Having already appeared in enough musicals to fill her debut album with career highlights, Patrice Tipoki shares the enormous breadth of her talent in the new release A Musical Heart.

From Disney to Sondheim, Rodgers and Hammerstein to Boublil and Schönberg, and Queen to The Righteous Brothers, Tipoki’s incredible range of styles makes the collection sound like more of a compilation album than a solo recording. Belters cannot usually sing as sweetly, and sopranos do not usually have such a strong and expressive middle range. Tipoki’s every note is supremely assured, and her interpretation and expression demonstrate her innate musicality and significant acting skill.

At first glance, Tipoki’s playlist may look like a collection of safe favourites, but once the album is played, the variety quickly becomes evident. While megahit Les Misérables has thrust Tipoki into the public eye, the diversity of abilities she has displayed here suggests that she need never be out of work again. Some actresses have to wait for another of their signature type of roles to come along, but Tipoki jumps from majestically belting “Defying Gravity” to soaring sweetly in “Tonight” to rocking her way through “Somebody to Love” with apparent ease and highly polished flair.

There is a freedom to interpreting these songs away from their original settings. Working with her dear sister Laura Tipoki as Musical Director, Tipoki has mined the tracks for all the heartfelt meaning that can expressed, along with smatterings of playful and personal touches. “Shall We Dance” is reimagined as a waltz, with the piano accordion adding a wistfully romantic air. The accordion is heard again, adding an extra note of longing in the charmingly direct arrangement of “Anyone Can Whistle.”

Two of Tipoki’s signature hits are songs that music theatre fans have heard countless times over, yet they are given freshly compelling performances here. The full range of Elphaba’s emotional journey is heard in “Defying Gravity,” with Tipoki adding some extra vocal fireworks in the final thrilling bars. Likewise, Tipoki finds layers of feeling in Fantine’s poignant ballad “I Dreamed a Dream,” giving a more intimate edge to the quiet moments than can be done on stage.

Tipoki’s vocals are accompanied by thirteen contributing musicians on a range of instruments, giving the recording a touch of polish over similar vocal albums that only feature piano.

Of Laura and Patrice’s new arrangements, “Beauty and The Beast” is a particular delight, with evocative solo acoustic guitar enhancing the string quartet accompaniment. Haunting standard “Unchained Melody” features a gorgeous piano and strings accompaniment, with the added pleasure of the warm, expressive vocals of Tipoki’s Les Misérables co-star Simon Gleeson.

The standout track of the album is a sensational arrangement of “Can You Feel The Love Tonight.” International singer Alex Boyé has collaborated with Laura and Patrice to create an “Africanized” version of the well-known romantic duet. Powerful percussive rhythms and the passionate vocals of Tipoki and Boyé sweep away the saccharine sweetness of the number, bringing it more in line with Lebo M’s contributions to the score of The Lion King.

A Musical Heart is released 1 May 2015.

A Musical Heart can be purchased from iTunes.

Photos: #2, 5: Kurt Sneddon, #3: Sebastien Arnold, #4: Simon Parris

The myriad of decisions, events and talents that miraculously combined to create beloved film The Sound of Music is lovingly and insightfully described in Tom Santopietro’s fascinating new book The Sound of Music Story.

The overall tone may be one of fondness and reverence, but Santopietro pulls no punches in describing the difficulties and dilemmas that afflicted the production. Featuring a plethora of first hand anecdotes and recollections, Santopietro’s text takes the reader on an addictive narrative from the real life von Trapps, through the stage musical’s success to the movie’s eventual triumph over budget and time blowouts. Even events where the outcome is known, such as the film’s achievements at the 1966 Academy Awards, are told in a suspenseful way that has the reader turning each page to see what happened next.

Fans who feel fairly familiar with tidbits such as Julie Andrews’ hilltop twirl being the final shot filmed on location in Austria, will no doubt still find a multitude of new and intriguing details here. There are extensive lists of alternate actors who may have played the lead roles (Angie Dickinson as Maria? Yul Brynner as Captain von Trapp?), insight on the political challenges of filming Nazi scenes in Austria, a description of the patchwork composition of “I Have Confidence,” and even details about cast members who gained the most weight while filming in Salzburg.

We find out why “Something Good” was largely filmed in silhouette, how Andrews travelled up the mountain to film the famous opening and why the boat overturning in the lake was so challenging to film. We hear about the time the real Maria and family saw Hitler in a Munich café, and also relive the first meeting on set of Julie Andrews and Marni Nixon (Sister Sophia) (Nixon had dubbed the voice of Audrey Hepburn in My Fair Lady, a role that Andrews, based on her stage success as Eliza Doolittle, should have played.)

While Christopher Plummer is described as somewhat resentful of the role and process at the time of filming, Andrews is presented as having exceptional patience, professionalism and good will. A quote from Nicholas Hammond (Friedrich) sums up this effect on the children’s performances: “Every one of the children had to adore Maria and feel on his or her toes around the captain and that’s exactly the way Julie and Christopher behaved with us, all the time.”

Santopietro includes charming details of the creative process, such as choreographers Dee Dee Wood and Marc Breaux donning nun’s habits to ensure the choreography for “Maria” would work, and how lighting designer Ted McCord lit the wedding procession to offset the effect of the stained glass windows. Contributions of the creative team are so richly described, that the lack of an Oscar nomination for screenwriter Ernest Lehmann is keenly felt.

In recounting the background of the real Maria Augusta Kutschera von Trapp, Santopietro moves from the challenging beginnings of Maria and her new family through their singing success to their eventual embrace of the film and its world-conquering success. Maria received 0.375% of the royalties of the stage musical and the movie, a deal that was reaping $100,000 at the 50-year mark of the show’s success. While not welcomed as an advisor on the film, Maria made a brief cameo, the tedium of which lead to her proclamation that it was her first and last day on a film set.

As well as including details such as the children’s real names, the real people that Elsa and Max were based on are covered. Wily promoter Max was based on a priest, and Aunt Yvonne (Elsa) was capable of even snider comments than her fictionalized counterpart!

Of particular interest in the writing of Santopietro (above) writing is his analysis of key cultural moments in the movie’s reception. He presents and analyses particular reasons why film critics were so harsh at the time of the movie’s release. He probes into why the movie was not a success in Germany and Austria. Of particular interest is his assessment of why follow-up projects for the cast and also copycat projects from Hollywood were not as successful as the juggernaut success of The Sound of Music. There are also interesting reactions presented to the current phenomenon of Sing-A-Long-A Sound of Music, as well as to the 2013 television presentation The Sound of Music Live!.

The Sound of Music Story is recommended for the book shelf of music theatre lovers and film buffs alike.

The Sound of Music Story was released in Australia on 1 May 2015.

Photos: #2, #3: Twentieth Century Fox Film Corporation/Photofest; #4: Joan Marcus

The wind must be in the east, as Mary Poppins flies back onto the Melbourne stage in a lavish, lovingly crafted stage spectacular.

Commercial music theatre continues to break new ground in technology and stage magic. Rather than finding this relentless progress daunting, CLOC Musical Theatre again shows that they take challenge and inspiration from this continual advancement of theatre arts. Anything can happen if you let it, and CLOC certainly lets it happen.

Recreating such a recent high profile hit, CLOC bases most of their design decisions on the original staging, with extra flair coming from costumes. There are significant achievements in magic tricks, animated projections and flying, along with gorgeous backdrops and an incredibly large central set for the Banks house.

More than just another entry in the movie-to-musical adaption craze, Mary Poppins was the result of collaboration between two of the world’s greatest theatrical powerhouses, Disney and Cameron Mackintosh. Julian Fellowes (Downton Abbey) expanded and somewhat darkened the film’s content by incorporating further material from P.L. Travers’ Mary Poppins books. The masterstroke was the extension of the Sherman Brothers’ beloved score with additional music and songs from George Stiles and Anthony Drewe. Infinitely hummable, the toe-tapping score is an absolute gem.

Co-directors Chris White and Lynette White have assembled a large, highly experienced cast to bring the colourful collection of characters to life. Diction and projection are extremely clear, although this comes at a slight cost of the pacing being a little slow. Carolyn Waddell’s appearance as holy terror Miss Andrew at the top of act two seems to bring an infusion of energy, and the second half moves on apace. Still the overall length nudges three hours, which may test the attention span of even the most enraptured children (a matinee would be best for younger theatregoers).

Lynette White fills the stage with dance in company numbers, delivering a charming spot of soft shoe in “Jolly Holiday” and spirited tap dancing in the showstopper “Step in Time.”

Under the music direction of Danny Forward, vocals are uniformly strong, with particular precision in harmonies. Marcello Lo Ricco’s expert sound design presents the singing with clarity at a pleasing level of volume, and allows every instrumental part from the pit to be heard with distinct precision.

Chris White again proves that his artistry with the paintbrush will never be superseded by computer illustrations. In terms of animated projections, however, lighting designer Brad Alcock’s team create some wonderful effects, including a cheeky flight from Miss Andrews’ lark and hazy smoke rising from the distant chimneys of London rooftops.

Staggering in number and striking in detail, the costumes of Victoria Horne are an absolute highlight of the design. Deliciously witty and exquisitely lavish, Horne’s costumes fill the stage with so much colour and creativity that is almost impossible to absorb all of the features. The transformations from Victorian greys to mardi gras pinks for “Jolly Holiday” are fabulous, with further full company outfits on show for “Supercalifragilisticexpialidocious,” “Playing The Game,” “Step in Time” and “Anything Can Happen.” The diamanté-encrusted, midnight blue velvet outfits for “Anything Can Happen” are nothing short of incredible. The fact that Horne has not been snaffled away by a commercial theatre company is one of life’s great mysteries; meanwhile, her ongoing presence is an immense asset to CLOC.

With a crystalline soprano and charismatic stage presence, Rosa McCarty is a memorable Mary, expertly judging when to take centre stage and when to stand back and oversee the magic. The polished talents of Robbie Smith bring the woefully underwritten role of Bert to life, and Smith and McCarty enjoy a nice spark of chemistry.

With the strongest character arc of the show, George Banks’ journey from coldly distant father to newly re-joined member of the human race is an affecting one. As events of the second act unfold, Lee Threadgold comes to the fore as Mr Banks, completing the journey without a hint of mawkishness. Kristen Beayni displays a lovely soprano as Winifred Banks.

Looking almost more alike as siblings than actual siblings, Mackensie Young and Joshua Vass were utterly charming as Jane and Michael Banks on opening night. The pair pulls off the near impossible feat of being expertly accomplished without being gratingly saccharine.

A trio of highly experienced (I dare not say veteran) actresses adds polish and class to proceedings. Jennie Kellaway scores many a laugh as beleaguered Mrs Brill, Carolyn Waddell delights with the heightened wickedness of Miss Andrew, and Beryle Frees is touchingly winsome as the dear old Bird Woman.

At less than half the price of tickets to a professional production, Mary Poppins arguably represents the best value theatre experience in Melbourne. Book your tickets now, spit spot!

Mary Poppins plays at National Theatre, St Kilda until 30 May 2015.

Photos: Carlos Ramirez and Zac Groenveld

Dramatically charged content, stirring, melodious music and terrific performances contribute to a distinguished world premiere for Ned A New Australian Musical.

When a world premiere musical is staged in a brand new theatre there are multiple aspects to cover: the performances and the production, the work itself, and the stage, auditorium and foyer of the theatre.

Inspired architectural choices have seen the features of historic Sandhurst Gaol capitalised and showcased to terrific effect in the new Ulumbarra Theatre. The marvelously capacious foyer flows along an original prison corridor past cells (that the brave can enter) to a range of atmospheric pre-show dining and drinking spaces. The large 953-seat auditorium, with stalls and dress circle, has comfortable seats, good legroom and great sight lines. The space is an incredible asset for regional Victoria.

The prospect of a musical based on the life of infamous bushranger Ned Kelly may sound like a larger than life Simpsons musical episode, yet a quick glance through the synopsis reveals the intensely operatic scope of the material. Focusing on the ordinary young man behind the legend that has long captivated Australia, Ned presents a sympathetic view of life events that shaped young Edward Kelly’s destiny, yet does not shy away from the brutality and impact of senseless violence.

Composer Adam Lyons has created an accessible, engaging score, the high quality of which is cause for celebration. Writing in the modern musical style in which songs drive story, Lyons has tapped into the sound of the characters and the era to write songs that that sound like ones that the characters would actually be singing.

Lyons’ deft skill is evident in numbers such as “Here’s To The Kellys,” which is ostensibly a joyous family ditty but also serves to fill in backstory that Ned has missed while in jail for three years. “Sing! Dance! Drink! Love!” is a joyous celebration at the inn, yet also sows the seeds for Constable Fitzpatrick’s smutty obsession with young Kate Kelly. Orchestrations for male ensemble number “Timber and Steel” capture the metallic clang of working on the railroad, and provide an opportunity for some energetic choreography from Michael Ralph.

“White Dove” is a beautiful a capella quartet for male voices, and is all the more chilling for the violence it precedes. The woman have their turn with act two quintet “A Woman’s Hand,” in which the female characters reflect on the impact that the escalating crime and violence has had on their lives.

Early scenes establish the bond between young Ned and his dear mother Ellen and convey the joyful warmth of the Kelly home. Given he is the title character, Ned’s I Wish song, “Hope of Australia” might have come a bit earlier than thirty minutes into the show. Constable Fitzpatrick, ostensibly the villain of the piece, shares his inner voice in the tender “Alexander.”

