The cream of Australian music theatre talent shine in this most intelligently adult of Broadway musicals.

Having raised the bar for boutique musical presentations with their inaugural season of Passion in 2014, Life Like Company works their magic again with City of Angels, miraculously providing fully realised staging, smoking hot band and stellar cast, all for a season of a scant four days.

The combination of brilliant show and intelligent actors creates an electric atmosphere, and the almost three hour running time fairly zips by. This must be the year for City of Angels, with London’s Donmar Warehouse presenting a sold-out season of City of Angels last Christmas.

Legendary Broadway composer Cy Coleman and colleagues Larry Gelbart (book) and David Zippel (lyrics) broke the mold with this 1989 multiple Tony Award-winning musical. The trio created a work of intricate complexity, the likes of which has rarely been since on the increasingly Disneyfied, tourist-grabbing Great White Way.

A dazzling homage to 1940s Hollywood film noir, the show features a snappy jazz-infused score and a book and lyrics peppered with delectably risqué double entendres. Attracting the talented cast is a set of terrific lead roles, most of which are wittily conceived as dual roles, and everyone has their big song (or even two).

The conceit of the show is that the sepia toned drama we are watching is concurrently being hammered out on a technicolor Hollywood film lot. Adapting his latest detective novel to the screen, writer Stine (Anton Berezin) battles studio boss Buddy Fidler (Troy Sussman) and juggles women as he tries in vain to maintain his integrity, his marriage and his sanity.

Hard-bitten LA private eye Stone (Kane Alexander) is both drawn to and fearful of new client, the alluring Alaura Kingsley (Anne Wood). With the help of trusty secretary Oolie (Amanda Harrison), Stone searches for missing heiress Mallory Kingsley (Hannah Fredicksen), romances nightclub chanteuse Bobbi (Chelsea Plumley) and combats nemesis Lieutenant Munoz (Adam Fiorentino).

Director Martin Croft makes deceptively effortless work of the knotted twin strands of plot, presenting crystal clear story telling that is as amusing at it is intriguing. An exemplar of Croft’s achievement here is the success of the lead up to the act one finale, as fictional Stone turns on Stine for caving in to rewrites, weakening the characters’ motivation. Croft has shaped the dual roles as fascinating complementary yet contrasting pairs, with another highly effective contrast coming in the delineation between stylized movie acting and naturalistic off screen scenes.

(Special mention to multi-tasker Theresa Borg, a Life Like Company producer and assistant director of City of Angels, who also had her own opening as director the night before with La Cenerentola.)

A massive part of the success of the evening is the fabulous 11-piece band, conducted by the redoubtable Kellie Dickerson. From smoky jazz to brassy big band, the musicians provide a thrilling accompaniment to the performance. Musical director Dickerson also delivers smooth vocals from the cast, especially the jazzy Angel City Quartet (Jennifer Peers, Melissa Langton, Andrew Kroenert, Connor Crawford).

Robert Alexander Smith’s set design provides a multitude of levels for the various locations, facilitating simultaneous scenes with flair. For a short run, the scenery is surprisingly extensive and is sturdily constructed to a high standard. Clever use is made of oversized venetian blinds, which allows lighting designer Tom Willis to play with atmospheric shadowing as part of his excellent lighting design. A plethora of period props, provided by Suz Cranny, add significantly to the quality of the production.

Kim Bishop delivers a deliciously stylish and accomplished period costume design. Costumes, along with wigs by Corrine Day, not only strongly support the storytelling and character work, but also add to the wondrous effect, supported by Willis’ lighting of portraying monochrome and technicolor on stage simultaneously. Alaura’s Marilyn-esque full white ensemble is a stunner, and millinery is also first rate. When the noir scenes are set aside for a glamorous old Hollywood party, the rainbow effect is dazzling.

An example of the creative synergy achieved between script, performance, direction, costume, wigs and lighting comes when Harrison makes a stunning mid-song transformation from loyal detective agency secretary Oolie to sassy studio secretary Donna in act two’s “You can Always Count On Me.”

As the perpetually frustrated Stone, Berezin delivers truly stunning vocals, making one wonder why he isn’t the lead man of every single show. Blessed with a thrilling timbre to his rich tenor voice, Berezin delivers a knockout final note to every number.

Out of the leading lady spotlight for a little too long of late, Harrison is sensational as neat pair of secretaries Oolie and Donna, singing with trademark power and landing plenty of saucy laughs. Berezin and Harrison may be the most exciting music theatre combination we see on stage all year.

Representing a sexier leading man vision of Stine’s inner self, Alexander is very well cast as Stone. Handsome and suave, Alexander enjoys chemistry with each of his leading ladies, and sings with an attractive tone.

Wood oozes sensuality as wicked wife Alaura, and is in her element delivering withering zingers. Plumley creates two distinct characters, using a clipped East Coast accent as Stine’s weary wife Gabby and a breathless baby doll voice as Stone’s love Bobbi. Wood and Plumley both successfully carry their characters clearly into their songs. Wood’s “The Tennis Song” is packed with cheeky wordplay and Plumley’s “With Every Breath I Take” is a melancholic melody with the sound of a classic jazz standard.

Sussman is a controlled bundle of dynamic energy as relentless studio boss Buddy, somehow making the unattractive figurehead likeable.

Rohan Browne is quality casting as smooth-voiced crooner Jimmy Powers, a role he contrasts effectively with the exotic Dr Mandrill.

Talented young actress Fredericksen is well suited to the vampish young Mallory, and is enjoyably funny as deluded actress Avril Raines.

Experienced leading man Fiorentino is a hot in the character role of Munoz, landing a terrific production number near the end of act one with “All You Have To Do is Wait.”

Langton is the one to watch in the Angel City Quartet, and has a delightfully droll cameo as a corrupt Madam.

The Melbourne professional premiere of City of Angels has been well worth the wait. For local music theatre aficionados this is an absolute must-see.

Life Like Company looks set to continue their welcome trend of staging musicals that are as eagerly anticipated by casts as they are by audiences, announcing the Melbourne professional premiere of The Light in the Piazza for 2016. See you in Florence this time next year.

City of Angels plays at Playhouse, Arts Centre Melbourne until 8 November 2015.

Photos: Ben Fon

The Production Company’s staging of Jerry’s Girls delivers, as promised, Australia’s leading ladies and Broadway’s greatest showstoppers. If these elements were presented on their own merits, the show would most likely be a smash, but diluted and convoluted by a backstage show-within-a-show script, many of the songs lose their sparkle, impact, poignancy and humour.

As the group prepares for act one closer “Hello, Dolly!,” Nancye Hayes, playing herself, proclaims: “There’s only one way to do a classic, and that’s the way it was written.” Having failed to apply this sage advice to productions of The Pirates of Penzance and La Cage aux Folles, Bryant takes the same approach with revered revue Jerry’s Girls. Bryant has written a new book for the revue (uncredited in the program), setting the action in the rehearsal room as the cast prepares for the very show we are seeing. The idea has its moments, but they run out long before the 165-minute running time does.

The fact that Bryant’s direction included all sorts of activities to help the cast interpret their songs is ideal, but forcing us to sit through a recreation of this is not only self-indulgent but disrespects the audience’s ability to appreciate this background without being hit over the head by it. 

Herman was a master songsmith. His songs are little stories, with character arcs, witty twists, heartfelt emotions and bittersweet resolutions. Uninterrupted, as when Rhonda Burchmore sings “I Don’t Want To Know” or Silvie Paladino sings “Time Heals Everything,” the songs soar. Interrupted, the songs are quickly torn to shreds. Virginia Gay singing the hilarious “Gooch’s Song” should be a highlight, but with the Director (played by Brent Hill) yelling at her to change accent every few lines, the story is completely lost a few accents in. Classic tunes “We Need A Little Christmas” and “Mame” are trashed in halfhearted lamentable group rehearsal moments.

Some moments suit the rehearsal room concept. The cast bewilderment at mock racist ditty “Have A Nice Day” (cut from La Cage Aux Folles) is highly appropriate. A rehearsal sequence of “Tap Your Troubles Away” sets it up as the show’s dance finale. Each of the women mention how they knew it was love with their partner in a nicely judged interlude during Christie Whelan Browne’s lovely delivery of “Song On The Sand.”

There are numbers that work perfectly well with little or no introduction, giving an indication of how a streamlined version of the show might have flowed. Claire Lyon delivers a sweetly lilting rendition “Ribbons Down My Back.” “Two-a-Day” seems written for tireless trouper Nancy Hayes. Natalie O’Donnell brings welcome warmth to “It Only Takes A Moment.”

Further well-matched numbers include Gay clearly distinguishing Mack from Mabel in “I Won’t Send Roses,” Debora Krizak as a decrepit stripper in “Take It All Off” and Kirby Burgess as young version of Hayes dancing and singing “I Was Beautiful.”

Burchmore and Gay score with “Bosom Buddies,” but in a show where the ladies are ostensibly playing themselves, this conflict seems completely contrived. Talented young singing actress Josie Lane scores mighty anthem “I Am What I Am” but has no depth or context to bring to the potentially powerhouse number. Paladino is an ideal choice to sing “Shalom” and “Milk and Honey,” but is undermined somewhat by falling glitter in the second of this serious pair of songs. 

Having one of the women (Whelan Browne) play choreographer Andrew Hallsworth seems a particularly indulgent choice that will leave most of the general public audience baffled at best.

An aspect of the presentation that is perfect in every way is the wonderful musical accompaniment from Orchestra Victoria. Musical Director Mathew Frank has done a superb job with the score, producing a range of exciting musical styles from the 13 talented musicians. Subtly playing himself on stage, Frank manages to be part of the show while still maintaining perfect control over the musicians and singers.

Dale Ferguson’s rehearsal room set is effective, but is disappointing that too little is seen of his far more glamorous show setting. While the rehearsal wear (presumably their own) is of patchy quality, Owen Phillips delivers a number of highly attractive gowns for the ladies.

Music theatre lovers will surely not want to miss the chance to see all these actresses on stage together. Each of the stars make the most of their moment to shine, and there is a collective warmth that is a joy to see. Lovers of Jerry Herman’s songs may come away disappointed at what might have been.

Jerry’s Girls plays at Playhouse, Arts Centre Melbourne until 6 December 2015.

Photos: Jeff Busby

A lavish production of one of the world’s most beloved musicals is set to open in Sydney ahead of an Australian tour.

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Executive Producer Craig Donnell (below) welcomed media to a preview of the Australian season of The Sound of Music.

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Associate Director Gavin Mitford (left, below) has returned to Australia to helm this tour.

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This new production was created for London’s Palladium Theatre in 2006, where it played for over two years before embarking on a UK tour.

