Reigning masters of the non-professional premiere, CLOC Musical Theatre again works their magic, presenting a slick, spectacular, highly engaging production of über-hit Wicked.

Given the massive difference in budget between this staging and the juggernaut of the Broadway production, the achievements in production standard here are quite extraordinary. While many CLOC amateur premieres, such as The Phantom of the Opera and Mary Poppins, could be admired for their great accomplishments, the icing on the cake here is the quality of the performances. Music and choreography are excellent, and direction is especially strong.

While professional stagings have plenty of money for design and special effects, one aspect where they must be frugal is cast salaries. This company of Wicked is far larger than the franchised professional staging, and the combined effect of all those singers and dancers is very positive indeed. Musical director Danny Forward delivers thrilling chorus harmonies, and choreographer Lynette White fills the stage with varied layers of well-drilled dance.

Chris White’s set design brings the action forward and makes excellent use of the deep, wide apron of the National Theatre. Glinda’s bubble, the giant Wizard face and the overhead dragon are scaled down but very impressively constructed, and the various arches and balconies of the setting are sturdily and attractively realised. The only slight misfire is a projection of the house that has crash-landed in the cornfield, which is of a sketchy cartoon-like style that is at odds with the rest of the artwork.

Brad Alcock’s lighting design not only paints the air with streams of colour and dapples the stage in countless textured gobo effects, but also provides a myriad of gorgeous tiny green lights as decorative enhancement on the sets for Oz. In addition to light, Alcock also provides inky darkness to cover special effects. Elphaba’s climactic act one flight is terrifically impressive, although it is almost too well covered by downstage beams of light.

Once again, a massive part of the visual appeal is the stunning costume design of Victoria Horne. Broadway’s Wicked hosts weekly Behind the Emerald Curtain sessions where fans can look at design elements up close, and these costumes would more than stand up to that scrutiny. While retaining the general arc of the original costumes, Horne has shown all manner of inventive wit and flair in creating a stunning new set of costumes. Numerous highlights include the decadently glossy black sparkle of the mature Elphaba’s dress and Glinda’s crystal-studded pale blue fairy gown. Other highlights include Nessarose’s pale pink satin and lace gown for “Dancing Through Life,” and Glinda’s formal pale gold ensemble and her subsequent spun gold engagement gown.

Completing the distinctive look of the characters is a multitude of wigs designed by David Wisken. Wisken gives a strong indication of Glinda and Elphaba’s character development, giving Glinda a tightly coiffured look when she becomes a public figure and allowing Elphaba’s locks to grow when she drops out of society and goes into hiding.

All of this visual and musical appeal would be of little point without the beating heart of the story, so the assured confidence of co-directors Chris White and Lynette White is of supreme value to the production’s success. With the action placed well forward on the stage, nuances of plot and characters are crisp and clear, and even the laugh lines seem to land more successfully. Very good use is also made of the full width of the stage. White and White stage a different version of Wizomania, and use the ensemble to present a flashback during Glinda’s false account of the first meeting with the Wizard. Their boldest stroke, which gives a great boost to the mature vibe of act two, is the clear implication that Elphaba and Fiyero have just made love before singing “As Long As You’re Mine.”

In a well-matched pair of lead performances, Rosa McCarty and Emily McKenzie shine as Elphaba and Glinda.

McCarty brings out Elphaba’s compassion and consternation in act one, and then is even stronger as the mature Elphaba of act two. Whether it is playing Elphaba as arguing with her sister, sparring with Glinda or loving Fiyero, McCarty enjoys chemistry with all her co-stars, and the emotional intelligence of her performance adds plenty of depth and interest to her characterisation.

While Elphaba has the stronger character arc, McKenzie brings out plenty of detail as Glinda journeys from vainglorious brat to heavyhearted public figure. While McKenzie provides plenty of cute perkiness in act one, she is, like McCarty, at her best playing the more mature later version of the character. McKenzie has a lovely soprano that complements McCarty’s powerful belt to great effect.

Robbie Smith is a dashingly sexy Fiyero, singing the role with an effortlessly smoky charm and dancing up a storm when given the chance. Smith plays down the corniness of the role to chart the rise of a sincere young man from beneath the vapid prince’s superficial origins.

Hamish Anderson portrays the intense longing of the meek Boq and the unleashed anger when he is finally free. Grace Kingsford shows the rigidity of Nessarose’s anger and underlying self-loathing, and is very convincing when Nessarose finally has the chance to stand and walk. As with Elphaba, Glinda and Fiyero, the successful conveyance of the journeys of these characters is as much a credit to the strength of the actors as it is to the insight of the direction.

Highly experienced performer Carolyn Waddell brings lashings of class to the insidiously self-serving Madame Morrible. Waddell has a plummy polish to her speaking voice, and demonstrates the quality of her acting in scenes such as the top of act two, in which Madame Morrible is clearly the puppet master behind the public’s ludicrous rumours about the fearsome Elphaba.

Fellow stage veteran Lee Threadgold nicely underplays The Wizard of Oz as a dapper fellow with little self-awareness or remorse for the cost of his actions. In a dignified performance, Jon Sebastian earns the full sympathy for ill-treated professor Dr Dillamond.

Melbourne has been well served by the two professional seasons of Wicked but it is not too soon for fans to enjoy another helping, especially of this calibre. Newcomers to the show are sure to be utterly enthralled.

Wicked plays at National Theatre, St Kilda, Melbourne until 21 May 2016.

Photos: Ben Fon

While the majority of commercial producers churn out safe revivals, the presentation of a challenging Victorian premiere falls, once again, to the independent theatre sector. Geelong-based company Doorstep Arts have taken the initiative to present this premiere season of Dogfight.

A touching love story blossoms from a very unlikely beginning as hardened marine Eddie Birdlace takes sensitive waitress Rose to a “dogfight” on the eve of his troop’s deployment to Vietnam. The loss of innocence for the central characters is given an undercurrent of significance by setting their last night of freedom on November 21, 1963, the night before America lost its innocence.

Trained to be unswervingly loyal, obedient and fearless, the desensitized marines think nothing of amusing themselves with a contest to see who bring the ugliest date to their final party. The fact that the men’s behaviour is uglier than any date they could potentially find is abundantly clear. Eddie shows signs of regret but is unable to prevent Rose being devastated at the cruel deception. The heart of the story comes in act two as the pair makes a deeper connection. Eddie’s attention makes Rose feel more attractive and Rose’s gentle coaxing soften Eddie’s hardened edges.

The score, by rising talents Benj Pasek and Justin Paul, is pleasantly reminiscent of the gentler songs of Spring Awakening. Musical director Trevor Jones leads a band of five musicians on side stage. Sound design is by Marcello Lo Ricco, which means that vocals are perfectly balanced with the accompaniment.

While music theatre generally looks to romantic comedy as source material, this dramatic musical is based on 1991 film Dogfight, and Peter Duchan’s book does not shy from presenting confronting behaviour and brutal tragedy.

Director Darilyn Raymondo brings out the intensity and focus required for the cast to convey the brisk but heavy storytelling. The commitment of the cast achieves a great deal with minimal sets and props.

Riannon Irving’s costume design for the female cast is quite suitable to the period, with some witty looks for the “ugly” women. The men’s uniforms are quite authentic but their civilian wear is not well aligned with the period.

Overall, the production values related to sets and costumes are not quite at the standard seen in recent independent boutique musicals, but if resources are limited, the choice to focus on cast and musicians is a wise one. Performances from the ensemble cast of 11 are solid, although some harmonies prove to be quite challenging.

Alexander Woodward has a masculine presence as Eddie, and generally portrays the young marine’s inner conflict quite well. Olivia Charamlambous is absolutely charming as Rose, singing sweetly and frequently flashing a disarming smile.

Zoy Frangos works with unflinching power as Boland, presenting the character as a driven young man who completely believes that he way treats others is right and necessary. Joel Granger as Bernstein, the third “Bee” of the three core friends, shows how young and naïve men were when being shipped off to war in a foreign land.

The company is blessed with the presence of highly experienced actress Sally Bourne, who lends strong support. Talented and versatile performer Jaclyn DeVincentis creates two distinct and memorable characters as Marcy and Peggy.

Tim Carney performs a range of cameo roles with flair. James Coley, Daniel Cosgrove, Jack Van Staveren and Hannah McInerney round out the supporting cast.

The musical landscape in Melbourne is all the richer for the presence of independent productions. The Victorian premiere season of Dogfight is sure to attract the interest of music theatre lovers who like to stay up to date with new musicals.

Dogfight by Doorstep Arts was reviewed 5pm Sunday 8 May 2016 at Chapel off Chapel, Melbourne where it plays until 15 May 2016.

Photos: Doorstep Arts

A bevy of young and exciting talents whip the crowd into a frenzy in the welcome Melbourne premiere season of Heathers the Musical.

The Australian production is a total improvement on the 2014 off-Broadway original, featuring vastly better scenic design, a terrific cast and audacious direction by Trevor Ashley. The characters are vicious, passionate, lewd, uninhibited teenagers, and the cast here achieve all this and more in ways that the restrained, PC New York production could not attain.

While Ashley’s direction peppers the action with plenty of salacious laughs, the dramatic tone is also very well judged. The original production was trying to be a parody of something that was already a comedy, albeit a pitch black one. These characters take high school seriously, and Ashley has the cast immerse themselves in the characters and high school life without needing to indulge in a smug knowing wink to let us they are in on the joke. Playing it straight allows the dramatic moments to land and makes the comic moments even funnier.

Based on the 1988 movie Heathers, a long time cult favourite, Laurence O’Keefe and Kevin Murphy’s book follows the plot closely and includes all the quotable lines. O’Keefe and Murphy’s hummable songs are instantly accessible and contain just as many laughs as the book scenes. Act two duet “Seventeen,” a bit of an anthem of the show, is a highly memorable tune.

Facing the horror of senior year, outsider Veronica sells her soul for a moment with the popular clique, inhabited by three beautiful, but black-hearted, girls named Heather. New kid J.D. soon exerts a deadly influence over Veronica as the pair starts to wipe out the worst of their high school brethren.

Beginning with the opening company number, ironically titled “Beautiful,” Cameron Mitchell’s witty, tightly drilled choreography is a joy to watch.

Significantly increased in scale from the opening season at Hayes Theatre, Emma Vine’s attractive set design makes inventive, non-stop use of several sets of lockers, which can turn into closets, Slurpee machines, beds and even coffins.

Angela White’s vibrant costume design references the movie, and the 1980s, scoring laughs without being over the top. Costuming is part of the storytelling when Heather Duke, previously in emerald green, takes over the red stylings that come with the precious red scrunchie of deceased Heather Chandler.

Musical director Bev Kennedy leads a rocking band of five, with herself on keyboards. Evan Drill’s sound design occasionally allows the band to overpower vocals, and occasionally missed microphone cues on opening night, but these aspects are sure to be corrected.

Her star well on the rise in Sydney, Hilary Cole finally makes a splash in her town of Melbourne. Perfectly cast as Veronica, Cole conveys the spiky torment of Veronica’s inner demons and unleashes a terrific, powerful belt in her singing.

Cole is well matched by fellow rising talent Stephen Madsen as the devilish J. D. In a raw but refined performance, Madsen maintains a driven intensity and detached coldness that make J.D’s machinations believable. Madsen and Cole enjoy passionate chemistry; there is no doubt that the two are destined to be stars.

The production benefits from the presence of well-established talent Lucy Maunder, who brings an extra touch of class and polish to her role as alpha bitch Heather Chandler. Maunder’s deadpan performance of Heather’s minimalist dancing at Ram’s party is just one hilarious highlight.

The quality casting continues with the fellow Heathers. Scoring arguably the best arc of the show, Hannah Fredericksen finds all sorts of subtle touches as the bullied, bulimic Heather Duke, before letting rip as the newly vicious, red-clad successor to the Heathers crown. A vivacious triple threat, Rebecca Hetherington successfully lands a serious moment in act two as Heather McNamara speaks out about her hidden depression in “Lifeboat.”

Lauren McKenna has fun with the distinct dual roles of Martha Dumptruck Dunnstock and hippy do-gooder Ms Fleming. A lightning fast change between the characters in act two is as funny as it is impressive.

As horny, uncouth footballers Ram and Kurt, Vincent Hooper and Jakob Ambrose expend just about as much energy as actual teenage footballers. Their subsequent cameo scene as the boys’ grieving fathers is amusing in a wickedly subversive way.

Ensemble members Sage Douglas, Mitchell Hicks, Heather Manley and Stephen McDowell each make the most of their chance to shine in featured roles.

Filled with infectious music and laughs, Heathers is a guilty pleasure that music theatre fans are sure to enjoy.

Heathers plays at Playhouse, Arts Centre Melbourne until 22 May 2016 before returning to Sydney 8 – 26 June 2016.

Photos: Kurt Sneddon

We may not have needed another revival of Singin’ in the Rain, but slick, glossy, intelligent productions of this scale are always a welcome sight. 

