With years of experience on the musical theatre stage, the time is right for Kane Alexander to release his second album, Different Stages: The Broadway Album, a collection of Broadway’s most popular tenor ballads and duets.

Alexander’s early career involved both musical theatre and cabaret, with the latter clearly heightening his ability as a storyteller through song. A handsome, talented performer, Alexander was always going to be in demand for leading man roles such as Billy Crocker in Anything Goes and Claude in Hair (both for The Production Company, Melbourne). Not just a pretty boy, Alexander’s quirky work with character roles scored him parts such as Scarecrow in The Wizard of Oz and Willard in Footloose (both in Sydney in the early 2000s).

Remember when Melbourne Theatre Company used to do musicals? (They used to do them very well.) A breakout role for Alexander was the romantic rebel Bobby Strong in MTC’s unforgettable 2004 staging of Urinetown.

Melbourne audiences have recently welcomed Alexander back to the musical theatre stage, where he has played lead roles for exemplary new independent production house Life Like Company. After starring as the dashing army captain Giorgio in Passion (2014), Alexander went on to play gritty private eye Stone in City of Angels (2015).

The seventeen songs on brand new album Different Stages span more than five decades of Broadway musicals. There are songs from roles Alexander has played, the roles that got away and roles he is yet to play.

While many a Broadway album simply consists of singer and piano, Alexander’s wonderful vocals are accompanied by the lush sound of the English National Symphony Orchestra.

The album grabs attention from the first track, in which Alexander, and music director David Cameron, finally solve the problem of how to balance the syllables in the word “boulevard,” in “Sunset Boulevard,” in a natural manner. Not even the current Broadway revival of Sunset Boulevard manages this achievement.

Classic 1980s/1990s tenor power ballads on the album include Boublil and Schönberg’s mighty duo “Why God, Why?” (Miss Saigon) and “Empty Chairs at Empty Tables” (Les Misérables), “If I Can’t Love Her” (Beauty and the Beast) and “Anthem” (Chess). Alexander has the soaring range and vocal power to easily conquer these classics, but the additional asset he brings to these oft-recorded hits is the luxuriously warm romantic tone of his voice. There is a strong sense that the renditions of these handpicked songs are labours of love, giving the album an live, intimate feeling.

One show where Alexander does not go for the tried and true choice is Jekyll and Hyde, skipping over the bombastic “This is The Moment” to instead power through “I Need To Know” to thrilling effect. Another terrific choice amidst the well-known selections is “It All Fades Away.” The most recent song on the album, this song is from the 2014 Broadway musical The Bridges of Madison County (which is in urgent need of an Australian premiere).

One of the most gorgeous and surprising arrangements is for classic tune “Edelweiss” (The Sound of Music). The well-known song is given a fresh, improvisational feel, its tender sweetness cleverly offset with a melancholy cello solo.

For the smattering of duets on the album, Alexander is partnered by a choice selection of stars of the Australian musical theatre stage. Natalie Mendoza, a cast mate from more than twenty years ago in the Tenth Anniversary Australian production of Les Misérables, joins Alexander for a special arrangement of Oscar-winning song “Falling Slowly” (Once). Beloved songbird Silvie Paladino accompanies Alexander on the truly lovely duet “Sun & Moon” (Miss Saigon). Talented young soprano Claire Lyon partners Alexander on exquisite duet “One Hand, One Heart” (West Side Story). And prepare to swoon when acclaimed actor Simon Gleeson joins Alexander for “Lily’s Eyes” (The Secret Garden).

While Alexander’s characterful rendition of jaunty tune “All I Care About is Love” (Chicago) reveals him as an ideal Billy Flynn, the most exciting potential role previewed on Different Stages is the lead role of Broadway’s longest running musical. Alexander concludes the album with a superb performance of “The Music of the Night,” portending that his handsome features could one day be covered by the Phantom’s mask.

Musical theatre fans will find plenty to enjoy on Different Stages. Lovers of big Broadway tenor voices will be sure to cherish the recording.