Book writers Anna Lyon and Marc McIntyre neatly condense a significant amount of storytelling and successfully establish a large array of characters.

The somewhat extended length of early book scenes pays off in our attachment to these characters, leading to a high degree of tension when Fitzpatrick makes his drunken, sleazy visit to the Kellys. The relationship between a law enforcer and lawbreaker has natural comparisons to Valjean/Javert, yet the scenario here is arguably more complex so as to achieve a far more fascinating effect.

Ned’s journey to outlaw is generally shown in a sympathetic light, yet the death of three policemen at the end of act one is shown in raw, powerful way. The tension of the final third of act one is not quite maintained in act two as the storytelling slows to a more gradual pace. With the Kelly gang on the run, community support grows with their infamy. A bank robbery is shown as a bit of a lark, with Ned destroying records of the debts of the poor.

Lyon and McIntyre experience some difficulties in balancing the need for concise exposition with the creation of natural-sounding dialogue. There is strength in their comedy, as laughs are derived through the natural laconic nature of the characters rather than through music theatre gags.

This premiere season benefits greatly from the guidance of highly experienced director Gary Young. Even more valuable than Young’s skillful storytelling and confident use of space is the palpable warmth of the connections he has cultivated between the onstage characters. The pride and the joy of the Kelly family home and of the local community are seen as highly prized and worth defending at all costs.

Musical director Loclan Mackenzie-Spencer makes the daunting task of presenting new music look deceptively easy, presiding over a large band of 18 musicians with flair, and delivering confident, highly appealing vocals from the cast. Musical reproduction is reliably pristine from sound designer Marcello Lo Ricco.

Rob Sowinski uses an abundance of haze to add texture to his lighting design. In company numbers it can be quite difficult to tell who is sing at any given point, an issue that jointly rests with the lighting and sound designers and the director.

McIntyre uses a rich, textured dark ochre palette for his set design, which makes good use of the height and width of the stage, and clearly suggests a range of locations with a few simple strokes. Emily Barrie’s costume design nicely balances realism with a touch of theatricality, and greatly aids the clear establishment of the wide range of characters by the cast of 25.

Nelson Gardner, who hails from Bendigo, is very well cast as Ned. Charismatic and masculine, Gardner effectively delivers strength and menace with understated effort. Gardner’s vocals have a natural quality that adds to his overall appeal.

Penny Larkins gives a powerhouse performance as Ellen Kelly, proud mother to an ever-growing brood of kids. Larkins never drops the spark of love and pride in Ellen’s eyes, bringing out the best in those around her as well. Larkins’ effortlessly tender vocals are heard to great effect in ballads “Life’s A Road” and “My Son.”

Alana Tranter and Hannah Fredericksen hide their blonde locks under thick red manes as feisty sisters Maggie and Kate Kelly. Lovely singers both, Tranter carries a great deal of the heart of the story in act two as Maggie pines for the men in the run, and Fredericksen energetically captures the frisky naiveté of youngest sibling Kate.

Connor Crawford reveals a stunning singing voice as Joe, with strong male energy coming from fellow young male leads Robert Tripolino as Dan, Brent Trotter as Steve and Will Rogers as Aaron.

Nick Simpson-Deeks successfully brings out the full spectrum of Fitzpatrick, linking the character’s low self-esteem and cowardly dishonesty to his small stature and his frustrating speech impediment. Fitzpatrick’s nuanced performance is a significant part of the effectiveness of the central dramatic relationship between Ned and Fitzpatrick. Andrew Broadbent brings quiet dignity to Fitzpatrick’s conflicted senior officer, Hare.

Amelia Christo beams with delightful warmth as innkeeper Ann Jones, also displaying her finely honed dramatic skills when portraying the conflict Ann experiences when asked to pass on a dead policeman’s watch to his widow.

There will doubtless be opportunities to tighten and polish Ned. To say that the musical shows promise is a great understatement. It is a very long way on the road to being a fully realised musical that a wide range of audiences can enjoy.

Ned A New Australian Musical plays at Ulumbarra Theatre, Bendigo until 31 May 2015

Photos: Kerry Brown

Legendary Broadway musical Dreamgirls finally makes its Australian premiere in this flashy presentation from innovative, uncompromising independent theatre company StageArt.

A Tony-winning hit in the early 1980s, Dreamgirls is widely known from its high profile 2006 movie adaptation. If casting a full company of African-American performers deterred local producers from ever mounting the show, StageArt deserve extra credit for their vision in sourcing performers who not only look the part but are also highly talented.

The distinctly American story follows the swift rise and dramatic implosion of a girl group during the time that R&B music crossed over into the realm of popular music. Loosely based on Motown producer Berry Gordy and Diana Ross and The Supremes, the 1960s scenes throughout act one make for quite a thrilling roller coaster ride, while the 1970s problems faced by the characters in act two have a mellower edge.

Henry Krieger’s music captures a range of flavours, from R&B and soul to pop and rap, and music director Tyson Legg leads nine rocking musicians in bringing these styles to life. Vocal preparation is also very strong, with tight, smoothly blended harmonies a feature. Expert sound designer Marcello Lo Ricco ensures that Tom Eyen’s lyrics are clearly heard, a crucial factor in this largely through-sung show.

Director Terence O’Connell has cast the show’s distinct characters extremely well, and propels the action forward with a cinematic flow between scenes. A good proportion of the blocking has performers facing forwards, but more of this is needed overall so as to allow a stronger connection between audience and performers. While younger members of the cast will surely gain in confidence as the season progresses, there was perhaps the need for more guidance in fully developing their characters and managing their energy and focus. Given the amount of acting, singing, dancing, costume and wig changing involved, it is an incredible result overall, particularly after only one preview performance.

A clear highlight of the production is Daniel Harvey’s creative, spectacular, intelligent costume design. The countless outfits not only look wonderful but are also a key aspect of the story telling, tracing the journey from homespun frocks to glamorous gowns, with some ingenious fast changes along the way. Lucy Wilkins’ wigs complement the styles perfectly. Some of the transformations achieved in the side stage wings would take hours in a photo shoot environment.

Jacob Battista’s black scaffolding set design is not particularly inspired, but it does make amazing use of the small space. Acres of glittering black fabric give the venue the semblance of a proscenium arch theatre, somehow accommodating 19 performers and 9 musicians.

Choreographer Darren Stack performs miracles in the tight space available for movement, delivering crisp, well-rehearsed moves that are highly evocative of the era and are fun to watch.

Jason Bovaird’s multi-faceted lighting adds constant visual appeal, particularly during the concert numbers, and effectively transforms the single set stage to a range of locations.

In an extraordinary stage debut, Thando Sikwila is perfectly cast as Effie White, the troubled young woman whose natural talent is undermined by paranoia, both valid and unfounded. Sikwila captures Effie’s diva-like surly petulance as well as her doll-like sweetness when things go her way. Act one builds to all-time classic torch song “And I Am Telling You I’m Not Going,” and Sikwila brings down the house, with resounding applause lasting through the next song all the way to the interval break.

As Deena Jones, talented young actress Anna Francesca Armenia is styled to closely resemble Miss Ross, also recreating the famous star’s winning smile with flair. Armenia sings the role well, and while her character’s promotion to lead singer is believable, later scenes call for a rise in diva-like vanity. This distinction is sure to develop as Armenia inhabits the role over the season.

Zenya Carmellotti is adorable as Lorell Robinson, projecting an engaging innocence and excitement as the eager young singer. The character of Lorell is lumbered with an extended act two scene with philandering partner Jimmy that is not all that compelling, but Carmellotti brings plenty spunk to her musical performances.

Canny casting choices delineate the range of male characters. As car salesman turned producer, Winston Hillyer has a commanding bass voice that strongly supports Curtis Taylor Jr’s authoritative manner. While his voice is highly expressive, Hillyer needs to cheat front far more often so as to engage with the audience and raise the impact of his character’s cheating and double-dealing ways.

Djon Alexander is excellent as C. C. White, Effie’s sweet song-writing brother who eventually stands up for himself to defend his contribution to the artists’ musical success. Gareth Jacobs is in terrific voice as egotistical R&B star Jimmy Early. Although Jacobs’ style has a crowd-pleasing edge, he does not quite nail the character’s self-assured, womanising ways. Augustin Tchantcho provides solid support as hard-edged long-term music artist manager Marty.

Small quibbles aside, this visionary production has great appeal. Music theatre aficionados should not miss this rare chance to experience Dreamgirls.

Dreamgirls plays at Chapel off Chapel, Melbourne until 14 June 2015

Photos: Belinda Strodder

Everything old is new again as a sensational cast brings daffy delight Anything Goes roaring back to life.

Director Dean Bryant and choreographer Andrew Hallsworth are in peak form, treating the material with the utmost respect and enhancing it with a multitude of witty, intelligent, creative choices. Even those who know the material back to front and inside out will laugh out loud and tap their toes all over again.

The glittering jewel in this cast of triple threats is living kewpie doll Caroline O’Connor, giving a performance that is set to be worshipped for the weeks ahead and talked about for years to come. An ageless, tireless trouper, O’Connor belts out the score with supreme power, dances with more energy and elasticity than youngsters half her age, and sprinkles delectable comic pizazz through her every song and scene.

Even more impressive, O’Connor manages the impossible, which is to make Reno Sweeney a living, feeling human being rather than a clothes horse who trots out on stage for showstopper after showstopper. Anything Goes has the featherlight book of shows like 42^nd St and My One and Only (the juke box musicals of their day), where production numbers are linked by the wispiest threads of plot. O’Connor plays the desperation, effervescence, mania, calculation and lovelorn longing that drive Reno and, by extension, the entire plot. Her Reno has a clear history with Moonface, she starts singing “Anything Goes” to take the heat off Billy rather than just to end the act on a high, she falls for Evelyn as he carries on throughout “The Gypsy In Me,” and she is both affecting and affected in gospel anthem “Blow Gabriel, Blow.”

O’Connor enjoys zinging chemistry with three terrific leading men.

In a high profile role that is long overdue, Alex Rathgeber has charm to spare as love-struck Wall Street broker Billy Crocker. Hits like “Easy to Love” and “All Through The Night” show off Rathgeber’s smooth, supple tenor, and he equally impresses in comic scenes and dance numbers.

Surely the first portrayer of Lord Evelyn Oakleigh to be given star billing, Todd McKenney gives a nicely controlled performance that lets the buffoonery of the culture-struck character shine through.

While O’Connor’s duets with Rathgeber (the infectious “You’re The Top”) and McKenney (the outlandish “The Gypsy In Me”) each shine, the standout comic duet of the night comes when O’Connor teams up with fellow hoofer and Vaudevillian-style comedian Wayne Scott Kermond for “Friendship.” Kermond does not really give an indication of the actual gangster side of Moonface Martin, but the physical and verbal comedy are right up his alley.

As debutante Hope Harcourt, Claire Lyon’s gorgeous soprano is a pleasure to hear. Lyon looks divine in blonde marcel wave and form-fitting 1930s fashions, but rather than just look pretty, Lyon adds some engaging backbone to a role that is often played as an insipid wallflower.

Inexplicably not yet a household name, Debora Krizak gives another fully realised, wickedly nuanced performance as gangster’s moll Erma. Looking every bit the silent movie goddess of the 1930s, Krizak adds a welcome dash of danger to the usual airheaded characterisation of Erma. “Buddy Beware” has always been an odd choice for an 11 o’clock number, but Krizak delivers it as a characterful revelation on par with A Little Night Music’s “The Miller’s Son.”

Carmen Duncan bring a touch of grace as Hope’s mother Evangeline Harcourt. Bartholomew John plays Elisha Whitney with stoic dignity.

Gerry Connolly proves there are no small roles as the charismatically camp Captain. Special mention to baby-faced Josh Gates who not only acted, sang and danced with eye-catching flair, but also provided a human platform as Krizak was lifted overhead in “Buddy Beware.”

Hallsworth peppers the duets with all manner of sight gags, but his accomplishments are the incredible showstoppers. Well-known tap number “Anything Goes” builds and builds as Reno progressively infects her shipmates with the joy of dance. A bit of a master with props, Hallsworth makes great use of life preservers in the spectacular routine. The hypnotic energy of “Blow Gabriel, Blow” is sensational, and contains a brilliant touch where Reno grabs Evelyn and selflessly pushes Billy to Hope, giving both pairs an extra chance to connect and develop. Hallsworth and team have also added an extra encore after the bows, which leaves the crowd on an even greater high.

Bryant focuses the energy and talents of the lively cast into outsized, but well-controlled, comedy and clear, character-driven storytelling. Where Bryant’s direction of Anything Goes for The Production Company was undermined by the vast width of the State Theatre stage, here the action is punchy and the comic timing is snappy.

Music Director Peter Casey leads 16 on-stage musicians who deliver plenty of zing and sparkle to Cole Porter’s classic score.

Sound design by Michael Waters is excellent, with vocals and music well balanced and every punchline heard with clarity. Lighting designer Matt Scott paints the space with vivid colour in “Blow Gabriel, Blow,” with another attractive effect coming in “It’s De-Lovely” when Billy and Hope dance in rosy pink light while the other couples are in steely blue.

In contrast with the splashier, glossier costumes of the 1988 Australian production, Dale Ferguson’s costumes are equally attractive, but have a more realistic edge. Highlights include Hope’s stunning gold-laced wedding gown, Erma’s shimmering, floor length silver gown, and the female chorus’ colourful, attractive daywear. And there is always an extra touch of class when the leading lady has a fresh outfit for the curtain calls.