One of the all-time most popular movie musicals, Singin’ in the Rain has proved challenging to adapt for the stage due to the multitude of scenes and lack of chorus work. Director Jonathan Church has solved both of these issues, successfully presenting the show as a cohesive stage musical rather than an attempt to recreate a movie on stage. A prolific director and commissioner of musicals in his time as artistic director at Chichester Festival Theatre, Church’s first musical at Sydney Theatre Company is highly anticipated.

The action is all set on a giant movie studio sound stage, which nimbly changes for various scenes with a bench here, a desk there. Simon Higlett’s design maintains a detailed gray scale look all the way until act two’s “Broadway Melody,” which provides such a barrage of vivid colour that the focus suddenly seems to be the invention of colour rather than the invention of talking pictures.

The wooden floorboards on the stage are an ideal surface for all the tap dancing, and the thin gaps between boards facilitate the drainage of the gallons of torrential rain that flood the stage. Further technical achievements include the beautifully photographed silent and talking movies, designed by Ian William Galloway, and the hilarious scenes as the studio struggles to introduce the new technology of sound.

Tim Mitchell’s lighting is an integral part of the design, with backlit panels throughout the backdrop and solidly constructed legs. Lighting is also carefully placed to maximize the visual impact of the rain.

Andrew Wright’s dazzling choreography is a joy to watch, especially as performed by an ensemble of triple threats (the real kind, not the Lina Lamont variety). The choreographed overture sets a classy tone for the night, and the ensemble work reaches it zenith in the extended all-dance sequence “Broadway Melody.” Tap dancing for the lead characters reaches its peak late in act one with “Moses Supposes” for Don, Cosmo and the Dialect Coach followed by the utterly delightful “Good Morning” for Don, Cosmo and Kathy. 

Now featured in half the musical numbers and a great many of the scenes, the ensemble is exquisitely styled in Higlett’s authentic period costumes and hairstyles. No hipsters too vain to shaves their facial fluff in this production. It’s high pants and argyle vests for the boys, and marcel waves, arched brows and cloche hats for the girls. Even the Technicolor outfits for the fantasy world of “Broadway Melody” stick to the period, with girls in a luscious rainbow of fringed flapper dresses.

Dramatically attired all in black, Nadia Coote has a thrilling dance cameo in “Broadway Melody.” Also stepping forward from the ensemble to distinguish themselves in featured roles are Jan di Pietro, as the plummy Dialect Coach in “Moses Supposes,” and Lyndon Watts, who lends his velvety tenor tones to “Beautiful Girls” as Production Tenor. 

Maintaining a likeable stage presence, Adam Garcia returns to the Australian stage to head the cast as gregarious, goodhearted movie star Don Lockwood.

Almost unrecognisable in dark henna wig, Gretel Scarlett makes a charming ingénue as starlet-to-be Kathy Selden. Scarlett sings with tender expression and, thankfully, has more dancing to do than in her last starring role in Grease.

The endearing role of Cosmo Brown is a terrific showcase for Jack Chambers’ sensational tap dance skills. Chambers also rises to the challenge of providing many of the laughs as the quirky, self-effacing sidekick. These natural comic skills will only be further honed with more exposure. Cosmo’s big comical number “Make ‘Em Laugh” is an inventive highlight of act one.

Erika Heynatz contrasts the glamorous looks and the shrieking vocal tones of aggressively wily movie star Lina Lamont to great effect. Heynatz is particularly funny in the sound recording scenes, and also when deftly slipping Lina’s learned pronunciation of “can’t” into the vain star’s dialogue.

Ageless trouper Robyn Arthur is worth her weight in gold as celebrity radio commentator Dora Bailey and harried vocal coach Miss Dinsmore.

Singin’ in the Rain is good, old-fashioned music theatre fun that is sure to leave audiences smiling and humming a tune.

Singin’ in the Rain plays at Her Majesty’s Theatre, Melbourne until 3 July 2016, before travelling to Sydney, Brisbane, Adelaide and Perth.

Photos: Jeff Busby

Perhaps it is the same everywhere, but The Sound of Music seems to have always held a special place in the hearts of Melbourne theatregoers. This polished production is set to continue the love affair, while introducing a new generation to the rose coloured optimism of the Rodgers and Hammerstein classic.

Originating at the London Palladium in 2006, this touring production features highly attractive designs but is somewhat dwarfed in the cavernous Regent Theatre. The grandeur of the auditorium complements the work beautifully; as nuns process down the aisles we could be in an actual cathedral. The intimacy and impact of the story, however, are compromised by the sheer depth of the seating areas.

Robert Jones’ design allows scenic elements to glide in and out, achieving a cinematic flow. The visual appeal is further enhanced by the rich glow, and carefully chosen shadow, of Mark Henderson’s lighting design.

Combining the best of the original stage musical and the beloved 1965 movie, director Jeremy Sams has presented a version that is both familiar to lovers of the film but also slightly less saccharine. There is even a new dramatic fate for loveable old Max. If there is one alteration the film made that should have overridden the original book, it is the placement of “My Favourite Things,” which makes infinitely more sense in the thunderstorm scene.

Music direction, by Luke Hunter, remains at a superb standard.

While there is a new set of von Trapp children for Melbourne, the adult cast members have had the Sydney and Brisbane seasons to hone their performances, and the experience shows. Associate director Gavin Mitford has ensured there is a strong sense of spontaneity despite the familiarity of the plot. Only the hardest of hearts will go untouched when each of the children first approach and hug their father in their own individual way.

A crucial sequence that has been improved is the act two turnaround of the Captain’s romantic attention. The fact that the Captain parts with Elsa and takes up with Maria in the one scene brings a high risk of corniness. Romantic tension bubbles away merrily during the superb performance of the dance the “Ländler” in act one. In act two, the humility and tenderness of the returned Maria, in another plain borrowed dress, is contrasted with the superficial vanity and avarice of Elsa, who wants to know where the property line extends to. The Captain’s growing disdain is slowly telegraphed through the lyrics and choreography of “No Way To Stop It” (a significant song title), and then the final stage positions of the song, the unspoken tension at Maria’s return and Elsa’s pained but dignified exit all lead seamlessly to the outpouring of affection between the Captain and Maria.

Sharing the roles with two other sets of actors, the six youngest children were played on opening night by Alexander Glenk (Friedrich), Darcy McGrath (Louisa), Beaumont Farrell (Kurt), Karina Thompson (Brigitta), Ruby Moore (Marta) and Heidi Sprague (Gretl). Lovely young triple threat Stefanie Jones remains as eldest daughter Liesl. The children deservedly bring down the house with “Do Re Mi.” While it is almost impossible to pick highlights from this talented troupe, Farrell has a particularly touching, beautifully sung moment in “Edelweiss” when Kurt steps forward to sing with his father, who has been overcome by emotion.

Returning to her home state, Amy Lehpamer is set to clearly show Melbourne all the ways she has so thoroughly fulfilled the potential she has been demonstrating for the past few years. Giving a fresh, totally engaging performance as Maria, Lehpamer is funny, strident, vulnerable, touching, giddy, forthright and tender. She sings with an authoritative, expressive chest voice and clear, ringing high notes. This is a true star turn that will deservedly win Lehpamer legions of fans.

Well known on Melbourne’s State Theatre stage, versatile artist Jacqueline Dark crosses over from opera to music theatre to play a wonderfully warm-hearted Mother Abbess. Occasionally this role is played by a much older singer, but Dark, well and truly in her prime, lifts the roof in the act one finale, “Climb Ev’ry Mountain.”

The later incarnation of the Captain as a softer, loving father comes naturally to Cameron Daddo, and he has worked to find new strength in the earlier scenes where the Captain harbours bitterness and self-pity. Overall, Daddo has enhanced the character’s arc, adding to the impact of the role.

While the role of Elsa is usually played with a far more brittle, haughty, unlikeable edge, highly capable actress Marina Prior continues to bring out a softer, gentler aspect of the role. While this slightly undermines the clarity of the Captain’s choice, Prior has found enough vacuous conceit in the role to make her a sufficient contrast to Maria. David James keeps self-serving arts administrator Max Detweiler just a whisker shy of camp by emphasising the character’s role in the confusion and anger surrounding the implementation of the new regime.

Whether reliving childhood memories or introducing a new generation, audience members will appreciate this production of The Sound of Music.

The Sound of Music plays at Regent Theatre, Melbourne until 17 July 2016, before continuing to Adelaide and Perth.

Man in Chair reviewed the Sydney premiere of The Sound of Music.

Man in Chair published a photo preview of the Sydney season.

Photos: James Morgan (#5 Simon Parris)

Superb direction and electric performances makes this presentation of Follies in Concert far more than a rose-tinted trip down memory lane.

One of Stephen Sondheim’s most luscious, melody-packed scores, Follies is very close to the heart of many a music theatre devotee. As well as the usual intricate, psychological, fiendishly difficult Sondheim songs, there are a host of glorious pastiche numbers, written to recreate the highly hummable songs of vaudeville and revues.

At a thirty-year reunion to farewell the soon-to-be-demolished theatre, a gaggle of aging showgirls gather to reminisce about their heyday in the Weismann Follies. James Goldman’s book focuses on the central love quadrangle of Sally, Buddy, Phyllis and Ben, as well as providing snippets of anecdotes for the supporting characters, who enliven proceedings with their nostalgic hit tunes.

Apart from a fabulous collection of stars, this season of Follies (the fourth that I have seen in Melbourne) is set apart by the crystal clear, and highly affecting, storytelling. With limited stage space, no sets or props and just modern evening wear as costumes, Tyran Parke’s direction brings the pain and regret of the central two middle-aged couples vividly to life.

While it is usually the pretty young leads who do all the kissing and hugging in musicals, Follies features passion and longing from real adults, each played brilliantly here. Sally (Lisa McCune) hopes the party will provide the chance to escape her dull husband Buddy (David Hobson) and reunite with Ben (Philip Quast), who is married to Phyllis (Anne Wood). Act one ends with an extraordinarily romantic performance of duet “Too Many Mornings” from Quast and McCune, leaving Sally to finally get her kiss from Ben as their respective spouses watch.

Parke makes excellent use of the younger “ghosts” of the adult characters, particularly in the dissolve to fantasy sequence “Loveland,” in which the older characters angrily berate the four younger incarnations for the mistakes they made with their lives.

The resounding impact of the subsequent breakdown of each character during Loveland makes the sequence far more than a showcase for the actors. Hobson surprises with a lively vaudevillian turn in “Buddy’s Blues.” McCune brings a haunting stillness to “Losing My Mind.” In sparkling red gown, and surrounded by a whole bunch of boys, Wood sizzles as she sings “The Story of Lucy and Jessie.” Quast is devastatingly convincing as Ben stumbles his way through “Live, Laugh, Love.”

Looking winsome and petite, McCune portrays the vulnerability fragility of Sally and her driven, blinkered love for Ben. Turning on the charm when Buddy is in public view, Hobson also shows the dread and boredom Buddy carries. Looking as glamorous as a star from the Golden Age of Hollywood, Wood spits out withering zingers as Phyllis, continuing that style as she sings her shattering ultimatum to Ben, “Could I Leave You?” Singing with his sumptuous burnished baritone, Quast conveys the hollow disillusionment of a man who has everything and nothing simultaneously.

The four leads are very well supported by the talented performers playing the younger versions of each role: Jenni Little (Young Phyllis), Lachlan Graham (Young Ben), Rowan Witt (Young Buddy) and Sophie Wright (Young Sally).

The only actress to feature in all four Follies stagings seen in Melbourne, Margaret Haggart sings “One More Kiss” with exquisite delicacy, supported beautifully by the powerful high notes of Madeleine Featherby as Young Heidi.

Debra Byrne is sensational as Carlotta, giving a vivacious, heartfelt rendition of iconic diva anthem “I’m Still Here.”

A series of toe-tapping tunes are heard in quick succession in act one as party guests let loose with their trademark numbers. A sparkling Patti Newton tries to carry Emily and Theodore’s “Rain on the Roof,” but is let down by a stiff Bert Newton not pulling his weight. Natalie Gamsu brings European flair to Solange as she sings “Ah, Paris!” Legendary performer Nancye Hayes imbues Hattie with a devilish twinkle, bringing down the house with “Broadway Baby.”

Playing star tenor Roscoe, David Rogers Smith provides soaring, rock solid high notes as he sings “Beautiful Girls.”

The act one highlight, and arguably the highlight of the night, comes as the women try to perform a favourite old company number. Vocal powerhouse Queenie van de Zandt leads showstopper “Who That’s Woman” with a merry sparkle, imbuing the lyrics with their full meaning. Visualizing themselves in their youth, the eight older women are joined by their younger counterparts, and Kelly Aykers’ wonderful tap choreography builds to its zenith.

Musical director Stephen Gray leads a sterling orchestra of 24 musicians, which performs on stage behind the actors. Sondheim’s score sounds thrilling with this lavish treatment.

The first full production for Storeyboard Entertainment, the high quality of Follies in Concert augurs well for future seasons. For a show that can often be just a featherlight collection of great tunes, the layers of meaning exposed by Parke’s direction add significantly to the attraction of this starry staging.

Follies in Concert plays two more performances at Melbourne Recital Centre on Wednesday 25 May 2016.