Kane Alexander’s Different Stages: the Broadway album is available for pre-order. Orders through the official Kane Alexander website receive bonus digital tracks “The Prayer” (with Silvie Paladino) and “Flight.”

Watch the promotional clip for Different Stages:

Photos #4, #5: Ben Fon

Twenty-four years after presenting the hugely successful Victorian non-professional premiere of Les Misérables, CLOC Musical Theatre and director Chris Bradtke reunite to spend One Day More on the barricade.

Staged on a grand scale and blessed with an army of powerhouse singers, the production is well suited to reaching the far corners of the National Theatre’s sizable auditorium. CLOC matches professional standards in many ways, but their added bonus is always cast size; this Les Misérables is no exception to that luxury, with around 50% more cast members than a professional company could afford.

Marketing for the season promises “a new production,” and while this has generally been achieved, particularly in of terms of sets, the overall tone is highly traditional. CLOC had a stunning success last year with a radically rethought Jesus Christ Superstar, an ingenious production that was gripping, affecting, surprising and thought provoking (not to mention, ultimately, award winning). In his third time at the helm of Les Misérables, Bradtke knows the show intimately. There is no doubt his storytelling is clear and that loyalists will thrill to the chance to enjoy the show again. It must be noted, however, that there seems to be a missed opportunity to illuminate the very well known work through a new lens.

Bringing to mind their acclaimed work on 1999’s The Secret Garden (Whitehorse Musial Theatre) Bradtke and set designer Brenton Staples use an array of tall set units that can be moved and rotated for different settings. Giving the production a unique look, the sets often create a striking image and easily create the large number of locations needed for the story.

The flowing nature of the show was, of course, originally achieved with a revolving stage. In this version, the movement of sets in and between scenes, although smoothly accomplished, can distract from the main action. There is occasionally a surplus of scenery, such as the large sewer backdrop, which is barely referenced by the characters on stage, and the combination of stairs that give Javert a cardio workout before the bridge actually comes in for “Javert’s Suicide.”

The barricade is on an impressive scale, but looks a little too safe. The fact that it rotates is also impressive (even surprising), but comes at a cost of it not filling the width of the stage, making several students look very vulnerable in the gunfight battles.

The lighting design, by Brad Alcock, includes striking moments, particularly in the genuinely thrilling gunfight battles. An overuse of white light, however, often exposes the stage as too crowded and robs some scenes of their mystery. The set for the barricade, in particular is too clearly exposed as a collection of hand painted items. A very successful aspect of the lighting is the superb clarity of the large-scale projected period backdrops, which are in sharp focus on a dozen or more panels at once.

Marcello Lo Ricco’s sound design is crisp and detailed, particularly in the individual amplification of orchestral instruments. Every aspect of Andy McCalman’s excellent work as musical director can be distinctly heard, even if the volume feels just a little high at times. At times, it is difficult to be sure which character is singing, but the well-known story moves along regardless. The transmission of gunshots from speakers around the auditorium elevates the sound to cinematic standard.

Costume designer Victoria Horne extends her remarkable range of skills by working against type on such a gritty show. Amidst the dark hues there are the odd splashes of colours, with highlights including Valjean’s moss green jacket, Bamatobois’ turquoise jacket and a splendid set of military uniforms. A rare misstep is Cosette’s flouncy floral frock, which makes the usually demure character look rather frumpy. It is also not clear why Fantine does not wear the apron and bonnet uniform at the factory. The individually detailed, jewel-coloured ball gowns for Marius and Cosette’s wedding may be the most beautiful ever seen in any production of Les Misérables the world over.

With a physique that clearly indicates Valjean’s extraordinary strength, Mark Doran is perfectly cast as the noble hero Jean Valjean. Doran sings the role, high notes and all, with deceptive ease and with a pleasing variety of tone as befits each scene.

Shaun Kingma successfully maintains an air of dark mystery about Javert. Kingma’s rich, characterful baritone voice is used to marvelous effect; act one aria “Stars” really brings down the house.