The lead role of Maria was cast in London by reality show How Do You Solve A Problem like Maria?. For the Australian tour, fast rising music theatre star Amy Lehpamer (below) is playing everyone’s favourite postulant-turned-nanny Maria Rainer.

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Perennially boyish charmer Cameron Daddo will star as Captain Georg von Trapp.

Longtime Australian music theatre star Marina Prior (below) plays the elegant Baroness Elsa Schraeder.

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David James is Elsa’s close friend Max Detweiler.

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Acclaimed opera star Jacqueline Dark (below) plays Mother Abbess.

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For today’s media call, Lehpamer and the children performed the classic “Do Re Mi.”

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Dark sang the towering hymn “Climb Ev’ry Mountain.”

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The von Trapp children performed the delightful charm song “So Long, Farewell.”

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“I’d like, to stay. and taste my first champagne. Yes?”

“No!”

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The full company of The Sound of Music

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The Sound of Music is set to play in Sydney until the end of February, before touring to Brisbane, Melbourne and Adelaide.

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Photos: Simon Parris

He may be a week early, but Santa has delivered the music theatre revival we have all been waiting for. Attractive designs, intelligent, respectful direction and a knockout cast combine to create the freshness and excitement that must have been felt when The Sound of Music first premiered back in 1959.

56 years later, the show has the added advantage of audience familiarity with its catalogue of hit tunes. This glow of nostalgia enhances the appeal, but this revival is more than a hummable trip down musical memory lane. Jeremy Sams’ direction breathes new life into the well known and much loved story, allowing the inherent tension, romance and humanity to flow freely and organically from the characters.

Cementing her place in the constellation of Australian music theatre stars, Amy Lehpamer wins each and every heart as Maria. A sensationally talented singer with an impressive body of work behind her, this will be the show that elevates Lehpamer to true Leading Lady status. As affecting as she is unaffected, Lehpamer brings delightful spontaneity to the role, creating the completely believable illusion that Maria’s adventure is unfolding for the first time. Almost too beautiful to play the modest young postulant, Lehpamer’s striking features are rendered tomboyishly handsome by a fluffy pageboy wig. This is a performance for the ages, and is not to be missed.

In crafting this revival, Sams and team have blended elements of the famous movie with the original Broadway version. Given that “The Sound of Music” is a charm song, Maria is given the I wish song she needs with the inclusion of soaring soliloquy “I Have Confidence.” If the audience is not Maria’s side walking into the theatre, they certainly are after this number. Tender duet “Something Good” replaces the somewhat dreary “An Ordinary Couple” as Maria and the Captain profess their love.

Baroness Schraeder and Max retain their two songs, which offset the sweetness of singing children and nuns. Lamenting the lack of wealthy romance protagonists, “How Can Love Survive” sneakily foreshadows Georg and Elsa’s doomed relationship. That relationship falls apart before our eyes in “No Way To Stop It,” as the intrusion of politics becomes too great.

Keeping “My Favourite Things” in its original place in scene two establishes a lovely bond between Maria and Mother Abbess, but the decision for the movie to move the song to the thunderstorm scene was a wiser one. The marionette sequence for “The Lonely Goatherd” is unforgettable in the movie, but sung in its original place during the thunderstorm, its lyrics tend to be lost.

Unlike some of the underwhelming designs for recent revivals, this production, which originated in London’s Palladium Theatre in 2006, is attractively lavish and cleverly constructed. Robert Jones’ scenic design gives Maria enough mountain to twirl upon in the opening, before moving on to multiple iterations of the stately von Trapp mansion. The atmospheric interior of Capitol Theatre is a bonus for the opening abbey scene, as chanting nuns spill out into the aisles of the auditorium. Scenic transitions are expertly handled, with highlights being the journey from the abbey to the mansion during “I Have Confidence,” and the dissolve into the party scene, which sets up the evening’s most glamorous moment, as stately couples waltz beneath the grand chandelier.

The visual appeal is significantly increased by Mark Henderson’s truly beautiful lighting design, which creates gorgeous skies across the spectrum from dawn through to dusk. 

Jones’ costumes have an authentic air that indicates thorough research. Floral fabrics are ostensibly plain, but clever use of colour makes the dresses attractive. Clever touches include splashes of pink for Marta (her favourite colour), extra glamour for the Baroness and individual touches in the uniforms.

Arlene Phillips’ choreography is spritely and unintrusive. “Do-Re-Mi” is the joyous showstopper it deserves to be.

Musical supervisor Peter Casey and musical director Luke Hunter have created a wonderfully rich, full sound from the orchestra, which features 13 talented musicians.

Another breakout performance in this season comes from acclaimed opera singer Jacqueline Dark as Mother Abbess. Much loved on the opera stage, mezzo-soprano Dark makes an effortless crossover to music theatre. Younger than many singers who have previously played the role, Dark simply goes without makeup and creates the character’s authority with slow, considered movement and her domineering presence. Dark’s relative youth means that we are hearing a singer in their prime, and the act one finale “Climb Ev’ry Mountain” threatens to blow the roof right off the theatre. 

Sams’ direction, recreated in Australian by associate director Gavin Mitford is particularly successful in creating individual characterisations and story arcs for the von Trapp children. Stefanie Jones is a gracious Liesl, highlighting the character’s burgeoning femininity and battle for independence, whilst also portraying her underlying current of vulnerability. Each of the other six children is played by three performers. The terrific opening night children’s cast was Jude Paddon-Row as Friedrich, Savannah Clarke as Louisa, Louis Fontaine as Kurt, Madison Russ as Brigitta, Erica Giles as Marta and Nakita Clarke as Gretl. 

Cameron Daddo looks suitably tall and handsome as the Captain. While Daddo’s voice and manner lacks some of the authority of a naval captain needed for the early stages, his later portrayal as the Captain as a gentle, loving man is endearing. The climactic singing of “Edelweiss” is most moving.

David James’ ebullient energy elevates the role of Max Detweiler to a higher profile than usual in the show. Marina Prior looks elegant and sings with reliable beauty as the Baroness, but her characterisation is yet to mine the self-centred vanity and silk-gloved ruthlessness of the role. 

Strong support comes from all manner of supremely talented performers that the production has been lucky enough to enlist.

Lorraine Bayly emanates adorable warmth as housekeeper Frau Schmidt. Philip Dodd captures the rigid military background of butler Franz. 

The three featured nuns (Dominica Matthews as Sister Berthe, Eleanor Blythman as Sister Margaretta and Johanna Allen as Sister Sophia) each display a distinctly individual character.

Du Toit Bredenkamp successfully charts Rolf’s journey from romantic lad to dutiful but conflicted nationalist. Anthony Harkin is a brutal Herr Zeller. 

Special mention Tony Farrell and Meredith O’Reilly for grace and flair in their featured moments.

Put simply, The Sound of Music is an unmissable musical treat.

The Sound of Music plays at Capitol Theatre, Sydney before travelling to Brisbane, Melbourne and Adelaide.

Man in Chair also published more than two dozen photos in The Sound of Music sneak peek.

Photos: #1-4, 6-10 James Morgan; #5 Simon Parris

With the official World Premiere of Australian musical Georgy Girl only two days away, producers allowed media a sneak peek of the production this morning.

 The new musical features all the hits of phenomenally successful Australian group The Seekers.

Her Majesty’s Theatre, Melbourne is ready for the official opening night this Tuesday.

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Producers Richard East and Dennis Smith welcomed media before Director Gary Young introduced the three numbers to be performed. 

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Pippa Grandison stars as Judith Durham

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Phillip Lowe joins the cast as Keith Potger and Mike McLeish portrays fellow guitarist Bruce Woodley

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Glaston Toft is The Seekers’ double bass player, Athol Guy

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In the first song presented, The Seekers perform “I’ll Never Find Another You” in the recording studio.

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The act one finale uses the title song “Georgy Girl” to welcome Durham to the 60s. 

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Finally, The Seekers sing “The Carnival is Over,” their farewell television appearance.

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The full cast of Georgy Girl is as follows:

Pippa Grandison – Judith Durham

Phillip Lowe – Keith Potger

Mike McLeish – Bruce Woodley

Glaston Toft – Athol Guy

Adam Murphy – Ron Edgeworth

Sophie Carter – Bev

Stephen Wheat – Eddie Jarrett

Ian Stenlake – John Ashby

Alex Gibson-Giorgio – Photographer/Ensemble

Alex Given – Simon/Ensemble

Todd Goddard – Father/Ensemble

Madison Green – Ensemble

Matt Hamilton – Swing

Shaye Hopkins – Swing

Loren Hunter – Mitzi/Ensemble

Kirsten King – Hazel/Ensemble

Cameron MacDonald – Graham Kennedy/Ensemble

Madeleine Mackenzie – Ensemble

Lachlan Martin – Ensemble

Rubin Matters – GI/Ensemble

Michelle Smitheram – Dusty/Ensemble

Alana Tranter – Waitress/Ensemble

Brenton Wilson – Swing

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Georgy Girl plays at Her Majesty’s Theatre, Melbourne until March, then plays at State Theatre, Sydney from April

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Photos: Simon Parris

Cats lets the memory live again, with a new revival only five years after the last one.

While the show as a whole may be losing some of its impact with each return visit, this season serves to provide a showcase for many emerging talents. The proliferation of performing arts training courses provides a ready supply of highly qualified triple threats. With the dancing still at a very high level, this is the best singing I have ever heard in the show. Musical director Paul White has imbued the ensemble singing with the tightest dynamics heard on this stage since Wicked, and the featured roles are none too shabby either.

Renewed interest in Cats derives from composer Andrew Lloyd Webber’s new production at the London Palladium a year ago. Webber took a fresh look at some of the songs, and this is the version that is presented here. Rum Tum Tugger’s song is sung about him rather than by him, then he has an extended rap section in the middle. There is a terrific extended tap routine for the beetles in “The Old Gumbie Cat” (with a quick phrase of notes giving a witty nod to “Forty-second Street.”) The act two sequence “Growltiger’s Last Stand’ has been revised to have a swing/soft shoe feel. Unlike the London revival, Growltiger and Griddlebone sing their Italianate operatic duet in this sequence. Personally, I still miss the rousing singalong vibe of “The Ballad of Billy McCaw” in this spot.

We may be treated to the revised orchestrations in this tour, but certainly not the revised staging that went with these changes. Each time designer John Napier re-does the set, he updates the number on the licence plate of the old car in the junkyard. This tour uses NAP15, whereas the London revival was up to NAP70.

Advances seen in London included the backdrop being animated projections rather than the static moon and clouds. When Rum Tum Tugger rapped, the backdrop switched to graffiti. The journey to the Heaviside Layer had also been enlivened with a magical disappearance. While the pirate ship and battle with the Siamese in “Growltiger’s Last Stand” was originally the most spectacular part of the staging, the new London production disappointingly reduced the ship to merely a mast and sail. Here, the scene is further reduced to just a barrel. Growltiger and his crew do not even seem to be pirates anymore, although the lyrics have not changed.