Photos: Jeff Busby

A cherished favourite of many a music theatre fan, Jason Robert Brown’s Songs for a New World shimmers with intensity in this powerfully sung new staging by Blue Saint Productions. 

Given the rigorous vocal demands of Brown’s 1995 song cycle, casting is paramount, and Blue Saint Productions has really struck gold in this regard. In electrifying performances, each of the four singers provides powerhouse vocals, featuring incredible range a fluid continuum of styles. Besides being sensational singers, each artist brings an abundance of emotional intelligence, masterfully maximising the poignant impact of the story in each song.

Director Luke Joslin has successfully guided the cast in developing sensitive, nuanced characters for each number. Wisely avoiding showy theatrics, the touching characters simply shine from the heart of each singer. Remaining on stage throughout the show, the performers simply face upstage, with gracious humility, whenever they are not featured. Turning sideways to sing backing vocals in dim or half light, there is a palpable sense of support and camaraderie that comes from the respect the tight cast has for each other.

Taking inspiration from the concept of travelling to New World, which is specifically referenced in the second song, “On the Deck of a Spanish Sailing Ship, 1492,” designer Jacob Battista has created the appealing visuals of a ghostly ship’s deck. At first, the relic appears to have been subjected to graffiti, but as the show progresses, the scrawlings are seen to be the character names, places and years of each song. The setting provides an interesting array of levels, and props are cleverly contained in the ship’s battered crates.

Opening on a rainy Melbourne winter’s night, Battista’s costumes connect the cast with the audience. Each singer wears comfortable, dark, cozily warm clothing, with a change during interval for variety.

Musical director Geoffrey Castles must have developed some sort of psychic connection with the singers, seamlessly conducting from behind the stage whilst also playing piano. Two fellow musicians, on bass and drums, provide ample accompaniment. Kelvin Gedye’s sound design is so natural that the performance almost sounds unamplified.

Peter Amesbury draws the eye gently to each singer with his subtle, atmospheric lighting design. The use of shading throughout allows for a strong impact when the stage is fully lit for all four singers in climactic moments. Amesbury highlights the character names, which are written on the set, with pinpoint accuracy.

In creating her diverse sets of characters, Natalie O’Donnell shows an impressive, heretofore-unseen talent for accents. Amusing as the boozy Mrs Claus in “Surabaya Santa,” O’Donnell is at her heartbreaking best as a woman desperately missing her husband and son during the American Revolution in “The Flagmaker, 1775.” O’Donnell also nails the moving moment of self-realisation at the end “Stars and the Moon.”

In the intimate space of The Loft at Chapel off Chapel, John O’Hara’s steely gaze captures and holds the audience’s attention with unyielding intensity. O’Hara sets a soulful tone for the evening in his first solo “On the Deck of a Spanish Sailing Ship, 1492,” and has the joint jumping at the end of act one with “The Steam Train.” O’Hara also intrigues with the groovy lament “King of the World.”

Teagan Wouters unleashes her powerful belt in recurring theme “New World,” contrasting this with tender expression in heartfelt ballad “I’m Not Afraid of Anything” and exquisite prayer “Christmas Lullaby.”

Linden Furnell, a relative newcomer to the Melbourne stage, has an appealing, ready charm and a lively stage presence. A strong storyteller, Furnell brings an understated but compelling energy to “The World was Dancing.” In charming duet “I’d Give It All for You,” Furnell and Wouters avoid potentially saccharine sweetness by singing with resolute, impassioned self-awareness.

Lovers of quality music theatre will relish the opportunity to see Songs for a New World performed at such a high standard.

Songs for a New World plays at Chapel off Chapel, Melbourne until 12 June 2016.

Photos: Ben Fon

Covering a unique mix of opera, dance, music theatre, plays, live music and more, the 2016 Helpmann Nominations were announced this evening at performing arts venues around Australia. Read on for all the nominations, plus a look at the surprises, snubs and sure bets.

The Helpmann Awards have risen in prominence over the past several years, and several of last year’s winners gained a noticeable benefit from the exposure. After winning four 2015 Helpmann Awards, including Best New Australian Work and Best Original Score, The Rabbits enjoyed sold out seasons in Melbourne, Sydney and Brisbane. 2015 Best Play The Glass Menagerie made a keenly anticipated Melbourne appearance at Malthouse Theatre, with Best Actress winner Pamela Rabe reprising her starring role. Meanwhile The Secret River, winner of six 2013 Helpmann Awards, toured to Melbourne and Brisbane before returning to Sydney.

LPA Chief Executive Evelyn Richardson (below) introduced the Announcement of Nominations.

Nominations were announced by James Millar and Sarah Ward

Jacqueline Dark and Brett Kelly

Jonathon Biggins and Queenie van de Zandt

Highly original import Matilda swept the music theatre categories with thirteen nominations, including James Millar as Miss Trunchbull, Tim Minchin for Original Score, and all eight Sydney and Melbourne actresses who have played the title character. Actors Daniel Frederiksen (Mr Wormwood) and Else McCann (Miss Honey) were also nominated, making the absence of fabulous actress Marika Aubrey (Mrs Wormwood) a fairly noticeable snub. A sweep of the awards on the night seems very likely for Matilda.

2012 London hit Ghost misfired in its use of chorus as just moving bodies but won audiences over thanks to its trio of talented lead performers, Jemma Rix, Rob Mills, Wendy Mae Brown. Mills (Sam) and Brown (Oda Mae) were nominated for their performances, but, despite her powerhouse vocals and moving performance as Molly, Rix was passed over.

New Australian musical Georgy Girl seems to have not been entered for consideration in the awards, with the same presumption holding for the recent Australian tour of Cats.

Original Australian musical Ladies in Black, acclaimed by reviewers and audiences alike, was a worthy recipient of six nominations. Composer Tim Finn, will compete against fellow music theatre newcomer Minchin for Best Original Score. Fingers crossed that some wins for Ladies in Black would lead to further seasons, including one in Sydney, and possibly even a cast recording. Curiously, none of the members of the highly talented ensemble cast were nominated.

As usual, a large number of revivals have been seen over the past year. Amy Lehpamer and Jacqueline Dark, the two dazzling female stars of The Sound of Music, were both nominated (for their roles as Maria and Mother Abbess, respectively). Cameron Daddo was overlooked, as was long-term music theatre star Marina Prior.

Revered actor Anthony Warlow received a nomination for his starring role of Tevye in Fiddler on the Roof. Veteran actress Sigrid Thornton, who was not quite up to the singing required to play Golde, was not nominated, and neither was terrific young leading man Blake Bowden (Perchik).

Director Dean Bryant was recognised for his excellent work on Little Shop of Horrors, which also earned nominations for Esther Hannaford (Audrey), Brent Hill (Seymour/voice of Audrey II) and Tyler Coppin (Mr Mushnik).

Recently opened London import revival Singin in the Rain brought nominations for co-stars Jack Chambers (Cosmo Brown) and Erica Heynatz (Lina Lamont) but not lead couple Adam Garcia (Don Lockwood) and Gretel Scarlett (Kathy Selden)

Given their stunning return to top form with an electrifying season of West Side Story and the Australian premiere of recent Broadway musical Nice Work If You Can Get It, the complete absence of The Production Company from the nominations suggest that they did not enter. This is a shame for stellar work in these shows, particularly for West Side Story, which featured Anna O’Byrne’s wonderful performance as Maria and Michael Ralph’s excellent recreation of Jerome Robbins’ choreography.

Victorian Opera’s Sweeney Todd, the final of their of three-year Sondheim trilogy, received a worthy nomination for Antoinette Halloran for her vivacious turn as Mrs Lovett. It was no surprise, however, that opera star Teddy Tahu Rhodes was ignored for his wooden performance in the title role.

The requirement of membership of Live Performance Australia means that well-received independent productions such as Violet and Heathers are excluded from nominations.

Over the past 12 months, Opera Australia has staged a number of high profile productions. Director Sir David McVicar, nominated twice last year, was recognised again for The Marriage of Figaro, the second of his Mozart/da Ponte trilogy for the national opera company. The opera was also nominated for Best Costume Design, with Andrei Bondarenko, seen in Sydney, nominated for Best Male Performer in an Opera.

Lavish extravaganza Don Carlos scored nominations for the Sydney cast, where visiting international artists Ferruccio Furlanetto and Latonia Moore performed. Popular guest artist Yonghoon Lee was nominated for Turandot, which was performed in Sydney last winter.

A new co-production of Luisa Miller brought another nomination for fast rising Australian soprano Nicole Car as Best Female Performer in an Opera.

The sole nomination for this year’s Handa Opera on Sydney Harbour Turandot was for designer Dan Potra.

Acclaimed soprano Jessica Pratt returned to Melbourne to play the title role in Victorian Opera’s season of Lucia di Lammermoor, deservedly earning a nomination as Lucia.

Victorian Opera’s dedication to new works continued with children’s opera The Grumpiest Boy in the World and new pastiche baroque opera Voyage To The Moon. In-demand director Cameron Menzies earned a nomination for The Grumpiest Boy in the World. Singers Sally-Anne Russell (Astolfo) and emerging bass Jeremy Kleeman (Magus) were recognised, but not multiple Helpmann Award winner Emma Matthews, who was the third member of the three-person cast.

The centrepiece of the past year for flourishing arts organisation The Australian Ballet was their lavish new production of The Sleeping Beauty, helmed by The Australian Ballet’s artistic director David McAllister. Although designer Gabriela Tylesova was nominated for Best Costumes and Best Scenic Design, and maestro Nicolette Fraillon was nominated for Best Music Direction, the ballet was not nominated Best Ballet or Dance Work.

The sole dancer recognised from The Australian Ballet’s stable of revered, highly talented dancers was Chengwu Guo, seen as Puck in The Dream last year.

The 2016 Helpmann Awards will be presented live in Sydney at the Lyric Theatre and broadcast live on Foxtel Arts, Monday 25 July 2015 at 7.30pm.

INDUSTRY AWARDS

BEST NEW AUSTRALIAN WORK

CAROLYN BURNS AND TIM FINN WITH SIMON PHILLIPS: Ladies in Black, A Queensland Theatre Company production

CHRISTOPHER LATHAM, OMAR FARUK TEKBILEK, GARETH FARR, RICHARD NUNNS, GRAEME KOEHNE AO, PETER SCULTHORPE AO OBE, ELENA KATS-CHERNIN, KAMRAN INCE, ROSS HARRIS, ANDREW SCHULTZ, ROSS EDWARDS AND DEMIR DEMIRKAN:
The Gallipoli Symphony
Department of Veterans’ Affairs, Queensland Government, QPAC and Qantas Airways

DAN GIOVANNONI AND LUKE KERRIDGE: Bambert’s Book of Lost Stories, Barking Gecko Theatre Company

FRANCES RINGS, DEBORAH BROWN AND WAANGENGA BLANCO: Lore, Bangarra Dance Theatre

FUTURE D. FIDEL: Prize Fighter, La Boite Theatre Company and Brisbane Festival

TOM WRIGHT: Picnic at Hanging Rock, Malthouse Theatre and Black Swan State Theatre Company

BEST COSTUME DESIGN

GABRIELA TYLESOVA: The Sleeping Beauty, The Australian Ballet

GABRIELA TYLESOVA: Ladies in Black, A Queensland Theatre Company production

JENNY TIRAMANI, The Marriage of Figaro: Opera Australia

ROB HOWELL: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

BEST LIGHTING DESIGN

HUGH VANSTONE: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

HUGH VANSTONE: Ghost The Musical, Ambassador Theatre Group Asia Pacific, GWB Entertainment and Red Live

NICK SCHLIEPER: North by Northwest, Presented by Melbourne Theatre Company and Kay + McLean Productions, by special arrangement with Warner Bros. Theatre Ventures

PAUL JACKSON: Picnic at Hanging Rock, Malthouse Theatre and Black Swan State Theatre Company

BEST ORIGINAL SCORE

DAVID PAGE: Ochres, Bangarra Dance Theatre

EDDIE PERFECT: Songs From The Middle, Adelaide Festival Centre’s Adelaide Cabaret Festival

TIM FINN; Ladies in Black, A Queensland Theatre Company production

TIM MINCHIN: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

BEST MUSIC DIRECTION

IAIN GRANDAGE: Home, Perth International Arts Festival

ISAAC HAYWARD: Ladies in Black, A Queensland Theatre Company production

NICOLETTE FRAILLON: The Sleeping Beauty, The Australian Ballet

STEPHEN AMOS: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

BEST SCENIC DESIGN

DAN POTRA: Handa Opera On Sydney Harbour Turandot, Opera Australia

GABRIELA TYLESOVA: The Sleeping Beauty, The Australian Ballet

NICK SCHLIEPER AND SIMON PHILLIPS: North by Northwest, Presented by Melbourne Theatre Company and Kay + McLean Productions, by special arrangement with Warner Bros. Theatre Ventures

ROB HOWELL: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

BEST SOUND DESIGN

DAVID PAGE: Ochres, Bangarra Dance Theatre

IAN MCDONALD: North by Northwest, Presented by Melbourne Theatre Company and Kay + McLean Productions, by special arrangement with Warner Bros. Theatre Ventures