Daniel Mottau gives a thrilling performance, raising the role Marius from the usual pouting poseur to a true leading man. Mottau’s singing is superb, making “Empty Chairs At Empty Tables” a real highlight. A magnetic presence, Mottau cultivates chemistry with all of his scene partners and engages audience interest in whatever drives Marius at each stage of the story.

A host of newcomers shine in their first CLOC show. Matthew Green has the soaring voice for Enjolras. Kirra Young brings out the full tragedy of fragile Fantine. Emily Morris is a pure and angelic Cosette. Eighteen-year-old India Morris is a clear crowd favorite as Éponine, belting out her vocals with unwavering precision and power.

In charming form, Scott Hili slyly offsets the callous machinations of slimy Thénardier with a merry twinkle in his eye. Still firmly in the realm of playing ingénue roles, Melanie Ott surprises with a highly characterful performance as Madam Thénardier, her brilliant comic timing provide welcome laughs.

The chorus is blessed with any number of performers who have played leading roles elsewhere, and the choral singing is subsequently of an extraordinarily high standard. Standouts include, but are certainly not limited to Ric Birkett (who is seen in the featured role of Bishop of Digne, Ian Andrew (Bamatobois), Lauren McCormack (vicious Factory Girl) and newcomer Owen Clarke (Feuilly).

Lovers of Les Misérables, of which there are an ever-growing abundance, will surely enjoy the chance to see the beloved show again, especially in a production of such quality. The question of what might have been, with a more adventurous take on the classic, will just have to remain unanswered at this time.

CLOC Musical Theatre presents Les Misérables at National Theatre, Melbourne until 27 May 2017.

Photos: Ben Fon – Fon Photography

One of Melbourne’s all-time favourite musicals, My Fair Lady returns in a sumptuous, sparkling production that meticulously recreates the original Broadway staging.

And when it comes to the original Broadway staging, director Julie Andrews should know, she starred as flower-girl-come-lady Eliza Doolittle some 60 years ago. The sheer beauty of the production is enhanced by Andrews’ finely honed insight into relationships between characters, resulting in an immensely satisfying experience overall.

While many a non-Disney musical can be lost in the mighty Regent Theatre, the perspective in Oliver Smith’s scenic designs is given room to breathe in the cavernous auditorium. For audience members sitting well back from the stage, the three dimensional depth achieved through ingenious design can be clearly enjoyed and appreciated. With far more backstage room than Sydney’s Joan Sutherland Theatre, where this production opened last year, scene changes are much smoother and ten minutes have been shaved off the running time (although at 185 minutes, including interval, the show is still a lengthy experience). The dissolve to the Embassy Ballroom remains the most spectacular sequence, drawing enthusiastic applause on opening night.

Also helping to fill the space is the excellent sound design (by Michael Waters). Every word is heard with perfect clarity, and there are even some immersive sound effects, such as the running of horse races at Ascot.

Cecil Beaton’s divine costumes have been recreated to sumptuous effect. Female chorus members are well served, being draped in jewel tones as they leave the opera in the opening, wearing pale pastel gowns for the Embassy Ball and sporting those eye-popping black and white creations at Ascot.

With 22 musicians in the pit, the orchestra may be down 10 players from the Sydney season, but with internationally renowned Australian musical director Guy Simpson at the helm the result is still wonderful. The lush live orchestra sound is certainly more appealing than the sets of programmed keyboards that besiege modern musicals and lesser revivals. Chorus harmonies are also first-rate, most especially the cockney quartet.

Performances of the lead cast have grown richer and deeper (and funnier) since the 2016 Sydney season, with the whole production anchored by new arrival Charles Edwards. An English stage and screen actor, Edwards is a perfect fit in the role of Professor Henry Higgins, bringing a fresh interpretation and plenty of verve. Tall and handsome, Edwards’ vitality may be at odds with Higgins’ curmudgeonly introversion, but this is used as an asset in the intriguing characterisation. Edwards’ humorous delivery gives Higgins a disarming likability that offsets his outrageous remarks about all women, and Eliza in particular. Edwards gives a star turn without affectation, making Higgins a relatable human who firmly breaks the mold of traditional Broadway leading man.