Although Rum Tum Tugger’s blingy, low crotch rapper’s gear is the most obvious costume difference, Napier has freshened his original designs with a little more colour and brightness.

Associate director/choreographer Joanne Robinson has recreated the work of Trevor Nunn and Gillian Lynne with precision, further enhancing the work based on the strength of the local cast.

As with the London casting of former pop singer Nicole Scherzinger last year, this tour is headlined by Delta Goodrem as Grizabella. Webber’s sensibility for popular appeal has worked from a marketing point of view, but the casting of a younger actress to play an aging glamour puss undermines the pathos significantly. In particular, Goodrem appears unable to physicalise the decrepit weariness and fear of the character. That said, Goodrem reliably supplies the big money note in “Memory,” which is admittedly a fiendish number to sing.

Far more exciting performances are seen throughout the rest of the cast.

Matt McFarlane gives a breakout performance as Munkustrap, capturing the character’s straight-backed authority with poise and dignity, and singing with an exceptionally fine baritone.

Established lead performer Josh Piterman displays new facets to his performing strength in the featured tenor roles. One of the industry’s fittest performers, it is amusing to see Piterman play gluttonous fat cat Bustopher Jones. Showing that it is entirely possible for a young performer to play an aging character, Piterman is superb as Gus the Theatre Cat, playing palsy with poignancy and scoring laughs for lyrics that usually go unnoticed. An onstage fast change reveals the dashing Growltiger, and brings further polished singing from Piterman in the Italian duet.

Piterman has a wonderful scene partner in Samantha Morley. Morley’s singing is beautifully expressive and characterful, particularly as the tender Jellylorum.

Ross Hannaford delivers a terrific performance as Skimbleshanks, singing with sweet tone and crisp diction and dancing with delightfully nimble agility.

A crossover from the world of opera, Jason Wasley provides rich, powerful vocals as loveable icon Old Deuteronomy.

The dance highpoint of the night is Christopher Favaloro’s sensational acrobatic and balletic work as magical Mr Mistoffelees.

Holly Megan shines as adorable Jennyanydots, elegantly delivering crisp tap dancing despite her cumbersome costume. Daniel Assetta may not quite have the edge of a streetwise rapper, but his vocals and movement are fresh and exciting. Sarah Kate Landy (Bombalurina) and Amy Berrisford (Demeter) are tantalizingly sensuous and slinky as they sing “Macavity.”

The list of highlights really goes on as long as the castlist, with everyone making the most of their moment to shine. The fact that such talented individuals can also work so beautifully as a team is testament to Robinson’s expert preparation of the company.

Cats plays at Regent Theatre, Melbourne until before touring to Brisbane, Adelaide and Perth

Photos: #1, #2, #3, #5, #6, #7 Hagen Hopkins, #4 Will Braden

Bathing nostalgia in the warmest possible glow, Georgy Girl is a rose coloured trip down memory lane, with exceptionally engaging performances and glorious harmonies being two of the chief attractions.

The brand new jukebox musical draws from a particularly strong catalogue of music, which fans of the era will adore hearing again. Musical supervisor/arranger/orchestrator Stephen Amos expertly recreates the pop-infused folk sound of The Seekers to terrific effect. A band of 11 musicians allows a richer musical theatre sound than would have been achieved with only guitars and drums. The blend of voices is crucial not only to the enjoyment of the show but also to the storyline; the talented cast, under Amos’ guidance, absolutely nails this.

Much as the songs are wonderful to hear, there is a limitation compared to other such musicals in that the lyrics are not particularly suited to storytelling. The show still earns the title of being a piece of musical theatre (rather than the dreaded “play with songs” tag), but many of the songs have a concert-like feel. Authors of the Four Seasons musical Jersey Boys successfully avoided this aspect by only including snippets of songs that were not major hits.

Jersey Boys also had the advantage of lashings of dramatic elements, such as the mob, prison, gambling debts, adultery, drugs etc. The Mamas and The Papas musical Flowerchildren also had an abundance of dramatic tension from which to draw. While both of these shows explored the lives of all four members, Georgy Girl might better be subtitled “the Judith Durham musical” rather than “the Seekers musical,” given its almost exclusive focus on the leading lady. It might also be the first musical to include appendicitis as a dramatic moment, but when the characters are this clean-cut, book writer Patrick Edgeworth needs to take the twists where he can.

Blessed with an extraordinarily smooth upwards journey, The Seekers’ unlikely but meteoric rise to international stardom would be hard to believe, if, of course, it had not all actually happened. There are a few hiccups, like the very low percentage of record sales of their first contract and the pantomime booking that caused them to miss the Academy Awards, but the band initially enjoyed a charmed existence. The fact that Durham could walk away at the height of the band’s success is a real piece of drama that remains tantalisingly unexplored.

In a sensational lead performance, Pippa Grandison endearingly conveys Durham’s insecurities and foibles, and sings the hit songs with electric precision and purity. Durham’s own composition “Mamma’s Got The Blues” is one of the most effectively integrated songs, coming when Durham has discovered that her lover John Ashby (Ian Stenlake) is a cheating louse.

Linking the narrative is a charming Brit, who later turns out to be a significant character in Durham’s life. Adam Murphy judges the deliberately fluffy comedy of this role perfectly, establishing a strong rapport with the audience. This bond makes his character’s fate all the more devastating, and this reviewer was not the only audience member moved to tears.

Durham’s fellow musicians are played by Phillip Lowe (Keith Potger), Mike McLeish (Bruce Woodley) and Glaston Toft (Athol Guy), each of whom maintains a strong, charismatic presence despite the lack of character background provided. The boys have a couple of numbers as a trio, their harmonies sounding just as delicious as when combined with Grandison for the full Seekers sound.

Director Gary Young shows a deftly light touch in keeping the show bright and breezy. In the absence of meatier material, Young focuses on making the show a joyful celebration of this great band. Multiple characters from the ensemble cast are clearly delineated, and our attention and affection are always clearly focused.

Producers Richard East and Dennis Smith have combined experienced practitioners with up-and-coming talents in the creative team. Prolific scenic designer Shaun Gurton has provided a single set of translucent glass walls, which gives lighting designer Trudi Dalgleish a broad canvas for all manner of colourful lighting effects. A large rear video screen on the top level adds images to help establish locations. While the layout of Gurton’s set is well utilised, the linear, stainless steel aspects of the structure are somewhat at odds with the warm 1960s vibe.

Fast rising choreographer Michael Ralph continues to display unique creativity and flair, providing choreography that is as highly energetic as it is sharply controlled. Flipping briskly from uniform moves to individual breakout stylings, Ralph’s dance vocabulary of the era is so rich that he never seems to use the same move for more than a couple of beats at a time. Given the necessarily static book and band scenes, the choreography provides welcome visual stimulation throughout the show.

Costume designer Isaac Lummis completes his largest, most high profile project with Georgy Girl, clearly demonstrating that his talent will be on seen stage for many years to come. In the absence of scenic elements, costumes are everything, and Lummis clearly tells a story of class, nationality, fashion and success. Showing his penchant for sparkle in the world tour sequence, Lummis also creates swinging sixties outfits in groovy pinks and oranges and, later, crisp black and white. His eye for fabrics and textures provides ongoing visual appeal.

The hardworking ensemble sing, dance and act their way through a myriad of contributions to the success of the show. Stephen Wheat stands out as drily amusing British music producer Eddie Jarrett, who is never short of an Australian-based putdown for the group. Sophie Carter projects a loving, affectionate presence as Durham’s sister Bev, with whom Durham appears to have enjoyed her closest long-term relationship.

A new Australian musical is no easy feat, and hearty congratulations go to all involved in Georgy Girl. The show would surely be warmly welcomed in London’s West End. Meanwhile, Australian audiences who grew up with this music will find plenty to enjoy in this feel-good, beautifully sung musical.

Georgy Girl plays at Her Majesty’s Theatre, Melbourne until March, then plays at State Theatre, Sydney from April

Man in Chair also published more than 20 photos in Georgy Girl the Seekers Musical sneak peek.

The Seekers joined their stage counterparts for the curtain call on opening night of the world premiere of Georgy Girl.

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Photos: #1 – #8 Jeff Busby; #9 – #13 Simon Parris

World premieres abounded, boutique musicals thrived and revivals continued arriving in the 2015 year of musical theatre.

Melbourne’s music theatre year began with two large-scale productions that both played for many moths. The Lion King occupied the Regent Theatre for most of they year as a new generation of young theatregoers discovered the magic of this timeless production. The long season may have contributed to the fact that The Lion King Melbourne is the most popular music theatre review on Man in Chair to date.

Global Creatures showed great support for Strictly Ballroom (below) by maintaining a long season at Her Majesty’s Theatre. Nipped and tucked after its Sydney season, the show was a decadent guilty pleasure, easing the guilt by offering $45 rush tickets to all comers two hours before curtain. The show had some naysayers, but the staging was one of the grandest ever seen locally and the exceptional cast gave it their all every night. Strictly Ballroom would surely be a smash hit on the West End, so hopefully it plays it there before long.

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2014 hit Les Misérables continued its Australian tour, with excellent solo albums released by stars Simon Gleeson (Elements) and Patrice Tipoki (A Musical Heart). Les Mis also occasionally offered $45 rush tickets. This welcome practice from big musicals may not continue in 2016, however, with the move to shorter seasons in each city.

Ever popular Cole Porter musical Anything Goes (below) returned in a staging that was somewhat low on production values but very high on talent. Caroline O’Connor and Alex Rathgeber were well deserving Helpmann Award winners for their performances. The tour of Rocky Horror Show made its way back to Melbourne, with lead performer Craig McLachlan’s completely over the top performance as Dr Frank-n-Furter being crass and self-indulgent to the point of being unwatchable.

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The commercial standout for the year was West End and Broadway hit Matilda (picture at top), which electrified Sydney audiences with its high energy and dark wit. An outstanding local cast performed on a glorious set that was, for once, bigger than the overseas versions. The Melbourne season this year is highly anticipated.

The year ended with a flurry of commercial openings. Evergreen classic The Sound of Music opened in Sydney with a charming cast led by radiant star Amy Lehpamer, and a set that is highly attractive, if somewhat smaller in scale than the London Palladium production on which it is based. The latest Cats tour opened at Melbourne’s Regent Theatre, with an exciting ensemble cast of triple threats and, as with the recent London revival, a pop star in the featured role of Grizabella. The music of Cats had been updated but the set was from an older production. The wonderful harmonies of The Seekers were heard in Georgy Girl (below), which had its world premiere at Her Majesty’s in Melbourne.