MICHAEL WATERS: Fiddler on the Roof, Tim Lawson for TML Enterprises

SIMON BAKER: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

CABARET


BEST CABARET PERFORMER

ALAN CUMMING: Alan Cumming Sings Sappy Songs, Brisbane Powerhouse, NORPA, Arts Centre Melbourne and Sydney Festival with Hyam, Horne and Hall

MICHAELA BURGER AND GREG WAIN; Exposing Edith, Adelaide Festival Centre’s Adelaide Cabaret Festival with I’ll Wager Productions

MICHAEL GRIFFITHS: Cole, Adelaide Festival Centre’s Adelaide Cabaret Festival

PHIL SCOTT: Reviewing The Situation, Tekule in association with Hayes Theatre Co

COMEDY


BEST COMEDY PERFORMER

DOUG ANTHONY ALLSTARS – PAUL MCDERMOTT, TIM FERGUSON, PAUL LIVINGSTON: Reunion. Rebirth, Doug Anthony Allstars

JULIA MORRIS: I Don’t Want Your Honest Feedback, Live Nation

TOM BALLARD: The World Keeps Happening, Token Events

ZOË COOMBS MARR: Trigger Warning, Zoë Coombs Marr

CHILDRENS PRESENTATION

BEST PRESENTATION FOR CHILDREN

BAMBERT’S BOOK OF LOST STORIES, Barking Gecko Theatre Company

ODDYSEA, Performing Lines WA and Sensorium Theatre

ROALD DAHL’S REVOLTING RHYMES & DIRTY BEASTS, shake & stir theatre co, originally co-produced with La Boite Theatre Company

THE YOUNG KING, Slingsby Theatre Company

REGIONAL TOURING PRODUCTIONS

BEST REGIONAL TOURING PRODUCTION

DE NOVO, Sydney Dance Company

MOTHER, If Theatre

ROALD DAHL’S REVOLTING RHYMES & DIRTY BEASTS, shake & stir theatre co and arTour Queensland

SUGARLAND, Australian Theatre for Young People and Performing Lines

CONTEMPORARY MUSIC

BEST AUSTRALIAN CONTEMPORARY CONCERT

A STATE OF GRACE: THE MUSIC OF TIM AND JEFF BUCKLEY, Gaynor Crawford Presents, Kirsten Siddle, State of Grace Company

FLIGHT FACILITIES PERFORM LIVE WITH MELBOURNE SYMPHONY ORCHESTRA, Flight Facilities with Melbourne Symphony Orchestra, Melbourne Festival

MOFO 2016 – KATE MILLER-HEIDKE AND THE TASMANIAN SYMPHONY ORCHESTRA WITH VISUALS BY AMY GEBHARDT,
MOFO 2016, Kate Miller-Heidke and the Tasmanian Symphony Orchestra with visuals by Amy Gebhardt

VANCE JOY | FIRE AND THE FLOOD TOUR APRIL 2016, Vance Joy, Frontier Touring, Unified and Village Sounds

BEST CONTEMPORARY MUSIC FESTIVAL

MOFO 2016. MONA

ST JEROME’S LANEWAY FESTIVAL 2016, Laneway Presents and Chugg Entertainment

THE 27TH ANNUAL BLUESFEST BYRON BAY, Bluesfest

WOMADELAIDE 2016 – THE WORLD’S FESTIVAL, Womadelaide Foundation

BEST INTERNATIONAL CONTEMPORARY CONCERT

BRIAN WILSON LIVE AT THE PALAIS THEATRE, Brian Wilson and Bluesfest Touring

FLORENCE AND THE MACHINE, Florence and The Machine, Laneway Presents, Chugg Entertainment in association with Sydney Opera House

ON WITH THE SHOW TOUR 2015, Fleetwood Mac and Live Nation

PRINCE ‘PIANO & A MICROPHONE’ TOUR 2016, Prince, Dainty Group and ICO ApS

DANCE AND PHYSICAL THEATRE

BEST BALLET OR DANCE WORK

COCKFIGHT, Performing Lines and The Farm

HABITUS, Australian Dance Theatre

SHEOAK, Bangarra Dance Theatre

SPECTRA, Dancenorth

BEST CHOREOGRAPHY IN A DANCE OR PHSYICAL THEATRE WORK

GARRY STEWART: Habitus, Australian Dance Theatre

KYLE PAGE AND AMBER HAINES: Spectra, Dancenorth

STEPHEN PAGE, BERNADETTE WALONG-SENE, DJAKAPURRA MUNYARRYUN: Ochres, Bangarra Dance Theatre

BEST FEMALE DANCER IN A DANCE OR PHYSICAL THEATRE WORK

AMBER HAINES: Syncing Feeling, Dancenorth

JULIETTE BARTON: Lux Tenebris, Sydney Dance Company

LONII GARNONS-WILLIAMS: Habitus, Australian Dance Theatre

YOLANDA LOWATTA: Sheoak, Bangarra Dance Theatre

BEST MALE DANCER IN A DANCE OR PHYSICAL THEATRE WORK

CHENGWU GUO: The Dream, The Australian Ballet

DARYL BRANDWOOD: Natalie Weir’s The Host, Expressions Dance Company and QPAC

GAVIN WEBBER: Cockfight, Performing Lines and The Farm

KIMBALL WONG: Habitus, Australian Dance Theatre

BEST VISUAL OR PHYSICAL THEATRE PRODUCTION

IL RITORNO, Brisbane Festival and Circa

PLEXUS, Compagnie 111 – Aurélien Bory and Perth International Arts Festival

TANGI WAI… THE CRY OF WATER, Victoria Hunt, Artful Management and Performance Space

THE LAST BLAST, The Farm and Bleach* Festival

OPERA AND CLASSICAL MUSIC

BEST DIRECTION OF AN OPERA

CAMERON MENZIES: The Grumpiest Boy in the World, Victorian Opera

DAVID MCVICAR: The Marriage of Figaro, Opera Australia

LAURENCE DALE: Agrippina, Brisbane Baroque in association with QPAC

MICHAEL GOW: Voyage to the Moon, Musica Viva Australia

BEST FEMALE PERFORMER IN A SUPPORTING ROLE IN AN OPERA

KERI FUGE, Agrippina, Brisbane Baroque in association with QPAC

SALLY-ANNE RUSSELL: Voyage to the Moon, Victorian Opera, Musica Viva and the ARC Centre of Excellence for the History of Emotions

BEST MALE PERFORMER IN A SUPPORTING ROLE IN AN OPERA

DOUGLAS MCNICOL: Don Giovanni, State Opera SA

JEREMY KLEEMAN: Voyage to the Moon,Victorian Opera, Musica Viva and the ARC Centre of Excellence for the History of Emotions

JOÃO FERNANDES: Agrippina, Brisbane Baroque in association with QPAC

RUSSELL HARCOURT: Agrippina, Brisbane Baroque in association with QPAC

BEST FEMALE PERFORMER IN AN OPERA

JESSICA PRATT: Lucia di Lammermoor, Victorian Opera

LATONIA MOORE: Don Carlos, Opera Australia

NICOLE CAR: Luisa Miller, Opera Australia

ULRIKE SCHNEIDER: Agrippina, Brisbane Baroque in association with QPAC

BEST MALE PERFORMER IN AN OPERA

ANDREI BONDARENKO: The Marriage of Figaro, Opera Australia

CARLO VISTOLI: Agrippina, Brisbane Baroque in association with QPAC

FERRUCCIO FURLANETTO: Don Carlos, Opera Australia

YONGHOON LEE: Turandot (Sydney Winter), Opera Australia

BEST OPERA

AGRIPPINA, Brisbane Baroque and QPAC

FLY AWAY PETER, Arts Centre Melbourne and Sydney Chamber Opera in association with Melbourne Festival

LUISA MILLER, Opera Australia

THE MARRIAGE OF FIGARO, Opera Australia

BEST CHAMBER AND/OR INSTRUMENTAL ENSEMBLE CONCERT

FRENCH BAROQUE WITH CIRCA, Australian Brandenburg Orchestra

HOME, Camerata of St John’s

KIRILL GERSTEIN IN RECITAL, Sydney Symphony Orchestra

WINTERREISE, Festival d’Aix-en-Provence

BEST SYMPHONY ORCHESTRA CONCERT

ANIMA ETERNA BRUGGE BEETHOVEN’S SYMPHONIES CONDUCTED BY JOS VAN IMMERSEEL
Sydney Festival

BEETHOVEN’S MISSA SOLEMNIS, Sydney Symphony Orchestra

BRITTEN’S WAR REQUIEM, Melbourne Symphony Orchestra

SIR SIMON RATTLE CONDUCTS THE AUSTRALIAN WORLD ORCHESTRA, Australian World Orchestra

BEST INDIVIDUAL CLASSICAL MUSIC PERFORMANCE

ANDREW HAVERON: Sibelius 2, Sydney Symphony Orchestra

FLORIAN BOESCH AND MALCOLM MARTINEAU: Florian Boesch and Malcolm Martineau, Melbourne Recital Centre and Sydney Opera House

GIL SHAHAM: Tchaikovsky’s Manfred, Sydney Symphony Orchestra

PIERRE-LAURENT AIMARD: Pierre-Laurent Aimard, Melbourne Recital Centre and Sydney Symphony Orchestra

RENÉE FLEMING: Renée Fleming in Recital, Sydney Opera House, QPAC and Brisbane Festival in association with Opera Queensland

THEATRE


BEST DIRECTION OF A PLAY

EAMON FLACK: Ivanov, Belvoir

KIP WILLIAMS: Love and Information, Sydney Theatre Company and Malthouse Theatre

LEE LEWIS: The Bleeding Tree, Griffin Theatre Company

SIMON PHILLIPS: North by Northwest, Presented by Melbourne Theatre Company and Kay + McLean Productions, by special arrangement with Warner Bros. Theatre Ventures

BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A PLAY

ANNA SAMSON: Birdland, Melbourne Theatre Company

KATRINA MILOSEVIC: The Distance, Melbourne Theatre Company

MICHELLE DOAKE: Romeo and Juliet, Bell Shakespeare

SARAH PEIRSE: The Golden Age, Sydney Theatre Company

BEST MALE ACTOR IN A SUPPORTING ROLE IN A PLAY

COLIN FRIELS: Mortido, Belvoir and State Theatre Company of South Australia

JOHN HOWARD: Ivanov Belvoir

MARK LEONARD WINTER: King Lear, Sydney Theatre Company

THUSO LEKWAPE: Prize Fighter, La Boite Theatre Company and Brisbane Festival

BEST FEMALE ACTOR IN A PLAY

CATE BLANCHETT: The Present, Sydney Theatre Company

CATHERINE MCCLEMENTS: The Events, Belvoir, Malthouse and State Theatre Company of South Australia

NONI HAZLEHURST: Mother, If Theatre and GPAC

PAULA ARUNDELL: The Bleeding Tree, Griffin Theatre Company

BEST MALE ACTOR IN A PLAY

DAN SPIELMAN: The Blind Giant is Dancing, Belvoir

MARK LEONARD WINTER: Birdland, Melbourne Theatre Company

PACHARO MZEMBE: Prize Fighter, La Boite Theatre Company and Brisbane Festival

RICHARD ROXBURGH: The Present, Sydney Theatre Company

BEST PLAY

PIECE FOR PERSON AND GHETTO BLASTER, Performing Lines and Nicola Gunn

PRIZE FIGHTER, La Boite Theatre Company and Brisbane Festival

NORTH BY NORTHWEST, Melbourne Theatre Company and Kay + McLean Productions, by special arrangement with Warner Bros. Theatre Ventures

THE BLEEDING TREE, Griffin Theatre Company

MUSICALS


BEST DIRECTION OF A MUSICAL

DEAN BRYANT: Little Shop of Horrors, Luckiest Productions and Tinderbox Productions

MATTHEW WARCHUS: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

ROGER HODGMAN: Fiddler on the Roof, Tim Lawson for TML Enterprises

SIMON PHILLIPS: Ladies in Black, A Queensland Theatre Company production

BEST CHOREOGRAPHY IN A MUSICAL

ANDREW HALLSWORTH: Little Shop of Horrors, Luckiest Productions and Tinderbox Productions

ANDREW WRIGHT AND JAYE ELSTER: Singin’ in the Rain, Lunchbox Theatrical Productions, Michael Cassel Group, David Atkins Enterprises and Dainty Group

ARLENE PHILLIPS: The Sound of Music, Andrew Lloyd Webber, David Ian, John Frost and The Really Useful Group

PETER DARLING: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL

ELISE MCCANN: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

ERIKA HEYNATZ: Singin’ in the Rain

Lunchbox Theatrical Productions, Michael Cassel Group, David Atkins Enterprises and Dainty Group

JACQUELINE DARK: The Sound of Music, Andrew Lloyd Webber, David Ian, John Frost and The Really Useful Group

WENDY MAE BROWN: Ghost The Musical, Ambassador Theatre Group Asia Pacific, GWB Entertainment and Red Live

BEST MALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL

DANIEL FREDERIKSEN: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

JACK CHAMBERS: Singin’ in the Rain, Lunchbox Theatrical Productions, Michael Cassel Group, David Atkins Enterprises and Dainty Group