Enjoying a burgeoning international career, Melbourne-born actress cements her local star status Anna O’Byrne as Eliza. With an exquisite soprano, O’Byrne sings Eliza’s much-loved songs to thrilling effect; “I Could Have Danced All Night” is a highlight, with the final verse feeling like an intimate confession between character and audience. An exceptionally talented actress, O’Byrne has made further strides in the role, deepening the humanity and perfecting the comedy. The Ascot conversation is a riot. Given that the entire audience knows that Eliza will learn to speak properly, O’Byrne puts the tension back into the key moment, showing Eliza’s disbelief and shock as a new voice somehow comes out from within her, then sharing the joy a Eliza gradually takes control of the new power of speech and celebrates the achievement.

Acting opposite Edwards gives O’Byrne further added freshness. The pair could easily play a romantic couple but that is not the story here. Edwards conveys Higgins’ frustration with his emerging feelings of kindness towards another person. O’Byrne shows restraint when Eliza’s frustration and fear bubble over, making the emotions all the more powerful. The pair enjoys crackling chemistry; their acting in the bitter argument after the Ball is the best I have ever seen in this sequence, With Higgins’ genuine confusion at Eliza’s response only riling her up all the more. With the pair’s work from the entire evening all in place, the final scene is also highly satisfactory.

Australian stage royalty grace the supporting roles. Tony Llewellyn-Jones has an easy charm as Pickering. Robyn Nevin exudes class as bristling society matron Mrs Higgins. Deirdre Rubenstein laces her delivery with tender warmth as housekeeper Mrs Pearce. Reg Livermore still gives a brisk and lively performance, bringing out the full colour of dustman Alfred P. Doolittle. Livermore’s performance of Alfie’s visit to 27a Wimpole St was rewarded with very well deserved applause on opening night.

Although he has loosened up considerably in the role, Mark Vincent, as drippy toff Freddy Eynsford-Hill, remains a weak link in the acting stakes.

My Fair Lady is ready to be taken into the hearts of Melbourne musical theatre lovers all over again. The combination of lavish production values and outstanding performances make this a season that cannot be missed.

My Fair Lady plays at Regent Theatre, Melbourne before touring to Capitol Theatre, Sydney in August.

Photos: Jeff Busby, Brian Geach

StageArt breaks Melbourne’s 2017 boutique musical drought with an absolute gem that has been well worth the wait.

Winner of eight 2007 Tony Awards, Spring Awakening has inexplicably never had a professional Melbourne season. With a cast of a little over a dozen performers, this edgy, abstract musical is the ideal choice for a production that is small on scale but large on talent.

Blending the original 1895 play by Frank Wedekind and a modern rock/folk fusion score by Steven Sater (lyrics) and Duncan Sheik (music), the musical version of Spring Awakening points out the perils of an unenlightened world, whatever the century. To listen to the cast recording is only half the picture; the beautiful songs contain none of the story, but rather are a passionate outpouring of the repressed characters’ inner voices.

Working with a strong, well-chosen cast, director Robbie Carmellotti’s intricate knowledge of the book and score has imbued the staging with a myriad of details. The combination of Carmellotti’s meticulous approach and musical director Caleb Garfinkel’s additional arrangements has given the show a fresh look and sound. Characters move in and out of each other’s songs and also occasionally pick up musical instruments, with every moment and interaction clearly the result of the carefully considered choices of a strong overall vision.

The third piece of the picture is the crisp, tightly drilled choreography by Zoee Marsh, in which characters seem to battle against the rising forces of their own bodies through dance.