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The Production Company had a sensational return form in 2015, beginning with an absolutely thrilling season of West Side Story (below). Melbourne star Anna O’Byrne returned from London to dazzle as Maria. The production illustrated the term triple threat, with Anita acted and danced on stage by Deone Zanotto (who had been struck with laryngitis), while offstage singing came from Amanda Harrison and dialogue from Natalie Gilhome. Fortunately Zanotto made a full recovery before the season was over.

The Production Company’s Australian premiere of recent Broadway musical Nice Work If You Can Get It was a crowd-pleasing hit, with audiences loving the classic Gershwin tunes and the daffy comedy of the plot. George Kapiniaris revealed terrific musical comedy skills in a co-starring role. Following these two successes, Jerry’s Girls was, unfortunately, a disappointment, presented with a sensational female cast but tainted by an indulgent directorial concept that erased the original intent of the revue and provided a very hit-and-miss delivery of the classic Jerry Herman songs.

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Victorian Opera completed their three-year Sondheim trilogy with a terrific production of Sweeney Todd (below). Opera star Antoinette Halloran shone as a glamorously sexual Mrs Lovett, with powerful opera baritone Teddy Tahu Rhodes not crossing over quite as easily to the world of musical theatre.

The boutique musical scene continued to thrive, parting the sea of revivals to present interesting, compelling, quirky shows featuring breakout performances. In their second year, Life Like Company assembled a sensational cast for City of Angels, a classy, adult musical that thrilled for an all too short season at the Playhouse.

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StageArt gave us the musical we never thought we would see locally, with a sensational staging of Lin-Manuel Miranda’s In The Heights (below). The production and its terrific cast of triple threats make a welcome return in 2016, this time in the massive National Theatre rather than the intimate Chapel off Chapel. StageArt also presented the legendary, but rarely seen, musical Dreamgirls. They also found time and energy to create original revue A Super Brady Cabaret, which was super cute fun.

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Chapel off Chapel also hosted Pursued by Bear’s production of charming two-hander John & Jen. Motherhood was celebrated in Amity Dry’s Mother, Wife and the Complicated Life.

Enda Markey presented a very well received production of Willy Russell’s poetic musical Blood Brothers in Sydney and Melbourne. Helen Dallimore was a luminous Mrs Johnstone, and Bobby Fox showed his dramatic range as Mickey, with Blake Bowden as toffy twin Edward in Sydney and Josh Piterman in the role in Melbourne.

Hayes Theatre Company brought their acclaimed production of Sweet Charity to Melbourne, and showed that the hype was very well justified.

Georgy Girl was not the only world premiere musical for the year, with classy new musical Ned (below) premiering at stunning new venue, the Ulumbarra Theatre, Bendigo. Composer Adam Lyons and book writers Anna Lyon and Marc McIntyre have created a stirring musical that all Australians should have the chance to enjoy. Staging and casting were on an impressively confident scale, and director Gary Yong (who, coincidentally, also helmed Georgy Girl) brought the epic tale to life with lively energy and compelling characterisations.

Xavier Brouwer’s brand new musical Grey’s Lobotomy provided laughs first at the Kaleide Theatre then at the Alex Theatre.

A hit for Queensland Theatre Company in November, world premiere Tim Finn musical Ladies in Black makes its eagerly awaited Melbourne debut at MTC in January.

Blue Saint staged Violet (a recent Sutton Foster star vehicle on Broadway) at Sydney’s Hayes Theatre. A Melbourne season is on its way in March at Chapel off Chapel.

Melbourne and Sydney were blessed with a visit from reigning Broadway royalty for An Evening with Audra McDonald.

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A quick visit to London in January finally brought the chance to see Kander and Ebb’s scathing racism revue, The Scottsboro Boys. Hit machine Menier Chocolate Factory delivered an enlightening take on Assassins, featuring US star Aaron Tveit in brilliant form as John Wilkes Booth. The Donmar Warehouse presented a sold out season of City of Angels with an incredible cast of stars who could each have headlined shows on their own.

The era of the British mega-musical was back, with an even bigger staging of Cats and a new production Miss Saigon starring stunning new discovery Eva Noblezada as Kim (below).

The big West End hit musical of the year was a revival of Gypsy starring Imelda Staunton. Fortunately, the production was filmed for broadcast on television (27 December 2015 in the UK).

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Broadway introduced a bumper crop of new musical productions, with a solid number still playing at the end of the year. Have just had a re-tread of our own revival, Australia is unlikely to see the sumptuous new revival of The King and I from Bartlett Sher and his creative team. On her sixth nomination, Kelli O’Hara (Anna Leonowens) finally won a Tony Award for Best Actress. A slick new production of On The Town attracted tourists and patriots to the massive Lyric Theatre. Daffy operatic-like comedy On The Twentieth Century played a fixed-length season starring Kristin Chenoweth, in divine form, and Peter Gallagher.

New musical An American in Paris (below) featured an extraordinary amount of dance with its glorious Gershwin score. Ballet stars Robert Fairchild and Leanne Cope can really sing, with Fairchild in particular proving to be a charismatic leading man. Honeymoon in Vegas, another movie adaptation, showed that Jason Robert Brown could write a good old-fashioned musical comedy. Harvey Weinstein’s production of Finding Neverland defied the critics and the rose above the Tony snubs to attract an appreciative audience. Anthony Warlow subbed for Kelsey Grammer for 12 weeks in the mid-year.

Lerner and Loewe’s Gigi briefly returned to Broadway some 40 years after its debut. Epic musical Doctor Zhivago appeared even more briefly on Broadway in the same production first seen in Australian four years ago. Dramatic Disney musical The Hunchback of Notre Dame came as close as New Jersey but did not make it to Broadway. At least a cast recording has been made to preserve the score.

Bawdy musical comedy Something Rotten continues to draw the crowds. Gentle wedding day comedy It Shoulda Been You was appreciatively received if not particularly ground-breaking. Legendary star Chita Rivera returned to Broadway in The Visit, the final new musical from Kander & Ebb. Respected actor Roger Rees opened in the show, but, sadly, died of a brain tumour not long afterward. Fun Home won the Tony award for Best Musical, but its downbeat nature did not impress Man in Chair, who believes all the attention is just Broadway congratulating itself for trying new subject matter.

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Best Musicals 2015

Independent: West Side Story

Commercial: Matilda

Broadway: An American in Paris

West End: City of Angels

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Most Disappointing Musicals 2015

Independent: Jerry’s Girls

Commercial: Rocky Horror Show (for the second year running)

New York: Fun Home

West End: —

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Heavenly Performances 2015

Independent: Stevie Lopez (In The Heights); Anna O’Byrne (West Side Story)

Commercial: James Millar (Matilda); Amy Lehpamer (The Sound of Music)

Broadway: Robert Fairchild (An American in Paris); Kristin Chenoweth (On The Twentieth Century)

West End: Aaron Tveit (Assassins); Eva Noblezada (Miss Saigon)

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Photos: #1 James Morgan; #2, #4 Simon Parris; #3, #5, #6 Jeff Busby; #7 Belinda Strodder; #8 Marty Williams #9 Michael Le Poer Trench; #10 Angela Sterling

Producer Tim Lawson treated Melbourne media to a look at his new production of Fiddler on the Roof.

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The Princess Theatre, Melbourne is ready for opening night of the new Australian tour of Fiddler on the Roof.

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The items were introduced by director Roger Hodgman (below)

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Anthony Warlow (below) stars as lovable dairyman Tevye.

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The company performed opening number “Tradition.”

The Papas..

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The Mamas..  Sigrid Thornton (centre) plays Tevye’s humble wife Golde.

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The Sons..  Lior (far right) plays Motel the tailor

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The Daughters.. Teagan Wouters  (centre) is Tevye’s eldest daughter Tzeitel, with Monica Swayne (Hodel) and Jessica Vickers (Chava)

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Andrew Kroenert (Avram) and Nicki Wendt as Yente the Matchmaker

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Mark Mitchell as the butcher Lazar Wolf and Jared Bryan (Nachum)

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Anthony Pepe (Mendel) and Derek Taylor as the Rabbi

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“It was a horse! It was a mule!” (Mark Doggett, Glen Hogstrom)

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Further featured players include Blake Bowden (Perchik), Jensen Overend (Fyedka), David Whitney (Constable), Annie Stanford (Grandma Tzeitel) and Sara Grenfell (Fruma-Sarah).

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Rounding out the adult cast for Fiddler on the Roof are Prue Bell, Zoe Coppinger, Zack Anthony Curran Matt Douglass, Brett Fisher, David Hammond, Jennifer Peers, Madeline Perrone, Matthew Predny, Sara Reed and Darren Tyler.

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Warlow thrilled with classic Broadway standard “If I Were A Rich Man,” one of the best known I wish songs in all of music theatre.

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Fiddler on the Roof officially opens tonight at Princess Theatre, Melbourne. It plays in Sydney from 24 March 2016.

Photos: Simon Parris

This lovingly staged, if rather safe, new production of perennial classic Fiddler on the Roof is anchored by a sterling performance from Australia’s unchallenged Leading Man of the stage, Anthony Warlow.

Director Roger Hodgman delivers a revival that hits all the marks, without pushing the boundaries in any way, for an entirely satisfying night at the theatre. Newcomers, in particular, will be blown away by the power and beauty of the much loved 1964 musical. In this streamlined staging, storytelling is crystal clear, and the connection to the current plight of the word’s refugees is painfully evident without the need for any explicit references or parallels.

A veritable hit parade of Broadway standards all from the one show, Jerry Bock and Sheldon Harnick’s much-loved score sounds superb under the highly experienced baton of musical director Kellie Dickerson. The lively arrangements have such a full and interesting sound that it is surprising to discover there are only ten musicians in the pit. The clarity of Michael Waters’ sound design allows each of these instruments to be heard individually; vocal reproduction and balance are also expertly handled.

As much as the songs, and Joseph Stein’s book, are tremendous assets, Jerome Robbins’ original choreography is an integral aspect of the show’s ongoing attraction. In reproducing Robbins’ choreography, Dana Jolly has delivered thrilling work that is a joy to behold. Opening number “Tradition” establishes the dance vocabulary of the show and features precise, interesting patterns. The Russian dancing in “To Life” is exciting, and the full company work in “Tevye’s Dream” gives the 95-minute act one an infusion of energy. The dance highlight of the evening is act one’s climactic “Wedding Dance,” which not only features the sensational bottle dance, but also explicitly drives the plot as Perchik’s drive for change brings down male-female barriers, ramping up the festive joy to new heights.