SIMON GALLAHER: Wicked, Marc Platt, David Stone, Universal Pictures, The Araca Group, Jon B. Platt, John Frost

TYLER COPPIN: Little Shop of Horrors, Luckiest Productions and Tinderbox Productions

BEST MALE ACTOR IN A MUSICAL

ANTHONY WARLOW: Fiddler on the Roof, Tim Lawson for TML Enterprises

BRENT HILL: Little Shop of Horrors, Luckiest Productions and Tinderbox Productions

JAMES MILLAR: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

ROB MILLS: Ghost The Musical, Ambassador Theatre Group Asia Pacific, GWB Entertainment and Red Live

BEST FEMALE ACTOR IN A MUSICAL

AMY LEHPAMER: The Sound of Music, Andrew Lloyd Webber, David Ian, John Frost and The Really Useful Group

ANTOINETTE HALLORAN: Sweeney Todd, Victorian Opera and New Zealand Opera

ESTHER HANNAFORD: Little Shop of Horrors, Luckiest Productions and Tinderbox Productions

MOLLY BARWICK, DUSTY BURSILL, TIANA MIRRA, ALANNAH PARFETT, SASHA ROSE, GEORGIA TAPLIN, BELLA THOMAS AND INGRID TORELLI:
Matilda The Musical,
The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

BEST MUSICAL

FIDDLER ON THE ROOF, Tim Lawson

LADIES IN BLACK, Queensland Theatre Company

MATILDA THE MUSICAL, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

THE SOUND OF MUSIC, Andrew Lloyd Webber, David Ian, John Frost and The Really Useful Group

BESTOWED HELPMANN AWARD

OUTSTANDING CONTRIBUTION TO THE DEVELOPMENT OF COMEDY IN AUSTRALIA

Melbourne International Comedy Festival

LIFETIME ACHIEVEMENT AWARDS

SUE NATTRASS AWARD^TM

Michael Lynch CBE AM

JC WILLIAMSON AWARD^TM


The JC Williamson Award Recipient will be announced on Wednesday 29 June.

Photos: Simon Parris

You’re a good show, Charlie Brown

You’re the kind of production we need

You have ability, top quality, and a type of value that is very rare indeed.

This pristine production of Broadway musical You’re A Good Man, Charlie Brown is perfect school holiday entertainment, but why should the kids have all the fun? Sensational cast, crisp direction, energetic choreography and gorgeous design blend together for a wonderful evening’s (or matinee’s) entertainment.

Based, of course, on Charles Schulz’s comic strip PEANUTS, Clark Gesner’s 1967 off-Broadway musical was significantly revised and updated some 30 years later for Broadway. If certain sweet music theatre numbers are known as charm songs, this is an entire charm musical. A seemingly spontaneous series of scenes and songs gently drifts along in just the way a young child’s day must unfold. The truth in the characters adds depth to the warm and fuzzy retro vibe.

The winning design is the surely the best that has been seen at the Alex Theatre to date. Set designer Jacob Battista covers the absence of wing space by embedding featured props within the set. Two wooden frames house a mind-boggling number of pull down blinds to create backgrounds. The entire setting is framed by a comic strip panel running right around the proscenium arch; it even has Schulz’s signature in the bottom corner. (note: these rehearsal photos do not show the scenic design)

There has clearly been a high level of collaboration between Battista and costume designer Chloe Greeves. From the clouds down to the sneakers, every element has the same cute hand-sketched look. Greeves’ painted costumes are beautifully realised, especially Lucy and Sally’s glossy, perky frocks. Wigs, by Tom Lee, provide the perfect finishing touch for the girls.

Director Gary Abrahams has each of the six performers working at the same buoyant level. The evident delight the actors derive from the material is infectious, providing another layer of enjoyment to the audience. The show fairly zips along, with each new scene or sketch making sense because the commitment and focus of the actors shows that the events make such clear and important sense to the characters.

Dana Jolly’s choreography matches the spontaneous feel of the show, giving a natural outlet of joyful expression to the characters.

Musical director Ben Kiley has drilled the cast so that they can perform to the pre-recorded musical tracks without a conductor.

Each of the six triple threat performers acts with abundant flair, sings their role with ease and dances with deft, characterful style.

Cameron MacDonald adopts an adorably tense posture as easily flummoxed good man Charlie Brown.

Luigi Lucente is loveable as wise beagle Snoopy, bringing down the house with dazzling solo showstopper “Suppertime.”

Visiting from Sydney, Courtney Glass is a terrific find as Lucy, her delicious range of expressions making the disagreeable character sneakily likeable.

Sarah Morrison is wonderfully animated as sweet young Sally, delivering her petulant anthem “My New Philosophy” with nicely understated humour.

Joshua Robson captures the weary frustration of Beethoven-loving Schroeder, and displays a particularly lovely singing voice

Adam Porter neatly balances the childish and philosophical sides of Linus, scoring an early highlight with “My Blanket and Me.”

You’re A Good Man, Charlie Brown is highly recommended for children of all ages.

You’re A Good Man, Charlie Brown plays at Alex Theatre, Melbourne until 2 July 2016.

Photos: supplied

The world premiere season of Australian musical Einstein: Master of the Universe introduces an exciting new composing talent in Jess Newman.

For his first full-length musical, burgeoning young composer Newman has accomplished the rare feat of writing the book, music and lyrics. The almost fully sung-through musical includes a smattering of spoken dialogue (thus avoiding dreary recitative) and includes an impressive range of musical styles in the songs.

As Einstein embarks for America in 1930 he is already a celebrated Master of the Universe. To tell the intertwined scientific and romantic stories of his rise to prominence, the story rewinds to 1900, as Einstein graduates from the Zurich Polytechnic. The parallels to the cycle of modern media attention are shown in the way reporters first ignore the young scientist, then celebrate his achievements, then ruthlessly hound him for fresh material and invade his private life.

While Newman cleverly unfolds Einstein’s most significant discoveries, the focus on his personal life gives the musical its beating heart. Fellow student Mileva Marić supports Einstein’s research, and bears him two sons, before giving up on their marriage when Albert’s attention falls on Elsa Löwenthal.

As well as linking the show with recurring musical motifs, Newman creates an emotional anchor with Einstein’s treasured childhood compass. Mileva hears its story when Einstein drops it at the graduation. In what is possibly an imagined meeting in act two, Mileva passes it to Elsa, who finally returns it to Albert after Mileva’s untimely death. Seeing the opening farewell scene again with this background underscores the bittersweet nature of Einstein’s acclaimed success. The moving nature of the final scenes is testament to the quality of the writing as well as the commitment and talents of the cast and director.

Newman’s vision for the show is brought to fruition by the hard work, both on and off stage, of a passionate team of young theatre practitioners.

Director Daniel Czech, with input from choreographer and assistant director Nicholas Kyriacou, gives a distinct feel to each new song and keeps the narrative elements clear and engaging. At just under three hours, the show is overlong, but Czech keeps energy levels high throughout.

Set designer Robert Alexander Smith neatly frames the action in a diagonally placed rectangular performance space. The shimmering fabric of the two walls picks up Jack Kirby Crosby’s consistently handsome projection art. Locations change effortlessly, enhanced by the choreographed placement of period furniture by the ensemble cast. Nick Glen’s lighting design creates a warm nostalgic glow, using overhead lights so as to not to interfere with the projections.

While the majority of Lucy Wilkins’ costume design is of the serious period style, she has the chance to break out with a couple of featured fantastical moments, creating a glowing unitard for James Leone in “Insight” and a set of five galactically-inspired outfits for the ensemble for a number in act two.

Musical director Taylen Furness brings Newman’s score to life with a swinging eight-piece band. Blessed with a terrific set of singers in the thirteen-member cast, Furness has rehearsed the music so thoroughly that the music has a comfortable, familiar feel. There were some balance issues with the sound on this second performance, but the improvement heard in the second act bodes well for further enhancement as the season continues.

Scott Mackenzie conveys the driven fervour of Einstein, showing the scientist’s entertaining personality by keeping a sparkle in his eye. Mackenzie’s sympathetic portrayal keeps the audience’s affection with Einstein even though he drifts away from his wonderful first wife. With a rich, unwavering baritone, Mackenzie sings the role with flair.

Jessica Condon is nothing short of superb as Mileva, creating a rounded, highly endearing character in a woman who is largely forgotten in history. Able to flip from strong belting to the sweetest soprano notes, Condon’s soaring singing voice is a pleasure to hear. Condon’s performance of Mileva’s affecting final song, “It Starts Again,” is a true highlight of the evening.

Stephanie Adams faces challenges playing Elsa: as well not coming to prominence until later in the show, the character’s role in the break up of Einstein’s marriage makes her an unsympathetic soul in the audience’s eyes. A sweet singer, Adams gradually wins the audience over, reaching full engagement when Elsa passes back Einstein’s cherished compass.

In convincing aged make-up, Lachlan Hewson and Josiah Lulham are a lively, entertaining pair as Einstein’s colleagues/advisors/confidantes/rivals Lenard and Lorentz.

Daniel Cosgrove gives a carefully measured performance as Einstein’s softly spoken close friend Michele Besso.

Stepping forward from the ensemble in act two, talented young character actor Jordon Mahar is in excellent voice as rival scientist Niels Bohr. Mahar’s work is somewhat hindered in that the late-arriving role is far less defined than Lenard and Lorentz; he is also not given a costume or look that brings any sort of distinction.

The terrific ensemble also includes Alice Batt, Darcey Eagle, Kaori Maeda-Judge, James Leone and Mitchell Roberts.

It would only take a small fraction of the crowds flocking to mainstage revivals to sell out Einstein: Master of the Universe. Local fans with any interest in new Australian work are urged to support this production.

Einstein: Master of the Universe plays at Theatre Works, Melbourne until 10 July 2016.

Photos: Ben Fon

Reconfigured as a chamber musical for 20 performers and six musicians, 1997 Best Musical Tony Award winner Titanic makes for a dream boutique production. StageArt has raised the bar again, presenting a superb cast, highly intelligent direction, beautiful music and creative, immersive staging.

Based on meticulous research, book writer Peter Stone shaped the musical’s story of the hopes, dreams and loves of the passengers and crew of the maiden voyage of the RMS Titanic. The sumptuously melodic, almost sung-through score is by composer Maury Yeston, a revered favourite of devoted music theatre lovers. Stone and Yeston capture the sheer joy of the new age before ending act one with the inevitable disaster. Yeston’s gorgeous score ranges from hymn to rag, from waltz to patter song, from soaring ballad to massed choral number. And there is plenty of his characteristic flair for intricate counter-melody along the way.

Original Broadway cast member Don Stephenson devised this streamlined version of Titanic, in which the ensemble cast plays some sixty characters from the crew and all three classes. Currently enjoying its Australian premiere season, this chamber revival has been a hit in Toronto and in London, where it has returned this year.

The multiple roles are a boon for the cast members, but could potentially be diabolically confusing in the hands of a lesser production team. Aided by Lucy Laurita’s seemingly infinite costume design, director James Cutler establishes an extraordinary number of distinct, memorable, engaging and affecting characters.

The simplified staging involves a raked wooden stage, with four string players, representing the ship’s steadfast band, nested in the upstage left corner. Set design is by Simon Coleman, Robbie Carmellotti and Cutler, and also includes sheer, gleaming blue fabric on three sides. Kai Mann-Robertson’s projections give an abstract, textured feel to the backdrop.

A set of wooden chairs is utilised creatively, but the choice to mime almost all other props is an odd and occasionally distracting choice.

Lighting, by Giancarlo Salamanca, pinpoints action most efficiently. The steely blue cold of night in act two is nicely contrasted with the occasional effect of flares overhead.

For a story that has been retold multiple times, an aspect that resonates powerfully in this musical version is the celebration of the joy of immigration. While the first class passengers enjoy the privilege their good fortune has afforded them and the second class aspire ever upwards, the third class passengers know they will continue in service but dream of a better life in America.

The opening sequence is as musically complex as Sondheim’s Into the Woods, with at last half a dozen tunes unfolding as the various passengers and crew arrive. The sophistication increases in the final sequence of act one, as various pairs of characters blossom and thrive on a chilly night with “No Moon.”

Musical director Kent Ross delivers an excellent performance of the rather epic score, with well-balanced harmonies and crisp instrumental accompaniment. Multiple effects from the keyboard partially compensate the absence of other instruments, but the ear quickly adjusts to the mostly stringed orchestrations and with the richness of the vocal parts, the music sounds pleasingly full bodied.

Cutler is at the height of his powers in act two, following the harrowing scene of the boarding of the lifeboats with an extended sequence of powerful quiet and stillness as three bereft men absorb the unavoidable imminence of their demise. Given music theatre’s clichéd dependence on colour and movement, this brave choice pays off mightily.

The only three actors to plays single roles, Don Winsor (obsessive designer Mr Andrews) Paul Batey (the well intentioned Captain) and Jon Sebastian (conceited owner Mr Ismay) form a solid core. The men share a strong scene in act two as they argue in vain as to who must shoulder “The Blame.” Winsor has a powerful role in the finale, vividly describing how the ship he designed will sink as he sings “Mr Andrews’ Vision.”