Carmellotti’s stage design removes the wings so as to maximise the Chapel off Chapel space. Three raised platforms, painted with a large knotted tree, create the locations for the freely flowing musical. The physical design is closely aligned with Jason Bovaird and Daniel Jow’s gorgeous lighting design, which greatly increases the versatility and visual interest of the single set throughout the show. Lighting is key for the final moment of act one, when strands of bud lights help to prevent the portrayal of Melchior and Wendla’s physical intimacy from being quite so exposed in the close performance space.

Marcello Lo Ricco’s sound design is pristine, successfully avoiding the harshness that can come from amplifying vocals against a rock score. Choral work is particularly well blended, benefitting, of course, from the significant talents of the performers.

Rhiannon Irving shows a confident and mature hand in costume design, creating a wardrobe that is visually appealing, comfortably functional for movement and very nicely balanced between period and contemporary. The boys’ school blazers, each sporting a different colour trim, are particularly striking.

Freshly graduated from WAAPA, Ashley Roussety is ready to be a leading man on this, or any, stage. Tall and handsome, Roussety has a charismatic stage presence and an effortlessly natural singing voice. Roussety is completely believable as outgoing student Melchior, readily engaging audience affection in a moving performance.

Jessie-Lou Yates is equally engaging as Wendla, a girl perplexed by her blossoming sexual maturity. The contrast between Yates’ vocal power and her sweet youthful appearance is perfect for the show, and she conveys Wendla’s incredible naiveté with clear conviction.

Brent Trotter captures the inescapable angst of Moritz, whose throbbing sexual urges are defeating all his well-meaning attempts at repression. Trotter portrays Moritz’s unrelenting confusion as an almost physical pain. Not quite in full voice on opening night, Trotter nonetheless showed himself to be a singer of great expression and a performer of high emotional intelligence.

Cleverly symbolising the fact that all adults appear the same to these young people, a dozen or so characters are all played by the same two adult actors. Barry Mitchell and Olivia Solomons match the intensity of their co-stars, both also bringing a touch of wry humour to the reprehensibly controlling characters they play.

Henry Brett gives a wickedly magnetic performance as Hanschen, an attractive boy who is fully aware of the effect of his physical appearance on fellow student Ernst, played by Alex Thompson. The pair provides a welcome moment of levity amidst the drama of act two when Hanschen playfully seduces the quivering Ernst. Their sharing of the hand held microphone in duet “The Word of Your Body (reprise 2)” is inspired.

Further standouts amongst the ensemble company are Hannah McInerney as free spirit Ilse, and Jordon Mahar as lusty piano student Georg.

Playing for an all too short season, Spring Awakening should really be the sort of cult discovery that runs for weeks on end, adored by young people in droves. Fans of the show, most especially those who have only listened to the cast recording, should not miss this beautifully realised production.

Spring Awakening plays at Chapel off Chapel, Melbourne until 10 June 2017.

Photos: Belinda Strodder

Look at the old girl now, fellas. Mrs Dolly Levi, born Gallagher, is back on the Melbourne stage in a glossy, if somewhat scaled down, production of Golden Age classic Hello, Dolly!.

Back in 2002, Hello, Dolly! was an unfortunate low point in The Production Company’s short history. Dim lighting, uninspired choreography and a leading lady who hadn’t bothered to learn the words turned many serious musical theatre fans off the fledgling company at the time. Each of the flaws are well and truly repaired in this vastly superior production, the pristine quality of which is a ready measure of how far the company has come in the intervening years.

There is a degree of disappointment in the fact that this traditionally lavish show is shoe-horned into the Playhouse rather than the far grander State Theatre, and yet the relative intimacy of the venue contrasts strongly with the current main stage revival of My Fair Lady, the finer details of which are lost in the vast auditorium of the Regent Theatre.

The presence of a sizable contingent from Orchestra Victoria is usually a key attraction of The Production Company shows, so to have Jerry Herman’s revered score played by only 14 musicians is a missed opportunity. The chorus of only eight performers is a similar reduction from a full-scale production, although the tight playing space means that the stage still appears to be well filled with performers.

