The UK premiere season of 2011 Maury Yeston musical Death Takes A Holiday is as exquisitely sung as it is handsomely staged.

Sharing the characteristic quality of Yeston scores, the music has a rapturous beauty and is an absolute pleasure to hear. From the opening bars onwards, it is clear that musical director Dean Austin has prepared the singers and the band of ten musicians exceedingly well. The opening company number “Nothing Happened/Centuries” sounds gorgeous, and the reason become clear as the performance continues: each and every cast member has an excellent singing voice; there simply is not a weak link among them.

Original play Death Takes A Holiday was adapted by Yeston and book writers Peter Stone and Thomas Meehan as a slice of swoon worthy romance flavoured with a supernatural conceit that is surprisingly easy to swallow. Death comes for Grazia Lamberti, who has been thrown from a speeding car as her family and friends return from celebrating her engagement. Touched by her vitality, and exhausted from collecting souls during World War I, Death decides to grant Grazia a reprieve. Occupying the body of handsome young Russian Prince Nikolai Sirki, Death takes a holiday, spending the weekend at an Italian villa with Grazia’s family.

While the swiftly blossoming romance between Nikolai and Grazia is the key focus, Yeston deepens the musical’s emotional heft by including songs for the other characters. Once exposition is covered, the subsequent flow of songs envelopes the audience in the loveliest of music and lyrics. Arguably the best song in act one comes from new arrival Major Erin Fenton, who fought in the war with Grazia’s brother Roberto. In “Roberto’s Eyes,” Fenton recants his memory of the moment that Death came for Roberto.

Act two features one gem after another, climaxing in Grazia and Nikolai’s stunning duet “More and More.” (Thankfully, Yeston provides more of “More and More,” with a reprise at the finale.) Grazia and Roberto’s mother Stephanie sings of her loss in the touching ballad “Losing Roberto.” Grazia, her sister Alice and their friend Daisy, lovelorn all, sing the gorgeous trio “Finally, To Know.” The elderly Contessa and her long-term companion Dario share the moving duet “December Time,” a song that brings to mind the Strauss’ duet “Still” from Titanic.

Director Thom Southerland ensures that the cast are committed to the mystical scenario so that the story beats land with authenticity. Southerland shows a confident hand in using cast members, particularly those playing servants, to move the sets and props quickly and efficiently so that there is an instant cinematic flow from one scene to the next.

Death Takes A Holiday is produced at a highly impressive standard given the relatively modest off-West End location. Set designer Morgan Large has provided an ingenious construct that utilises fold-out walls of archways on each side of the stage. Painted grey, and rendered for a tactile, aged look, these panels have a multitude of positions that can be used to portray hallways, bedrooms, dining room, doorways and more. Matt Daw’s lighting design helps to vary the look of each setting, using plenty of haze to add to the spooky atmosphere of the villa. Daw also uses light cleverly to show the difference between the shadowy Death and the beaming Prince Nikolai.

Costume designer Jonathan Lipman distinguishes the classes and identifies characters clearly, all the while using a regal palette of rich crimsons and purples.

While not a dance show as such, choreographer Sam Spencer-Lane makes the most of select moments to include lighthearted movement that reflects the levity of festive scenes.

Striking tenor Chris Peluso is perfectly cast as the mysterious figure of Death and the charmingly handsome Prince Nikolai. An intensely focused performer, Peluso’s handsome looks and gorgeous voice affect the characters and audience alike. Peluso successfully plays sinister drama, dreamy romance, light comedy and arduous angst, all without a trace of melodrama. Peluso’s climactic ballad “I Thought That I Could Live” is yet another highlight of his truly wonderful singing.

Lovely soprano Zoë Doano plays Grazia Lamberti with a similar level of gentle restraint. It is a credit Doano’s endearing appeal in the role that Grazia can so promptly discard her new fiancé and yet remain entirely likeable. Doano has a rich soprano, with a full bodied middle range and soaring high notes when she needs them. Doano and Peluso share convincing chemistry, and the central dilemma is keenly felt.

Kathryn Akin conveys a warm kindness as Duchess Stephanie Lamberti. Duke Vittorio Lamberti is one of the only two characters to know the truth behind the presence of Prince Nikolai, and Mark Inscoe plays this angle most convincingly.

Samuel Thomas gives strong support as Major Erin Fenton. Scarlett Courtney, as Daisy Fenton, and Helen Turner, as Alice Lamberti, are each charming in their roles. The singing voices of Thomas, Courtney and Turner add significantly to the overall quality of the music.

Stage veteran Gay Soper carries a delightful twinkle in her eye as Contessa Evangelina di San Danielli. Anthony Cable, as the Contessa’s doctor and long-term close friend Baron Dario Albione, brings a similar level of grounded experience. The pair is a delight as they play the all too rare subplot of a late in life romance between a mature age couple.

Was I not on a plane home to Melbourne the day after being fortunate enough to see the first preview of Death Takes A Holiday, there is no doubt that I would have seen it again. The young man sitting beside me contacted friends at interval to arrange his return visit. In short, London lovers of boutique musical theatre are urged not to miss Death Takes A Holiday.

Death Takes A Holiday plays at Charing Cross Theatre until 4 March 2017.

Note: Chris Peluso plays Death/Prince Sirki until 11 February 2017.

Photos: Scott Ryland

Australia finally has the chance to say Hello! to The Book of Mormon, and this sparkling production has been well worth the wait.

Perhaps we needed the time to be ready for the show’s touches of music theatre humour. In the years since The Book of Mormon blazed across the Great White Way and swept the 2011 Tony Awards, Australian co-producer John Frost has taken the chance to stage local revivals of Wicked, The King And I and The Sound of Music, each of which are referenced in this Broadway valentine.

The language may be crasser and cruder than usual, but co-writers Trey Parker, Robert Lopez and Matt Stone have crafted a musical in the grand Golden Age tradition. The irreverent tone and outlandish humour create many a did-they-really-just-say-that moment, but it is the heart and soul that of the show that underpin its ongoing appeal.

The rare post-millennial musical not to be based on a movie or a back catalogue of pop music, The Book of Mormon boasts an original story and an all-new score. The songs are catchy, if not overly melodious, and the lyrics are simply superb. A buddy story in the tradition of The Producers and Dirty Rotten Scoundrels, the book puts preppy Elder Price and dorky Elder Cunningham through the gamut of emotions usually reserved for a romantic leading couple.

Parker shares the role of director with Broadway’s current King Midas, Casey Nicholaw. The pair grounds the outrageous action in reality; the stakes are all very genuine to the characters and the humour is far funnier for it. A potted history of the Mormon religion and an assortment of facts about its basis need no help at all to sound hilariously funny. The fact that the show still ends up at a poignant realisation of the role of religion and story telling is testament to the quality of the book, direction and performances.

Nicholaw also delivers choreography that is delightfully spectacular without being overwhelming to the scenes. Energy is kept high by involving ensemble members in almost all of the numbers. From tapping Elders to boy band members to squirming residents of hell, Nicholaw draws upon a vivid dance vocabulary to enliven each situation.

The humour expands beyond writing and direction, with many visual gags woven throughout the design elements.

Costume designer Anne Roth illustrates the poverty of the Ugandan villagers by dressing them in mismatched items that appear to have been foraged from discarded refuse. For the climactic sequence “Joseph Smith American Moses,” which is a pitch perfect parody of “The Small House of Uncle Thomas” from The King and I, Roth ensures the costumes appear convincingly hand-made by the villagers, to match their vivid interpretations of the Mormon characters they have heard so much about.

Scott Pask’s scenic design looks stunning in the Princess Theatre, the planetary design above the proscenium arch stretching higher overhead than in the Broadway and West End stagings. Pask contrasts the lush commercial landscape of Salt Lake City with the barren den of death in Uganda to great effect. The witty set within a set for “The Small House of Uncle Thomas” adds to the success of this number.

Brian MacDevitt’s lighting design adds dappled texture to the stage. One of the funniest effects of the night comes after the second time the lights go out in “Turn It Off.”

Brian Ronan’s sound design delivers the booming voices of God and Jesus in atmospheric surround sound, and neatly balances the nine musicians with the cast’s vocals. Esteemed music director Kellie Dickerson leads the band with a rocking quality that has the audience remaining in the theatre to hear, and subsequently cheer, the playout music.

In a production where the show is the star, elder statesman Bert Labonté earned opening night’s sole round of entrance applause in his role as village elder Mafala. Labonté gives a reliably nuanced, deliberately underplayed performance, setting the tone for the whole show early in the night with his gently sophisticated work in wickedly subversive number “Hasa Diga Eebowai.”

Breakout star of the production is Zahra Newman as Mafala’s dear daughter Nabulungi. A veteran of many a straight play, Newman unveils an incredibly impressive singing voice that is equally comfortable singing sweetly as belting. The relationship between Nutella Nutribullet Jon Bon Jovi Nabulungi and Elder Cunningham is the closest one to a traditional musical romance, and Newman plays it with wide-eyed innocence that is all the more appealing given the dire surroundings. Newman’s crystal clear diction and elegant expression bring the humour and humanity of her role to life in equal measure.

Rowan Witt brings an infectious sparkle to repressed closet case Elder McKinley, seizing every possible moment to infuse an extra bubble of effervescence into the young mission leader’s life.

While the ensemble cast works with well-matched flair, Matt Holly and Elenoa Rokobaro deserve special mention for the high quality of their contributions.

In the lead male roles, it is somewhat difficult to see what the imported actors Ryan Bondy, as Elder Price, and A. J. Holmes, as Elder Cunningham, bring to the show that could not have been achieved with Australian actors. Holmes, with significant experience in his role, fares more successfully as well-meaning goofball Elder Cunningham.

The Australian season of The Book of Mormon is a crisply staged production of a deliriously funny musical. All but the most conservative music theatre fans are urged to secure their ticket as soon as possible.