Each of the twenty talented performers shines in their featured moments, and the combined strength of the cast in ensemble scenes is even greater than the sum of their individual gifts.

Casey Withoos delightfully provides much needed comic relief as gushing celebrity-spotter Alice Beane. Harley Morrison is amusingly droll as her suffering husband Edgar Beane.

Greta Sherriff is all class as unselfconscious heiress Caroline Neville, speaking with a polished, graceful tone and singing with a strong, crystalline soprano. As Caroline’s upwardly mobile fiancé Charles Clarke, Sherriff is well supported by Matthew Hyde, who has a lovely pure tenor voice.

Barry Mitchell and Amanda Stevenson are gently endearing as devoted couple Isidor and Ida Straus, who reaffirm their deep abiding love in moving 11 o’clock duet “Still.”

Christopher Southall brings an abundance of quirky personality to the memorable role of snobbish First Class Steward Mr Etches. As dutiful radioman Harold Bride, Joel Granger sings with a beautiful pure tone. Adam di Martino impresses with his sprightly rendition of “Doing The Latest Rag.” Sam Bennett has a sturdy masculine presence as starry-eyed third class passenger Jim Farrell.

Music theatre lovers are strongly urged to make the most of this opportunity to see and enjoy Titanic the Musical.

Titanic the Musical plays at Chapel off Chapel, Melbourne until 24 July 2016.

Photos: Belinda Strodder

Caroline O’Connor is the Greatest Star in The Production Company’s sensational new staging of legendary Broadway classic Funny Girl, a lavish production lifted to heights of greatness by the supreme confidence and vision of Gale Edwards’ direction.

Returning to the role she played for The Production Company in their very first year back in 1999, O’Connor is a whirling dynamo of emotion, song and dance, barely pausing for breath as she hurtles through the massive role with charismatic flair.

A memory play on the life of vaudeville and revue comedienne Fanny Brice, Funny Girl begins with the well heeled but melancholy Brice pondering her reflection as she sits backstage. O’Connor’s Brice blossoms from ambitious teen to breakout comic star to fully fledged stage star, with a journey from wide-eyed lover to blindly devoted wife and adoring mother along the way.

In a dazzlingly polished performance, O’Connor nails the comedy, dances the role with ease and bring a myriad of nuanced details to the supremely endearing characterisation. Above all other talents, O’Connor’s singing voice is in extraordinary shape, and has arguably never sounded better as she flips from belting to bell-like soprano to highly expressive chest voice and back again.

O’Connor’s portrayal of Fanny’s journey is aided by a stunning series of costumes from not one but two top costume designers: Tim Chappel and Owen Phillips. Fanny’s rise is charted from bloomers to witty stage outfits to increasingly sophisticated silken gowns and furs, with highlights including the gorgeous teal blue ensemble for her first big date with Nick Arnstein, and her red-trimmed, vivid blue high waisted skirt and hat for the act one finale.

Chappel and Phillips separate supporting characters in distinctive costumes, such as dance coach Eddie Ryan’s bright red suit and Ziegfeld’s fur trimmed coat. The ensemble’s act two move to flapper fashions shows the progression of time, and the company costumes for the Ziegfeld Follies numbers are impressively lavish.

The visual splendour continues with Shaun Gurton’s simple but large scale set design and Trudy Dalgleish’s truly beautiful lighting design. Placing the orchestra in the centre keeps them in view when the iris of curtains comes in for the relative modesty of Keeney’s Music Hall. The transition to Ziegfeld’s Follies includes a glossy silver ruched curtain and giant chandelier. Dalgleish paints the space with colour, also embedding countless bud lights in the set and programming a multi-coloured twinkling star cloth.

Director Edwards really knows how to use the space, filling two levels and two staircases with action and colour. The massive space of the State Theatre stage means that the show is probably grander than it could be in a regular commercial staging. It must be about ten times bigger than the acclaimed Funny Girl at recently seen at London’s Menier Chocolate Factory. Edwards keeps the action slightly larger than life and yet still grounded in earthy humanity. The lively supporting characters are clearly drawn, and the balance of blustery humour, gentle romance and occasional pathos makes for an involving and entertaining evening.

In her first engagement with The Production Company, choreographer Kelley Abbey slips straight into the streamlined short rehearsal model, creating beautifully integrated choreography that is as sharply performed as it is wittily conceived. Abbey makes a significant contribution to the terrific use of space, filling every inch of the stage with swirling dancers in “Henry Street,” and majestically parading dancers up stairs and down in the Ziegfeld Follies numbers.

In the absence of Orchestra Victoria, The Production Company has taken the confident step of creating their own orchestra. Helmed, in its first outing, by musical director Anthony Gabriele, the 26-piece orchestra for Funny Girl sounds absolutely superb. In a sign of their enjoyment of the music, the opening night audience sat down again after the standing ovation to listen to the playout music.

In another Production Company first, popular tenor David Hobson plays Nick Arnstein, he of the frilly shirt and incurable penchant for gambling. Looking dapper and fresh, Hobson cuts a fine figure as the romantic rogue, taking him from foppish lad to world-weary sophisticate. Hobson’s attractive singing voice is reliably strong, and he proves a suave, grounded leading man as O’Connor plays out Fanny’s breathless babble.

Inestimable stage treasure Nancye Hayes brings indefatigable gusto to Fanny’s mother Mrs Brice. Susan-Ann Walker steals many a scene as colourful opinionated neighbor Mrs Strakosh. Accomplished casting director Jan Russ makes a welcome return to the stage as Fanny’s loyal assistant Emma.

David Ross Patterson captures the plummy tones and powerful presence of masterful producer Florenz Ziegfeld. Luke Alleva maintains a sprightly sense of energy and verve as Eddie Ryan.

Special mention to Blake Appelqvist and Daniel Assetta for their gorgeous tenor voices in “His Love Makes Me Beautiful.” These handsome men are both notably sharp dancers as well. Future roles with higher profiles are confidently forecast.

For all its achievements in music and design, the chief attraction of Funny Girl is the unmissable chance to see Caroline O’Connor, extraordinary star of the world stage, at her very best.

footnote: A very special thank you to Frank van Straten OAM for his informative and entertaining program articles over the past 17 years. Van Straten’s incredible background knowledge on Australian and international productions of the musicals presented by The Production Company will be greatly missed.

Funny Girl plays at State Theatre, Arts Centre Melbourne until 31 July 2016.

Photos: Jeff Busby

Back to charm a new generation of theatregoers, Avenue Q is as tuneful, hilarious and relevant as ever in this confidently staged revival production.

Almost a revue, Avenue Q has a loose narrative structure centred on new arrival Princeton’s journey to find his Purpose. Jeff Whitty’s economical book keeps Jeff Marx and Robert Lopez’s supremely hummable songs coming thick and fast. Amidst the laughter, the audience is unwittingly drawn into the characters’ lives so that the more emotional songs and moments land with a heartfelt meaning.

An aspect that is of increased poignancy at this time is the concept of a race/creed of people all being judged and condemned by the extreme actions of a few.

Of principal attraction in this new season is the quality of the singing. Having seen Avenue Q in Broadway, London and Melbourne (2009), this is surely the most beautifully sung performance of the show I have experienced. Musical director Trevor Jones sets aside the nasal Broadway belt sound to bring out a gentle, unforced vocal quality that is really lovely to hear.

Director Peter J Snee matches the attractive vocal tones with nicely unforced performances, avoiding the temptation to go for larger than life caricatures. Energy remains high, but is channeled and focused into the intricacy of playing multiple characters with distinction. While broad humour can gain easy laughs, the subtler playing style on show is far more effective for landing the affecting emotional moments.

Robert Lewis contributes some nifty, natural choreography that adds to the entertainment level.

John Kerr’s streamlined set design keeps the original look and a good number of the hidden tricks. Costume design, by Nathan Alexander, keeps the puppeteers in neutral grey and black while the “human” characters are dressed in bright colours. Jason Bovaird’s lighting design brings an ever-changing rainbow of colour to the single set show, creating plenty of visual appeal.

Ross Hannaford gives a remarkably strong performance in the dual roles of restless college graduate Princeton and uptight, closeted banker Rod. Hannaford’s singing voice as Princeton is gorgeous, and he contrasts this strongly with a completely different sound for Rod.

Likewise, rising star Sophie Wright provides a sweet, unaffected voice for idealistic kindergarten teacher Kate Monster and a sultry, vampish tone for nightclub singer Lucy the Slut. Both Hannaford and Wright are called upon to voice both of their characters on stage at the same time. To watch them maintain the action of one puppet character while voicing the other is astounding.

Vincent Hooper is another highly talented player in the ensemble cast of nine. Hooper not only voices slacker Nicky and cranky, porn-obsessed Trekkie Monster but also joins the delightful Lulu McClatchy  as the fiendishly adorable Bad Idea Bears. Hooper also has to flip between voices while on stage maintaining the puppetry of one of the characters; like Hannaford and Wright he achieves this flawlessly.  McClatchy scores further laughs as cantankerous biddy Mrs Thistletwat.

Sun Park keeps the characterisation of Christmas Eve well clear of racist stereotyping by being clearly in on the joke herself. Park’s breakout vocals in comic torch song “The More You Ruv Someone” are stunning. Andrew Hondromatidis conveys the genial good will of unflustered fiancé Brian. Zuleika Khan has sparkling charisma to spare as friendly building superintendent Gary Coleman.

For a return visit or a wonderful initiation, this all too brief season of Avenue Q is appealing entertainment and solid value.

Avenue Q plays at Her Majesty’s Theatre, Melbourne until 14 August 2016.

Photos: Nicole Riseley

Brimming with toe tapping tunes and laugh-out-loud puns and punchlines, the Australian professional premiere of Curtains is a fresh, welcome entry to the 2016 Melbourne music theatre season.

Imagine a cross between Murder, She Wrote and Smash and you have the basic idea of backstage murder mystery musical, Curtains. Rupert Holmes’ book derives much humour from the self-important vanity of various music theatre types, placing a large company of actors and creatives in lockdown when the untalented leading lady of show-within-a-show Robbin’ Hood is (somewhat mercifully) murdered.

Premiering on Broadway in 2007, Curtains had a respectable run of over 500 performances but failed to inspire the kind of success that leads to a production in the West End and beyond. In a limited season playing to music theatre lovers, the show is an ideal choice for The Production Company.

Kander and Ebb’s score provides splashy production numbers, gentle ballads and comical charm songs, all easy hummable on first listen. By rights, “Show People” should be a popular anthem on par with “There’s No Business Like Show Business.” The writers shoot some well-aimed barbs at critics in “What Kind of Man?” Robbin’ Hood numbers poke delicious fun at Oklahoma! and other early Golden Age musicals. Most delightful of all is “In The Same Boat,” which is heard in three incarnations throughout the show before reaching a glorious climactic punchline when all the versions are sung simultaneously. 

Director Rodger Hodgman has done a sterling job of establishing the menagerie of characters and landing the comedy during the relatively brief rehearsal period. When there is time to add a gay love triangle within the male chorus it is clear that rehearsals have run smoothly. There is a slight overload of dialogue as the whodunit is finally solved, but comic momentum is well sustained over the 165 minute running time (including interval).

Dana Jolly contributes witty choreography that is gently blended into the action. Musical director John Foreman not only conducts the expertly prepared musicians and singers but also plays vital role of conductor Sasha Iljinsky, delivering some lovely vocals at the top of act two.

Christina Smith’s set design is occasionally underdone as a sea of black, but is offset by full, colourful sets for Robbin’ Hood and a large set of rich red curtains for the Boston Theatre where the show is enduring its out-of-town tryout. Esther Marie Hayes’ vibrant costumes clearly establish and maintain the wide range of characters. Untalented diva Jessica Cranshaw’s hot pink wig and sequined satin gown are wickedly garish, and the bloomers on the Robbin’ Hood girls are too perfect.

Filling David Hyde Pierce’s Tony Award-winning role of Lieutenant Frank Cioffi, Simon Gleeson delivers an expertly realised characterisation that is as magnetically compelling as it is neatly understated. Gleeson nails the high-toned Boston accent and scores many a well-earned laugh as Cioffi’s obsession with fixing the show increasingly outstrips his interest in the solving the murders. All this, plus he dances treble time-steps.

Stalwart veteran Melissa Langton, a long-time supporting artist, shines in a well-deserved leading role that plays to her strengths of ballsy comedy and vocal belting. When driven producer Carmen Bernstein finally shows a softer side, Langton makes the most of the chance to balance her vocals with some truly lovely softer singing.

Alinta Chidzey is a delight as doe-eyed ingénue Niki Harris, maintaining a glowing, charming presence that underpins the character’s fascination to men. Chidzey joins Gleeson in dreamy dance number “A Tough Act to Follow,” in which both performers exhibit bright,  breezy flair.

Charming actor Alex Rathgeber makes a welcome return to The Production Company as one half of writing team Aaron Fox and Georgia Hendricks. Talented actress Lucy Maunder is well cast as Georgia, giving the character a gorgeous blonde look and singing the role beautifully.