Given the local industry’s reliance on imported, franchised productions, it is impressive to see a new staging that has originated in Australia. Richard Roberts set design features outlines of houses, with wooden walls continuing overhead to represent the insular life of the villagers, who are trying, in vain, to ignore the rest of the world. The staging is attractive, if not particularly innovative, with house units being moved forward and turned by the crew to reveal interiors. In the powerful final moments as the villagers are forced to move on, the facades of the houses retreat in the distance while the overhead outline of their presence remains. Despite the characters’ despair, their lives have left an imprint.

Paul Jackson’s lighting design bathes the space in amber sunsets and richly atmospheric midnight blues and purples.

Demonstrating the deliciously warm vocals and charmingly charismatic presence that have made him a genuine box office attraction, Warlow makes a welcome Australian return as dairyman Tevye. Breaking the mold somewhat, Warlow’s Tevye is a spritely, vital man with a twinkle in his eye, rather than the cuddly, world-weary, grey-bearded man of old. Much as Tevye has plenty to sing, the role does not quite give Warlow’s pipes the workout of which they are capable. Still, “If I Were a Rich Man” absolutely brings down the house. Warlow clearly establishes Tevye’s relationship with his God without overplaying it, and lands the night’s best laughs with aplomb.

While this revival started performances a week ago, it is interesting to note that Broadway’s current revival of Fiddler on the Roof had a full month of previews. The creative team’s work here is slick and very well rehearsed, but there is a sense that the production will develop a more “lived in” feel with time. Part of the difficulty is the expansive canvas of characters, many of whom are set up with minimal pay off; they are just part of the fabric of the village. Jewish customs, such as kissing the mezuzah on the doorpost, will surely become more like second nature with repetition. The show has succeeded for a long time with good reason, and the heart and power of the characters are all there.

Following Warlow, the strongest music theatre performance on stage comes from established talent Blake Bowden. Partially hiding his handsome looks under a student cap, Bowden’s magnetic presence shines through as impassioned young revolutionary Perchik. Bowden displays gentle sweetness as he teaches Hodel to dance and, later, when he sings act two opener “Now I Have Everything,” and is at his powerful best as Perchik leads the mixed-gender dancing at the wedding. This is a complex scene with intricate timing, and Bowden handles it with and supreme flair and confidence.

Recording star Lior makes a smooth transition to music theatre, looking natural and relaxed on stage. As Motel the tailor, Lior makes easy work of characterful ballad “Miracle of Miracles,” and proves effortlessly proficient at dance as well.

A talented trio of rising artists portray the romantic travails of Tevye’s three eldest daughters. As the gently virtuous Tzeitel, Teagan Wouters misses the chance to display her powerful belt but gives an endearing performance nonetheless. Monica Swayne sings with affecting sweetness, giving a moving rendition of act two ballad “Far From The Home I Love.” Jessica Vickers deftly balances Chava’s plucky romantic side with her delicate vulnerability.

Experienced performers fill key character roles. Long-term star Sigrid Thornton, at home in all mediums of entertainment, is a canny choice to play opposite Warlow, in that the veteran actress brings mighty skills in standing her ground and establishing a solid character. Not the strongest singer, Thornton nonetheless finds a characterful, delicate tone for Golde’s vocals.

Nicki Wendt ramps up the energy of Yente the matchmaker, delivering welcome laughs in her first scene with Golde. Mark Mitchell captures the full personality of Lazar Wolf the butcher, maintaining a warm twinkle in his eye even when the character becomes angry.

Jensen Overend is suitably charming as Russian lad Fyedka. Derek Taylor brings respectful gravitas to the Rabbi, avoiding any over the top theatrics. Anthony Pepe has a strong presence as Mendel, the Rabbi’s son.

The full company is clearly filled with triple threats, who are able to create distinct and colourful characters, sing the harmonies beautifully and dance in spectacular fashion.

A reverential production of an all time classic, the new tour of Fiddler on the Roof has much to enjoy, not the least of which is the star appearance of Anthony Warlow.

Fiddler on the Roof plays at Princess Theatre, Melbourne until 27 February 2016. It then plays in Sydney from 24 March 2016.

Man in Chair also published a set of production photos in Fiddler on the Roof sneak peek.

Photos: #1 Simon Parris; #2 – #9 Jeff Busby

What appears, at first glance, an unusual choice for a musical proves a joyous celebration of culture, identity and acceptance.

The timing of the original hit movie Bend It Like Beckham (2002) was at the cusp of an explosion in women’s soccer, with numbers soaring from thousands to nearly two million women and girls now playing the sport across Britain. Retaining the timeframe but adjusting the location to Indian-centric Southall, Gurinder Chadha and Paul Mayeda Berges repeat their movie co-writing duties to create a flowing, engaging, humorous musical.

Chadha also repeats her directing credit, showing herself completely fluent in music theatre language with a pair of climactic numbers (one in each act) in which characters and locations share the stage in abstract but completely clear dimensions.

Far from being exclusively a sports story, plenty of necessary colour and movement are derived from the engagement, mehndi and wedding of Pinky, vacuous sister of lead character Jess. 

In line with the realistic suburban focus of the setting, Howard Goodall’s score avoids full Bollywood, providing catchy ballads and anthems along with smatterings of authentic-sounding Indian music. There is a remarkable quality to the beauty of the chorus singing.

After protracted focus in act one on the to and fro of Jess’ can she/cant she involvement in soccer, act two provides a string of songs that illuminate the inner thoughts of a range of supporting characters. When even the soccer coach can naturally express himself in song, it is clear that the numbers have been skillfully created to derive naturally from scenes. Charles Hart (of The Phantom of the Opera fame) wrote the lyrics.

Aletta Collins’ energetic, enjoyable choreography stems organically from the characters’ everyday lives, from sports training to shopping to traditional Indian dancing. Actual soccer balls are used occasionally, with a couple of special effects creating the titular “bend” of Jess’ goal kicking.

Framed by a pro arch adorned with AstroTurf, the stage features a curved grandstand, with curved triangular units rotating to create Southall Broadway, wallpapered interiors, tree lined ovals, changing rooms and more. The glittering hanging threads of lights of the Bhamra home are not only attractive but are also included the story. Costumes are gorgeous with being ostentatious. 

Natalie Dew is completely endearing as the humble, down to earth Jess. Kirstie Skivington covered best soccer friend Jules at this performance, giving a lively performance and skillfully conveying the vulnerability of this talented soccer player. Preeya Kalidas is quite hilarious as Pinky, who is as daft as she is pretty, and also shows herself a terrific dancer. Jamie Muscato brings an understated integrity to coach Joe, a role that could be ruined if it was overplayed.

The list of excellent lead performers goes on, with each establishing a rounded character that is clearly identifiable without going anywhere near stereotype or caricature. 

The stage exudes feel-good warmth at the finale, leaving the appreciative audience in high spirits. It is disappointing to hear that the show will close in March after playing less than a year.

Bend It Like Beckham The Musical plays at Phoenix Theatre, London until 6 March 2016.

Photos: Ellie Kurtz

Fanny Brice may sing the song but it is Sheridan Smith who is the greatest star, leading a long overdue, sassy revival of Broadway classic Funny Girl.

Selling out a 15-week season in a matter of hours, the production announced a transfer to the West End’s Savoy Theatre before opening night. Not seen or heard on the professional stage for some 50 years, the show has the distinct advantage of a catalogue full of hits, kept alive by the 1968 movie. The new staging also benefits from an update to the book by Broadway magician Harvey Fierstein, who respectfully maintains the integrity and spirit of the original rather than parading a series of broad one-liners.

In line with the structure of a memory play about the theatre, designer Michael Pavelka fashions furniture out of various trunks and trestle tables. A rear backdrop shows a grand sweeping auditorium and footlights. Additional scenic elements appear, as the memories unfold, as hazy mirages in the antiqued mirror stage legs.

Matthew Wright’s costumes chart Fanny’s rise from floppy bloomers to plush furs, all the while maintaining her celebrated shapeless form. Wigs also aid the distinction between Fanny and the traditionally “beautiful” chorus girls by having the six ladies of the chorus appear very close to identical.

Smith gives a plucky, supremely endearing performance as Fanny, gently coaxing the audience into her palm and then not letting go for the duration. Smith’s singing style is gently quirky and characterful, sufficiently different in sound to her famous counterpart so as to avoid any comparison.

The definition of tall, dark and handsome, Darius Campbell has the sexy smoky voice to match his smouldering looks. Despite his height and vocal power, Campbell still conveys an underlying insecurity in Nick Arnstein’s pursuit of Fanny, allowing the character’s doubt to gradually rise up and strangle him.

Smith and Campbell enjoy lovelychemistry, and when they sing nifty duet “You are Woman, I am Man,” it is music theatre heaven.

Another dose of heaven, as if the entire show is not a pure dream, comes in act two charmer “Who Taught Her Everything She Knows?” Joel Montague delivers extraordinary dance steps as hoofer Eddie. Marilyn Cutts beams with down to earth humanity and theatrical class as Fanny’s devoted mother Rose Brice.

Director Michael Mayer respects the old world charm while adding more than a dash of modern flow and zip, staging filmic, even abstract, dissolves between and within scenes, and streamlining montages upon a pair of travelators.

Choreographer Lynne Page provides a witty nod to the era, allowing the dancers to perform the necessarily hokey steps with a knowing wink. The proliferation of tap steps is wonderful, and Smith does a shuffle-ball-change with the very best of them.

While the movie was edited into a bit of a one-woman show, the musical, while clearly a star vehicle, features a colourful supporting cast of Fanny’s friends and family. As performed by the talented company, the stage fairly glows with affectionate warmth

Back in Henry Street, strong support comes from Valda Aviks as Mrs Meeker and the veritable Gay Soper as Mrs Strakosh.

Richard Brooker’s sound design has a wonderfully natural sound for the modest-sized auditorium, and balance with the band of ten musicians is excellent.

Buy a ticket to Funny Girl at the Savoy while some seats still remain.

Funny Girl plays at Menier Chocolate Factory, London until 5 March 2016 before transferring to Savoy Theatre, London.

Funny Girl was reviewed at Menier Chocolate Factory, London 3.30pm Saturday 16 January 2016.

Photos: Marc Brenner

Showcasing two of the finest stage actresses, Grey Gardens finally comes to London in this impressively staged production.

Making quite a name for itself in very recent times as starting place for theatrical hits, the Southwark Playhouse has added its name to the shortlist of special venues that must be carefully watched when planning a West End theatre trip.

The unique configuration of the performing space allows an intimate arrangement with seating on three sides and no audience member further than five rows away.