The Book of Mormon plays at Princess Theatre, Melbourne.

Photos: Jeff Busby

Original Australian musical Ladies in Black retains its down to earth charm in this welcome national tour.

Sold out in Brisbane and Melbourne just over a year ago, Ladies in Black has moved from the subsidised realm to a fully-fledged tour. Around half of the cast members are new, and although this potentially seemed to be a drawback, the talent and flair of the new cast members shine through as they make the roles their own.

A personal and intimate story of a slice late 1950s Australian life, it is disappointing to note that the scale of the show is overwhelmed by the vast Regent Theatre auditorium. Two extra rows are added at the front, and the rear of the dress circle is not used, but the decision not to expand the cast and not to enlarge Gabriella Tylesova’s original designs to any noticeable extent is undermines the experience of watching the show. Alternatively, a more modest-sized theatre would have allowed the show to land with far more impact.

Carolyn Burns has written a zesty adaptation of Madeleine St John’s novel The Women in Black, capturing the pleasures of a bygone era while also deftly underlining the current relevance of the treatment of immigrants. One sequence that remains a missed opportunity is Magda’s description of her New Year’s Eve bash in her sung monologue “The Party.” While this choice means the delivery is in keeping with the same moment in the novel, it robs the audience of the chance to witness key romantic developments, breaking the theatrical rule “show, don’t tell.”

The go-to director for new Australian musicals, Simon Phillips keeps the action gliding along (on multiple revolves), earning each of the main characters a place in the audience’s hearts and gently conducting the beats of the uplifting subplots.

Legendary music talent Tim Finn has composed an enjoyably hummable score on his very first effort, which is no small feat. Highlights include the musicalisation of the busy women’s department store sales floor in “Sales Talk” and ”Pandemonium,” and the truly delightful charm songs “Bastard Song” and “I Just Kissed a Continental.” Some of the rhymes in Finn’s lyrics may be a little obvious, but this reflects the straightforward language of the characters. The most impressive aspect of the score may be the way that each of the songs sits in the natural vocal register of the performers, bringing the singing very close to natural vocal delivery.

David Walters’ lighting design looks quite glorious in this staging, filling the background with luscious colour and often making clever use of silhouettes.

Sarah Morrison returns to her debut leading role, taking Lesley Lisa on a gentle arc of self-discovery and increasing worldliness. As well as being a very lovely singer, a feature of Morrison’s work is the way she completely stays in character even while singing and moving in company numbers.

Carita Farrer Spencer retains the kindheartedness of Lisa’s mother Mrs Miles, balancing the character’s willing subservience with her gradual acceptance of change. Kate Cole has continued to find all sorts of levels and nuances to make exacting manager Miss Cartwright all the more entertaining.

Inestimable talent Bobby Fox remains an invaluable cast member, bring dashing romance to the role of charismatic new Australian Rudy. Greg Stone creates two distinct characters as Lisa’s old-fashioned father Mr Miles and Magda’s loving partner Stefan.

Madeleine Jones conveys the vulnerability of young wife Patty. Ellen Simpson underpins Fay’s life experience with an endearing vulnerability.

Fellow newcomers Trisha Noble and Natalie Gamsu bring a wealth of experience to their significant supporting roles. Noble’s pair of roles look, act and sound nothing alike; Mrs Crown is a sturdy suburban housewife and mother, while dear Miss Jacobs is a fragile woman with a melancholy secret. Gamsu brings palpable warmth to the exotic “continental” Magda, commanding the stage whenever she appears.

Music theatre fans with a penchant for late-1950s nostalgia are sure to enjoy Ladies in Black. Given the onslaught of overseas musicals that constantly fill local stages, music theatre lovers should embrace the opportunity to support a new work produced at such a high level.

Ladies in Black plays at Regent Theatre, Melbourne until 18 March 2017 before continuing its tour to Canberra.

Photos: #1, #4 Lisa Tomasetti; #2, #6 Jared Vethaak.

Independent Melbourne company StageArt begins 2017 with a confident, large-scale production of 2000 Broadway musical The Full Monty, capably demonstrating that they can fill the stage and auditorium of a much larger venue.

Transplanted from the Sheffield setting of the hit 1997 UK film, Americanised musical The Full Monty follows the exploits of a band of unemployed steel workers in Buffalo, NY who are driven to create their own strip show. In desperation, they plan to outdo The Chippendales by going “the full monty” at the climax of their routine.

Esteemed book writer Terrence McNally imbues the musical with comedy and warmth while also incorporating men’s issues such as depression, suicide and sexuality. Composer David Yazbek draws from a range of eclectic styles in his music, delivering lyrics that are generally stronger than his melodies. Ballads “Breeze Off The River” and “You Walk With Me” are quite gorgeous, and climactic number “Let It Go” is a terrific toe tapper. Yazbek’s cleverest touch is the two versions of “You Rule My World,” sung at night by a pair of husbands to each of their sleeping wives, then reversed in act two as the wives affirm their devotion to their husbands.

The steel city setting is cleverly referenced in Robbie Carmellotti’s set design, which utilises metres of gleaming metal to frame the action and represent abstract scenic elements. Going upstage, the frames become smaller, giving the sense of additional stage depth.

Lighting designer Maddie Seach makes terrific use of the gloss of these metal frames, reflecting a multitude of colours around the set. Seach adds a range of textured effects to help create different scenes in the story. The missing element, however, is sufficient light on the actors so as to allow the audience to easily see their faces at all times. While some early missed lighting cues will surely be tightened, some blackout cues are set too early to allow the final moment of impact to land before the next scene change. The overall picture created by the lighting is highly attractive, and the number of cues is exatrordinary.

Costume designer Jodi Hope keeps a keen eye on the appeal of the overall wardrobe picture. The working class status of the men is conveyed with plaid shirts in muted, complementary colours, while the women, whose characters here lead more exciting lives, are dressed in vivid primary colours.

Music director Nathan Firmin’s programming of keyboards makes the band of eight musicians sound even more extensive. Vocals, particularly harmonies, are strong, although perhaps a little more shading in expression would have brought out some more of the subtlety and humour in Yazbek’s lyrics. Instrumentals and vocals are mixed and amplified with reliable precision by sound designer Marcello Lo Ricco.

Choreographer Rhys Velasquez adds plenty of gently humour to the mix, making a very convincing, and entertaining, showing of the men’s initial inability to dance. Velasquez astutely ensures that choreography seen in rehearsal along the way is used in the men’s final routine. The choreography deftly scores a nice laugh in act two when the men cannot help but subconsciously think through their routine to the tune of a funeral hymn.

Director Drew Downing makes an auspicious directorial debut in this ambitious project. Energy is kept sky high, to which the opening night audience responded with appreciative energy of their own.

With the orchestra pit covered, it seems an odd choice to set so much of the show so far upstage, missing the chance to make more of a direct connection with the audience. Movie adaptations always have a large number of scenes, and scene changes are a little slow at this point, increasing the already long running time. Given that actors are moving the props and that full blackout cannot be achieved because of the onstage band, scene changes in full light may have allowed a smoother flow.

A key feature in Downing’s work is the terrific range of colourful characters he has drawn out of the large cast, leading to many entertaining incidental moments in addition to the main action.

Scott Mackenzie is very well suited to the lead role of Jerry, an affable but down on his luck guy who is nobly driven to care and provide for his son. Mackenzie sings the role with a natural, comfortable tone that is underpinned by the character’s relentless drive.

Already impressively wise beyond his years, young actor Alexander Glenk is well cast as Jerry’s son Nathan. The pair are well matched physically, and enjoy an easy chemistry. The tension surrounding Jerry’s access to Nathan leads to the most affecting part of the pathos.

Giancarlo Salamanca appears to have burnt too many kilojoules in dance rehearsal, and dons some padding to play good-natured schlub Dave. Montgomery Wilson creates an endearing character as sheltered young man Malcolm. Adam Perryman has an infectious confidence as well-hung slacker Ethan.

Wem Etuknwa keeps a sparkle in the eye of Noah, who sees the badge of token “big black man” as both an honour and a pressure. Darren Mort has a commanding physical presence that slightly outshines the meek character of hen-pecked Harold, yet he lands the humour of the character in his own experienced style.

For a show that is primarily about men, the female cast is especially good, at times outshining their male counterparts.

The clear standout is Barbara Hughes, who is hilarious as sassy showbiz veteran Jeanette. Hughes’ expert comic timing allows her to land every laugh, and she often has the audience waiting in keen anticipation to see what she will say or do next.

Sophie Weiss sweetly conveys the tenderness and vulnerability that differentiates Georgia from some of the more outspoken local women. Weiss is charged with opening the show on stage alone, a task she handles with instantly engaging good will.

Ana Mitsikas brings a lovely polish to Vicki, a woman ostensibly obsessed with the material goods her husband can provide. Lauren Edwards effectively portrays the affection Pam once felt for Jerry, as the character tries to move on with her life.

Special mention is to be made of ensemble member Courtney Glass, who scores many a laugh as lusty local broad Estelle.

A fun night at the theatre, The Full Monty is a solid addition to StageArt’s repertoire of Broadway shows that are rarely seen locally.

 The Full Monty plays at National Theatre, Melbourne until 19 March 2017.

Photos: Belinda Strodder

To borrow Norma Desmond’s expression, Glenn Close is enjoying a phenomenal “return” to Broadway, and to her 1994 Tony-winning role, with this unique, glossy, concert-like staging of Sunset Boulevard.

Presented by London’s ENO in 2016, this production features a whopping 40-piece orchestra, reportedly the largest ever employed on Broadway. Far too numerous for the pit, the musicians occupy must of the stage, where James Noone’s three-level set soars around and above them.