The uninspired scenic design is attributed to Ferguson as “Set Adaptation,” and it is assumed that there was little scope, or budget, for him to adapt this in any sort of appealing, attractive or interesting way. While effective use is made of the rotating unit that slides in from under the band’s platform, the general stairs, railings and platforms are very plain, without a trace of art deco. The placement of the imposing bow of the ship (waves, seagulls and all) upstage behind the action is quite inexplicable.

Cast, choreography and costumes are three compelling reasons not to miss Anything Goes.

Anything Goes plays at Princess Theatre, Melbourne until 19 July 2015 before touring to Brisbane and Sydney.

ps if newcomer Alex Gibson-Giorgio has not moved out of the chorus and into leading, or, at the very least, featured roles within two years, I will abandon theatre reviewing and take up Nascar driving

Photos: Jeff Busby

Packed with unabashedly joyful tunes, A Super Brady Cabaret is wickedly funny.

From a deceptively simple concept by StageArt co-executive producer Robbie Carmellotti, Drew Downing and Carmellotti have written a slick, camptastic book that is laugh out loud hilarious. For a television show that has been lampooned so thoroughly already, Carmellotti and Downing still find loads of comic material, freshly skewering the iconic characters with devilish digs and puerile putdowns.

The conceit of the show is that the original TV cast, who now call each other by their character names out of sheer habit, have wearily come to the end of a final, early 1990s world tour of television specials. This ingenious aspect of this scenario is that the “commercial breaks” provide a chance for the actors to turn off their phony smiles and interact honestly, thus providing delicious subtext when the show is back “on air.” Dirty secrets come spilling out, all the funnier for the innocent façade they hide behind.

Co-writer Downing does quadruple duty, also serving as director, musical director and choreographer. The high-energy direction is a winning aspect of the show, with all eight performers creating all sorts of comedy as they stay perfectly in character through every song, dance and scene. A daring final move pays off handsomely, as the comedy is set aside for a momentary poignant scene in which Carol is struck by the reality of ending the long running “family.”

The scenario of a television special also allows for a range of songs to be sung, with each character having their turn in the spotlight. The chosen songs are an absolute delight, with many of them not heard for years. When was the last time you heard “High Hopes” or “Sunshine Day”? The choreography mocks cheesy face-the-camera steps and the production numbers sends up the tacky, low budget simplicity of TV specials.

The show is performed on the Dreamgirls set, with lighting again by Jason Bovaird. A technical hitch, so rare for sound designer Marcello Lo Ricco, caused an annoying amount of microphone crackle; this will surely be quickly remedied for subsequent performances.

Each of the performers is well cast, with terrific comic talents as well as singing voices of especially good quality.

Lauren Edwards is wonderfully watchable as Carol, who is now a bit of an uptight bitch sorely in need of a cathartic breakdown. Paul Congdon keeps his face much straighter than his character as Mike, landing plenty of twisted comedy.

Kathleen Amarant is a blonde vision as the vapid Marcia, still obsessed with being a teen model. Thomas Bradford conveys the funky vibe of sexy oldest son Greg, the object of lust for many a roving family eye.

Sophie Weiss is sensational as poor, put-upon Jennifer, Jane, Jan, the girl who can do no right. In contrast with her simpering character, Weiss has a fantastic singing voice and can really belt a tune. Similarly, Nicolas Guzzardi gets a great laugh when we hear her real, non-lisping singing voice in a dream sequence when Cindy consoles and counsels her mother with “Never Been To Me.”

Giancarlo Salamanca has an authentic look as Peter, who has left a trail of sexual conquests around the globe. Dylan Licastro is adorably adorable as glittering youngest son Bobby, who now seems to be following his father’s sexual proclivities.

The perfect early evening winter warmer, A Super Brady Cabaret is a winning comedy treat.

A Super Brady Cabaret plays at Chapel off Chapel, Melbourne until 13 June 2015.

ps the idea of putting The Brady Bunch on the musical stage seems quite popular today.

Photos: Belinda Strodder

High on rock but light on horror, the low budget tour of Rocky Horror Show returns just in case a few theatre- party-goers missed the wild ride last year. While the return of the recent Grease revival showcased a tight ensemble cast that had had honed their performances to impressive heights, the turnover of cast here makes it more than ever the Craig McLachlan Show. Unfortunately, the talents McLachlan has that make him suitable for the role, such as his rich, expressive voice, are lost amidst his endless mugging, prancing and pulling focus.

After a slick start to the show, storytelling grinds to a halt from McLachlan’s first entrance as Frank-N-Furter, as it impossible to focus on spoken or sung lines that are repeatedly interrupted by ceaseless attempts to get at laughs. Visual and verbal gags that might be funny once are repeated three to five times, promptly draining away the humour. Worse, any potential poignancy in the finale is lost thanks to McLachlan’s wink-wink breaking of the fourth wall throughout the night. It is, in the end, impossible to take him seriously or feel anything for his character. Technically, the production has improved, with sound design, by Gareth Owen, being very clear and strong. Volume is suitably high without being overpowering. Nick Richings’ lighting design has been polished to a point where it often masks the bland simplicity of Hugh Durrant’s sets. Sue Blane’s black and red costumes for the curtain calls and encore are noted as a stylish touch. The very basic nature of Nathan M Wright’s choreography, however, seems more noticeable now that the production joins two dance shows on Melbourne stages. As stressed-out sweethearts Brad and Janet, Stephen Mahy and Amy Lehpamer are welcome additions to the cast, providing a good match in looks and talent to their predecessors. Lehpamer’s strong, pure belt is heard to great effect, particularly in “Touch-a Touch-a Touch Me,” and Mahy lands the one gentle moment of the night in “Once In A While.” Kristian Lavercombe continues to rock the role of Riff Raff. Nicholas Christo maintains the terrific contrast between meathead rocker Eddie and conservative wheelchair-bound Dr Scott. Brendan Irving is buffer than ever as Rocky. Newcomers Jayde Westaby, as Magenta, and Angelique Cassimatis, as Columbia, do little to help create the quirky, spooky vibe that is sorely needed to help Brad and Janet appear as straight-laced outsiders. Cassimatis’ strong singing voice impresses in the small amount of singing she has to do.

It would seem to be a significant improvement that an actual star performer has been cast as Narrator this time. Lovable old Moonface Bert Newton, however, does not generate a single boo or hiss, rendering the once delectably reviled role as basically neutered. Suzanne Steele, Darren Tyler and Drew Weston join Meghan O’Shea in the virtually invisible chorus roles of Phantoms, the talents and good looks of these performers buried under unisex black make-up, wigs and clothes.

For blue chip music and terrific cast we have Anything Goes, and for lavish production values and Australian humour we have Strictly Ballroom. Newcomers and hens nights might enjoy the raucous humour of Rocky Horror Show.

Rocky Horror Show plays at Comedy Theatre, Melbourne until 12 July 2015

Photos: Brian Geach

Meredith Willson may have written the book, music and lyrics for The Music Man, but Xavier Brouwer takes this feat three steps further by also acting as director, music director and producer for his new Australian musical Grey’s Lobotomy.

Taking aim at Australia’s Health Care foibles, Brouwer has unearthed a plethora of healthcare public service campaigns, from Life Be In It’s Norm and his aerobicized sister Libby though to the Your Man Reminder App, with a visit from the Grim Reaper and a truly heinous commercial about strokes along the way.

The show in the style of is revuesical, with the focus rotating between scenes and songs involving various sets of health care professionals (or unprofessionals) and patients, with a couple of stand alone songs interspersed throughout.

A harried ER nurse combats a pushy boss, a lovestruck psych nurse and a sleazy boyfriend as she deals with flabby Norm and an escaped mental patient. The boyfriend works in marketing, where attempts to create campaigns for various government initiatives, however inane, seem frighteningly close to the truth.

Directing your own material can be a risk, but thankfully Brouwer does not fall into the trap of creating an overlong or self-indulgent show. The pace is bright and breezy, and cast energy is kept high. The aspect where a second set of eyes could have helped is in a dramaturgical sense. The through line linking the characters is solid enough, and the comedic concept is more than sound, but there is a lack of a distinct “voice” to the material, with some songs and scenes poking fun at health care messages while others take health care seriously, delivering messages of their own. The laugh rate needs work, with a focus on punchlines to songs and scenes.

The most difficult aspect in writing a new show is the music. Fortunately, Brouwer’s significant talents as a songwriter have seen him craft a dozen or so songs, many of which have catchy melodies on first listen. Accompaniment from the band of three musicians is solid, and tight harmonies from the cast are uniformly strong. Songs with a peppier tempo, such as “Power Nurse” and “Work Out” are better suited to the comedy format than some of the slower numbers, which really need to be enlivened. Working with a writing partner or editor may have helped to avoid some of the repetition in the lyrics, a factor that does not help the flow of comedy. Overall, the score is an impressive achievement, especially given the scarcity of new Australian work.

Sarah Tulloch’s collage-like hospital scenic design provides an attractive setting, and the use of real hospital equipment adds an authentic air. Brendan Jellie’s lighting is bright and clear. Tulloch’s costumes are crisp and colourful, with some that really stand out due to extra attention, such as the red and white checks for “Sugar.” This song also features some of Emmie Câpek’s best choreography, with further highlights coming in Florence Nightingale number “Foxtrot with a Lamp.” Câpek is blessed with several cast members who are very strong dancers. 

The cast of six performers works with focus and verve to bring the material to life. Each are well matched in terms of singing ability, being equally confident with solos and harmonies.

Experienced performer Penny Larkins is a good sport as prancercising Libby, and captures the exasperation of modern marketing double talk as Cheryl. Kirsty Gayther has a sweet presence as Violet Grey, plucky heroine of the hospital dramas. Laura Raiti balances the stern Miss Black with some great dancing and chorus work.

Morgan Phillips has a nicely underplayed comedic style, used to great effect as the doddering Grim Reaper. Ollie Bell enlivens all his scenes with perky energy and terrific dancing. Charismatic actor Chris Asimos has a very buff body that makes the transformation of Norm rather amazing.

Given the money and attention lavished on Broadway imports, new Australian works deserve the support and attention of music theatre fans. In its premiere season, Grey’s Lobotomy could still use some nips and tucks, but is pleasant entertainment that is very affordably priced.

Grey’s Lobotomy plays at Kaleide Theatre RMIT, Melbourne until 4 July 2015. It then plays Alex Theatre, St Kilda 8-26 July 2015.

Photos: Michael Diakakis

Celebrating a unique mix of opera, dance, music theatre, plays, live music and more, the 2015 Helpmann Nominations were announced this evening at performing arts venues around Australia. The 2015 Helpmann Awards will be presented live in Sydney at the Capitol Theatre and broadcast live on Foxtel Arts, Monday 27 July 2015 at 7.30pm. Read on for all the nominations, plus a look at surprises, snubs and possible winners.

LPA Chief Executive Evelyn Richardson (above) introduced the annual awards.

Sue Nattrass (above) spoke passionately about the ongoing legacy of conductor Brian Stacey, and introduced this year’s winner of the Brian Stacey Award for Emerging Australian Conductors, Jessica Gethin (below).

Todd McKenney (below), who will host the Helpmann Awards ceremony, introduced the evening’s guests who were there to read the nominations.

Amy Lehpamer (below), presented with Colin Lane (below).

Queenie van de Zandt (below),presented with Joel Creasey.

Kate Miller-Heidke (below), presented with Ash Flanders.

Caroline O’Connor (below), presented with Wayne Scott Kermond.

A good number of last year’s nominated musicals, such as Strictly Ballroom, The Lion King, Rocky Horror Show, Sweet Charity and Grease, have continued to play into this year, so the field was always going to wide open for a clean sweep by Cameron Macintosh’s new production of Les Misérables.

Les Misérables earned a whopping 12 nominations, including Best Actor nominations that will see on-stage foes (but off-stage friends) Simon Gleeson and Hayden Tee go head to head.

Independent musicals have continued to thrive, but the Helpmann Awards are contingent of membership of Live Performance Australia, which is mainly held by the larger commercial production companies. The sole representative of small-scale musicals came with a nomination for Best Actress to Helen Dallimore for Blood Brothers.

In addition to Les Misérables, which would seem extremely likely to win Best Musical, other commercial productions nominated for Best Musical are Once, which closed after only presenting a Melbourne season, the newly opened Anything Goes and ongoing tour Dirty Dancing.

Once and Anything Goes both earned nine nominations apiece. With the relatively unique touch of an ensemble cast who played all the score, Once was a likely selection for Best Music Direction. Expected picks aboard the SS American included Caroline O’Connor for Best Actress (a likely winner), Andrew Hallsworth for Best Choreography.

Odd choices here included nominating Madeleine Jones as Girl for Once without her Guy, Tom Parsons. Anything Goes seemed to have the male categories backward, with Todd McKenney nominated for Best Actor for the supporting role of Evelyn while leading man Alex Rathgeber, as Billy Crocker, was nominated as Best Supporting Actor.

Another duo split up by the nominations were the Thénardiers, with Trevor Ashley on the board for Best Supporting Actor but no sign of his fabulous partner in crime Lara Mulcahy.

Dirty Dancing received no acting nominations, but was a worthy selection for Best Choreography.

Coming off a relatively weak year, The Production Company came away with only two nominations: Todd McKenney for Best Actor as Albin/Zaza in La Cage Aux Folles (but not his stage partner Simon Burke as Georges) and Eddie Muliamaseali’I for Best Supporting Actor as Joe in Show Boat. Guys and Dolls, directed by previous winner Gale Edwards and starring previous winner Verity Hunt-Ballard, was completely overlooked.