Zoe Coppinger makes a splash in the ditzy role of ambitious chorine Bambi Bernét, performing with infectious energy. Coppinger’s singing in the role is very strong, although her dancing is not quite at the level to make the extended solo in “Kansasland” as effective as it should be.

The well-written role of conceited director Christopher Belling scores many laughs, despite Colin Lane’s dull performance and awful, wandering, faintly British/Australian accent.

Nicki Wendt is a scream as clueless, ill-fated diva Jessica, setting the comic standard very high with her choice cameo role as the show opens.

All music theatre lovers are sure to enjoy Curtains. Attendance is especially recommended for those who clamour for new work amidst the ongoing abundance of revivals.

Curtains plays at State Theatre, Arts Centre Melbourne until 28 August 2016.

Photos: Christopher Parker

Bone shakingly loud and blindingly bright, We Will Rock You retains, and revels in, its rock concert vibe in this updated Australian revival.

Introducing a new generation of stars, We Will Rock You is most notable for its superb recreation of Queen’s greatest hits, which have been shoehorned into a broad apocalyptic comedy by Ben Elton.

Directing his own material, Elton keeps energy sky high, making no pretense of subtlety or nuance. Dialogue scenes, which feature a wandering collection of accents, are at a pantomime level of broadness. If the idea is to attract and entertain those who do not usually attend musicals, there is no danger of their attention wandering. The forcefully performed, large scale show is a terrific fit for the mighty Regent Theatre, in which lesser productions can easily become lost.

Set in a dystopian future where rock music has been banned, a group of underground rebels seeks to return rock music to its full glory. Elton turns music theatre’s boy-meets-girl formula on its head by giving female lead Scaramouche a snarky, decidedly unromantic personality. Male lead Galileo is the dreamy dreamer who channels rock’s past by speaking in a ceaseless stream of audience-familiar song titles. The joke continues with the rebels’ adopted monikers, which include mis-matched, poorly pronounced incarnations of Madonna, Britney Spears et al.

Amidst this levity, one authentic, highly affecting moment shines through. Discussion of rock heroes turns to those who died before their time, and Oz (Ozzie Osbourne) sings “No-one But You (Only The Good Die Young).” In an evening of full-throated belting, shining star Jaz Flowers sings this tribute with such tender beauty that only the very hardest heart would be unmoved.

Gareth Keegan delivers another sensational lead performance as Galileo, deepening the mystery as to why he is not more of a household name. Keegan’s powerful tenor voice adapts perfectly to rock ballad style, his speaking voice has a very attractive tone and he fills out a black t-shirt most impressively.

Lumbered with the annoyingly unlikeable role of Scaramouche, relative newcomer Erin Clare gives a perky, well focused performance. For the rock numbers, Clare’s soprano voice sounds best when she is belting at full strength.

Long time supporting player and ensemble member, Thern Reynolds deservedly breaks out from the pack with the key role of Britney. Maintaining a strong physical presence, Reynolds sings with impressive rock style and delivers the humour in a good natured manner.

While the disappearance of true rock and roll is blamed on commercially produced blandness from the production line of Australian Idol, the series has actually produced one of the sensational stars of We Will Rock You in Casey Donovan. Made up like a superhero version of Mimi Bobeck, Donovan’s rock solid belt is electrifying in numbers such as “Killer Queen” and “Another One Bites The Dust.” Hopefully the stage will continue to serve up roles that fit Donovan’s mighty talents.

Just as George Kapiniaris impressed so thoroughly in Nice Work If You Can Get It, the secure, likeable performance of Brian Mannix as Buddy comes as a very pleasant surprise. Mannix delivers dialogue like a seasoned stage professional, and rocks out his big act two number “These Are The Days Of Our Lives” to great effect.

The talented members of the ensemble are largely featured in thankless choreographed scenes where their faces are not seen clearly. Their time to shine comes when playing individual Bohemians, and they thrive in these scenes.

Mark Fisher’s stadium-style scenic design fits the space grandly, and looks all the more spectacular with Willie Williams’ intense lighting design. The various songs largely play like video clips, with the songs well chosen for their popularity but not really advancing the story to any significant extent. Sound design by Bobby Aitken is extremely loud and yet ensemble lyrics are difficult to distinguish. A series of lavish pyrotechnic effects ends the show on a visual high.

Music supervisor Guy Simpson and musical director David Skelton have ensured that the music sounds authentic and vibrant. The musicians in the band are superb, and it is great to see them take a well-deserved bow on stage in the curtain calls.

We Will Rock You may not be aimed at Broadway fans, but Queen lovers will surely be keen to hear the music performed so well.

We Will Rock You plays at Regent Theatre, Melbourne until 30 October 2016.

Photos: Jeff Busby

Pursued by Bear premieres 2013 Broadway musical First Date in an impressively produced, enthusiastically performed all too brief season.

As the title suggests, First Date is about a couple on their first date, which is, in fact, a blind date. The 90-minute musical has much more of an off-Broadway vibe, which makes it a perfect match for an independent production at Chapel off Chapel. The suitability of the show is further enhanced with a transplant from New York City to inner urban Melbourne, a move that is very smoothly accommodated.

Austin Winsberg’s sharply written book provides many recognisable moments, and avoids saccharine tendencies as it winds its way to a well-earned upbeat ending. Alan Zachary and Michael Weiner’s accessible score features little in the way of memorable music but seamlessly continues the pleasant humour of the dialogue scenes.

The first and most striking aspect of the production is the beautifully realised scenic design by Sarah Tulloch. The space is transformed into a capacious café, with hanging plants, eclectic furniture and a real coffee machine. Arrive early to secure a table at the front of the seating bank and enjoy a coffee before the show.

Progressing through as many dips, peaks and sharp turns as a rollercoaster, Aaron and Casey’s date covers first impressions, small talk, awkward pauses, unintentional insults and the gradual lowering of defences. The inner voices of the pair’s thoughts, despairs, memories and dilemmas are brought to life by the other five cast members, who break out from their evening at the café to become various friends, relatives, exes, therapists and even imaginary children.

Also populating the café, in a style reminiscent of Waitress, are the five talented musicians of the band. Seated in the café’s kitchen, percussionist Cambel Phillips’ chef’s hat is a witty touch from Tulloch. Musical director Stephanie-Jane Lowendon-Lowe, on piano, maintains a supportive stage presence, gently presiding over a very confident performance of the unfamiliar score.

Overall, Tulloch has toned down the theatricality of the costumes to successfully keep a natural sense of realism. Additional touches to transform the ensemble cast into the supporting characters are all achieved with efficiency and a touch of flair.

Bryn Cullen’s lighting design adds to the ambience of the café setting. Although many of the breakout moments of the inner voices are clearly highlighted, there are a few too many times when cast members sing a line or two in virtual darkness. Sound design, not credited in the program, also experiences some challenges in having all lyrics distinctly heard.

While the show gets off to a bit of a slow start, director Mark Taylor ramps up the interest as the ever-increasing influence of the lead pair’s inner voices exerts mounting pressure on their decisions. There is a perky, engaging performance energy but this does not overpower the natural feel of the scenario. Joel Anderson’s well-integrated choreography also contributes to the effervescent vibe.

Fresh VCA graduate Jordon Mahar is a character actor at an age when most graduates play traditional romantic leads. The role of straight-laced banker Aaron is an ideal fit for Mahar’s considerable talents, and he is particularly convincing in drawing the audience closer as Aaron’s protective walls come tumbling down. The character’s two emotional high points come when he answers the letter of his deceased mother, in “The Things I Never Said,” and when he releases a diatribe of resentment on his ex-girlfriend in “In Love With You.” Mahar nails these moments, and maintains a likeable, non-clichéd character throughout.

Casey begins with a sullen tone and prickly manner, but rising talent Rebecca Hetherington allows the audience to see the character’s gradual thawing towards Aaron as the evening progresses. Explaining why she only dates bad boys, Casey stops the show with soaring ballad “Safer,” in which Hetherington displays a sensational belt in her singing voice.

Each of the supporting cast has a number of moments to shine, and their vivacious skill adds significantly to enjoyment of the show.

Nicole Melloy provides a hilariously quirky physicalisation of Grandma Ida, and provides strong support as Casey’s relentless sister Lauren. Adam Porter shines as Casey’s best friend Reggie, who performs his loyal duty of ringing to give her a chance to bail out of the date.

Daniel Cosgrove pushes best friend Gabe’s typically male agenda with a knowing wink. Danielle O’Malley proves a good sport in portraying ex-girlfriend Allison’s most unlikeable traits. Stephen Valeri has a charming, relaxed manner as the waiter, delivering a flashy comic number when the waiter breaks the tension with a song he wrote called “I’d Order Love.”

The local premiere of a Broadway musical is always a welcome event for music theatre lovers. First Date is a enjoyable addition to Melbourne’s current theatre calendar.

First Date plays at Chapel off Chapel, Melbourne until 11 September 2016.

Photos: Ben Fon

Crafted at the pinnacle of Broadway’s golden age, prized musical treasure My Fair Lady is meticulously restored to its original glory in this 60^th anniversary production.

Reversing the trend of directors and designers who seek to put their own spin on a show as they remold and retool it, the clock is turned back for a unique insight into the world of music theatre in Broadway’s heyday. Providing a direct link to the past is director, and international icon, Julie Andrews, who starred as the original Eliza Doolittle back in 1956.

Andrews’ direction encourages a broad playing style, in which performers face forward and speak at loud volume, albeit with perfect diction. This style takes the show to the audience rather than drawing the audience towards the actors/characters, and yet the talented set of leads still succeeds in winning affection. Storytelling is crystal clear, although it would be nice to give some credit not only to audience intelligence but also to familiarity with the story.

At the heart of the restoration are the set design of Oliver Smith and the costume design of Cecil Beaton.

Overseen by Rosaria Sinisi, the scenic design returns to a time when painting of scenery was a well-practiced art form. Present day theatre lovers have only seen such designs in little photos in CD booklets or in coffee table books. Framed within a gilt-edged, arched false proscenium, the combination of painted backdrops and solid sets creates depth and visual appeal.

The cost of the homage to this scenic style, however, is the inclusion of scene change blackouts with the traveller curtain closed, blowing out the running time to 195 minutes (including interval). The designs are certainly attractive, but, in terms of technical achievement, community theatre surpassed this level many years ago.

The most successful scenic transition, which drew worthy applause on opening night, is the dissolve from the promenade of the embassy to the ballroom. The sets rotate and chandeliers are lowered in plain sight, bringing a very satisfying result when the picture fully resolves. More of this kind of flair was needed in the design, even if this meant straying beyond the original format.

Recreation of the costumes is unreservedly a success. The work of John David Ridge has clearly involved exhaustive research and loving care, attaining an extraordinary level of beauty and perfection. Moving from jewel tones for the operagoers in the opening, to the striking black and white of Ascot to soft pale pastels for the ball, the female ensemble are very well served. Eliza’s bejeweled shimmering white gown for the ball is a highlight, as is the black velvet jewel-collared cape she wears over it afterward.

Bringing a talent for energetic yet respectful revitalisation of classics, seen in South Pacific and The King and I, choreographer Christopher Gattelli makes the absolute most of the small number of opportunities for dance in My Fair Lady. The ensemble formations in “Embassy Waltz” are quite divine, “Ascot Gavotte” moves with delectable wit, and joyful company number “Get Me To The Church On Time” is the energetic showstopper needed at the 165-minute mark of the show.

Music Director Guy Simpson presides over an orchestra of 32 musicians from the Australian Opera and Ballet Orchestra, giving a richly coloured performance of Frederick Loewe’s music. The flawless sound design, by Michael Waters, projects each and every one of Alan Jay Lerner’s words with clarity and in perfect balance with the music.

An operatically trained soprano and stunning actress, Anna O’Byrne returns to Australia to fulfill the promise shown as Maria in West Side Story last year. While her previous high profile role of Christine in Love Never Dies showcased her porcelain beauty and full-bodied soprano, the role of Eliza Doolittle involves a narrative arc that is as complex as it is well known. O’Byrne brings a compelling freshness to the role, nailing both the cockney and polished accents as well as the journey between the two. Revealing a talent for comedy, O’Byrne is hilarious at Ascot, taking Eliza from a rigid, trained automaton to an alluring center of attention.

O’Byrne is equally powerful when silent, such as when standing paralysed with simmering pain as Higgins and Pickering congratulate each other during “You Did It” or seeing her old haunt through new eyes when revisiting the market as a Lady. From the spitfire venom of “Just You Wait” to the soaring high notes of “I Could Have Danced All Night,” O’Byrne’s singing of the role is glorious.

When National Theatre’s acclaimed revival of My Fair Lady transferred to the West End’s Theatre Royal, Drury Lane in 2002, multi-talented actor Alex Jennings took on the role of Henry Higgins, winning an Olivier Award as Best Actor. Delightfully droll and frustratingly obtuse, Jennings’ interpretation of the role is both pleasingly traditional and intriguingly nuanced. Jennings’ stage presence is never less than compellingly magnetic, and the audience is on his side no matter how outrageous his statements against women and the lower classes.

