cheerfully giving the audience permission to laugh at usually unmentionable aspects. Perfect’s rollicking energy drives the musical along, whilst providing plenty of scope for fellow performers to shine.

Emerging star Karis Oka takes her profile to new heights with an expertly judged performance of Gothic grieving teen Lydia. Oka’s powerhouse belts sees her soars through Lydia’s power ballads to highly memorable effect. 

Elise McCann and Rob Johnson delight as adorkable couple Barbara and Adam, gamely embracing their characters’ nerdy glee and fear, and taking them on a convincing journey to greater self realisation. McCann particularly shines with terrific featured number “Barbara 2.0”

As “life coach” Delia, Erin Clare steals her every scene with her wickedly affected vocal stylings of Delia’s twisted truisms. Clare deftly fills out the role, seizing upon every snatched mention of Delia’s backstory to deepen the characterisation. Clare is strongly supported by straight man Tom Wren as Charles, beleaguered father of Delia.

A clear feature of this premiere Australian season is the depth of talent found in the quirky featured roles. Andy Conaghan deftly captures the camp of self-appointed spiritual guru Otho. Adam Lyon successfully brings pompous presence to dirty developer Maxie Dean. Noni McCallum completely immerses herself in cantankerous creation Juno. Angelique Cassimatis thrills the audience as iconic netherworld mainstay Miss Argentina. Rebecca Ordiz brings instant tension to the perilous plight of Girl Scout. 

The hard-working ensemble members invaluably support the main action, disguising themselves in a wide range of featured roles and dancing up a storm when required. 

Not one for the Rodgers and Hammerstein set, the dazzling delights of Beetlejuice the Musical make it an incredible introduction to the joys of musical theatre for younger audience members. 

Beetlejuice the Musical plays at Regent Theatre, Melbourne. For tickets, click here.

Photos: Michelle Grace Hunder