Bringing to mind the 2011 UK production of Singin’ in the Rain, the whole show is set on a movie sound stage. A vertical abstract collage of chandeliers flies in to represent scenes in Ms Desmond’s Hollywood mansion; clever use is also made of the venue in these scenes by gently illuminating the decadently gilded auditorium of the Palace Theatre. While car chase scenes are staged by actors running about holding headlights, the production boasts a superb recreation of Ms Desmond’s grey Isotta Fraschini, which features in a significant plot point.

In a nice piece of entertainment synergy, Sunset Boulevard is playing on Broadway while Feud plays on television. The musical includes many of the same themes as the television series (and there is even a gossip columnist in a floral hat). The musical enhances the nostalgia with black and white footage of Hollywood in the 1940s.

Director Lonny Price makes excellent use of the multi-level set, but keeps key scenes downstage centre to bring clarity of Don Black’s dense lyrics. Price has added a glamorous “Young Norma,” who haunts the stage like a spectral showgirl from Follies. Another example of Price’s intelligent, insightful direction comes when Cecil B. De Mille does a double take at seeing Norma’s manservant Max, foreshadowing the reveal of Max’s past.

Joining The Phantom of the Opera, School of Rock and Cats, the arrival of Sunset Boulevard brings Andrew Lloyd Webber’s concurrent Broadway shows to four, a feat rarely achieved in Broadway history. Using his flair for pastiche, Webber wrote wonderfully atmospheric themes for Sunset Boulevard, creating the effect of soundtrack music for a movie. While there are some excellent key songs, such as the lush waltz “The Perfect Year,” the expositional singing tends to become a little tedious. In an example of Webber’s syrupy style with duets, which was lampooned in Spamalot with “The Song That Goes Like This,” Joe and Betty’s late act two duet “Too Much In Love To Care” remains an example of a pretty tune used in a moment when the audience just really does not care.

While there are only four lead characters, Webber’s use of a large ensemble brings a Golden Age feel to the show. Full company numbers are enhanced by Stephen Mear’s nifty choreography.

Norma’s bountiful wardrobe uses the majority of Tracy Christensen’s costume budget. Highlights include the red Asian wrap and black turban worn in “The Lady’s Paying” and the glittering dark gold New Year’s Eve gown.

Close is in superb form as fading movie star Norma Desmond. The revival has the strong sense of being a Broadway Event, and Close’s involvement is a significant factor in this. A little shaky in her upper register, Close is confidently secure and wonderfully expressive on midrange vocals. Fortunately, act two power ballad “As If We Never Said Goodbye” is pitched perfectly for Close, and her performance of this song, along with Price’s deftly spare direction of the number, brings the house down as waves of thunderous applause and cheers stop the show for minutes.

Tall and handsome UK actor Michael Xavier has a terrific voice and a magnetic presence. Further assets include a mighty pair of pectoral muscles, seen to great effect as Joe emerges from Norma’s pool, wet and glistening in royal blue trunks, in the title number.

At this performance, the role of Betty Schaeffer was played by Stephanie Martignetti. A very sweet singer, Martignetti played the hopelessly doomed romance well, but smoked a cigarette as if it was the first time in her entire life.

Swedish actor Fred Johanson brings his delectably rich bass baritone voice to the role of Max, bringing a rumbling mellifluousness to the low notes then gliding easily to the higher register.

Sunset Boulevard plays a limited engagement at Palace Theatre, New York until 25 June 2017.

Photos: Joan Marcus

New Broadway musical In Transit is doubly unique, winning points for both its originality and for being an entirely performed a cappella.

It is a time of extremes on Broadway. Sunset Boulevard boasts the largest orchestra ever assembled for a Broadway musical, while in In Transit there is not a single instrumentalist to be heard. The musicality of In Transit is, however, in very safe hands, with vocal arrangements by Deke Sharon, who performed the same duties for Pitch Perfect 1 and 2.

Working without a source material, the creation of the musical from scratch took a team of four talented composers. Kristen Anderson-Lopez (of Frozen fame), James-Allen Ford, Russ Kaplan and Sara Wordsworth are each credited with writing the book, music and lyrics for In Transit, giving the musical a slick integration of story and songs.

Ostensibly a comedy about riding the subway in New York, the show is more substantial than the vibe that this concept suggests. The subway is a microcosm of society, and with statistics suggesting that New Yorkers spend a full month of each year in transit, it makes sense that a decent slice of life takes place on the subway.

Apart from the thrill of hearing such beautiful singing, the show succeeds because of the combination of writing, direction and performance that has created a set of authentic, appealing characters experiencing identifiable and involving situations. Comic moments are dotted throughout the show, each bringing good-natured groans as the audience easily relates to each scenario. The writing avoids schmaltz by sustaining bittersweet threads of unresolved dreams and inevitable disappointments. If the interwoven stories do not quite come to complete conclusions, it is because this a musical about “Getting There.”

Award winning director/choreographer Kathleen Marshall makes the whole show dance in a surging, pulsing flow of constant movement. Marshall matches the variety in the music with a range of choreographic styles. The almost nonstop singing/acting/dancing from the company of eleven is extraordinary, much as they all make it look quite effortless.

Donyale Wherle’s scenic design features a hyper-realistic subway station, albeit one with many more embedded lights that the real thing. Great use is made of a central travelator, which not only delivers cast and props but also simulates the range of motion that is central to the concept of the show.

No place for divas, the lead cast each has their time in the spotlight but also performs ongoing backup vocals for each other’s scenes.

Chesney Snow gives an incredible lead performance as subway station performance artist Boxman, contributing an amazing percussive accompaniment to the songs.

Telly Leung and Justin Guarini achieve sugar-free sweetness as engaged couple Steven and Trent. Free to legally marry, they still face constraints from Trent’s Christian Texan Momma.

Trent’s client Jane flies from her to temp job to auditions clings to her dream of a Broadway career. Jane’s insecurities are amplified when Nate appears to have given her a fake phone number, but his money woes are really the root of the misunderstanding. Margo Siebert and James Snyder play these roles with a neat balance of freshness and weariness, demonstrating that Broadway protagonists can be adults not just starry-eyed kids.

Despite having the requisite fitness for the marathon aspect, Erin Mackey brings out the almost crippling insecurities of Ali, sister of Nate, who still pines for her ex-partner Dave.

Moya Angela creates a range of distinct characters, jumping from icy Momma to Jane’s kindly boss Ms Williams to weary station attendant Althea. Angela brings warmth to each role, and sings with stirring power.

Although In Transit borders on being an off-Broadway show at Broadway prices, it is an engaging, accessible musical. The 100 minutes of the one-act show fly by at the pace of an express subway train at a local stop.

In Transit was reviewed 3pm Sunday 2 April 2017 at Circle in the Square, New York.

Photos: Joan Marcus

Reuniting many of the high wattage talents behind Matilda, new musical Groundhog Day is a slickly produced, crowd-pleasing show in the best Broadway tradition.

Multi-talented Australian writer/performer Tim Minchin unveiled his seemingly instant talent for music theatre composition with the instantly hummable, sneakily subversive music and lyrics for Matilda. Arriving in reasonably prompt succession, Minchin’s score for Groundhog Day shows an even greater coherency, confidence and sophistication. On first listen, it may be missing some of the breakout stand-alone songs of Matilda, but in providing recurring motifs simultaneously with musical progression, Minchin has done an excellent job.

Minchin’s innate knowledge of the genre is again on display in Groundhog Day. Just as he inverted the form of the charm song with “Loud” and “Telly” for Matilda’s repulsive parents, here Minchin boldly reverses the traditional opening I wish song, allowing his chief protagonist to profess a dream that the audience already knows he will not achieve. Vain weather man Phil Connors, sings at length of his desire to quickly leave “Small Town, USA,” which anyone with even a vague knowledge of the 1993 film knows will not be happening.

Groundhog Day is one of those productions where it is very clear that the entire creative team has worked together in close collaboration. This cohesive approach seems to be common whenever director Matthew Warchus is at the helm. As the show unfolds, musical numbers intertwine with book scenes, allowing sung and spoken word to merge seamlessly with choreography, which involves not only the actors but also the fluid movement of scenic elements, which are alternately highlighted and hidden by lighting.

Anyone who had the good fortune to see Warchus’ underappreciated 2002 West End musical Our House will vividly remember the way Warchus switched between parallel threads by having lead character Joe magically jump from “good” (in white) to “bad” (in black). Similar tricks are used to great effect here, as Phil finds himself back in bed the next morning each day no matter what scene he has just completed on stage.

Designer Rob Howell frames the stage with rows of miniature houses, A cinematic flow is achieved with concentric revolves. Howell’s signature piece for the show is a stunning collage of rectangular screens against the swirl of pressure bars on a weather map. This constitutes the glossy show curtain that greets the audience with multiple images of weatherman Phil in action, and is seen again in new incarnations for each bar and restaurant scene in the show.

Hugh Vanstone not only lights the windows of the tiny houses beautifully, but also adds striking effects such as swirling snow and festive fireworks.

Danny Rubin, co-writer of the movie, has adapted the work for the stage, clearly working closely with Minchin to deepen the characters and to create an involving dramatic arc. Phil moves from disbelief to incredulity to uninhibited joy to suicidal depression to noble sensitivity, taking the audience with him at every step.

A massive part of the success of Phil’s journey is the star-making lead performance of Andy Karl. Beginning as a genuinely unlikeable guy, Karl makes Phil’s redemption so gradual and subtle that it is as believable as it is involving.

As Phil’s eventual love interest Rita, Barrett Doss gives a breakout performance, singing superbly and maintaining a charming, natural presence in the role.

Each member of the large company has their chance to shine, bringing the quirky townsfolk to life with memorable impact.

Groundhog Day enjoyed a successful premiere season last year at London’s Old Vic Theatre. Although Broadway tends not to favour imported shows, the American flavour of may help it to last the distance. Hopefully the new musical will be a big enough hit to allow it to play Australia in the near future.