Lucy Maunder was rewarded with a Best Supporting nomination as Cinderella in Victorian Opera’s Into The Woods, while Queenie van de Zandt was overlooked as The Witch as was Christina O’Neill as The Baker’s Wife.

Opera Australia scored a decent number of acting nominations, with two each for Teddy Tahu Rhodes and Nicole Car. On the brink of stardom, Car is set to make her Covent Garden debut later this year. Sir David McVicar’s productions of Faust electrified Sydney this past summer, and earned nomination for Best Opera and performance nods for visiting US tenor Michael Fabiano as well as Rhode and Car. Hopefully this production will be seen in Melbourne next year.

Italian baritone Claudio Sgura was nominated as the malevolent Scarpia in the return of John Bell’s new Tosca, but his colleagues playing Tosca and Cavaradossi in Melbourne and Sydney seasons were overlooked.

McVicar’s new Don Giovanni scored nominations for Rhodes, in the title role, and Shane Lowrencev as manservant Leporello. Two of the three women romanced by the Don were nominated, Taryn Fiebig and Car, with guest soprano Elvira Fatykhova missing out.

The performance of lustrous soprano Latonia Moore (below, right) in the title role was the only aspect rewarded in Handa Opera on Sydney Harbour: Aida. Likewise, Warwick Fyfe was the only nomination for Victorian Opera’s cutting edge presentation of The Flying Dutchman.

MSO’s concert presentation of The Damnation of Faust was a worthy nominee for Best Symphony Orchestra Concert. The complete absence of new original Australian opera The Riders seems a most egregious oversight. Opera Australia’s sensational return of Don Carlos will most likely be entered next year, based on its Sydney run later this year.

The most highly nominated opera of the year was Brisbane Baroque’s Faramondo with an impressive haul of eight nominations.

Highly successful, extremely stable arts company The Australian Ballet was all but shut out, with only one nomination, Retiring prima ballerina Madeline Eastoe was nominated for Giselle, a role she will dance in her final performance in July in Adelaide.

INDUSTRY AWARDS

BEST COSTUME DESIGN

ANNA CORDINGLEY

Masquerade, Produced by Griffin Theatre Company and State Theatre Company of South Australia.
NSW: Presented by Sydney Festival and Sydney Opera House. SA: Presented in association with Adelaide Festival Centre and Windmill Theatre. VIC: Presented by Melbourne Festival. This project has been assisted by the Australian Government’s Major Festivals Initiative, managed by the Australia Council, its arts funding and advisory body, in association with the Confederation of Australian International Arts Festivals, Sydney Festival, Melbourne Festival, State Theatre Company of South Australia and Griffin Theatre Company.

DALE FERGUSON

Anything Goes, Opera Australia and John Frost

GABRIELA TYLESOVA

The Rabbits, Opera Australia and Barking Gecko Theatre Company, in association with West Australian Opera. Co-commissioned by Perth International Arts Festival and Melbourne Festival.

GARY MCCANN

Faramondo, Brisbane Baroque in association with QPAC

BEST LIGHTING DESIGN

GEOFF COBHAM

The Philip Glass Trilogy, State Opera Company, South Australia

NICK SCHLIEPER

Macbeth, Sydney Theatre Company

PAULE CONSTABLE

Faust, Opera Australia

PAULE CONSTABLE

Les Misérables, Cameron Mackintosh Australia

RACHEL BURKE

Marlin, Produced by Arena Theatre Company, presented by Melbourne Theatre Company

BEST ORIGINAL SCORE

CAMERON GOODALL and QUENTIN GRANT

Little Bird, State Theatre Company of South Australia, in association with Adelaide Festival Centre

KATE MILLER-HEIDKE with IAIN GRANDAGE

The Rabbits, Opera Australia

MIKELANGELO and THE BLACKSEA GENTLEMEN

Masquerade, Produced by Griffin Theatre Company and State Theatre Company of South Australia

TIM ROGERS

What Rhymes with Cars and Girls, Melbourne Theatre Company

BEST MUSIC DIRECTION

ERIN HELYARD

Faramondo, Brisbane Baroque, in association with QPAC

MARTIN LOWE

Once, John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo

TIM ROGERS

What Rhymes with Cars and Girls

Melbourne Theatre Company

TIMOTHY SEXTON

The Philip Glass Trilogy

State Opera South Australia

BEST SCENIC DESIGN

DAN POTRA

The Perfect American, Brisbane Festival and Opera Queensland, in association with Queensland Performing Arts Centre and Griffith University.

GEOFF COBHAM

Little Bird, State Theatre Company of South Australia, in association with Adelaide Festival Centre

MARG HORWELL

Marlin, Produced by Arena Theatre Company, presented by Melbourne Theatre Compan

MATT KINLEY

Les Misérables, Cameron Mackintosh Australia

BEST SOUND DESIGN

CLIVE GOODWIN

Once, John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo

JD BRILL, CLAIR GLOBAL and EAGLES

Eagles | History of the Eagles Live In Concert 2015, The Eagles and Frontier Touring

MICHAEL WATERS

Anything Goes, Opera Australia and John Frost

MICK POTTER

Les Misérables, Cameron Mackintosh Australia

BEST NEW AUSTRALIAN WORK

AIDAN FENNESSY, MUSIC AND LYRICS BY TIM ROGERS

What Rhymes with Cars and Girls, Melbourne Theatre Company

ARENA THEATRE COMPANY

Marlin, Produced by Arena Theatre Company, presented by Melbourne Theatre Company

JOANNA MURRAY-SMITH

Switzerland, Sydney Theatre Company

NICKI BLOOM with songs and music by CAMERON GOODALL and QUENTIN GRANT

Little Bird, State Theatre Company of South Australia, in association with Adelaide Festival Centre

OPERA AUSTRALIA and BARKING GECKO THEATRE COMPANY, in association with WEST AUSTRALIAN OPERA, co-commission by PERTH INTERNATIONAL ARTS FESTIVAL and MELBOURNE FESTIVAL


The Rabbits, Opera Australia and Barking Gecko Theatre Company, in association with West Australian Opera, co- commission by Perth International Arts Festival and Melbourne Theatre

TAMARA SAULWICK

Endings, Sydney Festival and Insite Arts

CONTEMPORARY MUSIC

BEST AUSTRALIAN CONTEMPORARY CONCERT

CHET FAKER | NATIONAL TOUR 2015, Chet Faker, Frontier Touring, Artist Voice, Opulent, Future Classics and Perth International Arts Festival

JIMMY BARNES | 30:30 HINDSIGHT GREATEST HITS TOUR 2014, Jimmy Barnes and Frontier Touring, in association with Premier Artists and A Day on the Green

KYLIE | KISS ME ONCE TOUR 2015, Kylie Minogue and Frontier Touring

TINA ARENA RESET TOUR, Tina Arena and New World Artists

BEST CONTEMPORARY MUSIC FESTIVAL

BLUESFEST BYRON BAY, The 26th Annual Bluesfest Byron Bay 2015 and Peter Noble

LANEWAY FESTIVAL, Lunatic Entertainment and Chugg Entertainment

VIVID LIVE 2015, Destination NSW and Sydney Opera House

WOMADELAIDE 2015, Ian Scobie

BEST INTERNATIONAL CONTEMPORARY CONCERT

ED SHEERAN | X WORLD TOUR 2015, Ed Sheeran and Frontier Touring

FOO FIGHTERS | SONIC HIGHWAYS WORLD TOUR 2015, Foo Fighters and Frontier Touring

PAUL SIMON and STING – ON STAGE TOGETHER, Paul Simon, Sting and Frontier Touring

THE ROLLING STONES | 14 ON FIRE, The Rolling Stones, Frontier Touring, AEG Live and IEC Entertainment

OPERA AND CLASSICAL MUSIC

BEST DIRECTION OF AN OPERA

DAVID MCVICAR

Faust, Opera Australia

DAVID MCVICAR

Don Giovanni, Opera Australia

LEIGH WARREN

Philip Glass Trilogy, State Opera of South Australia

PAUL CURRAN

Faramondo, Brisbane Baroque, in association with QPAC

BEST FEMALE PERFORMER IN A SUPPORTING ROLE IN AN OPERA

ANNA DEVIN

Faramondo

Brisbane Baroque, in association with QPAC

ANNA STARUSHKEVYCH

Faramondo, Brisbane Baroque, in association with QPAC

NICOLE CAR

Don Giovanni, Opera Australia

TARYN FIEBIG

Don Giovanni, Opera Australia

BEST FEMALE PERFORMER IN AN OPERA

CAITLIN HULCUP

Iphigenie en Tauride, Pinchgut Opera

JENNIFER RIVERA

Faramondo, Brisbane Baroque, in association with QPAC

LATONIA MOORE

Aida – Handa Opera on Sydney Harbour, Opera Australia

NICOLE CAR

Faust, Opera Australia

BEST MALE PERFORMER IN A SUPPORTING ROLE IN AN OPERA

CHRISTOPHER LOWREY

Faramondo, Brisbane Baroque, in association with QPAC

SHANE LOWRENCEV

Don Giovanni, Opera Australia

TEDDY TAHU RHODES

Faust, Opera Australia

WARWICK FYFE

The Flying Dutchman, Victorian Opera

BEST MALE PERFORMER IN AN OPERA

ADAM DIEGEL

Madama Butterfly, English National Opera, Metropolitan Opera and Lithuanian National Opera, in association with West Australian Opera and Perth International Arts Festival

CHRISTOPHER PURVES

The Perfect American, Brisbane Festival and Opera Queensland, in association with QPAC and Griffith University

CLAUDIO SGURA

Tosca, Opera Australia

MICHAEL FABIANO

Faust, Opera Australia

TEDDY TAHU RHODES

Don Giovanni, Opera Australia

BEST OPERA

FARAMONDO, Brisbane Baroque, in association with QPAC

FAUST, Opera Australia

MADAMA BUTTERFLY, English National Opera, Metropolitan Opera and Lithuanian National Opera in association with West Australian Opera and Perth International Arts Festival

THE PHILIP GLASS TRILOGY, State Opera South Australia

BEST CHAMBER AND INSTRUMENTAL ENSEMBLE CONCERT

GOLDNER STRING QUARTET, MUSICA VIVA INTERNATIONAL CONCERT SERIES NATIONAL TOUR 2015,
Goldner String Quartet for Musica Viva Australia

LES ARTS FLORISSANTS and LE JARDIN DES VOIX IN Â JARDIN Ã L’ITALIENNE, Melbourne Recital Centre, Sydney Opera House and Perth International Arts Festival

THE SIXTEEN, Melbourne Recital Centre, Sydney Opera House, Perth International Arts Festival, Queensland Performing Arts Centre and Australian National University of Music, Llewellyn Hall

STEPHEN HOUGH IN RECITAL, Sydney Symphony Orchestra

BEST SYMPHONY ORCHESTRA CONCERT

THE DAMNATION OF FAUST, Melbourne Symphony Orchestra

MAHLER 3, Melbourne Symphony Orchestra

REFLECTIONS ON GALLIPOLI, Australian Chamber Orchestra

TAFELMUSIK’S HOUSE OF DREAMS, Musica Viva

BEST INDIVIDUAL CLASSICAL MUSIC PERFORMANCE

ASHER FISCH

Beethoven Festival, West Australian Symphony Orchestra

CHRISTIAN TETZLAFF

Christian Tetlaff, Melbourne Recital Centre

EMANUEL AX

The Beethoven Piano Concertos, Sydney Symphony Orchestra

WILLIAM CHRISTIE

William Christie, Melbourne Recital Centre, Sydney Opera House, and Perth International Arts Festival

COMEDY


BEST COMEDY PERFORMER

JUDITH LUCY

Judith Lucy – Ask No Questions of the Moth, Token Events

MATT OKINE

The Other Guy ,Century Entertainment

NAZEEM HUSSAIN

Nazeem Hussain – Legally Brown, Live Nation

RONNY CHIENG

You Don’t Know What You’re Talking About, Century Entertainment

SAM SIMMONS

Sam Simmons – Spaghetti for Breakfast, Token Events

CABARET

BEST CABARET PERFORMER

BECCY COLE and LIBBY DONOVAN

The Cowgirl and the Showgirl, Adelaide Festival Centre Trust

CAMILLE O’SULLIVAN

Camille O’Sullivan – Changeling, Arts Centre Melbourne

DAVID CAMPBELL and JOHN BUCCHINO

David Campbell Sings John Bucchino, Luckiest Productions

KIM SMITH

Nova Noir, Adelaide Festival Centre Trust

DANCE AND PHYSICAL THEATRE

BEST BALLET OR DANCE WORK

FRAME OF MIND, Sydney Dance Company

MEETING, Antony Hamilton and Alisdair Macindoe

MOTION PICTURE, Lucy Guerin Inc

PRECIPICE, Rachel Arianne Ogle

BEST CHOREOGRAPHY IN A DANCE OR PHYSICAL THEATRE PRODUCTION

ANTONY HAMILTON

MEETING, Antony Hamilton Projects, Arts House and Insite Arts

NATALIE WEIR

Natalie Weir’s The Red Shoes, Expressions Dance Company and Queensland Performing Arts Centre

RAFAEL BONACHELA

Frame of Mind, Sydney Dance Company

STEPHEN PAGE

Patyegarang, Bangarra Dance Theatre

BEST FEMALE DANCER IN A DANCE OR PHYSICAL THEATRE PRODUCTION

CHLOE LEONG

William Forsythe’s Quintett, Sydney Dance Company

ELISE MAY

Natalie Weir’s The Red Shoes, Expressions Dance Company and Queensland Performing Arts Centre