The action begins with a glimpse of  Sheila Hancock as Big Edie and Jenna Russell as Little Edie in their decrepit later life. As Big Edie attempts to sing one of her cherished songs, Russell transforms before our eyes into the Big Edie of 1941. Act one’s significantly condensed version of actual events sees the women’s cultured, privileged world implode one serene summer afternoon.

After the brief prologue, the lights rise to suggest sunnier times, but the squalor of Tom Rogers’ detailed set design remains, an abstract collage of faded dreams and distant memories. Costume designer Jonathan Lipman outfits the society set of act one in gently faded shades of pale pink and blue. Lipman goes to town, of course, with Little Edie’s “revolutionary costumes” in act two, and Russell pulls these off with mind-boggling aplomb.

Director Thom Southerland colours the family drama of act one with a myriad of tiny details that allow the characters to breathe as people rather than caricatures.

Charismatic young actor Aaron Sidwell presents Joseph P. Kennedy Jr as crisply handsome fellow, with a self aware eye on avoiding scandal bubbling just below the surface. Jeremy Legat portrays lavender pianist George Gould Strong as a guarded man who has come to feel quite at home tickling Big Edie’s ivories.

Avoiding the pompous, dithering stereotype, Billy Boyle portrays J. V. “Major” Bouvier as a man sharply aware of the disappointment of a family that has not developed to his liking. As Little Edie in act one, Rachelle Ann Rayham pops pills with barely contained skittishness, expertly balancing the line between true optimism and niggling despair. Rayham’s strawberry blonde tresses are tightly pulled back, foreshadowing the hair loss that is to come. Lipman cheekily dresses her in a hood at times, in another nod to the young woman’s demented future.

The compaction of events in Doug Wright’s book for act one brings an onslaught of unstinting familial cruelty, and Southerland delivers this with painful force. Michael Korie and Scott Frankel’s charming period songs bring some relief, with lyricist Korie going all out with Big Edie’s wickedly racist repertoire of songs.

With Big Edie’s bombshell having successfully sent Little Edie’s latest fiancé Joe Kennedy Jr heading for the hills, and her own pitiful marriage finally euthanised by the unseen Mr Beale, the final moment of act one sees Hancock return as Big Edie, with Sidwell and Ako Mitchell in their act two guises of teenager Jerry and gardener Brooks Jr, son of butler Brooks Sr.

The audience’s appetite teased with the all too brief prologue, the full effect of Russell and Hancock’s tour de force performances is unleashed in act two. Those familiar with the musical will know that this act is based on the infamous 1975 documentary Grey Gardens, which chronicled the bizarre life of the fallen socialites Big and Little Edie Bouvier Beale.

Wonderful as her performance is as the self deluded, self centred, selfishly manipulative Big Edie in act one, Russell is even more delectably compelling as she channels the outlandish lunacy of the later incarnation of Little Edie. Now 32 years older, Little Edie’s hair, figure and most of her sanity are gone, along with her prospects for happiness she once held. Russell is absolutely hilarious, whilst also tenderly maintaining a palpable air of pathos as well. In Russell’s exceedingly capable hands, act two opener “The Revolutionary Costume for Today” becomes a show stopper to rival “Hello, Dolly!,” bringing down the house with a roaring ovation. After much hilarity, Russell has the poignant 11 o’clock number “Another Winter in a Summer Town,” leaving the audience moved and unsettled by the women’s plight.

Hancock continues Big Edie’s self preserving manipulation, playing her as a woman who turns on the mania when it suits her. A strikingly handsome woman, Hancock appears almost too healthy and strong as Big Edie, a woman who survives with little nutrition, sanitation or affection. Hancock uses more of a regular voice rather than the sing-song tones usually heard from Big Edie, and does not wear the horn-rimmed glasses for very long. The actress adopts a gently realistic manner for her touching scene with local youth Jerry.

Hancock is an excellent partner for Russell, a highlight coming when the pair engage in an extended shouting match that ends with a searing moment of honesty as Little Edie expresses her deep-seated fear that her father would have her committed.

With the current season sold out, watch, with fingers crossed, for news of a West End transfer.

Grey Gardens plays at Southwark Playhouse, London until 6 February 2016.

Grey Gardens was reviewed 7.30pm Saturday 16 January 2016.

Photos: #1, #3, #5 Scott Rylander; #2, #4, #6 Tristam Kenton

Spectacular dancing enlivens evergreen chestnut Guys and Dolls in this solid new production.

While the Donmar Warehouse spiced up their 2005 revival with dazzling marquee names, the casting is far more humble this time. This staging, however, is more lavish than a wall of light bulbs, and the direction and choreography make thorough use of the plentiful stage space at the Savoy Theatre.

One of the best known shows in the music theatre canon, it is best to let the timeless quality of the work speak for itself, and this is exactly the approach taken by director Gordon Greenberg. Peter McKintosh’s radiant overhead collage of billboards leaves the floor space free for seamless movement within and between scenes.

The chief attraction here is the achievement of joint choreographers Carlos Acosta and Andrew Wright, who deliver the most exciting dancing seen in this show in memory. From the opening notes of “Runyonland,” through “The Oldest Established,” and the dance break in “Guys and Dolls,” the choreography is closer to Newsies than the sedate storytelling usually seen in this show. If these sections are great, big numbers “Havana,” Crapshooters’ Ballet” and “Sit Down, You’re Rockin’ The Boat” threaten to blow off the roof with their energy and inventiveness. There is still storytelling embedded in the dance, but in more interesting and abstract ways.

Gareth Valentine’s new dance arrangements respect the source material while adding a fresh vibe. The fourteen musicians, mostly brass and woodwinds, sound nothing short of sensational.

Perhaps in an effort to match the energy of the choreography, or perhaps due to a lack of trust in the material, Greenberg feels the need to have his actors perform at their highest vocal levels in all the book scenes. Diction and slow speech, along with forceful projection, keep the text crystal clear, but subtlety and nuance are lost when everyone has to speak so slowly and carefully and loudly. Many of the jokes require a casual throwaway nonchalance, and this aspect is lost.

In avoiding star casting, Greenberg also appears to have gone overboard with realism. Never have so many bald men been seen on stage in the same together. McKintosh’s costumes nobly follow this natural approach, utilising colour and patterns well but adding little sparkle or glamour.

While Sophie Thompson is ostensibly the biggest name in the show, the biggest asset in the cast is Jamie Parker as Sky Masterson. In an interesting interpretation, Parker is a more ethically concerned man than the slick, suave, unflappable guy who is normally seen. Parker also has the casual, masculine Sinatra sound that is perfect for his songs.

Siubhan Harrison is a lovely Sarah Brown, and she and Parker do enjoy great “chemistry.” Harrison sings sweetly, and makes an amusing contrast in her transformation to tipsy Sarah in Havana.

Thompson wins the audience’s love as beleaguered fiancée Miss Adelaide, playing her as a self-aware but pluckily determined woman. Thompson scores extra laughs by having Adelaide swoop into a deep chesty voice when making a dramatic point. David Haig retains Mr Banks’ fastidious control and intellectual air, robbing Nathan of his spontaneous, seat-of-his-pants manner.

The supporting leads are well cast and are well matched in look and performance style. Special mention to Neil McCaul for finally making Arvide Abernathy’s ballad “More I Cannot Wish You” enjoyable to listen to (the orchestrations also helped). Extraordinarily tall young actor Nic Greenshields makes an ideal Big Jule.

The capacity audience at this performance were swept along with the nostalgia and blown away by the dancing.

Guys and Dolls plays at Savoy Theatre, London until 12 March 2016 before an extensive UK tour.

Guys and Dolls was reviewed 7.30pm Monday 18 January 2016.

Photos: Paul Coltas

While music theatre fans across the globe wait to have the chance to see Hamilton, we still have the zesty, heartfelt pleasure of In The Heights to enjoy.

First a word about the fabulous new Kings Cross Theatre. An easy two minutes’ walk from Kings Cross Station, the space was custom built for The Railway Children, which now shares the theatre in repertory with In the Heights. Impressively, the architects have avoided the number one complaint about theatres by including a wonderfully large foyer space with atmospheric lighting, thematic décor and a range of food and drink for sale. This is a place to relax and get in the mood before a show rather than a cramped space to hurry through.

The performing space is a central strip between raked seating on two sides. With all the spinning in In The Heights, this layout is ideal. Set designer Takis has painted a colourful mural of subway lines on the ground, with constructed sets of the bodega at one end and the hair salon and car dispatch at the other.

In keeping with the vibrant Dominican-American characters, the costumes (Gabriella Slade) and lighting (Howard Hudson) are festively colourful.

Lin-Manuel Miranda’s intricate music and lyrics reward repeat listening. It is a credit to the precise diction of the cast, and the excellent sound design (Gareth Owen), that I heard some lyrics I had never caught before. The crisp sound design allowed multiple overlapping vocal lines to be heard distinctly in numbers like “96,000,” “Blackout” and “Carnaval del Barrio.”

The show can be criticised for the obviously telegraphed story developments, but there is ultimately a great deal of heart in the writing. Having an almost operatic structure, each character has their own aria ballad to express their inner thoughts and desires. In this company of incredible belters, these ballads are stunningly delivered, standing alongside the electric full company numbers without allowing the energy to flag for a moment.

Director Luke Sheppard delineates the characters clearly and keeps the action swift and fluid while also delivering the warmth and soul of the piece. Drew McOnie’s intricate, high-octane choreography is great fun to watch. Full company numbers are a riot of strong vocals and exciting dance moves.

There is a uniform consistency of talent in the cast, and the enjoyment they feel in performing the show is infectious. Sam Mackay successfully conveys the insecure authority of default community leader Usnavi. Newcomer Cleve September is endearingly sweet as Usnavi’s cousin Sonny, and is also a spectacular dancer. Eve Polycarpou balances the sweet tenderness of Abuela with the breakout vocals of her big number “Pacienca y Fe.”

Petite, short-haired Lily Frazer is a plucky, resolute Nina, and her soaring vocals are amazing. Playing salon owner Daniela at this performance, Philippa Stefani brings out a powerful belt in “Carnaval del Barrio.” Likewise, Jocasta Almgill, playing Vanessa at this performance, has her own lungs steel, as well as a charming stage presence.

David Bedella is well cast as proud small business owner Kevin, achieving the requisite balance between paternal firmness and tenderness. Josie Benson, as Kevin’s frustrated wife Camila, delivers a searing performance of “Enough,” as Camila loses all patience with the squabbles and deceits of her husband and daughter.

In The Heights is highly recommended viewing. Arrive a little early to appreciate the new theatre as well.

In The Heights plays at Kings Cross Theatre, London.

In The Heights was reviewed 6pm Sunday 24 January 2016.

Utterly charming and original, new Australian musical Ladies in Black is cause for celebration.