Groundhog Day was reviewed 8pm Monday 3 April 2017 at August Wilson Theatre, New York.

Photos; Joan Marcus

Gorgeous music and impeccable design combine to tell a captivating story in the long awaited stage adaption of Anastasia.

**check back later for images from the Broadway production**

Following the Disney model of the day by including five or so songs, the 1997 Fox animated movie Anastasia has long held a special place in the heart of fans who made it a worldwide hit. Music theatre fans had extra reason to enjoy the songs, given that they were by Lynn Ahrens (lyrics) and Stephen Flaherty (music) whose Broadway shows had included Once On This Island and My Favorite Year, and who went on to write Ragtime (an all time favourite of Man in Chair), Seussical and many more.

The good news is that Ahrens and Flaherty are in peak form here, polishing their initial movie compositions and expanding their score to a full length Broadway musical. The show is filled with soaring ballads that are destined to join the ranks of the style of popular cover standards and audition songs previously provided by Les Misérables and Wicked. Anya’s “In My Dreams” and “Crossing A Bridge,” Dmitry’s “My Petersburg” and “Everything To Win,” and Gleb’s “Still” all fit into this category.

The movie character of Sophie is reimagined as lady in waiting Lily, and Sophie’s song “Paris Holds The Key (To Your Heart)” is repurposed for the chorus to open act two. Enduring movie favourite “Journey to the Past” provides a stirring close to act one. In one particularly sophisticated musical sequence, “Quartet at the Ballet,” the lead characters reveal their inner thoughts while watching Swan Lake, the lovely waltz melody of “Once Upon A December” weaving in and out of Tchaikovsky’s ballet score.

Another significant key to the show’s success is the new book by masterful playwright Terrence McNally, a frequent collaborator of Ahrens and Flaherty. Gone is the Disney-style villain Rasputin and the Disney-style cute animal character of Bartok the bat. McNally has raised the material well above children’s fare, crafting an absorbing romantic mystery.

Saccharine pitfalls are sidestepped by giving leading man Dmitry an immoral angle in his plan to gain the reward for the return of missing princess Anastasia. Anya is innocent in the plan, given the amnesia she has experienced. As someone who had impersonated a count in the old regime, Dmitry’s sidekick Vlad is on hand to help coach Anya to her place as the Princess. New character Gleb adds tension with a Javert-like mission to expose the truth of the trio’s scheme.

Director Darko Tresnjak (A Gentleman’s Guide to Love and Murder) keeps storytelling brisk and clear, and ensures that characters retain a well-rounded edge of intrigue.

Scenic design (Alexander Dodge) is both simple and technologically savvy. A pair of curved walls with high arched windows stay in place all night, with a cavalcade of stunning scenes created by LCD screens in the four windows and a full sized screen at the rear of the stage. The animated scenery creates setting with photo-realism and three-dimensional depth, finally providing the wow factor that was portended when The Woman in White used this scenic technique in 2004.

Costumes (Linda Cho) are absolutely stunning. In the prologue, the Romanov family sparkles in their white finery. Much of act one is people with peasants in shade of brown and grey before giving way to the splendours of act two. The arrival of the central trio (and Gleb) in Paris brings a fresh new look. Russian ex-patriots party at Club Neva wearing muted jewel tones, and attend the ballet in even more decadent finery. Anastasia’s sapphire gown for the ballet and her ruby ensemble for the finale are both spectacular.

The Broadway premiere is wisely cast with a balance of youth and experience. Charming fresh-faced leads Christy Altomare and Derek Klenya are set for stardom in the breakout lead roles of Anya and Dmitry.

Stage veteran Mary-Beth is grace personified as the Dowager Empress. Powerhouse presence Ramin Karmiloo is luxury casting as Gleb, utilising his magnificent, effortless baritone to great effect. John Bolton dances impressively well for a comic character actor.

Providing a boost of energy in act two is the arrival of Lily, played with characteristic comic panache by international music theatre star Caroline O’Connor. Petite dancer O’Connor is tossed about like a doll in company number “Land of Yesterday,” before delivering delightful duet “The Countess and the Common Man” with well-matched partner Bolton.

There is every reason to be confident that Anastasia will be a Broadway smash hit, with subsequent world seasons to follow.

Anastasia was reviewed 8pm Tuesday 4 April 2017 at Imperial Theatre, New York. The official opening night is 24 April 2017.

Photos: Joan Marcus (note: 2016 season in Hartford)

Contrasting many of the mega-budget, high-tech new musicals, the simple staging of Come From Away wins hearts with its soaring humanity.

The presence of Come From Away of Broadway is an example of quality material rising all the way to the top. The new musical was crafted by married Canadian writing team Irene Sankoff and David Hein, based on hundreds of hours of interviews with residents of Newfoundland and the thousands of passengers whose planes were diverted there on September 11 2001.

While the residents of Gander and its surrounding towns unflinchingly galvanise to action, the stranded passengers who have come from away are scared and disoriented. As their fears and urgent needs are met with unfailing kindness and generosity, the passengers cannot help but let down their guards and embrace the unique experience.

Although the premise may sound syrupy and sentimental, the show succeeds due to the razor sharp writing of Sankoff and Hein, who keep the pace lightning fast and have whittled down the collected stories to illuminate the experiences of a set of beguiling and involving characters. The events in New York and Washington on September 11 are treated as assumed knowledge for the audience, keeping the focus on the positive action occurring miles away in Newfoundland.

Sankoff and Hein’s songs are immediately accessible, performed with infectious toe-tapping energy. The music has a distinctive bluegrass sound. The band, performing on stage, including rare instruments such as bodhran, bouzouki and uillean pipes. The centerpiece of the score is “Prayer,” a gorgeous sequence in which the prayers of people of various faiths mix as countermelodies and harmonies.

Director Christopher Ashley oversees the electric pace of proceedings, grounding the action with a natural sense of reality. The show is a gift to its twelve cast members, giving them all multiple roles to play. With the help of minor costume changes (designed by Toni-Leslie James) and hundreds of pinpoint lighting cues (Howell Brinkley), Ashley ensures that the ever-changing line up of characters is crystal clear.

The term “ensemble cast” is often used, but in this case it is totally appropriate. Even in the curtain calls, the cast just bows together, with no particular actor singled out. Character arcs that I responded positively towards included the warmth of primary school teacher Beulah (Astrid van Wieren), the unwinding tension of uptight African American Bob (Rodney Hicks) and the burgeoning adult romance between Nick (Lee MacDougall) and Diane (Sharon Wheatley).

The friendships that form and are sustained, and the generosity back to the people of Newfoundland that is shown by the 7000 stranded passengers when they return home are truly inspiring. The reflections and reunions at the point of the ten-year anniversary would leave only the hardest heart unmoved.

Come From Away is unlike other Broadway musicals, and its point of difference is to be celebrated. The 100-minute show leaves the audience on a buzzy high of good will. The universal message and straight forward staging mean that the show is sure to be produced around the world.

Come from Away was reviewed 2pm Wednesday 5 April 2017 at Schoenfeld Theatre, New York.

Photos: Matthew Murphy

Modern, fresh and wholly original, Dear Evan Hansen hits the zeitgeist of the current dangers of loneliness despite the perpetual availability of digital connections and the constant barrage of digital communication.

Fulfilling an assignment from his therapist, Evan writes a “Dear Evan Hansen” letter that falls into the wrong hands. An ensuing tragedy leads to a spiraling web of unintentional lies. For a time, the benefits of the compounding deceit seem to outweigh the morals that are being compromised, but the truth must eventually come out.

Where many new musicals focus on production values, Dear Evan Hansen centres instead on emotional values. Success derived from the finely honed exploration of human frailty is ultimately worth much more than dozens of flashing lights and pretty costumes. Creation of the intricately psychological show without any source material is a highly impressive achievement, and it is no surprise that book writer Steven Levenson’s past work is as a playwright.

Composers du jour Benj Pasek and Justin Paul have clearly worked closely with Levenson to craft the deftly integrated musical. The truly beautiful songs raise the intensity at key moments in scenes, also serving to air the characters’ inner voices. The troubled Evan connects instantly with the audience with the searing I wish song “Waving Through A Window,” which voices Evan’s craving for authentic connections as he shares his crippling fear of being invisible. In a clever subsequent moment, pretty, popular girl Zoe Murphy, the object of Evan’s affection, is heard singing a brief reprise of the song, indicating that although Evan feels alone in his torment, other students also experience the same insecurities. Evan’s fear of isolation is further explored in the songs “Disappear” and “You Will Be Found.”

Well experienced in directing rock-flavoured musicals, Michael Greif knows exactly what to do with the songs. Whereas the book scenes often have a straightforward feel, Greif uses a heightened, non-naturalistic style for the songs, juxtaposing characters on stage in ways that would not work in a play. Greif and the authors have provided plenty of humour, especially as the story opens.

The relatively simple scenic design (David Korins) features a range of floating panels on which projected images (Peter Nigrini) reflect the inexorable presence of social media updates in our lives. The images are fragmented and slightly out of focus so that they are not distracting from the main action. A powerful use of the setting comes in act two when Evan’s letter is revealed and goes viral: the characters walk about the stage looking at the panels as if they are billboards, referencing the public nature of social media posts.

The tight cast of eight performers has a pleasing mix of youth and experience, and all are highly convincing in their roles. The show is anchored, however, by the extraordinary lead performance of Ben Platt as Evan. A walking bundle of ticks and raw nerves. Platt’s Evans inspires sympathy and affection. Platt has improved in the role since the 2016 off-Broadway season, now able to speak at a rate of knots as Evan’s thought spew forth in an often unfiltered stream of consciousness.

As the show progresses and Evan’s good intentioned deception takes it toll on him physically as well as emotionally, it becomes increasingly clear that it is not Platt’s talent as an actor at work but his unwavering courage in allowing himself to seen in such a debilitating state of torment and grief that is underpinning the compelling quality of his performance.