JESSE SCALES

William Forsythe’s Quintett, Sydney Dance Company

MADELEINE EASTOE

Giselle, The Australian Ballet

BEST MALE DANCER IN A DANCE OR PHYSICAL THEATRE PRODUCTION

ALISDAIR MACINDOE

Motion Picture, Lucy Guerin Inc

CASS MORTIMER EIPPER

William Forsythe’s Quintett, Sydney Dance Company

DAVID MACK

William Forsythe’s Quintett, Sydney Dance Company

JACK ZIESING

Natalie Weir’s The Red Shoes, Expressions Dance Company and Queensland Performing Arts Centre

BEST VISUAL AND PHYSICAL THEATRE PRODUCTION

BEYOND THE CIRCA, Arts Centre Melbourne and Circa

DISLOCATE’S “IF THESE WALLS COULD TALK”, Marguerite Pepper Productions

THE PAPER ARCHITECT, Davy and Kristin McGuire and Perth International Arts Festival

TABAC ROUGE, Produced by Compagnie du Hanneton, presented by Sydney Festival

REGIONAL TOURING PRODUCTIONS

BEST REGIONAL TOURING PRODUCTION

FESTIVAL OF CIRCA, Circa

FOOD, Force Majeure and Belvoir

KELLY, Queensland Theatre Company

SONS & MOTHERS, Performing Lines and No Strings Attached Theatre of Disability

CHILDRENS PRESENTATIONS

BEST PRESENTATION FOR CHILDREN

CARNIVAL OF THE ANIMALS, Circa and Queensland Performing Arts Centre

HANS CHRISTIAN, YOU MUST BE AN ANGEL, Sydney Opera House and Arts Centre Melbourne

PETE THE SHEEP, Monkey Baa Theatre Company

THE RABBITS, Opera Australia and Barking Gecko Theatre Company, in association with West Australian Opera, co- commissioned by Perth International Arts Festival and Melbourne Festival

THEATRE


BEST DIRECTION OF A PLAY

ANDREW UPTON

Endgame, Sydney Theatre Company

CLARE WATSON

What Rhymes with Cars and Girls, Melbourne Theatre Company

KIP WILLIAMS

Suddenly Last Summer, Sydney Theatre Company

SARAH GOODES

Switzerland, Sydney Theatre Company

BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A PLAY

HELEN THOMSON

After Dinner, Sydney Theatre Company

JULIE FORSYTH

Endgame, Melbourne Theatre Company

PAMELA RABE

Beckett Triptych – Footfalls, State Theatre Company of South Australia, in association with Adelaide Festival

SARAH PEIRSE

Endgame, Sydney Theatre Company

BEST FEMALE ACTOR IN A PLAY

JULIE FORSYTH

Night on Bald Mountain, Malthouse Theatre

PAMELA RABE

The Glass Menagerie, Belvoir

ROBYN NEVIN

Suddenly Last Summer, Sydney Theatre Company

SARAH PEIRSE

Switzerland, Sydney Theatre Company

BEST MALE ACTOR IN A SUPPORTING ROLE IN A PLAY

BRUCE SPENCE

Endgame, Sydney Theatre Company

GLENN HAZELDINE

After Dinner, Sydney Theatre Company

JOHN BELL

As You Like It, Bell Shakespeare

LASARUS RATUERE

Kill the Messenger, Belvoir

BEST MALE ACTOR IN A PLAY

HUGO WEAVING

Endgame, Sydney Theatre Company

HUNTER PAGE-LOCHARD

Brothers Wreck, Belvoir

PETER CARROLL

Oedipus Rex, Belvoir

STEVE RODGERS

Eight Gigabytes of Hardcore Porn, Griffin Theatre Company and Perth Theatre Company

BEST PLAY

CALPURNIA DESCENDING, Malthouse Theatre and Sydney Theatre Company

ENDGAME, Sydney Theatre Company

THE GLASS MENAGERIE, Belvoir

SUDDENLY LAST SUMMER, Sydney Theatre Company

MUSICALS


BEST CHOREOGRAPHY IN A MUSICAL

ANDREW HALLSWORTH

Anything Goes, Opera Australia and John Frost

KATE CHAMPION and MICHELLE LYNCH

Dirty Dancing – The Classic Love Story on Stage, John Frost

MICHAEL ASHCROFT and GEOFFREY GARRATT

Les Misérables, Cameron Mackintosh Australia

STEVEN HOGGETT

Once, John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo

BEST DIRECTION OF A MUSICAL

DEAN BRYANT

Anything Goes, Opera Australia and John Frost

JOHN TIFFANY

Once, John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo

LAURENCE CONNOR and JAMES POWELL

Les Misérables, Cameron Mackintosh Australia

STUART MAUNDER AM

Into the Woods, Victorian Opera

BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL

AMY LEHPAMER

Once, John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo

CLAIRE LYON

Anything Goes, Opera Australia and John Frost

KERRIE ANNE GREENLAND

Les Misérables, Cameron Mackintosh Australia

LUCY MAUNDER

Into the Woods, Victorian Opera

BEST FEMALE ACTOR IN A MUSICAL

CAROLINE O’CONNOR

Anything Goes, Opera Australia and John Frost

HELEN DALLIMORE

Blood Brothers, Enda Markey Presents

MADELEINE JONES

Once, John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo

PATRICE TIPOKI

Les Misérables, Cameron Mackintosh Australia

BEST MALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL

ALEX RATHGEBER

Anything Goes, Opera Australia and John Frost

BRENT HALL

Once, John Frost, Barbara Broccoli, John N. Hart Jr, Patrick Milling Smith, Frederick Zollo

CHRIS DURLING

Les Misérables, Cameron Mackintosh Australia

COLIN DEAN

Once, John Frost, Barbara Broccoli, John N. Hart Jr, Patrick Milling Smith, Frederick Zollo

EDDIE MULIAUMASEALI’I

Show Boat, The Production Company

TREVOR ASHLEY

Les Misérables, Cameron Mackintosh Australia

BEST MALE ACTOR IN A MUSICAL

HAYDEN TEE

Les Misérables, Cameron Mackintosh Australia

SIMON GLEESON

Les Misérables. Cameron Mackintosh Australia

TODD MCKENNEY

Anything Goes, Opera Australia and John Frost

TODD MCKENNEY

La Cage Aux Folles, The Production Company

BEST MUSICAL

ANYTHING GOES Opera Australia and John Frost

DIRTY DANCING – THE CLASSIC LOVE STORY ON STAGE, John Frost, Karl Sydow, Martin McCullum and Joyce Entertainment

LES MISÉRABLES Cameron Mackintosh

ONCE John Frost, Barbara Broccoli, John N. Hart Jr., Patrick Milling Smith, Frederick Zollo

2015 HELPMANN AWARDS BESTOWED AWARD

BEST SPECIAL EVENT


PERTH INTERNATIONAL ARTS FESTIVAL IN ASSOCIATION WITH ROYAL DE LUXE, The Incredible and Phenomenal Journey of the Giants to the Streets of Perth

LIFETIME ACHIEVEMENT AWARDS

SUE NATTRASS AWARD^TM:

ERIC ROBINSON

JC WILLIAMSON AWARD®:

PAUL KELLY

THE BRIAN STACEY AWARD 2015 (for emerging Australian Conductors):

JESSICA GETHIN

Photos: #1-10 Simon Parris; #11 Kurt Sneddon, #12, #13, #16 Jeff Busby, #14 Lisa Tomasetti; #15 Prudence Upton

Acclaimed singing actor Simon Gleeson shares an eclectic mix of heartfelt ballads in his debut album Elements. Music theatre audiences who have heard Gleeson’s extraordinary voice live in the theatre will welcome the chance to listen and re-listen to him sing on this recording.

A storyteller of the highest calibre, Gleeson’s intelligence shines through in the detailed expression heard in these songs. To some extent, Gleeson’s voice defies classification; he soars effortlessly to the high notes of a tenor yet also has the commanding depth of a baritone in his middle and lower range. He can effortlessly switch from a falsetto-like whisper to an authoritative use of volume as befits the phrase. Crisp diction ensures that the text of each song is heard with sterling clarity.

Unlike similar recordings where the sound has been somewhat filtered or softened, Gleeson’s voice has a forward presence in the tracks. This means that breath is often heard between phrases, adding to the intimate sensation of hearing him sing live.

Accompaniment is largely grand piano, with additional strings and guitar fleshing out some of the arrangements. Gleeson’s voice is so compelling, however, that the accompaniment tends to go subtly unnoticed.

An artist of the highest integrity, Gleeson has cast aside the idea of a crowd-pleasing album of standard music theatre hits to assemble a track list that is linked more by emotional content than genre. The carefully selected songs illuminate the feelings of a husband and lover, father and protector.

While Gleeson has performed in a varied list of musicals across Melbourne, Sydney and London, only two tracks on Elements  are from roles he has played on stage. Foremost is “Bring Him Home,” the prayer he currently sings eight times a week in Les Misérables. Gleeson’s moving portrayal of the role of Jean Valjean has brought acclaim across the country, and has earned him a 2015 Helpmann Award nomination.

In 2012, Melbourne audiences swooned at the adult romance of Anatoly and Florence as played by Gleeson and Silvie Paladino in The Production Company’s staging of Chess. From Chess, Gleeson sings the stirring act one finale, “Anthem.”

Elements begins with the startling pure beauty of “A Bit Of Earth,” from 1991 Broadway musical The Secret Garden. The parental concern expressed in this song is amplified in later track “Stay With Me,” from Stephen Sondheim’s Into the Woods. A second Sondheim selection is “Being Alive,” the finale of Company that sees Robert realise it is better to risk love than stay single.

This kind of mournful longing is also heard in Wendy Matthews’ “The Day You Went Away” and Matt Alber’s “End of the World.” Continuing this theme, Gleeson is joined by his beloved wife Natalie O’Donnell for a duet arrangement of “Sorry Seems To Be The Hardest Word.” Rather than sing a schmaltzy song about how much in love they are, Gleeson and O’Donnell invert their relationship with Elton John’s tender ballad about a couple who find love and communication to be challenging.

A particularly effective arrangement on the album is the seamless pairing of The Beatles’ “Something” and Billy Joel’s “She’s Got A Way” in an integrated medley that shifts back and forth between the two original songs.

Finally, to give an example of Gleeson’s impeccable diction, I am not embarrassed to share a revelation I received in a song I have heard countless times. On first listen to his rendition of “If I Loved You,” from Rodgers and Hammerstein’s classic 1945 musical Carousel, I finally heard and understood the word “land”*:

The tide’s creepin’ up on the beach like a thief,

Afraid to be caught stealing the land!

Fans who have enjoyed Gleeson on stage will surely cherish Elements.

Elements is released 10 July 2015.

Elements can be purchased from the official Simon Gleeson website and from iTunes.

Photos: #2, #3, #4, #7 Simon Parris; #5, #6 Jeff Busby

*I used to think the word was “lamb.” Oh the shame.

In a stunning return to top form, The Production Company gives Broadway’s jewel in the crown the polish and respect it deserves with sensational results.

Created by four titans of Broadway, West Side Story changed the face of music theatre when it opened it 1957. The classical influences of Leonard Bernstein’s score, the ingeniously updated Shakespearean plot of Arthur Laurents’ book, the fresh ingenuity of Stephen Sondheim’s first Broadway lyrics and the dazzling excitement of Jerome Robbins’ direction and choreography combined for a groundbreaking musical that was even greater than the not-inconsiderable sum of its parts.

In presenting this terrific choice for their fiftieth show, The Production Company has not only waited until they well and truly have the resources to do it justice, but have also benefited immeasurably from the massive increase in performance training in Australia across the seventeen years the company has been in existence. Mounting such a fully realised production in three weeks is a miracle borne of the passionate dedication of young theatre artists and the expert training they are able to receive.

Director Gale Edwards is back to the excellent results achieved in Chess and Gypsy, leading with a decisive hand to present compelling storytelling telling that is as clear as it is affecting. Thankfully, Laurents’ seminal book is presented intact, the juvenile hooliganism, pointless street violence and thwarted dreams still disturbingly relevant today.

The spectacular large-scale set by Shaun Gurton uses towering wire fences to represent oppressive constriction that leads the young characters to rebel. Clever use of scaffolding portrays the famous balcony scene, and washing lines fly in to add to the feeling of tenement housing. Additional scenes, such as Doc’s and the Bridal shop, are efficiently created downstage with a few simple props.

While Edwards makes confidence use of the height and breadth of the stage, the impact of the action, particularly the book scenes, is unduly diminished by the cavernous auditorium of the State Theatre.

Musical director Guy Simpson leads a sensational performance of Bernstein’s exhilarating score, presiding with unfailing flair and expertise over a full complement of 31 superb musicians from Orchestra Victoria. Required to play a range of musical styles, from big band jazz to Latin to classical to Broadway and more, the musicians prove themselves terrifically capable. The sound design of System Sound is reliably meticulous.

A towering achievement here is the dazzling, electrifying and immensely satisfying quality of the dancing. Emerging choreographer Michael Ralph has expertly recreated, taught and drilled Robbins’ original choreography to thrilling effect. The cast performs the choreography with a confidence that completely defies the tight rehearsal period. Combined with equally strong vocal and acting talents of the cast, numbers such as “Prologue,” “Cool” and “The Dance at the Gym” really fly. The only casualty to the restricted rehearsal time is the loss of part of the “Somewhere Ballet,” and yet by staging just the dreamily serene section of the ballet, Ralph, Simpson and Edwards have made it more of an oasis amidst the carnage, celebrating Tony and Maria’s peaceful vision without the need to telegraph the further bloodshed to come.