In the hands of two such gifted actors, Higgins and Eliza’s shared scenes are enthralling. The standout moments are the pair’s bitter fight after the ball and their showdown at Mrs Higgins’ conservatory. Thankfully, Andrews follows the original interpretation of Higgins and Eliza’s relationship, allowing them to deeply bond on a human level rather than artificially forcing romantic overtones into the story.

Having starred as Higgins in Opera Australia’s 2008 staging of My Fair Lady, Reg Livermore returns this time as loveable rogue Alfred P. Doolittle. Livermore has the audience in his palm as Doolittle progresses from ne’er-do-well dustman to newly moneyed groom.

Tony Llewellyn-Jones brings a lively sparkle to conservative housemate Colonel Pickering.

In her third musical role for 2016, Deirdre Rubenstein imbues imperious but softhearted Mrs Pearce with exactly the plummy tones one would expect from the housekeeper to a phoneticist.

Robyn Nevin is all class as Mrs Higgins, landing many a laugh with her gently sardonic delivery of the world-weary matron’s dialogue.

Playing simpering society fellow Freddy Eynsford-Hill, popular singer Mark Vincent’s relative lack of acting experience is clear. Vincent sings “On The Street Where You Live” strongly, but shares no chemistry with O’Byrne’s Eliza.

All members of the triple threat ensemble work brilliantly, playing a range of roles with distinction.

It is hard to imagine a more reverential treatment of a classic musical than this season of My Fair Lady, which is a must-see event for all music theatre lovers.

My Fair Lady plays at Joan Sutherland Theatre, Sydney Opera House until 4 November 2016. My Fair Lady tours to Brisbane in March 2017 and Melbourne in May 2017.

Photos: Jeff Busby

The cast of Dream Lover the Bobby Darin Musical today gave a preview of the brand new Australian musical. David Campbell stars as dynamic crooner Bobby Darin.

Young Bobby had a musical household, with sister Nina (Marney McQueen), showgirl mother Polly (Caroline O’Connor) and Nina’s partner Charlie (Bert LaBonte)

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Bobby makes a television appearance, sing his composition “Splish Splash.”

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Bobby performs with fellow rock and roll stars.

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In the movies, Bobby meets and falls for Sandra Dee (Hannah Fredericksen).

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Bobby’s manager Steve Blauner (Martin Crewes) has to deal with Sandra Dee’s protective mother Mary Douvan (Caroline O’Connor, in her second role in the show).

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Choreographer Andrew Hallsworth’s handiwork is on show as Bobby sings the ever-popular standard “Mack the Knife.”

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The full company of Dream Lover the Bobby Darin Musical.

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Dream Lover is currently in previews, before its official opening night on 6 October 2017.

Dream Lover plays only at Sydney Lyric Theatre, with a season that runs until 13 November 2016.

Photos: Simon Parris

As dazzling a Disney stage spectacle as could possibly be imagined, Aladdin is a generous slice of music theatre heaven with rainbow sprinkles on top.

While stage musical adaptations of animated Disney movies Tarzan, The Little Mermaid and The Hunchback of Notre Dame have come and gone with little impact, Aladdin has deservedly become an international smash hit. Smart, sassy and visually stunning, the musical has been fleshed out into a toe-tapping treat that happily wears it vibrant heart on its sequined sleeve.

One of the most successful aspects of this stage adaptation is the way the tuneful score has been expanded so seamlessly. Songs by Alan Menken, Tim Rice and the late Howard Ashman for the 1992 movie have been complemented with new, instantly hummable compositions from Menken and book writer Chad Beguelin to create a fully integrated Broadway score.

Beguelin’s book matches the zany humour of the movie, with puns, non-sequitirs and meta moments to spare. Beguelin cleverly uses the beloved Genie to introduce the show, then turns the spotlight on plucky street urchin Aladdin and restless Princess Jasmine. Aladdin and Jasmine follow the time honoured boy meets girl track, while Aladdin also enjoys a second significant relationship with Genie. Dispensing with the need for puppets or animal masks, Aladdin’s pet monkey Abu is replaced with three best friends, Babkak, Omar and Kassim, and the villainous Jafar’s squawking parrot is replaced with squawking human sidekick Iago.

With four shows running concurrently in April this year, director/choreographer Casey Nicholaw has well and truly conquered Broadway. Aladdin is, however, the first of his double duty musical productions to be staged in Australia*.

Nicholaw has the skill and vision to cater for today’s audiences while firmly keeping a foot in the Broadway traditions of old. Aladdin moves at breakneck pace, and yet storytelling is never less than crystal clear and human connections are paramount. A great example of Nicholaw’s stage skill comes in lively charm song “Babkak, Omar, Aladdin, Kassim.” Nicholaw momentarily slows down the action to zoom in on Jasmine’s reaction to the market and then on Jasmine’s first meeting with Aladdin before returning the action to full pace.

The added benefit of a director/choreographer is that the choreography extends to scenic movement and lighting. The dynamic musical numbers of Aladdin feature frequent movement of scenery and countless lighting states.

The scope of Bob Crowley’s scenic design is rather epic and the artistry of its execution is often breathtaking. No photo can do full justice to the Cave of Wonders; it just has to be seen live. Likewise, the magic carpet effect of divine duet “A Whole New World” is incredible enough so as to appear to actually be magic.

Since the 2014 Broadway opening, there seems to be little tweaks and polishes in Crowley’s design and Natasha Katz’s lighting design, making the Australian production look all the more spectacular. The programmed star cloths for the magic carpet ride are completely immersive. The midnight sky and terracotta balconies of the Capitol Theatre auditorium suit the visual appeal of the production perfectly.

The stunning stage picture is completed by the truly beautiful costumes of Gregg Barnes. With a seemingly infinite budget for sequins, Barnes has crafted a cavalcade of costumes in gleaming jewel tones, pretty pastels and luxurious whites and creams. If the gold outfits of act one finale “Friend Like Me” are not eye-popping enough, the veritable fashion parade of act two opener “Prince Ali” features enough designs for an entire show. Other highlights include Jasmine’s gorgeous pale musk wedding gown, and the magic of Jafar’s double fast change at the climax.

At this performance, the role of Genie was played by Gareth Jacobs. Looking just a trifle nervy as he opened the show on stage alone, Jacobs soon warmed into the sparkly camp aspects of the role. By the time Genie materialised from the lamp, Jacobs was playing at full strength, projecting the deliciously bold character to the back of the dress circle. Jacobs nails the powerhouse belt and the playful comic timing, offsetting this nicely with an endearing undercurrent of vulnerability.

Die hard Disney fans will adore the breakout sequence in “Friend Like Me” when the Genie riffs snatches of ’90s Disney standards.

Carrying the title role on his young shoulders, Ainsley Melham balances wholesome Disney goodness with a knowing twinkle in his eye. Buff and tousle haired, Melham sings with a pleasant light tenor. Projecting an appealing charm, Melham forges sparks of chemistry with each of his costars.

Arielle Jacobs is perfectly lovely as Princess Jasmine, but it remains unclear as to why a local artist could not have played the role.

The supporting cast is filled with highly experienced performers, all appearing to have an absolute ball in this Disney juggernaut.

Often cast as a nice guy, Adam Murphy exhibits a nicely understated sinister flair as Jafar. Aljin Abella is brilliantly perfectly cast as sidekick Iago, reaching levels of inspired lunacy as the grinning malevolent buffoon.

Aladdin’s sidekicks enjoy some of the choicest numbers, and the trio of actors in these roles successfully creates a set of distinct characters. Experienced leading man Adam-Jon Fiorentino captures the alpha male bravado of Kassim. Character actor Troy Sussman gleefully delivers a stream of food-related puns as Babkak. Relative newcomer Robert Tripolino makes a highly promising commercial theatre debut as nervy, fey sweetheart Omar.

The hard working ensemble of triple threats makes the continuous flow of snappy vocals, intricate choreography, snappy costume changes and amusing character work seem all too easy.

Take it for granted that Aladdin is unforgettable family entertainment. The additional bonus is the broad appeal for all ages. A must see.

Aladdin the Musical currently plays at Capitol Theatre, Sydney and will play at Her Majesty’s Theatre, Melbourne from April 2017.

Footnote: Whoopi Goldberg once took over the traditionally male role of Pseudolus in A Funny Thing Happened On The Way To the Forum. Wouldn’t it brilliant to see ensemble member Leah Howard as Genie…

*A nifty little show called The Book of Mormon is on its way to Melbourne in early 2017

Photos: #1-#5 Deen van Meer; #6 Michele Aboud

Darkly dramatic musical Side Show is given an intelligent production featuring a cast of powerful singing actors.

Based on the real lives of conjoined twins Daisy and Violet Hilton, Side Show takes an unflinching look at the oppressive human cruelty of prejudice and fear. The vulnerability and optimism of the girls is completely endearing, making their setbacks and crushed dreams all the more affecting. Despite encountering disappointments and ill treatment, the indomitable spirit of Daisy and Violet allows them to end the show on a note of hope.

Bill Russell and Henry Krieger’s 1997 musical drew its inspiration from the Vaudeville setting of much of the story. In a similar style to Cabaret, the musical incorporates some performance numbers that provide oblique commentary on the storyline. While some of the expositional numbers are a little heavy handed and unmelodious, the “Vaudeville” songs are wonderful and the power ballads and duets are excellent.

For this Australian professional premiere season, One Eyed Man Productions and Hayes Theatre Co are presenting the revised version of Side Show, which played a modest season on Broadway from November 2014. Broadway revival director Bill Condon added to the book, and a significant number of songs were added and deleted. This version expands upon the sisters’ back-story, and rounds out the characters of the major players.

The cast is uniformly strong, but the heart of the show is the work of Laura Bunting as Daisy and Kerrie Anne Greenland as Violet. As well as providing soaring vocals in knockout duets “Who Will Love Me As I Am?” and “I Will Never Leave You,” the pair achieves particular success in crafting two distinct, and highly empathetic, characters. With the broad smile of a 1940s Hollywood beauty, Bunting gives a breakout performance as ambitious, flirtatious Daisy. Subverting her natural beauty from within, Greenland conveys the self-conscious shyness of lovelorn Violet.

Director Richard Carroll acknowledges the significance of Daisy and Violet by frequently placing them on a central platform with all other characters orbiting them. Carroll does not shy from the gritty darkness of the material, guiding the cast to explore the murky shadows of their characters and the painful consequences of their choices.

Committed performances from the cast land the story’s twists with great impact. At the end of act one, the romantic arcs are thrown completely off kilter when the sisters simultaneously discover their beaus are both unavailable. Daniel Belle, in tremendous voice, portrays manager Terry’s internal battle between his affection for Daisy and the crippling fear that prevents him coupling with her. Likewise, Gabriel Brown captures the dilemma of light-footed hoofer Buddy’s in deciding between the trappings of fame, his sympathy for Violet and being true to the guarded desires of his homosexuality. A talented triple threat with a likeable stage presence, Brown is a performer to watch in future outings.

Timothy Springs maintains a searing intensity as Jake, a character who moves from bare chested ignominy as King of the Cannibals to well heeled respectability when travelling with the girls in Vaudeville. Long before Jake confesses his true love for Violet, Springs makes the brooding character’s feelings crystal clear. Summoning the strength to confess his love and save Violet from a loveless match, Springs unleashes tremendous vocal power as he sings “You Should Be Loved.” Violet’s subsequent rejection of Jake on racial grounds is absolutely devastating.

Set designer Lauren Peters makes excellent use of the tight Hayes space in bringing Carroll’s vision for the production to life. The early side show sequence is signified by a red and white striped circus tent. As the girls move on to Vaudeville, the tent front is removed, creating a grander playing space. In a clever touch, Peters reflects the show’s focus on the twins by creating a symmetrical stage design.

Angela White tells a great deal of the story with her costume design. The twins’ road to success is charted in a series of beautiful custom made gowns that progressively increase in sophistication. The “freaks” of the side show are first seen as tantalising silhouettes, before appearing in all their gruesome glory. As the twins first tell their backstory to Buddy, they envisage the people they are describing as members of their freak show. As time melts away, members of the ensemble play multiple characters, aided in their efforts by the extensive wardrobe of costumes and wigs.

While sound reproduction at this performance improved in act two from the harsh volume in act one, there were subsequent difficulties with crackling microphones. These issues will surely be remedied promptly.

Joshua Mulheran speaks silent volumes as Buddy’s presumed lover Ray. Berynn Schwerdt is brutally insidious as side show master Sir. Michael Hart shows off an impressive physique as Human Pin Cushion, and skillfully blends into several other roles. Lachlan Martin uncovers the tender humanity behind Lizard Man, and changes roles through the show like a chameleon.

Bree Langridge performs the show’s only actual circus act, skillfully climbing and spinning on hanging fabric. Elenoa Rokobaro projects an air of exotic mystique as Fortune Teller. Versatile UK actress Hannah Waterman, recently relocated to Sydney, begins as the gruff Bearded Lady before bringing a unique vocalisation and physicality to a range of other characters.

Music theatre aficionados will appreciate the chance to see such an accomplished production of this Broadway rarity.

Side Show plays at Hayes Theatre, Sydney until 16 October 2016

Photos: Kurt Sneddon