Nurtured and delivered by two state theatre companies, whose core business is straight plays, the surprise in the success of Ladies in Black is not so much that this happened at all but that it does not happen more often. Overseas, the subsidised or nonprofit theatre realm is often a melting pot for new music theatre work. Following this pattern, Ladies in Black should now be picked up by some lucky producer for a healthy commercial run. Fingers crossed that this will turn out to be the well-deserved outcome in this case.

While there are an infinite number of variables that have to fall into place for a successful new musical, the score is paramount. Ladies in Black not only skips the most common source for new musicals in Australia (the “jukebox”) but also significantly improves upon recent high profile new musicals King Kong and Strictly Ballroom by having the distinct voice of a score written by one composer.

In turning his hand to music theatre, Tim Finn joins a league of popular music writers turned musical composers that includes the likes of Elton John, Tim Minchin and Cyndi Lauper . Decades of experience in writing catchy hooks and narrative lyrics bear great fruit here, with a score that is enjoyably accessible on first listen. The snappy lyrics are witty, with many laughs coming from the delectable rhymes.

Stephen Sondheim’s Finishing The Hat may be a little aspirational for Finn’s sole background reference in his composer’s note, but he does acknowledge how high this sets the bar. And what Finn accesses here is an authentic Australian vernacular that only a local songwriter could achieve. Songs such as “He’s A Bastard” and “I Just Kissed A Continental” are a perfect tonal match for Carolyn Burns’ breezy book, the whole affair viewing 1950s Australia in a sunny, if not entirely rose-coloured, light.

The extensive experience of music theatre director Simon Phillips, also credited as dramaturg, has clearly been integral in shaping the work as a piece of music theatre. Finn delivers the requisite spread of songs, from establishing numbers, I wish songs, I am songs, patter songs, charm songs, ballads and production numbers. There is no climactic 11 o’clock number, just a reprise of “Can’t Wait until Tomorrow Becomes Today” as the characters, current issues resolved, continue to look to the future.

Based on Madeleine St John’s 1993 novel The Women in Black, the musical tells a snippet of the coming of age of a nation while ostensibly focusing the coming of age of intelligent young Lisa Miles. Working at David Jones Goodes department store the summer after finishing her Leaving certificate, Lisa’s excellent academic education is enriched with broader life experience as the stories behind the austere black outfits of her new workmates unfurl.

Burns’ text deftly avoids the cultural cringe while shining a light on the expanding horizons of 1950s Australia. Entrenched sexism is mocked, and subtle points are made about overcoming the ongoing intertwined fear and racism against refugees. With Phillips’ input, the story is economically told with only ten actors. The doubling (or tripling) of roles works well, except for one anticlimactic sequence in which we do not actually see Magda’s New Year’s Eve party. Overlapping scenes, dream sequences and scenic dissolves are all handled with a supremely modern fluid touch.

Under David Young’s musical direction, the band sounds richer than only six players. This can be credited to clever orchestrations from master musician Guy Simpson.

Gabriela Tylesova’s scenic design is based on seven Perspex pillars, with a good portion of the budget perhaps going on the three stage revolves. Tylesova’s costumes are reliably sumptuous, providing a range of highly attractive cocktail and designer gowns. Featured gown the “Lisette” delivers a dreamy Cinderella moment.

Christen O’Leary makes a welcome return to the Melbourne music theatre stage as the exotic Magda. While some of the sales ladies dismiss Magda as “continental,” Lisa discovers the warmth and creativity of Magda and family. O’Leary radiates Magda’s generosity while maintaining an intriguingly mysterious air.

The role of the gentle, sweet ingénue (think Cosette or Hope Harcourt) is a challenging one to make interesting. Sarah Morrison gives a lovely performance as Lisa, singing sweetly and forming genuine relationships with the women around her.

Experienced singing actress Lucy Maunder utilises her considerable talent to convey a large backstory to Patty, fleshing out the pain of young married woman whose marriage is threatened by fertility issues.  As Patty’s rather feckless husband Frank, Andrew Broadbent expands the role from a potentially one dimensional louse to a sympathetic, or at least understandable, man.

Naomi Price imbues the lovelorn Fay with a perky sense of hope. Bobby Fox is a great asset as the dapper Rudi, crooning a couple of comic ballads and fitting in some slick, fleet footed dance moves.

Deidre Rubenstein creates the beautifully sympathetic role of lonely Miss Jacobs, bringing a distinct tenderness and kindness in her voice.

Strong support comes from fellow company members: Greg Stone as a pair of husbands, Carita Farrer Spencer as Lisa’s protective but gradually understanding mother, and Kate Cole and Kathryn McIntyre playing at least two roles each.

Ladies in Black plays at The Sumner, Southbank Theatre, Melbourne until 27 February 2016.

Ladies in Black was reviewed 8pm Wednesday 27 January 2016

Photos: MTC

World premiere musical Butch Masters: Man of Destiny brings affordable theatre to Midsumma 2016. 

Talented songwriter Jamie Burgess has managed the impressive feat of penning the book, music and lyrics for this new, full-length musical. Burgess also took on musical director duties, and laid down the recorded instrumental backing tracks for the performances.

The songs are quite enjoyable, and the comedic focus is balanced with the inclusion of a couple of gentler ballads. The book and lyrics are heavy on pop culture references, innuendo and smutty wordplay, scoring plenty of laughs from the opening night audience. The fairly basic sound design (by Evan Drill) interfered with delivery of some lyrics; this issue may well be smoothed out as the season continues.

Burgess’ book is not as strong as his songs, and perhaps needed the input of a second pair of eyes or dramaturge. The second act deviates from the central storyline before eventually returning to our hero, Butch. The structure of the book, however, is not really all that important for the outlandish, frothy fun that is the aim of the show.

The story takes place in a world where everyone is gay. Butch Masters is the odd boy out, growing up heterosexual. Villainous Bea St. Lea strives to kill Butch so that her invention will remain the only way for women to become pregnant.

One odd aspect to the storytelling is that for an ostensibly gay-themed show, a very large proportion of the show is spent on heterosexual male-female relations. Also, the fear and disdain the characters have for heterosexuality seems out of line with the current gradual diminishing of homophobia in the real world. Overall, this context seemed more fully explored in 2002 off-Broadway musical Zanna, Don’t!.

Director Dirk Hoult keeps energy sky high, which is great for selling the over the top characters. Comedy tends to work better, however, when played straight. The variety of accents is also an odd choice.

Choreography by Jason Teasdale is well served by the high-energy vibe. Teasdale has drilled the ensemble cast well, and makes good use of the tight stage space.

Jason Bovaird’s colourful lighting design is a solid feature of the production, making abundant use of moving lights in line with the nightclub feel. The lighting is so effective, in fact, that set designer Daniel P Moulds really should not have bothered with the very basic folding panels that are moved into place to make a small contribution to the various settings. Colin McLean’s costumes are a riot of camp colour; nary a square inch of fabric goes without dazzling sequins.

Tall, handsome music theatre actor Mitch Ralston is convincing and engaging as confused straight boy Butch. Isabella Valette shines as his equally attractive co-star Pussy Powers.

Antony Steadman channels the great Divine in an amusing characterisation as dastardly Bea St. Lea. One of the most experienced actors in the cast, Adrian Li Donni demonstrates his accomplished performance skills in the key featured role of Randy. Justin Clausen impresses with his character Trunch’s big number, “Strong Hard Love.”

This is a show to enjoy with some friends after a drink or two to get into the festive Midsumma spirit.

Butch Masters: Man of Destiny plays at Alex Theatre St Kilda, Melbourne until 6 February 2016.

Promotional photo for Butch Masters: Man of Destiny

A series of music video clips come to life on stage, Ghost the Musical caters to the attention span of the YouTube generation. Thankfully, the talents of the terrific cast provide the heart and soul to go with the slick, glossy staging.

A hit when it opened in London’s West End in 2011, Ghost the Musical was originally announced to open in Melbourne in 2013 but producers backed out after the show’s lukewarm reception on Broadway in 2012. It is clear why the original London producers have persevered with bringing the show to Australia; the blue chip title has instant recognition and the pop-infused score is an attraction for a younger theatre crowd.

The current staging maintains the changes made for the Broadway production, in which the jarringly jaunty soft-shoe ghost ensemble number “Ball of Wax” was replaced with “You Gotta Let Go” and Sam’s favourite poster was changed from Princess Leia to Barbarella. The production is on a suitable scale for the massive Regent space, but it is disappointing to note that the Broadway orchestra of 17 musicians has now been reduced to an “orchestra” of seven players.

Adapting his Oscar-winning movie script for the stage, Bruce Joel Rubin makes the decision to update the setting to current times but does not see this through. Characters talk on landlines, banks uses paper account cards and a Brooklyn loft is discovered at $700 per square foot. In this post 9-11 age, Wall Street is no longer populated with greed is good yuppies. Still, romance is timeless, and the heart of the story lands a solid emotional punch, with a healthy dose of humour along the way.

Director Matthew Warchus keeps the action swift and cinematically fluid. Aided by illusionist Paul Kieve, Warchus creates showy special effects for the supernatural story elements. A combination of projections and thin, light video screens (with images by Emily Harding) support the nonstop stage movement, and the images are large enough to be seen throughout the expansive auditorium.

Hugh Vanstone’s lighting design is a significant feature of the production, enhancing the pop concert vibe and integral in facilitating the illusions. A key effect is the portrayal of Sam as a ghost, which is achieved by keeping him in a pale blue light no matter what the lighting on the rest of the stage.

Dave Stewart’s score has a modern, pop music sound that makes it accessible and enjoyable on first listen. The lyrics, by Rubin and Glen Ballard, are not as successful, with many songs grinding the storytelling to a halt.

With plot progression not occurring through song, the chorus becomes redundant. The ensemble is filled with highly skilled triple threats, yet they are reduced to moving bodies. The chorus has no character work at all, a processed sound to their singing, and, worse, lame choreography (by Ashley Wallen) that is a joyless series of jerky, dance school* moves.

Moving on to what does work in this production and it is all about the cast.

In a role seemingly tailor-made to her talents, Jemma Rix’s flawless voice soars through song after song. Rix portrays Molly’s vulnerability without making her a pushover and conveys her profound grief without making her a sad sack. Rix’s commitment to the supernatural elements of the story is the key to allowing the audience to suspend their disbelief. Already possessing a solid profile, this performance moves Rix to true leading lady status.

It comes as no surprise that Rob Mills is genuinely good as dear departed Sam Wheat. On stage for almost the entire show, Mills’ likeability provides an instant connection to Sam and this appeal only increases as the night proceeds as he deftly balances the character’s masculine and sensitive sides. Sam’s songs are also an ideal match for Mills’ vocal talents.