On top of all of this, Platt has a superbly controlled singing voice. Platt is a lock for the Best Actor Tony Award this year. All we have to hope for now is that we do not lose him from the stage to the world of motion pictures.

In another courageous performance, Rachel Bay Jones plays Evan’s well-intentioned but struggling mother Heidi Hansen. Indicating Heidi’s lack of maturity with a high-pitched voice and girlish long blonde hair, Jones makes Heidi’s flaws and mistakes believable. Raising Evan alone since he was seven, Heidi has just as much contributed to Evan’s insecurities, with her smothering, mother as friend style, as she has tried to cure him.

Jones is at the height of her powers when Heidi’s remaining self-esteem is crushed when she discovers Evan’s secret second life. Platt is also superb in this tense climactic scene, slowly, wordlessly physically crumpling as the parents talk. The significance of the role of Heidi is indicated by the fact that she has the final ballad, although this serves partly to allow the audience to recover from Evan’s excruciating 11 o’clock number “Words Fail.” In short, the writing and Jones’ performance steers the role well clear of pat simplicity.

Jennifer Laura Thompson brings an air of vacuous polish to unfulfilled housewife Cynthia Murphy, contrasting the role in a myriad of ways from working single mother Heidi. Michael Park, replacing off-Broadway’s John Dossett, carries Larry Murphy’s stoicism successfully on his broad shoulders and square jaw.

Laura Dreyfuss is completely convincing as Cynthia and Larry’s daughter Zoe, capturing the insecurity that even a pretty teenaged girl inevitably experiences. Given the scruffy, scowling countenance of his angry, paranoid character Connor Murphy, Mike Faist has a surprisingly beautiful singing voice.

In relief of the ever-intensifying drama, Will Roland provides much-needed levity as Evan’s “friend” Jared, who delights in winding Evan up even though he is also assisting him. Kristolyn Lloyd captures the subtle humour in the self-serving goodness of fellow friendless nerd Alana Beck.

Dear Evan Hansen is an absolute must-see musical for all lovers of innovative musical theatre. If you are able to buy a ticket, be sure to pack a tissue or three as well.

Dear Evan Hansen was reviewed 8pm Wednesday 5 April 2017 at Music Box Theatre, New York.

Photos: Matthew Murphy

Filling the gap for New York baby boomers left by the closure of mega hit Jersey Boys, ambitious new musical A Bronx Tale has entertaining moments but struggles to overcome the unusual mixture of material and form. Singing and dancing wiseguys may be fine in a musical comedy, but not so much in a tragic drama.

In bringing Chazz Palminteri’s life reminiscences to the musical stage, the production has no shortage of blue chip creative talents involved. Of premium value is the infectious score by Alan Menken (Music) and Glenn Slater (Lyrics). The main factor helping the gritty characters “sing” is that the music sounds exactly like the sort of tunes and styles the characters would have been listening to in 1960s New York. This aspect, in turn, eases the baby boomer audience into the show on a sentimental wave of nostalgia.

Having already adapted the one-man stage show of his life story into a 1993 movie, Palminteri has now written the book for the musical. Robert de Niro, who directed the movie, has teamed with veteran Broadway director Jerry Zaks to direct the stage musical.

Zaks’ Broadway influence is apparent immediately, with the musical linking itself directly to Jersey Boys by opening with four guys singing under a lamppost as the story is narrated directly to the audience by one of the characters. The show later pays homage to Guys and Dolls when a set of guys such as JoJo the Whale and Frankie Coffeecake shoot craps (above ground, in this instance).

Sergio Trujillo’s choreography is reliably exciting, especially in the opening number “Belmont Avenue.” The show pulls of a neat trick by playing to the audience’s long-established assumptions that the opening number features the full cast. Lead Italian-American character Calogero later falls for an African-American girl, and it turns out that there are another half dozen or so cast members who have not been seen yet. Trujillo gives these characters a different choreographic vocabulary when they open act two in their neighbourhood, “Webster Avenue.”

Another aspect that lands strongly is the first showing of violence. After the entertaining opening number has lulled the audience into feeling they are at a regular Broadway musical, shots are fired and a man is killed. The first gunshot drew some audible gasps from the audience.

Moving forward, the dramatic violence and musical theatre do not sit well together, each diluting the other’s impact and success. All of the action in act two is telescoped into such a rapid sequence of events that the tragedy has little chance to affect the audience. Still, there are some stirring moments, such as act one closer “These Streets” and stirring 11 o’clock anthem “In A World Like This.”

Multi-award winning costume designer William Ivey Long works totally against type in creating the down to earth costumes, with not a feather, sequin or magical fast change to be seen. Beowulf Boritt’s scenic design is a striking mix of realistic two-story brownstone units and illustrated backdrops, all rendered in red and black.

Bobby Conte Thornton gives a compelling breakout performance as young Bronx resident Calogero, who is torn between his allegiances to his father (Richard H. Blake) and local mob kingpin Sonny (Nick Cordero). Established star Cordero is dependably excellent, although the strength of his godfather-like character is somewhat hobbled by his big act two ballad “One of the Great Ones,” in which he mawkishly advises young protégé Calogero about romance.

Despite their romance going nowhere, Ariana DeBose is absolutely lovely as Calogero’s love interest Jane. Child actor Hudson Loverro has pluck and personality to spare as Young Calogero, his lively energy helping to lift the early scenes of act one.

It is hard to imagine A Bronx Tale playing London or Australia. Its score, however, is sure to be interest to musical theater fans the world over.

A Bronx Tale was reviewed 7pm Thursday 6 April 2017 at Longacre Theatre, New York.

Photos: Joan Marcus

It’s so nice to have Mrs Dolly Levi back where she belongs, bringing infinite joy to capacity audiences on Broadway. At one time Broadway’s longest running musical, Hello, Dolly! shines again in this joyous, lovingly crafted celebration of the magic of musical theatre.

**Check back later for a full set of images from the new Broadway production**

Premiering in 1964 at the tail end of the Golden Age of Broadway, Hello, Dolly! benefitted immensely from the finely honed experience of its original creative team. The musical won a whopping ten Tony Awards and ran for seven years, moving through a cavalcade of grand divas in the leading role.

Jerry Herman’s hit parade of a score remains steadfast in the public consciousness, for example, featuring recently in popular Pixar movie Wall-E.

Michael Stewart’s book is an absolute miracle of economic storytelling and concise character development. Little more than a day passes and yet the lives of the ten or so lead characters are all changed, for the better, forever.

Recognising that the time was right for a revival of this beloved musical, and that the ideal leading lady was available, producer Scott Rudin (along with his many, many associates) has overseen a sparkling new staging that pays every respect to the original production whilst also taking advantage of the best current theatrical practice.

The duties of master showman Gower Champion, original director/choreographer, are divided between two men this time. Veteran director Jerry Zaks finds an abundance of humour in the material, balancing this with moments of tender pathos.

Zaks is aided in this duality by the superb performance of the divine Miss Bette Midler. Even while still in previews, Midler has the character in her bones, slaying the audience with radiantly sunny charm, wonderful singing and effortless dancing. From her first entrance, Midler brings down the house again and again, earning a mid-show standing ovation for “Hello, Dolly!”. Best of all, Midler can flip on a dime from broad humour to heartfelt sincerity, nailing each and every emotional beat of the tender tale.

Warren Carlyle’s choreography pays respect to the original, while benefitting from the highly trained skills of a chorus full of triple threats. New dance arrangements (David Chase) include “The Contest” and a short dance piece just before the bows, providing moments of freshness. The famous cakewalk in the title number is included, and “The Waiters’ Gallop” is as inventively comic as it is spectacular.

Ignoring the changes made for the movie, the song list is the same as the original, apart from the reinstatement of cut song “Penny in my Pocket.” This gruff charm song is sung by well known half-a-millionaire Horace Vandergelder at the top of act two as he explains the origins of his fortune.

A lush orchestra of 22 musicians sounds superb, especially given the noticeably excellent sound design of the production (Scott Lehrer).

In what must have been a massive task, scenic and costume design are both by one man, Santo Loquasto. In an interesting contrast with the current Australian production of My Fair Lady, Loquasto pays homage to the original designs of Oliver Smith, but still uses modern practices to drive the scene changes. The scenery is an interesting mix of hand drawn period illustrations, painted in pale water colours, and large scale constructed sets, such as the multi-level Hay & Feed store and Irene Molloy’s delicate lavender and pink hat shop.

Chorus costumes are incredibly detailed, a highlight being the rainbow of delicious candy colours for choice company number “Put On Your Sunday Clothes.”

Dolly begins the show in dark blue with dark green highlights, before moving to turquoise brocade with black trim in Irene’s store. She wears the full red dress and feathers, matching the red stairs, for the Harmonia Gardens sequence, before changing to a high waisted royal blue skirt and white blouse for “So Long Dearie” after the court case. She finishes the show in an elaborate mauve outfit, before joining the entire cast in creamy white for the curtain calls.

David Hyde Pierce wears Horace’s curmudgeonly disposition as a badge of honour for the character. Given his propensity for fey roles, Hyde Pierce is impressively grounded, adding some moustache wiggling to his amusing range of expressions.

The four secondary lead roles are shared appropriately between experienced players and new talents. Lovely singer Kate Baldwin plays Irene as a rather enthusiastic coquette. Broadway star Gavin Creel is entirely charming as sincere chief clerk Cornelius Hackl.

Beanie Feldstein, who bears an uncanny resemblance to her famous movie star older brother, is very funny as she makes her Broadway debut as giggling hat shop assistant Minnie Fay. Newcomer Taylor Trensch is convincingly fresh and unspoiled as seventeen-year-old shop clerk Barnaby Tucker.