Adding significantly to the quality of the staging is the lighting design of Trudy Dalgleish. The mood of each scene is enhanced by clever colour choices, right down to the colour of the twinkling star cloth. Dalgleish uses the hanging washing as a canvas for colour, and even lights the onstage orchestra atmospherically.

The one weak link in the production is the costume design of Tim Chappel. While Chappell has provided a good number of appropriate, attractive costumes, the Rocky Horror meets Romper Stomper look for the Jet Girls is completely out of place with the authentic setting for the staging. Having Tony in a singlet undermines his usually clean-cut look in showing that he is trying his best to move on from the gang. The use of blue and red to delineate the Jets and Sharks is slightly blurred, creating confusion in company numbers.

The true quality of the production comes not just from the terrific dancing but also by the fact that this is balanced by the heavenly performances of Anna O’Byrne and Gareth Keegan as Maria and Tony.

Returning to her hometown from her burgeoning career on London’s West End, O’Byrne is nothing short of divine as Maria. The role showcases O’Byrne’s angelic soprano perfectly, also drawing on her dramatic and comic skills as an actress. O’Byrne conveys the wonder and guileless naivety of a teenage girl, breaking hearts all the more when this trusting innocence is so brutally destroyed.

Keegan’s fine tenor soars effortlessly through Tony’s songs. The fact that a Broadway import was needed for this role twenty years ago is now unthinkable. Keegan’s acting is not quite on the powerhouse level of O’Byrne’s, but the pair enjoys pleasing chemistry, and their duets are beautifully blended.

Quality casting continues right through the company. Magnetic performer Adam Fiorentino gives Bernardo the unshakeable self-assurance and confident strut of a young man who believes in his immortality. Sean Mulligan conveys the charismatic leadership of Riff, while keeping the character’s youthful inexperience bubbling just below the surface. Fiorentino and Mulligan make such an impact in act one that their presence in act two is noticeably missed.

The triple threat nature of Anita was clearly shown on opening night when it took three actresses to play the role. Unfortunately suffering from laryngitis, Deone Zanotto acted and danced (sensationally) on stage, while assistant director Natalie Gilhome provided the dialogue and Amanda Harrison provided the singing. Incredibly, this arrangement worked seamlessly, a testament to the skills of all three women.

The four adult characters clearly portray the gaping generation gap. Neil Melville captures the driven bitterness of Schrank. Tony Rickards conveys the broken despair of Doc. Dean Vince neatly underplays the awkwardly futility of Krupke. Glaston Toft provides welcome levity as square do-gooder Gladhand

In a well-judged performance, Jared Bryan displays the simmering pent up rage of Action, and shines in heaven-sent act two tension-breaker “Gee, Officer Krupke.” Rob Tripolino delivers another sensitive, carefully thought out characterisation as Chino.

Sage Douglas is electric as aggressive tomboy Anybody’s, landing the economically-written character arc with deft precision. Bianca Baykara is a delight as Rosalia, delivering wide-eyed comedy in “America” and lovely singing in “Somewhere.”

The full company give their all, but to name just a couple of standouts, Alex Given has presence and energy to spare as A-Rab, Franky Drousioti is endearingly innocent as Baby John, and Blake Appelqvist, a particularly strong triple threat, shows himself a performer to watch as Diesel.

West Side Story will thrill long time fans and blow the minds of newcomers.

West Side Story plays at State Theatre, Arts Centre Melbourne until Sunday 19 July 2015

Photos: Jeff Busby

Sterling musicianship, high production values and a quirky, highly talented cast bring out the compelling lustre in Stephen Sondheim and Hugh Wheeler’s “dark operetta” Sweeney Todd.

Sweeney Todd proves an excellent choice for the third installment of Victorian Opera’s Sondheim Trilogy. The quasi-operatic style and form suit the company, which again proves far more adept at casting its regular artists than Opera Australia has with its recent musicals. A partnership with New Zealand Opera allows a higher budget for Sweeney Todd, which is put to excellent use in this handsome, expertly realised production.

The staging of this intricate work benefits from being housed in the relatively intimate space of the Playhouse Theatre. At stage level and higher, the action is mostly played downstage, facilitating a close bond between audience and performers.

Director Stuart Maunder has clearly mined the text for full meaning and impact. Every word lands with crisp clarity, not just vocally but contextually. Maunder creates a slightly heightened sense of each character while still maintaining as naturalistic an atmosphere as the bizarre menagerie of characters will allow. Storytelling is crystal clear, and while there is plenty of welcome humour to relieve the tension, the overall lack of melodrama allows the climactic twists to be keenly felt.

Masterfully thorough preparation by musical director Phoebe Briggs results in a highly polished performance of the fiendishly challenging score. The twelve musicians from Orchestra Victoria must be of the highest calibre as the music has the richness of a larger orchestra. Percussive colour is expertly brought out by Conrad Nilsson, enhancing the music and onstage drama alike.

Briggs and Maunder are well served by twelve supremely talented ensemble members. Each performer delivers fascinating character work and sings the score with impeccable accuracy. Harmonies are precise, with act two piece “The Letter” being a particularly haunting highlight for the five singers involved.

While a couple of cues were missed on opening night, Jim Atkins’ sound design is clear and well balanced.

Designer Roger Kirk fills the height, width and depth of the stage almost to overflowing with a sturdily constructed depiction of industrial Victorian London. Wooden stairs and walkways represent docks, balconies and bridges, with central settings entering through two massive rear dock doors. Flexible use is made of the large revolving unit that houses Mrs Lovett’s notorious establishment. The audience is thrilled by the mechanism of Sweeney’s gleaming barber’s chair.

Kirk’s costumes are impressively individual for the full company. An example of the high production values comes in the elaborate masks for the brief flashback to Judge Turpin’s ball. Pirelli’s faux-regal garb is amusingly gauche, Toby’s colourful stripes are endearingly boyish and Johanna’s pale pink dress is sweetly angelic. The onstage costume change of the ensemble from townsfolk to asylum inmates is a clever touch. One odd choice is that Mrs Lovett’s flashier red and black ruffled gown, afforded when business is booming, is too similar to her plainer red and black ruffled gown. Also, hair, make up and attire make the Beggar Woman look distractingly like Grizabella*.

Beginning with the slow build of the Prelude, Philip Lethlean’s lighting design adds layers of atmosphere and tension, deliberately only allowing the eye to see the intended focus. Kirk’s design and Maunder’s fluid direction are both enhanced by the lighting.

Creative input aside, a production of Sweeney Todd largely stands or falls based on its lead performer. Teddy Tahu Rhodes has the authoritative vocal darkness and solemn introspection well covered, but his overall performance is undone by shortfalls in has acting ability. Foremost in this regard is Rhodes’ inability to shake his New Zealand accent for the dialogue. His performance reaches a peak around the end of act one, with a powerful rendition of “Epiphany” followed by a suitably straight foil to Mrs Lovett in choice comic duet “A Little Priest.” His singing and acting in murderous act two sequence “Johanna” are pleasing. Of particular disappointment, however, is Rhodes’ underwhelming delivery of Todd’s reaction to the ultimate tragedy of his actions, which undermines the power of the climax.

Accomplished soprano Antoinette Halloran is an utter delight as Mrs Lovett, wickedly gaining our affection while the character commits all manner of fiendish deeds. Although looking perhaps just a tad too clean and pretty, Halloran’s performance is faultless, clearly conveying the desperate but ingenious machinations of the wily survivor, a woman so gruesomely vain that she checks her reflection in a butcher’s knife.

Handsome tenor Blake Bowden is quality casting as Anthony, singing the role beautifully and capturing the wide-eyed innocence of the unsullied young man. New Zealand-born Amelia Berry imbues the fair Johanna with a lovely soprano. In a well-considered acting choice, Berry plays Johanna as manically unbalanced herself while unfairly imprisoned in the asylum.

Versatile performer Ross Hannaford conveys the bubbling energy and endearing pathos of stray waif Tobias. Appearing as little more than a teenager, Hannaford sings the role with flair and gusto, maintaining an endearing vulnerability in the character despite the underlying confidence of his performing skills.

Chameleon-like performer Kanen Breen creates another highly memorable characterisation as slimy Beadle Bamford. His parlour songs are quite hilarious and the flick of his long hair as he sets off for a shave, not knowing it is to be his last, is a hoot.

While Phillip Rhodes is a touch too young and handsome for the insidious Judge Turpin, he nonetheless portrays the unconscionably vile man with flair. Based on the overall tone of the production, Judge Turpin’s self-flagellation reprise of “Johanna” (occasionally reinstated after being cut from the original production) is wisely omitted. Hopefully a future appearance will allow more of Rhodes’ fine baritone to be heard.

Excellent mezzo-soprano Dimity Shepherd immerses herself in the role of the wretched Beggar Woman, unrecognisable beneath the rags and greying wig. Shepherd’s presence and reactions throughout the tale reward viewers who know the full story.

David Rogers-Smith channels his former starring role as The Phantom of the Opera’s Piangi as vainglorious barber Adolfo Pirelli. In an example of the clarity achieved by the direction and the intimacy of the performance space, the exposure of Pirelli’s true colours comes across brilliantly.

Sondheim fanatics and music theatre lovers in general will appreciate the loving care that has gone into this production. Reservations about Rhodes’ acting are largely compensated by the strength of his singing and the overall quality of the full cast.

Sweeney Todd plays at Playhouse, Arts Centre Melbourne until 25 July 2015.

The Sweeney Todd program can be read online.

Man in Chair reviewed the two previous entries in Victorian Opera’s Sondheim Trilogy:

Alexander Lewis and Christina O’Neill in Sunday In The Park With George

Queenie van de Zandt and Christina O’Neill in Into The Woods

*at least this means that after meeting her grisly fate, one could take solace that the dear Beggar Woman was going up, up, up to the Heavyside Layer

Photos: Jeff Busby

A top cast and solid production values elevate independent production Blood Brothers.

The West End’s third longest running musical, Blood Brothers is a dramatically charged potboiler with a poetic book and lyrics by Willy Russell (Shirley Valentine, Educating Rita). Russell’s simple music is highly hummable and well matched to the lively working class characters.

With too many mouths to feed already, fertile young wife Mrs Johnstone falls prey to her wealthy employer Mrs Lyons, who wishes to adopt one of the forthcoming twins. Early exposition strains belief, even for a musical, but the concept must be quickly absorbed for the remaining drama to play out effectively. Playing on Mrs Johnstone’s superstitious nature, Mrs Lyons threatens that twins separated at birth will both die if reunited. No spoiler alerts needed here as the tragic ending is stated in the opening lines of the musical.

In an effort to maintain dramatic tension, Russell has the spooky narrator utter ominous premonitions and indictments all the way through the show. Even with the impeccable delivery of Michael Cormick, this device becomes heavy handed, particularly when the central story is compelling enough in its own right. Cormick brings a sinister whisper to the Narrator’s portentous lines, nicely balancing this with a knowing wink in the Narrator’s multiple cameo roles.

The story follows Mickey and Edward from birth through to their early 20s, with a significant portion set in their childhood. Director Andrew Pole keeps energy infectiously high for the playground scenes, but wisely keeps dramatic scenes restrained and naturalistic, avoiding the potential for clunky melodrama as the story twists and turns.

The show really takes flight in act two, when the youths move through adolescence to early adulthood and the love triangle between Mickey, Edward and lifelong friend Linda plays out. The writing is grounded and involving here, and the three central performers are outstanding.

Bobby Fox demonstrates his dramatic range as plucky battler Mickey, clearly conveying the character’s simmering battle between optimism and despair. Fox lands plenty of welcome laughs, and his delivery of “I wish I was our Sammy” is a highlight of act one. His portrayal of Mickey’s crippling depression is also sensitively handled.

In a welcome return to the music theatre stage, Josh Piterman gives a nuanced performance as Edward, cleverly balancing the character’s sheltered, wealthy upbringing with the laddish tendencies that lie genetically beneath the surface. Piterman’s gorgeous tenor is heard all too briefly in Edward’s act two ballad “I’m Not saying A Word.” Piterman’s unbridled portrayal of Edward’s effervescent naïveté brings many delightful moments.

In a charming, beautifully understated performance, Christy Sullivan is sweetly endearing as Linda, charting the young woman’s development (which, naturally, is out of step with the boys) with deft precision.

As the central character of Mrs Johnstone, Helen Dallimore also displays a carefully considered understated style, lightly etching the poor woman’s woes on her face and body rather than overplaying the traumatic developments. Dallimore seemed to be not quite in full voice on opening night, but her singing was nonetheless sweetly expressive, with many songs tugging at the heartstrings.

Bronwyn Mulcahy plays the demented Mrs Lyons straight, strengthening the believability of the role. Jamie Kristian is wonderfully sleazy and grotty as no-good older brother Sammy. Talented actor Matt Edwards flips between cheery and gruff in a range of supporting roles. Erin James plays an incredible number of roles, including dear Donna Marie, expertly creating looks and expression to distinguish each role in a unique way.

Kellie Dickerson’s music direction is reliably pristine. The four musicians, including Dickerson on keyboards, create the light rock sound of the 1980s score. Set and costume design by Anna Gardiner is sturdy and flexible to suit the many situations and time periods. Christopher Page’s lighting is noteworthy in that does not draw attention to the lights, just to the action.