Mills and Rix enjoy strong chemistry, and Sam’s quest to avenge his murder takes on a compelling drive as the story moves to its moving resolution.

Offsetting the romance and tears is the hilarious work of Wendy Mae Brown as unwittingly talented psychic Oda Mae Brown. Already well experienced in the role, Brown has sensational comic timing and line delivery, and she sings up a storm in Oda Mae’s gospel-infused numbers. Brown gives a sassy, larger than life performance whilst also grounding the character with humanity.

London actor David Roberts steps in as deceitful banker Carl for the Melbourne season, a role he has played in UK and Asian tours. Roberts gives an assured, natural performance, showing the greed and desperation that bubble beneath Carl’s slick surface without making him a one-dimensional villain.

Rising talent Ross Chisari makes a strong impact as skeevy hood Willie Lopez. David Denis brings a powerful presence as Subway Ghost, and makes the rap stylings of his number “Focus” sound naturally authentic.

Ghost is the perfect date musical.

Ghost the Musical plays at Regent Theatre, Melbourne before continuing its tour to Sydney and Perth.

Man in Chair has reviewed Ghost the Musical in London and Broadway.

Photos: Jeff Busby

*no offence to dance schools intended

Anchored by an exceptional lead performance from Mike Snell, Saturday Night Fever features sharp choreography, excellent musical performances and a darkly dramatic story that is enhanced by the intimate space of Chapel off Chapel.

Having quickly established themselves as the ones to watch, independent Melbourne company StageArt have set the bar high for their prolific 2016 season. Bringing Melbourne audiences exciting boutique productions of rarely seen (or never seen) musicals, the company has exactingly high performance standards, particularly related to dance, and is well ahead of mainstream producers in promoting cultural diversity.

Anyone dismissing the musical Saturday Night Fever as a light 1970s nostalgia piece is sure to be surprised by the scope of the gritty drama behind the familiar dance floor images from the iconic 1977 movie. While Brooklyn is now seen as a trendy urban paradise in TV’s Girls, the 1970s Brooklyn of Saturday Night Fever saw working class families battle inflation, unemployment and a bleak world outlook. Differing races were mistrusted and women were treated appallingly. Alcohol and drugs offered an escape, but for these young characters dance was king, with Saturday night at local disco 2001 Odyssey the towering highlight of their week.

Rape, abortion and suicide are not the usual province of musicals, but Robbie Carmellotti’s direction has the cast work with great focus and drive in making the story’s twists believable and affecting. The book rushes some moments, particularly the mistaken revenge against the wrong gang in act two, but the cast’s commitment to the heart of the story never flags.

Carmellotti has each of the leads stand still centre stage and sing their big ballads (a practice known as “park and bark” in opera), and this less-is-more approach successfully forges a connection between audience and performers, increasing the impact of the drama.

Budget constraints impact the scenic design, meaning that some locations are mainly clear to those familiar with the film’s plot. Carmellotti adds to the visual interest by dressing the stage with ensemble members, giving the locations a lived-in look.

Lucy Wilkins’ costumes have an authentic 1970s style, with some of the flares, jumpsuits and wide ties providing what-were-they-thinking laughs of recognition. Tony’s signature white suit with black shirt is a highlight. While the men’s hair looks good, the lead females are, unfortunately, let down by poor quality wigs.

Quite possibly the industry’s hardest working lighting designer, Jason Bovaird is in his element here, with lighting effects being so integral to the locations. A feature of the scaffolding stage set is the use of two square frames of LED tubes. These tubes, in combination with the full rig, clearly involve a mind-boggling number of cues. Bovaird aids storytelling by pinpointing characters in white light, and his work is crucial in the delivery of the effect of the dramatic bridge death.

The quadruple threat members of the ensemble also play the score, with music director Tony Toppi on keyboard and Chris Duffy on drums being the only permanent musicians. This conceit is well integrated, in that the actor/musicians give off plenty of attitude when playing their instruments rather than retreating the sidelines. Given the demands on the cast, the musical performances come off brilliantly, and full company vocals also sound superb. In a very nice touch, each musician has their own bow, with the actor/musicians then joining the company for the cast bows.

Coming from one the best-selling soundtracks of all time, the Bee Gee’s songs are a definite attraction of the show. Originally played as background music, they do not all work as music theatre songs, with the clarity of the lyrics on stage at odds with the Bee Gee’s frequently unintelligible renditions of the songs.

Luke Alleva’s tightly drilled choreography is a thrill to watch. When the full company is in motion, the precision and the energy levels are amazing. The climactic dance contest is cleverly choreographed, with the Spanish pair, as intended in the story, clearly the best. “Open Sesame,” the Arabian-themed dance entry performed by Daniel Ham and Alexia Brinsley, is hilarious.

As hip-swiveling Tony Manero, Snell may be a little far from 19 but has an abundance of youthful energy and stage presence for the role. Barely offstage the whole night, Snell successfully bonds with the audience, making the arrogant, unsatisfied young man a likeable antihero. Snell’s dancing is excellent and his singing is tender.

Highly experienced performer Paul Watson pulls a remarkable dual role, as Tony’s embattled father Frank Sr and lively club DJ Monty. Watson brings gravitas to his dramatic scenes, and also impresses on lead and bass guitar.

Sheridan Anderson gives a solid performance in the complex role of Stephanie, conveying the conflict between the character’s Brooklyn origins and her social climbing reinvention. Anderson and Snell create believable chemistry, and both characters’ frustration at not being to connect physically, apart from on the dance floor, is clear. Anderson’s delivery of “What Kind of Fool” makes it one of the more successful song selections for the story.

In what I is arguably her strongest stage appearance to date, Elise Brennan is compelling as the skittish, sexually charged Annette. Brennan’s strong acting and singing are topped off by her incredible dancing; I found it very hard to take my eyes off her in the company numbers.

Dean Schulz nails the role of sniveling youth Bobby, plugging away at the character’s tortured self-pity so that his tragic fate is believable. Schulz sings modified hit “Tragedy” with sensitivity, and impresses mightily on the saxophone. Rounding out Tony’s sidekicks, known as “The Faces,” skilled music theatre practitioner Duane McGregor has plenty of bravado presence as Joey and Joseph Spanti puts a cocky sparkle in the eye of Double J. McGregor and Spanti are also strong dancers.

Saturday Night Fever may be missing some of the gloss of big budget productions, but for affordable music theatre it is very hard to beat.

Saturday Night Fever plays at Chapel off Chapel until 28 February 2016.

2015 StageArt hit In The Heights returns to Melbourne 11-12 March 2016. Later this year, StageArt presents Titanic the Musical and the Australasian premiere of The Color Purple.

Photos: Belinda Strodder

A slow burn, Banquet of Secrets’ ultimate success is due, in no small part, to the dazzling talents of its charismatic quartet of performers.

Billed as a musical, the new work really only differs from opera in that the singers wear body mikes and there is a smattering of dialogue. The non-naturalistic ebb and flow of reality and dreams makes the piece a natural fit for the opera stage.

Like the four central characters, the composers of Banquet of Secrets have been friends since university. The close relationship between Steve Vizard and Paul Grabowsky seems to have facilitated the creation of a musical that is far more accomplished than many a first time effort.

Grabowsky’s score is mellow, subtle and seductive, switching gears easily from haunting arias to perky comic numbers. With little more than the occasional surreptitious nod of the head, Grabowsky leads four fellow musicians and the four singers from the piano. The music is clearly very well rehearsed, with musicians and singers alike performing as if the work is already in their DNA. Dreamy harmonies are a highlight when the four singers all take flight at once.

Vizard gives a nod to Sondheim’s work, particularly Company, in that the characters’ lyrics are peppered with their own unique vocabulary, as befits their career, lifestyle and moral philosophy. In a very funny sequence, Vizard takes an extended swipe at the utterly pretentious menu descriptions used by upmarket restaurants. Social media obsession is also explored, in a frisky, well-timed comic number that breaks up the drama of the confession of secrets.

The premise of four long-time friends each sharing a deep secret over their annual dinner may sound somewhat simplistic, but the conceit is given depth through the immersive musical numbers that accompanies each confession. Time melts away, as do the dinner and the restaurant itself. The combination of Vizard’s well-conceived secrets, Grabowsky’s hypnotic music, Roger Hodgman’s confident direction and the excellent performances from the cast results in a number of spellbinding sequences.

If there is a slight weakness in the book, it is the assumption that just identifying with the situation of a reunion of friends is enough to hook the audience. After an excellent opening company number, each of the leads has a song to establish their character but there are no “I wish” elements and hence there is no drive or subtext or tension for the first third of the 90-minute show. The fact that the show ends with the audience so well involved is a testament to the strength of the remaining two thirds of the material.

With a season of only five days, the lighting design (Matt Scott) and scenic design (Scott and Christina Smith) are relatively simple but very effective. A glossy black tarkett over the Playhouse stage floor reflects the luscious lighting of the full rear wall. A large, tilted overhead mirror reflects the progress of the delicious courses of the meal (also symbolically representing the mirror the characters are holding up to their lives). Flashes of lightning punctuate the scenes as time passes throughout the banquet.

Smith’s costumes represent each character quite well but are not particularly attractive or cohesive in design.

Playing the four long-time friends, Antoinette Halloran (Mia), Dimity Shepherd
 (Rose), Kanen Breen (Jean Pierre) and David Rogers-Smith (Drew) enjoy terrific chemistry, successfully conveying a depth of friendship that ignites quickly despite the gaps between meetings and in which the shorthand, foibles and shared experiences are deeply imprinted. There is palpable warmth and camaraderie between the four. Hodgman is clearly behind much of this, but the strong working relationships of the group add a level of enjoyment that cannot be taught. Perhaps from the fact that opera involves learning to sing at the same time as other singers, each of the four are also highly adept at energetically talking at the same time, a knack that is put to good use in creating energy and a sense of excitement.

Halloran imbues Mia with just enough vulnerability to prevent the high-flying socialite’s vanity to be off-putting. Shepherd garners more sympathy but challenges the audience rather than indulging in their affection.

With immaculate diction that brings to mind the great Dennis Olsen, Breen cultivates a polished air in Jean Pierre that is offset with an underlying sense of unease. Rogers-Smith slowly reveals why the goodhearted Drew seems plagued by an encroaching sense of numbness.

Top marks to Victorian Opera for cultivating this fine new work. It speaks volumes that Victorian Opera’s second presentation of the year is also their second world premiere of the year.

Banquet of Secrets may not reach the crowd-pleasing heights of Ladies in Black, but theatregoers are set to find greater depth and more lasting, thought-provoking material in this show.

Banquet of Secrets plays at Playhouse, Arts Centre Melbourne until 5 March 2016.

The Banquet of Secrets program can be read online.

Photos: Jeff Busby