Will Burton gets across little of the character of Ambrose Kemper, apart from the fact Ambrose is tall. Melanie Moore fares slightly better as Ermengarde; at least she has the anxious young woman’s incessant wailing to contribute.

Jennifer Simard, unrecognisable from her acclaimed role in last season’s Disaster!, is underutilised in the cameo role of Ernestina Money.

Patient advance ticket buying is wonderfully rewarded with Hello, Dolly!. If you plan to visit Broadway in the coming year, best to book sooner than not at all.

Hello, Dolly! was reviewed 8pm Friday 7 April 2017 at Shubert Theatre, New York. Official opening night is April 20 2017.

Photo: Julieta Cervantes

A surprise gem, Bandstand transcends its simple premise to deliver a compelling story with terrific music and performance energy to spare.

**Check back later for images of the Broadway production on stage**

A returned WWII serviceman forms a swing band to win a national competition, finding love along the way with his best friend’s widow. Although this description gives the sense that the ensuing show may be flat, corny and predictable, nothing could be further from the truth.

Book (and lyric) writers Rob Taylor and Richard Oberbacker have laced the story with ongoing tension and high stakes drama, creating an engaging set of characters and a gripping storyline.

Such is the audience’s involvement in the show and attachment to the characters, climactic song “Welcome Home” receives an extended standing ovation.

Oberbacker also wrote the instantly enjoyable, toe-tapping music, which is crucial to the show given the focus on songwriting and forming a band. While the actors play their character’s instruments on stage, there is also a pit band. With the focus on brass and woodwind, the music has an exciting “live” sound that matches the energy emanating from the cast’s passionately enthusiastic performances.

The quality of the writing is well and truly matched by the thrilling direction and choreography of Andy Blankenbuehler, Tony Award winner for choreography of In The Heights and Hamilton. While Bandstand is a more traditional book musical than Hamilton, Blankenbuehler has nonetheless imbued the show with relentless energy, with dancing not just in every scene but also in every scene change. As well providing sensational choreography for individual songs, such as act one company swing number “You Deserve It,” Blankenbuehler excels at creating sophisticated montages, abandoning the spoken word for dance in much the same way Agnes de Mille did in the 1940s.

The show is blessed with two outstanding lead performers, both of whom are proven talents, if not yet household names.

Corey Cott is magnetic as alpha male band leader Donny Novitski, who drives the action with unflagging determination. The ruthless manifestation of this drive gives Donny an edge over and above a simple Broadway hero. A brief prologue shows Donny’s experience in the war, a scene that returns periodically to haunt him. Faced with a major setback near the end of act one, Donny’s repressed PTSD bubbles to the surface and he suffers a meltdown, The experiences of all the ex-military characters have a resonance today, of course, for current returned servicemen and women.

Laura Osnes brings her gorgeous voice and raw vulnerability to the role of widow, and incredible singer, Julia Trojan. Osnes and Cott enjoy great chemistry, and their portrayal of the inevitable romance benefits greatly from the very slow burn of the relationship.

Each of the band members has a distinctive character, all shaped by their wartime experiences and the period. Alex Bender’s Nick (trumpet) feels diminished to be only working as an instrumental teacher. Joe Carroll conveys the slow caution of injured drummer Johnny. James Nathan Hopkins plays Jimmy (saxophone) who has immersed himself in studies of law. Geoff Packard amuses with the obsessive-compulsive tendencies of Wayne (trombone). At this performance, Matt Cusack played high-functioning alcoholic Davy (bass).

Cherished Broadway character actress Beth Leavel reliably brings delightful humour to the role of Mrs June Adams, Julia’s mother.

There are flashier, more eye-catching new shows and revivals this season, but Bandstand is very highly recommended as an exciting piece of musical theatre.

Bandstand was reviewed 2pm Saturday 8 April 2017 at Jacobs Theatre, New York. Official opening night is 26 April 2017.

Oompa loompa doompety doo

I’ve got a Broadway puzzle for you

Oompa loompa doompety dee

If you are wise you’ll listen to me

What do you get when you cut all the sets

Charging as much as an opera gets

What are you at, getting boring and flat

What do you think will come of that

I don’t like the look of it

**Check back later for images of the Broadway production on stage**

Broadway producers have taken blue chip title Charlie and the Chocolate Factory, which had mixed reviews in London, and diminished it to the point where it almost seems to be some sort of elaborate practical joke. Not that customers who are paying $300 for preview tickets are laughing.

Housed at London’s prestigious Theatre Royal Drury lane, the 2013 musical Charlie and the Chocolate Factory actually enjoyed a healthy run of three years and seven months. Before it opened, hopes looked high for the family favourite, with Hairspray composers Marc Shaiman and Scott Wittman on hand to write the songs, and Sam Mendes to direct. Looking back now, Mark Thompson’s designs for London were a highly creative, sumptuous visual feast.

Thompson remains on board as scenic (and costume) designer, but appears to have had the set construction budget drastically slashed. Looking at it cynically, there is a possibility that it was more important to be able to easily take the production on tour.

Act one is framed by concentric purple arches, with a small elaborate set piece for the Bucket house and for the local candy store. To give the actor playing Willy Wonka a role in act one, he plays the kindly candy store proprietor, opening the show with movie classic “The Candy Man.”

Act two is where the mind boggling scenic budget cuts really have an impact. The act takes place within three plain blue walls. A small set is wheeled on to represent what should be the show’s most extravagant set – Wonka’s candy garden and chocolate river. The set is only big enough for one person to squeeze onto at a time. Going on, the gum machine is tiny, the squirrels just have a single simple conveyor belt for their nuts and the television room also has one small central set piece.

At one point, Wonka leads the families through a dangerous maze, represented by a couple of lights on the floor. Wonka himself may deny that the journey through maze is mime, but mime is what it is, and junior high school mime at best.

The production here includes a very safe and sedate ride on the Great Glass Elevator. In London, the elevator went off the stage and up into the auditorium, leaving a magical final impression.

These reductions in scale of production may have been more palatable if the musical itself was more appealing. Act one is now streamlined to one hour, and still ends with the ticket holders entering the factory. Towards the end of the act, Mrs Bucket sings “If Your Father Were Here,” which should be sweet but is really rather dreary. The songs introducing the other children in act one are quite fun, but there is not a memorable new song in the show.

Speaking of those four other “children,” they are being played here by young adults. Charlie is still played by a boy (at this performance, the plucky and rather adorable Jake Ryan Flynn) but the other four children are played by adults. Given the success of current Broadway hit School of Rock, and the fact that young audiences like to see fellow children on stage, this ultimately seems an odd casting choice.

Broadway director Jack O’Brien, working with book writer David Greig, has set the production in the present, which works perfectly well. Joshua Bergasse has provided some snappy choreography, particularly for the diminutive Oompa Loompas.

Popular Broadway star Christian Borle brings plenty of amusing quirks to Willy Wonka, but overall pushes too hard where the role should be far more sinister and wickedly charming.

Legendary veteran actor John Rubinstein shines as kindly Grandpa Joe. Adult music theatre fans will enjoy choice comic character actress Jackie Hoffman as Mrs Teavee, who plays the role as a conservative 1950s housewife, albeit one with orange hair and a drinking problem.

Charlie and the Chocolate Factory may have some curiosity value for Broadway completists, but at this stage the only recommendation that can made is to avoid it, especially at the excessive prices being charged (up to $US299 plus booking fees).

Charlie and the Chocolate Factory was reviewed 8pm Saturday 8 April 2017 at Lunt-Fontanne Theatre, New York. Official opening night is 23 April 2017.

As dainty and delectable as a well-cooked soufflé, the new stage musical Amélie is a feather-light confection of pure charm.

Based on the affectionately remembered 2001 film, Amélie focuses on a sweet young woman who seeks only the happiness of others.

In a perfect match of material and star, Phillipa Soo takes on the title role of the selfless waitress. Soo not only brings a legion of fans from her high profile role on Hamilton, but also has the perfect combination of natural beauty and delicate vulnerability to bring the character to life. All this, plus she is a truly lovely singer.

The musical is something of a departure from the usual high voltage Broadway fare, being far gentler in tone and pace. It comes as little surprise that the composers are basically new to Broadway. Daniel Messé (music) and Nathan Tysen (lyrics, with Messé) have crafted a gorgeous set of lilting melodies that are highly enjoyable at first listen. There are a number of ballads, but most of the songs involve most or all of the ensemble cast in some way, and flow very organically from the succinct book scenes.

Acclaimed director Pam MacKinnon helms her first musical with Amélie; her significant experience with plays showing in the way that all 13 members of the company play a distinct character, as opposed to the typical Broadway concept of a generic chorus. Craig Lucas’ book follows the characters and plot of the movie, with the musical theatre form well suited to the generous sprinklings of magic throughout the story.

David Zinn contributes both scenic and costume design, with animated projections (Peter Nigrini) also playing a key role in the design. With the scenic elements, projections and lights in almost constant motion, watching the show is like turning the pages of a beautifully illustrated children’s picture book. Zinn’s costumes are not only highly attractive, but also vital in creating the two-three roles that most cast members play.

The musical begins with a prologue showing snippets from the sheltered childhood of young Amélie (played, at this performance, by winsome actress Savvy Crawford). Amélie’s parents believe she is unwell, and her father becomes even more protective after her mother suffers a sudden tragic fate.

Rising star Adam Chanler-Berat as Amélie’s love interest Nino, the mysterious photographer/collector of photos. Unlike the stereotypical Broadway hunk, Chanler-Berat has a relaxed, individual style that is very well suited to the role. Chanler-Berat and Soo display warm chemistry, their portrayal of the romantic relationship aided greatly by its very slow burn. Amélie does not even think of love for herself until late in the show, allowing the pairing to end with “Where Do We Go From Here?” rather than fully completing the story of their union.