As a music theatre piece, Blood Brothers is a product of its time and will not necessarily be to the taste of all current music theatre fans. This production and cast certainly bring out the best in the show. It is not often that such a strong cast can be enjoyed at reasonable prices in such in such an intimate theatre.

Blood Brothers plays at Alex Theatre, St Kilda until 2 August 2015.

Man in Chair reviewed the 2015 Sydney season of Blood Brothers.

Photos: Jeff Busby

The Production Company ventures where commercial producers, and even subsidised companies lately, dare not tread to bring us the first mainstage Australian premiere of a Broadway musical this year. The move pays off handsomely, with a joyous evening of glorious music and comic delight. 

Such is the popularity of those evergreen Gershwin brothers, this “new” 2012 musical is not even the newest Broadway show to feature their delectable tunes (that honour would go to 2015 smash hit An American in Paris).

Loosely based on 1926 musical Oh, Kay, book writer Joe DiPietro updates the writing, but not the setting, of Guy Bolton and P. G. Wodehouse, assembling some twenty Gershwin treasures into this sassy, featherlight confection. Despite being set at the height of Prohibition, comments about stupid politicians and their stupid decisions seem all the more timely here and now.

A new musical has a massive advantage, of course, when its songs are not only recognisable but are amongst some of the greatest written for the stage. In a kind of pre-jukebox jukebox musical, the jaunty title song is joined by the whimsical “Let’s Call The Whole Thing Off,” the infectious “’S Wonderful” and the sweetly melancholic “Someone To Watch Over Me.” “Fascinating Rhythm” provides some of the show’s best dance music for the act one finale. A mashup of “By Strauss” and “Sweet and Lowdown” contrasts the world of the duchess and the bootlegger with competing time signatures. The shows draws toward its end with poignant 11 o’clock number “Will You Remember Me?.”

All of this wonderful music is played in roaring ‘20s style by seventeen terrific musicians from Orchestra Victoria. In his exacting, inimitable style, music director John Foreman brings extra zip, zest and zing to the splendid score.

There may be one subplot too many, but director Roger Hodgman keeps the zany action frothing along so that the lengthy running time is barely noticeable. The comic crescendos of each act land with well-orchestrated timing, generating many belly laughs along the way. As with his similarly strong recent work on Opera Australia’s Don Pasquale, Hodgman underpins the comedy with the humanity of the characters, grounding and balancing the work with a degree of reality.

Dana Jolly’s sprightly, well-drilled choreography greatly enhances the effervescent tone of the show. It certainly helps that Jolly is blessed with a leading man whose dancing skills are vastly superior to Broadway star Matthew Broderick. Ensemble numbers such as “Fascinating Rhythm” and orchestral act two opener “Lady Be Good” break out with infectious energy, using the full width of the State Theatre stage.

Costume designer Isaac Lummis has really hit his strides with Nice Work If You Can Get It, designing with confidence, vision, flair and wit. Highlights include, but are certainly not limited to, the scanty chorine outfits for the opening speakeasy scene, the chorus girls’ gorgeous blue and white outfits and Mother’s shimmering black and silver getup beneath her luxurious white fur.

Set designer Christina Smith houses the orchestra on a dramatic incline, creating scenes downstage with ingenious use of three neatly matched, darkly decadent doors. The bathtub scene and swinging chandelier effect of the original are staged with aplomb. Rear projections help to suggest locations, and, in a classy touch, are artistically matched to the program and marketing materials.

Lighting designer Trent Suidgeest seems somewhat hampered by working around the rear projections. The floor of the stage is often bathed in vivid colour, but spotlights are used poorly, cutting off dancers at the knees.

While each has a substantial resume of work in their own right, the three stars of Nice Work If You Can Get It each owe a degree of gratitude to The Production Company for exposure and opportunities over the years. This investment in talent by the company pays rich dividends here, with three truly wonderful, individual and memorable performances.

Delivering suave, smooth vocals, Rohan Browne has never sounded better. As likeable playboy Jimmy Winter, Browne’s nifty dancing skills are well employed. Rarely offstage, Browne plays the large role with unflagging energy.

A leading lady who is a bit of a tomboy may seem an odd choice for a Broadway musical, but in the hands of singing actress Esther Hannaford, bootlegger Billie Bendix is an adorably plucky charmer. The role gives Hannaford the chance to display hilarious physical comedy skills. She balances this with heartfelt beauty in the ballads, breathing life into the songs to make them sound like they were written specifically for this show.

Christie Whelan Browne is an utter delight as daffy Eileen Evergreen, a woman so vain it barely even registers with her that she is part of a love triangle. Whelan Browne scores many a wicked laugh portraying Eileen’s “talent” as the world’s finest interpreter of modern dance. The role also gives Whelan Browne the chance to display a sparkling soprano. Joined by a bevy of bathing beauties, act one’s “Delishious” is a true standout.

The term “surprisingly good” is a thinly veiled backhanded compliment, but, in all seriousness, it seems all too apt in describing George Kapiniaris’ performance as Cookie McGee. We all knew he was funny, but who knew Kapiniaris had such deft musical comedy skills? Hodgman obviously knew (having directed Kapiniaris in Chitty Chitty Bang Bang), and his insight is our gain. Kapiniaris underplays the comedy perfectly, and sings and dances with the best of them.

Gina Riley is in strong form as the withering Duchess Estonia Dulworth. Channeling Carol Channing byway of Auntie Mame, Nicki Wendt steals the final minutes of the show when Jimmy’s mother, Millicent, finally appears.

Nice Work If You Can Get It plays at State Theatre, Arts Centre Melbourne until 23 August 2015.

Man in Chair reviewed Matthew Broderick and Kelli O’Hara in Nice Work If You Can Get It on Broadway.

A quick footnote to The Production Company: if your audiences follow you to the Australian premiere of Nice Work If You Can Get It, there is an abundance of recent Broadway shows just waiting to be enjoyed in Australia. From similar shows like Bullets Over Broadway and A Gentleman’s Guide to Love and Murder, to Cinderella, Honeymoon in Vegas, It Shoulda Been You (for the Playhouse), Newsies and even Something Rotten and Finding Neverland if no one else grabs them.

Photos: Chris Parker

Music theatre lovers rejoice! The sea of revivals has parted to deliver a bona fide world hit, and the Australian production is a dream come true.

Wickedly subversive, endlessly inventive and as funny as it is moving, Matilda is sheer joy for adults and children, boys and girls alike. Dennis Kelly’s book deftly sidesteps the inherent risk of saccharine sentimentality in children’s stories with elements of horror and fantasy on par with the qualities have ensured ongoing affection for films such as The Wizard of Oz and Willy Wonka and the Chocolate Factory.

Speaking of the ‘Wizard’ of Oz, Tim Minchin’s music and lyrics would be cause for celebration in the most experienced of composers; from a music theatre newcomer they are nothing short of extraordinary.

Brimming with mischievous wit, the clever lyrics are set to hummable, instantly accessible music. Minchin delivers rousing anthems, such as the addictive “Revolting Children” and poignant ballads, such as the tender “This Little Girl.” The opening song/sequence “Miracle” hurtles through early exposition and may have parents squirming in their seats as they recognise themselves in the dreadfully biased parents on stage. Minchin’ s canniest gift here may be his inversion of the charm song, giving each of the Wormwood parents a grotesquely un-charming character number. Mrs Wormwood lectures Miss Honey that you have to be “Loud” and Mr Wormwood shares that all he knows he learnt from “Telly.”

Kelly and Minchin avoid another all too common trap by treating the audience’s intelligence with respect. Enhancing Roald Dahl’s magical tale, Kelly has added a mystical thread in Matilda’s storytelling. No spoilers here, except to say that careful listening will be well rewarded.

Just as we witness the birth of Elphaba in the opening sequence of Wicked, so we see Mrs Wormwood, worried she may have wind, go to hospital and give birth to Matilda. While the horror of Elphaba is her cabbage-green skin, Matilda terrifies her parents with her love of books and disinterest in television.

Sent to Crunchem Hall with a batch of little Miracles, Matilda spellbinds the librarian with her imaginative storytelling, earns the affection of dear Miss Honey and leads the revolution against the hideously tyrannical Miss Trunchbull.

A terrifying literary creation if there ever was one, The Trunchbull derives a level of gleeful malevolence in following rules and doling out punishments not seen since the original Joan Ferguson.

Director Matthew Warchus displays his penchant for magical stagecraft whilst also grounding the larger than life characters with just the right amount of truth and humanity. Storytelling is crystal clear, despite the deceptively large abundance of details to take in on first viewing, and diction is clear and precise.

Rob Howell’s ingenious abstract design houses specific scenes with a minimum of props against towering walls of scattered play tiles. If your gaze wanders for a moment, there are all sorts of words and symbols to find spelled out in the seemingly chaotic design. With a scope that fits the mighty Sydney Lyric space perfectly, the scale of production is grander here than in London’s Cambridge Theatre or Broadway’s Shubert Theatre.

Howell’s costumes are a cavalcade of colour and cheeky details, from the hefty bosom of Miss Trunchbull (looking just like Quentin Blake’s illustrations) to Mrs Wormwood’s garish mix of hot pink and electric blue. Nifty touches include The Escapologist’s top hat of chains and locks and Mrs Phelps’ layers of colourful beads.

A segment that highlights the level of collaboration in the creative team is the use of the alphabet in “School Song.” Cast members perform Peter Darling’s choreography as they climb Howell’s school gate singing Minchin’s alphabetised lyrics as they place lettered tiles into the set pinpointed by Hugh Vanstone’s lighting.

Much as Oliver! and Annie are seen as musicals full of child actors, the material for children in those shows can only be described as token compared to the riot of singing and dancing by the young cast of Matilda. Darling’s demanding, energetic choreography is a thrill to behold, and the children sing with hearty gusto.

On opening night, Matilda was played by Bella Thomas, a young actress who is winsomely mature beyond her years. A tirelessly strong singer and actor, Thomas’ expressive face changes from resolute to vulnerable in a heartbeat, easily winning her the heart of every audience member.

Upstaged by the sensational child actors, and surely not begrudgingly so, the adult actors are splendidly cast and give high-octane performances.

James Millar is a sheer delight as the deliciously hideous Miss Trunchbull, wickedly whispering her insidious threats and demands with a subtle but infectious twinkle in his eye. Delivering act two’s showstopper to end all showstoppers, “The Smell of Rebellion,” Millar channels a bit of Merman mixed with his own inimitable style.

Elise McCann is a wonderfully endearing Miss Honey, giving the character just enough plucky resolve beneath her timid exterior. Blessed with a warm middle register as well as sweet high notes, McCann’s singing is a pleasure to hear.

Marika Aubrey is electric as the deeply shallow Mrs Wormwood, spitting out her lines with gleeful venom. Daniel Frediksen gives an almost vaudevillian comic performance as the decidedly stupid Mr Wormwood. Cle Morgan is warm, earthy and quirky as loving librarian Mrs Phelps.

Matilda is sure to be a white-hot ticket in the months to come. Fingers crossed that a Melbourne season will be announced shortly.

Matilda the Musical plays at Sydney Lyric Theatre, currently booking until 29 November 2015.

Man in Chair also reviewed Matilda the Musical on the West End and Matilda the Musical on Broadway.

Photos: James Morgan

A terrific cast, strong production values and lashings of real heart set Mother, Wife and the Complicated Life apart from similar “girls night out” revuesicals.

Completing the rarely achieved task of writing the book, music and lyrics, Amity Dry displays keen insight and strong empathy for a range of characters at differing points of motherhood. Wisely keeping the action light on book scenes and heavy on songs, Dry provides just enough text to link the four characters in a story arc, providing a connection and context for the scenarios rather than just a set of scenes and songs.

The combination of intelligent songs and excellent performers creates abundant laugh-out-loud moments as the audience recognises and appreciates the characters’ situations. Given the potentially frothy nature of such entertainment, Dry bravely includes serious emotional moments that address some rarely spoken truths behind motherhood. The risk pays off with a deeper, more involving show that provides food for thought in addition to all the laughs.

Director David Lampard keeps the action pacy and upbeat, and helps the cast provide clear characterisation for the four distinct characters they play. Lampard also provides the attractive and functional design, which includes an impressive modular rear unit that can be reconfigured to represent any number of homes and locations. Each having a signature colour, the four women have multiple costume changes as the story progresses.

Mark Simeon Ferguson provides light rock arrangements of the score, which is performed by live musicians for the tour. In the absence of a conductor, timing is extremely well synchronised. The four performers are all excellent singers, and sound particularly good together, their voices blending beautifully in the harmonies of the company songs.

Clearly a generous writer, Dry has not simply fashioned the show as a star vehicle for herself. The spotlight is shared between the four characters, who each have dilemmas that arise as the story progresses. Dry plays Kate, a new mother whose trip to Paris is derailed by an unexpected pregnancy. Dry sings the gorgeous lullaby “The Day I Was Chosen” to her newborn baby as they bond. Through comparisons to other mothers, Dry explores the truth behind the façade of the easy perfection of motherhood.

In a winningly warm performance, Nikki Aitken practically steals the show as frazzled mother of three Bec, who seems to be only staying sane thanks to her resilient sense of humour. Aitken is able to flip from broad comedy to tender pathos in a heartbeat, and can belt a big tune or sweetly sing a ballad with equal flair. Aitken scores plenty of laughs, having the audience on her side through all her character’s tribulations.