The quirky characters played by the ensemble cast call for a pleasing range of diversity in age, nationality and body type. The 100-minute show (without interval) runs like a movie, with plenty of opportunities for the cast to play featured roles along the way.

Tony Sheldon shows characteristic flair in establishing a pair of contrasting characters. His role as Amélie’s neighbour Dufayel, a sensitive painter, is particularly affecting.

Amélie is a lightweight affair, but its message of pursuing human connections remains a salient one.

Amélie was reviewed 3pm Sunday 9 April 2017 at Walter Kerr Theatre, New York.

Photos: Joan Marcus

A glossy, if rather slender, new musical, War Paint is a chance to luxuriate in the performances of a pair of Broadway’s greatest divas. Two-time Tony Award winners Patti LuPone and Christine Ebersole prove utterly deserving of such a splendid showcase for their talents, each performing in peak condition.

Beauty pioneers and masters of self-reinvention, Helena Rubinstein and Elizabeth Arden lived remarkably similar, parallel lives. The women are notable not just for the introduction of cosmetics and beauty products to American women, but also for their business acumen in running successful companies bearing their own names.

As the concept for a musical, Rubinstein and Arden’s lives are filled with opportunities for juicy conflict, soaring ballads and stunning period costumes. There is just one slight catch: despite running beauty empires in New York at the same time, in real life the women rarely, if ever, crossed paths.

Anyone watching current hit television series Feud knows that the meatiest, most compelling scenes are the ones where Joan Crawford and Bette Davis cross swords directly. Without this direct conflict, War Paint unfolds as a pair of bio-musicals, alternating its focus on each woman with a smattering of simultaneous scenes as each faces similar issues.

Doug Wright’s book makes the most of opportunities for bitchy one-liners but provides little tension as the twin plots unfurl across the decades. Scott Frankel’s music is beautiful, more melodiously beautiful than his work in Grey Gardens (with the same two co-authors), and yet, on first listen, the music all sounds quite similar. Michael Korie delivers snappy, cleverly rhymed lyrics that are a pleasure to hear.

The women each lose their key male colleague to the other, and go on to face difficulties during World War II, with further challenges provided by the emerging discount and youth markets. In an amusing and enlightening sequence, the women each shoot themselves in the foot by taking the other to court over product recipes, leading to the ruling that ingredients must be listed on product labels.

While act one ends with a brief moment in which Rubinstein and Arden come “Face To Face,” the authors have contrived a satisfying final scene between the pair. Backstage at a gala function, the women trade barbs and putdowns, before melting towards a more humane approach to each other. The subsequent duet “Beauty in the World” is a stirring finale.

David Korin’s scenic designs have the luxurious edge that befits the glamorous world of the beauty business. A clever touch is walls of frosted glass bottles that can be lit in a range of colours to distinguish the setting of each woman’s beauty salon. In a striking scene, the elderly Rubinstein reflects on the artists who have captured her likeness as a wall of portraits hang overhead.

Costume Designs, by the redoubtable Catherine Zuber, are not decadent, witty and pristine, but also help to tell the story with the passing of the years made perfectly clear.

LuPone is deliciously entertaining as the driven Rubinstein, who sneers at the world and wears her Polish accent as a badge of pride.

Pretty in pink, Ebersole is equally suited to her role, ruling her empire with fabled iron fist in a velvet glove.

Each of the women are in particularly string vocal form, and their singing is a pleasure to hear.

This is a woman’s world, and, unlike Hollywood, the men are relegated to second banana. John Dossett is Tommy Lewis, Arden’s clever but unsatisfied husband who leaves to work with Rubinstein. Douglas Sills is self-confident homosexual Harry Fleming, who, frustrated with Rubinstein, is tempted by Arden to come and work with her.

The eight highly talented members of the female ensemble work nonstop throughout the show, playing any number of varieties of female roles.

Come for the divas; stay for the glamour.

War Paint was reviewed 7pm Tuesday 11 April 2017 at Nederlander Theatre, New York.

Photos: Joan Marcus

Highly original in style and extraordinarily exuberant in performance energy, Natasha, Pierre and the Great Comet of 1812 is a fresh, exciting and affecting new musical.

The creative team of The Great Comet has gone the extra distance to ensure that this is a unique piece of theatre. Entering the space, the Imperial Theatre auditorium and stage are unrecognisable, reconfigured into an immersive arena without any trace of a traditional proscenium arch. The walls are adorned with red velvet curtains and dozens of framed pictures of Russian images. Twinkling lights and satellite fittings hand overhead while lap lights flicker at tiny tables throughout the auditorium.

The ensemble enters, tossing tiny take away boxes of potato dumplings to the eager audience and the show is underway.

In an incredible feat of writing, Dave Malloy has crafted the book, music, lyrics and orchestrations for the show. The music is a stirring mix of Russian folk and classical music, with a modern twist. A key to Malloy’s success in writing the through-sung show is the well-judged balance between lively full company numbers and soaring ballads.

The music is played by both a dedicated band and by most members of the cast, who pick up an instrument at various points of the show. Even the audience joins in, shaking little egg-shaped shakers in time during act two gypsy-themed number “Balaga.”

The story is, of course, taken from Tolstoy’s epic masterpiece War and Peace. Given that the full story is beyond the scope of any Broadway musical, Malloy has focused on romantic young heroine Natasha.

The musical covers the second half of Volume Two of Tolstoy’s vast tome (which consists of four volumes and an epilogue). Natasha is already promised to the dashing Andrey, who is away because of the war. Attending an opera, Natasha meets handsome fiend Anatole, brother of Pierre’s devilish, self-serving wife Hélène. Andrey accepts the dissolution of his engagement to Natasha, but her cousin Sonya foils Natasha and Anatole’s elopement and Natasha takes poison. Pierre sees the Great Comet, and believes that life for him and those he loves is poised to begin anew.

While a little preparation is an aid to following the plot, the key characters are introduced very clearly during “Prologue.” Director Rachel Chavkin ensures that the storytelling is clear in broad terms, providing so much visual stimulation and infectious entertainment that even audience members who tune out of the story will find plenty to amuse them throughout the show. Sam Pinkleton’s dynamic choreography is also a big part of the spectacle.

Just as the music is an eclectic mix, so too are the costumes (by Paloma Young). Lead characters are given a distinctive look to help the audience keep them clear. The ensemble wear close-fitting outfits made, in part, of modern items yet having a strongly suggestive period look overall.

Leading man Josh Groban proves a strong team member, staying in the central orchestra area to play piano accordion, piano and percussion between his scenes. Pierre steps into the spotlight halfway through act one with stunning I wish song “Dust and Ashes.” Groban’s singing voice is absolutely superb, with an effortless range and a truly gorgeous tone. Groban is endearing as awkward, stout Pierre, immersing himself within the role.

Denée Benton is a delightful leading lady, well up to the task of carrying such a large show. Benton successfully establishes a sympathetic character, despite the fact that Natasha is essentially cheating on Andrey by responding to Anatole’s advances.

Natasha, Pierre and the Great Comet of 1812 is one of Broadway’s current must-see musicals, particularly while Josh Groban remains in the cast (until 2 July 2017).

Natasha, Pierre and the Great Comet of 1812 was reviewed 2pm Wednesday 12 April 2017 at Imperial Theatre, New York.

Less is so much more as revered musical Sunday in the Park with George returns to Broadway. The staging may be partial, but the music, humour and heart are all there in abundance.

After creating a sensation in a four-night run at New York City Center last October, the stars aligned for the production to transfer to Broadway for an all too brief season. This revival of revered 1984 musical Sunday in the Park with George has served as the first production in the newly refurbished Hudson Theatre, which has not housed a theatrical production in this reviewer’s lifetime.

While there is much to admire in the production, the jewel in the crown, and chief attraction, is the central performance by movie star Jake Gyllenhaal. As famed artist Georges Seurat, Gyllenhaal captures the brooding, focused, detached nature of the artist to great effect. Gyllenhaal reveals an effortlessly confident singing voice capable of rapturous tone. He deliberately plays down the potentially showy nature of the role, drawing the audience towards him in choice numbers such as “Finishing The Hat.”

Despite looking identical in act two, which is set 100 years later in 1984, Gyllenhaal successfully creates a differing character as Seurat’s grandson George. The modern George is still focused, but is far more aware of others. Gyllenhaal is gently compelling through the charming company number “Putting it Together,” and ends the evening in most moving fashion as George fully absorbs his heritage on location in Paris in “Sunday.”

Stephen Sondheim’s cherished score is given a luxurious treatment, especially by the uniformly excellent singing voices of the full company.

Director Sarna Lapine, niece of book writer James Lapine, distinguishes herself splendidly in her Broadway directorial debut. Apart from the very strong character work amongst the people that spend their Sunday afternoons on the Island of La Grand Jatte, a hallmark of Lapine’s work is the fully realised humour of the piece. This saves the show from being too stuffy and highbrow a piece, and ultimately allows the moving moments to land with even greater weight.

The staging places the orchestra on stage, seated behind a theatrically draped scrim curtain onto which animated projections (Tal Yarden) are displayed. Clint Ramos dresses the company bold secondary colours, using luxurious silk for the women. In a clever touch, each character’s act one counterpart is referenced in the colour choice for their act two costume.

The centerpiece of the design is the truly stunning lighting installation representing George’s Chromolume #7. Scores of tiny globes fly down from the ceiling of the auditorium, rising and falling in undulating waves. Changing colours, the hypnotically beautiful globes seem to represent the sparks from fireworks.

An established supporting player on Broadway, talented young actress Annaleigh Ashford has catapulted up the ranks to play the iconic dual roles of Dot (Georges’ model) and Marie (Georges’ daughter/George’s grandmother). Blessed with delightful comic timing, Ashford also has an attractively pure singing voice; she sings directly through the centre of each note without a hint of vibrato. Having won all of the audience’s hearts as dotty Marie, Ashford’s performance of Marie’s final reminiscence “Children and Art” is deeply moving.

Notable supporting cast members include Brooks Ashmanskas and Liz McCartney as American tourists Mr and Mrs, Robert Sean Leonard as fellow artist Jules, and Penny Fuller as the cantankerous Old Lady who performs exquisite act one duet “Beautiful” with Georges.

A highly memorable production, Sunday in the Park with George is Broadway talent at its unadorned best.

Sunday in the Park with George was reviewed 8pm Wednesday 12 April 2017 at Hudson Theatre, New York.

Photos: Matthew Murphy

Shining, shimmering, splendid, Aladdin transports audiences on a magic carpet ride to a whole new world of kaleidoscopic intensity.

Looking pleasingly pristine and perfectly polished in Her Majesty’s Theatre, Melbourne, Aladdin offers plenty of bang for your theatregoing buck. The result of the handiwork of some of Broadway’s most talented practitioners, the stage musical takes the very best of the 1992 animated movie and dials up the music, magic and spectacle to the extreme.

Acclaimed Broadway director/choreographer Casey Nicholaw now dominates Melbourne’s East End theatre district, with his 2014 hit Aladdin joining his 2011 hit The Book of Mormon. Nicholaw’s confidently integrated style melds dance throughout a production, infusing a show with infectious joy. Aladdin features the current Broadway trend of continual movement, with lights, scenic elements and cast members constantly changing and evolving.

A lavish visual feast, Aladdin’s scenic design (Bob Crowley), costume design (Gregg Barnes) and lighting design (Natasha Katz) are awash in rich jewel tones and exotic pinks, purples and oranges. The extravagantly gilded Cave of Wonders is exceptionally spectacular, an appropriate setting for the musical’s biggest showstopper, “Friend Like Me.” Aladdin and Jasmine’s magic carpet ride remains a how-did-they-do-that wonder, for which the only logical explanation is that it works by actual magic.

In bringing the movie to the stage, a particularly successful aspect has been the expansion of Alan Menken, Howard Ashman and Tim Rice’s original score. The new songs are instantly enjoyable, allowing the score to be appreciated as a cohesive whole. Cut from the movie, “Proud of Your Boy” is a gorgeous I wish song for Aladdin. Aladdin’s best friends charm with “Babkak, Omar, Aladdin, Kassim” and act two’s rollicking “High Adventure,” before joining Genie and Aladdin on Randy Newman-esque friendship song “Somebody’s Got Your Back.”

There is a noticeably masculine energy to the musical, with Aladdin’s monkey Abu replaced by three best friends Babkak, Omar and Kassim, and villainous Jafar’s squawking parrot Iago replaced with squawking sidekick Iago. The central bromance between Aladdin and the Genie is just as important, if not more so, than the traditional romance between Aladdin and Princess Jasmine.

Chad Beguelin’s amusing book contains a sprinkling of sly mentions of aspects of the movie. In a clever touch, the inherent corniness of necessary acts of bravado and villainous laughs is avoided by having the characters draw attention to them in mocking, self-referential tones.

Ainsley Melham is nothing short of superb as Aladdin. Suiting the role of the diamond in the rough perfectly, Melham dances, fights and leaps about the stage being alternately romantic, brave, vulnerable, sweet, cheeky and dashing. Melham soars through the vocals with ease, revealing a thrilling tenor voice.

Broadway import Michael James Scott is sensationally sassy as the camptastic Genie. With energy levels on hyper-drive, Scott recalls the improvisational feel of Robin William’s vocal performance in the movie with his own warm interpretation of the role.

London import Hiba Elchikne brings nothing to the role of Princess Jasmine that could not have been bettered by a local performer, making her casting a mystery.

Melbourne stage stalwart Adam Murphy relishes the dastardly role of Jafar. Aljin Abella scores every laugh with his high-octane delivery as gleefully malicious sidekick Iago.

As Aladdin’s high-spirited, well-meaning friends, Adam-Jon Fiorentino (Kassim), Troy Sussman (Babkak) and Robert Tripolino (Omar) elevate the importance of the roles with their terrific performances. Each also succeeds in uniquely distinguishing their character.

The ensemble performers, each more gorgeous than the next, dazzle with their marvelous song and dance.

Pure entertainment, Aladdin is the ideal treat for theatergoers of all ages.

Aladdin plays at Her Majesty’s Theatre, Melbourne.

Man in Chair has reviewed Aladdin in Sydney.

Man in Chair has reviewed Aladdin on Broadway.

Photos: #1, #2, #3, #5, #6 Dean van Meer; #4 Michele Aboud

Although its timeless quality and eerily prescient politics make Cabaret ripe for revival, a proliferation of poor directorial choices derails the promise of this new production.

Ahead of its time in 1966, Cabaret startled audiences by merging a traditional book musical with the avant-garde stylings of a concept musical, a form that producer/director Harold Prince was not to explore further until the early 1970s. Interspersed between the scenes at Fraulein Schneider’s boarding house and Herr Schulz’s fruit shop were abstract, musical numbers on the stage of the decadent Kit Kat Klub. These numbers provided oblique social commentary on the action, providing food for thought for the imagination of the audience.

Direction for this new staging of Cabaret, which is credited to Gale Edwards in Melbourne, blurs the lines between book scenes and social commentary numbers to the point of destroying the original intent of book writer Joe Masteroff, composers John Kander and Fred Ebb and original director Harold Prince. When Cliff joins “Two Ladies,” and when Ernst and Cliff join “The Money Song & Sitting Pretty,” it is not clear in what realm these moments are occurring. When a chorus boy walks on stage and sings “Tomorrow Belongs To Me” there is not even any effort at a context. Rather than impactful, these numbers become fanciful and trivial.

Following the emerging conflict of Fraulein Schneider being engaged to Jewish man Herr Schulz, the commentary device seems to actually be working in “If You Could See Her.” In this song, the Emcee boasts of his lady love, whom we clearly see is a gorilla. At the end of the song, however, audience intelligence is given a slap in the face when the Emcee lifts up the mask of the gorilla to show us that it is actually Herr Schulz. The powerful effect of the final whispered line “…she wouldn’t look Jewish at all” is completely lost.

Given the quality of the sound design (Nick Walker, Andrew Worboys), it is presumed that the excessively high volume is another directorial decision, in line with the general concept of hitting the audience over the head with the material. The loudness, combined with the strident direction, means that none of the performances are given the chance to draw the audience in. Sally Bowles has no air of mystery, Fraulein Schneider has no chance to display vulnerability and Herr Schulz has little chance to cultivate sympathy. Even the deliberately unlikeable characters of smuggler Ernst Ludwig and prostitute (and Kit Kat Girl?) Fraulein Kost lose their seedy edge.

The 1987 Broadway revival version is used in the production, and this is much more closely related to the 1966 original than the more recent Sam Mendes production. Audience members who only know the show through the 1972 movie will miss “Mein Herr” and “Maybe This Time,” but will appreciate the inclusion of a little of “The Money Song” within “Sitting Pretty.” Rarely heard lament “Don’t Go” is sung by Cliff, replacing original number “Why Should I Wake Up?”. The Emcee finishes with searing ballad “I Don’t Care Much,” although the character suffers the indignity of moving a chair off-stage as he sings.

The black and gold proscenium arch of the Athenaeum Theatre is an ideal match for the seamy faded glory of James Browne’s light globe-studded single set. Café tables and chairs are set up at the front of the auditorium to create the Kit Kat Klub vibe.

Browne’s costumes are highly attractive, although their authenticity is generally undermined by being a little too pristine. It seems an odd choice for the four chorus members who are Kit Kat Klub dancers to each have an individual look, but at least this makes it less distracting when actors in other roles join in to swell the ranks of the dancers. The gradual change to Nazi uniforms for the chorus is one of the few subtle points of the night.

Making good use of a tight stage space, choreographer Kelley Abbey keeps the dance numbers slick and lively.

Lindsay Partridge’s snappy musical direction makes the music one of the standout features of the production. The band of seven musicians includes Partridge on piano and fellow talent Andrew Worboys on accordion and keyboard. The band sounds exceptional throughout the show, with a clear highlight being their thrilling work in the act two “Entr’acte.”

Chelsea Gibb makes the role of Sally Bowles her own, and gives a mighty rendition of well-known title song “Cabaret.” Gibb maintains the energy of a woman surviving precariously on the edge through sheer force of will.

Exuding a highly likeable stage presence, Jason Kos gives a breakout musical theatre performance as Cliff. The increased focus on Cliff’s bisexuality detracts from his love affair with Sally, and the character’s participation in Klub numbers brings a superficiality to the drama Cliff is witnessing. The winning appeal Kos’ natural charm makes him one to watch in the future.

Paul Capsis is an inspired choice for the gleefully malevolent Emcee. In another odd directorial choice, the Emcee spends much of the time sitting side stage in the half dark like a disobedient child sent out of the room; he does, however, come to life in his musical numbers.

Undermined by fast tempi and loud volumes, and slightly hampered by pitch issues, Kate Fitzpatrick nonetheless maintains a grounded, world-weary presence as survivor Fraulein Schneider. Veteran musical theatre performer John O’May makes a welcome appearance as kindly fruit shop proprietor Herr Schulz, successfully managing to convey a gentle tone despite the high volume acoustics.

Sterling talent Debora Krizak is reliably magnetic as Fraulein Kost, just as experienced veteran Michael Cormick is sweetly charming as Ernst. Both Krizak and Cormick are enjoyable to watch despite their loathsomely self-serving characters being bereft of their grit, pathos and menace in this production.

The enduring appeal of Cabaret, the considerable talents of the cast and the potential timeliness of this season make the shortfalls in this production all the more disappointing.

Cabaret plays at Athenaeum Theatre, Melbourne until 20 May 2017.

Photos: John McRae (note: photos are of the Sydney 2017 season)