Rachel McCall is bride-to-be Jessie, who turns into quite a “Bridezilla” with her wedding planning and wedding app dependency. The only character not to have children, Jessie portrays the divide between friends who do not have firsthand understanding of the demands of parenting. McCall and Aitken sing a very funny duet contrasting the sex life of a newlywed and a mother of three.

Susan Ferguson is Lily, successful mother of slightly older children. Lily is a slightly underwritten role, resulting in a lack of impact when her marriage falls apart in act two. Ferguson nonetheless gives it her all in a perky, focused performance.

Mother, Wife and the Complicated Life plays at Chapel off Chapel, Melbourne until 13 September before continuing its national tour.

A pair of high quality performances anchors a lovingly staged boutique presentation of Andrew Lippa and Tom Greenwald’s 1995 musical John & Jen.

A contemplative reflection on family ties, John & Jen explores the long shadow of domestic violence and the redemptive power of love. Empathetic characters and easily identifiable situations, along with smatterings of gentle humour, draw the audience into the characters’ lives and allow the dramatic moments to land with hefty impact.

Six-year-old Jen is excited to have a new little brother, John. The violent nature of their father is deftly woven into the siblings’ early bonding scenes, as we see them wait for Santa and plays “school.” As the years go by, John has a “be careful what you wish for” moment when he goes from grumpily resenting attending Jen’s basketball games to being devastated when she heads off to college in New York. It’s the 1960s and the internet has not been invented, so the pair corresponds by letters, but they grow apart and an angry reunion is followed by a tragedy that means their differences can never be resolved.

Act two starts afresh, cleverly mirroring and inverting some of act one’s scenes and songs. A 1980s talk show sequence condenses the passing of time and airs inner feelings and conflicts. The act reaches another affecting climax, this time providing a bittersweet resolution that hints at an optimistic future.

Terrifically talented singers, Brenton Crosier and Jaclyn De Vincentis impress from the opening notes of the show with the gorgeous quality of their singing voices. They are both strong actors as well, and, although they do not particularly look alike, they create believable family bonds.

Director Mark Taylor neatly downplays the childhood scenes, responding to the elegant simplicity of the libretto by avoiding the manic energy often adopted when adult actors play children (such as is usually seen in Blood Brothers). A delightful moment comes when the children enact the story of George Washington using shadow puppets. Storytelling is clear and involving, fulfilling the respect the book shows towards the audience’s intelligence. Taylor’s directing style is to create authentic interactions rather than having the actors cheat front as is seen in typical music theatre. This strongly supports the sense that we are watching real people rather than fictional characters, and enhances engagement.

In creating a chamber musical for only two performers, Lippa maintains intensity by flowing songs and scenes into each other with very few breaks, even for applause. Melodies are attractively appealing, and Greenwald’s lyrics are intelligent and economical. 

In the extremely capable hands of music director Tyson Legg, Lippa’s score sounds marvelous. Although there are only three musicians, there is a wonderfully rich sound. Extensive and varied percussion, played by Dave George, is excellent.

When portraying scenes set in two different locations, Lippa often uses countermelodies, which can be enjoyed with nicely balanced volume and crisp diction thanks to the combination of Legg’s careful preparation and the singers’ skills.

De Vincentis is particularly strong when belting, and as her character ages there are ample opportunities for this. Cosier has the chance to play more than one character, and his open face clearly conveys when he switches between characters. Much as there a slightly stronger storyline and momentum in act one, the pair seems to really hit their strides in act two as mother and son (playing a difficult teenage boy, Cosier’s height is a distinct asset here).

Designer Sarah Tulloch provides an interesting scenic design with an abstract wooden construct and draped sheets, suggesting a children’s fort. Two sturdy wooden units house multiple hidden props easily accessed by the actors through handy hinged doors.

Costumes do not particularly suggest any of the eras across which the forty-year story is set. With so many period references in the text, attempting some accuracy in this regard should perhaps have been more of a priority. Still, the costumes are flexibly adaptive so as to be easily changed as the characters age.

Clearly a labour of love, this is quality music theatre, presented in an intimate setting at very affordable prices.

Pursued by Bear’s production of John & Jen plays at Chapel off Chapel, Melbourne until 27 September 2015.

Photos: Kayzar Bhathawalla

A perfect fit to the musical comedy genre that has served them so well, CLOC Musical Theatre’s production of The Drowsy Chaperone lives up to the expected standard of high production values that have long been associated with the company.

The show’s leading character is a Broadway fanatic who loves nothing more than to listen to cast recordings and share an endless stream of gossip about musicals and their stars. Such a perfectly apt description is what led to the name of this website!

A favourite amongst music theatre aficionados, multiple Tony Award-winning musical The Drowsy Chaperone has been made much more widely accessible in this production thanks to Alan Burrows’ slow and careful direction. Newcomers will not have any difficulty following the plot of the show-within-a-show or keeping up with the real life foibles and follies of its fabled fictional cast.

While the deliberate pace of the dialogue aids diction and understanding of the story, there is a related cost to the comic timing of the performances. Having watched only the second performance, there is every reason to believe that the cast will find and land more of the laughs as the season progresses.

Musical Director Martine Wengrow delivers a terrifically brassy, jazzy sound from the 13 talented musicians in the band as they play the delightfully infectious score. It a massive compliment to the musicians that the entire audience sat in complete silence during the playout, even while delicious chicken and champagne were waiting in the foyer. Harmonies from the cast are strong and clear, especially as amplified by the redoubtable Marcello Lo Ricco.

Di Crough’s choreography is well suited to the talents of the cast, and stays within the bounds of the type of straightforward but effective movement that would have been seen in operettas of the time.

In contrast with the Broadway, London and Melbourne Theatre Company stagings, this production sits on an expansive stage area, giving a grand feel to the full operetta scenes. As Man in Chair tells the story, faded apartment fittings disappear and far more opulent set pieces glide in to take their place. Set designer Graham McGuffie mixes and matches sets to create a number of scenic combinations, all with plenty of room for dance and drama to play out. Speaking as a Broadway tragic myself, I have to say that it is pretty much unthinkable to stick Playbill covers to the wall, but the mixture of Broadway, West End and movie musical artwork on display makes for fascinating details to take in when the eye wanders about the set. (The inclusion of a hit 2015 Broadway revival is a nice touch.) 

Chief creative achievement on show is surely the stunning, deliciously witty costume design of Victoria Horne, who is completing her tenth collaboration with CLOC. Horne has clearly been inspired by the vintage operetta setting to create the most sumptuous set of costumes that have been seen for this show. The authors have cleverly populated the show-within-a-show with a full range of stock “types,” and Horne not only visually delineates these roles but also further enhances their vanities and eccentricities.

Ingénue Janet van de Graaf scores the cream of the costumes, entering in luscious jeweled purple velvet cape, then going on to feature no less than five costumes for her big number “Show Off.” Doddering matron Mrs Tottendale changes from her little Bo Peep blue gown to a delectable pale pink number. The “drowsy” (read: drunken) chaperone looks fetchingly smart in a glittering black and red pants suit. Even Trix, the friendly aviatrix who saves the wedding day, has an ultra-glamorous silver uniform. 

Keith Tucker’s lighting design draws the eye to the relevant players in the wide playing space, and adds some nifty effects, such as for Kitty the Incomprehensible’s mind reading act. Tucker allows Man in Chair to travel in and around the main action without being lit in the same way.

Working as a true ensemble, the cast is quite evenly matched and each achieves their unique character clearly.

Tony Burge projects an endearing meekness as Man in Chair. Pam Christie Birkett balances vamp and camp as the titular chaperone, a juicy acting role role that also makes good use of her expressive singing voice.

Michelle Hunt is a real find as Janet, giving a dynamic, engaging performance. Hunt’s doe eyed beauty and strong singing voice make her an ideal leading lady. Blair Salmon nails the foppish voice of groom Robert Martin, and impresses in his roller skating scene.

Julia Duke has a sunny presence and a terrific belt as Trix. Ric Birkett projects a devilish glint as frazzled producer Feldzieg. Maree Barnett is suitably daffy as deluded chorine Kitty.

Classy performer Beryle Frees is sunnily senile as dear Mrs Tottendale. Phil Lambert adds an air of authority as beleaguered butler Underling.

Audiences unfamiliar with The Drowsy Chaperone have nothing to fear. Expect old-fashioned fun with a slick air of polish.

The Drowsy Chaperone plays at National Theatre, St Kilda until 17 October 2015

Photos: Ben Fon. Used with permission of CLOC Musical Theatre

In an unforgettable evening of song and story, Audra McDonald brought her once-in-a-lifetime voice to Melbourne last night.

McDonald’s modesty was immediately apparent when the evening began without an obligatory showreel of career highlights. There was no talk of Tony Awards or television, just love of family, support of causes and enthusiasm for new music theatre composers.

Backed by her breezily cool trio, Music Director and pianist Andy Einhorn, Mark Vanderpoel on bass and Gene Lewin on drums, McDonald’s relaxed, intimate delivery made the cavernous Hamer Hall feel like a cozy supper club. The concert had a natural, spontaneous feel, as if the song selections were just unfolding wherever McDonald’s delightful anecdotes took them.

One of the most exciting aspects of seeing McDonald in concert is the chance to actually see her as herself. Being such a consummate actress, she completely immerses herself in roles so that the character is all that is seen: a raspy voiced, trembling Billie Holiday in Lady Day at Emerson’s Bar and Grill or a scarred but sensually sassy Bess in The Gershwin’s Porgy and Bess. In 1999’s Marie Christine, McDonald’s devastation at playing a revenge-crazed woman who kills her two children left her barely steady for the curtain calls.

The gentle, subtle musical accompaniment allowed full focus on McDonald’s luscious soprano, an instrument of many colours. The same notes can be hued with longing or passion or joy or trepidation or whatever emotion is required. The sumptuous, full-bodied voice fills the air like tangible liquid gold. Always in supreme control, McDonald effortlessly flips from floating high notes to dramatic middle register, sometimes throwing in a spoken word, sometimes an audible breath, all with immaculate diction and compelling expression.

Several of McDonald’s song choices were inspired by her family. Accompanied to Australia by her husband Will Swenson, who was in the audience for the concert, McDonald seemed to pay homage to their relationship in her first song, “When Did I Fall in Love” from Bock and Harnick’s Fiorello! (1959). The breathless babble of Loesser’s “Can’t Stop Talking About Him” (from 1950 film Let’s Dance) also had the authentic buzz of a woman in love.

Frequently referring to her daughter Zoe, McDonald sang a gorgeously tender arrangement of “Moonshine Lullaby” from Irving Berlin’s Annie Get Your Gun (1946). A later pair of lullabies saw “Whose Little Angry Man Are You?” from Raisin (1973) combined with the tear-inducing “Baby Mine” from Disney’s Dumbo (1941). Leaving her daughter at home during tours was also the inspiration for the one Sondheim selection of the evening, “The Glamorous Life,” sung by Fredrika about her actress mother Desiree in the 1977 film version of A Little Night Music.

In an early bracket, McDonald exhibited her sunnily optimistic outlook, pairing Rodgers and Hammerstein’s “It Might as Well Be Spring” (from 1945 film State Fair) with Lerner and Lane’s “Hurry! It’s Lovely Up Here!” from On A Clear Day You Can See Forever (1965).

As sublime as her voice is when soaring through a romantic ballad, McDonald is also a superb storyteller through song. “Stars and the Moon,” from Jason Robert Brown’s song cycle Songs for a New World (1995), was given a powerful treatment. Even more heartbreaking was Claire’s song of a relationship cut short by 9-11, “I’ll Be Here,” from Ordinary Days by 2008 Fred Ebb Award-winner Adam Gwon.

Further comedy came in cautionary dating tale “Baltimore,” by music theatre composers Marcy Heisler and Zina Goldrich, and the wickedly subversive “Are You F*cking Kidding Me? (The Facebook Song)” by Australia’s own Kate Miller-Heidke.

Halfway through the night McDonald surprised and thrilled the audience with an acoustic, a capella rendition of the Gershwin gold standard “Summertime” (sung as a reprise by the actress in the 2012 revival of Porgy and Bess). No introduction was necessary either for Kander and Ebb’s searing torch song “Maybe This Time” (from 1972 film Cabaret).

Sing-a-long fun was had with Lerner and Loewe’s “I Could Have Danced All Night” from My Fair Lady (1956), with McDonald generously praising a pair of young sopranos in the front rows.

Not one to trumpet her charitable works, McDonald nonetheless explained her admiration for, and subsequent connection to, homeless youth organisation Covenant House as an introduction to profoundly moving melancholic ballad “Go Back Home,” from Kander and Ebb’s The Scottsboro Boys (2010).

Explaining the lyrics as a mantra she strives to live by every day, McDonald sang a gently paced arrangement of “Make Someone Happy” from Do Re Mi (1960) by Jule Styne, Betty Comden and Adolph Green.

From her role as Mother Abbess, a nun “from the sunny side of the alps,” in The Sound of Music Live! (2013), McDonald concluded the concert with Rodgers and Hammerstein’s galvanising hymn “Climb Every Mountain.”

In a moving encore, McDonald explained her support for marriage equality by referencing the benefits she has had in her life thanks to those before her who fought for civil rights. To give voice to our dreams, McDonald had the audience join her for just the final phrase: “Why, oh why, can’t I?”.

An Evening with Audra McDonald was held at Hamer Hall, Arts Centre Melbourne, 8pm Saturday 31 October 2015.

Photos: #1, #3 Autumn de Wilde