Director Gary Young capitalises on the delectable humour of Michael Stewart’s razor sharp book. Outdated sexist elements are brushed over with a wink and a smile, keeping the focus on the charming romantic aspects of the concise tale. Each and every performer carries themselves with the grace and style that befits a polished period musical.

One head-scratching misstep in direction is the omission of a song in act one. With Dolly’s arrival at Mrs Molloy’s Hat Shop, where shop assistants Barnaby and Cornelius are hidden from their Yonkers employer Mr Vandergelder, the slapstick comedy is about to reach a crescendo when all of a sudden a quick press of the fast forward button sees the action skip right over “Motherhood March” and Horace is leaving the store.

Choreographer Kristen King’s well-drilled choreography is clean and sharp. The “Waiters’ Gallop” is a clear high point, mixing physical comedy with feet footed dance from the sensational male chorus. The full dance break of act one showstopper “Dancing” is a beautifully realised sequence.

The tight orchestra is heard at their very best under the exacting baton of musical director Vanessa Scammell. Likewise, the full range of vocal harmonies are expertly covered by the relatively small cast. In an unobtrusive touch, Scammell has the full company join the Waiters in singing cherished title number “Hello, Dolly!”.

While Shaun Gurton’s economical, well integrated design makes clean use of the available space and aids storytelling with the creation of various locations, it is the costume design of Isaac Lummis that really sparkles. The chorus graces the stage in luscious citrus pastels for “Put On Your Sunday Clothes,” with the women later changing to midnight blues and purple evening wear at Harmonia Gardens. Dolly begins in musk with fuchsia satin trim, and matching feathered hat, before changing to a gorgeous light purple dress decadently embroidered with masses of pink and blue forget me knots. Dolly makes a grand entrance to the Harmonia Gardens restaurant in a glittering gold mermaid-silhouette gown, finally changing to gleaming white for the matrimonially themed finale.

When Marina Prior first played Miss Adelaide in Guys and Dolls, it was a breakout from the soprano ingénue roles she had built her career upon. Her versatility now well established, Prior is an absolute natural as Dolly. Although Prior’s dialogue accent wanders slightly, her comic timing is superb. Best of all, Prior gives arguably the most beautiful rendition of Dolly’s songs ever heard from the stage.

Grant Piro bristles with Horace Vandergelder’s curmudgeonly cantankerousness, allowing just a teasing glimpse of the good heart underneath. A gifted comic actor, Piro allows the audience to forgive Horace’s sexist demands. Husband and wife duo Piro and Prior enjoy strong chemistry, and their comic skills redouble whenever their characters spar.

In a pair of utterly charming performances, Verity Hunt-Ballard and Glenn Hill bring out the full romantic chemistry of Irene Molloy and Cornelius Hackl. With a lilting Irish accent, Hunt-Ballard imbues Irene with a modest grace, and her singing is a joy to hear. Hill brings a fresh, sincere energy that endears the plucky character to the audience.

Imogen Moore is a find as adorable hat shop assistant Minnie Fay. An excellent singer and dancer, Nigel Huckle glows with energy as naïve yet enthusiastic youth Barnaby Tucker.

Dressed in a puffy hot pink gown that can probably ne seen from the moon, Alana Tranter shines as raucous romantic decoy Ernestina Money.

Lovers of traditional musical comedy are sure to enjoy Hello, Dolly!. A new generation of theatregoers are also sure to fall under Dolly’s spell.

Hello, Dolly! plays at Playhouse, Arts Centre Melbourne until 11 June 2017.

Man in Chair reviewed Bette Midler in Hello, Dolly! on Broadway.

Photos: Jeff Busby

Zipping by in an incredibly brisk 15 minutes, not a note nor a word is wasted in 21 Chump Street, an astonishing example of economical writing.

As a swift and tasty sampler of the inimitable style of current Broadway master Lin-Manuel Miranda, the pocket-sized musical blends familiar musical theatre tropes with “hard hitting” American current affairs to hurtle through an easily digestible scenario that is surprisingly affecting.

At the heart of the musical’s success is a totally relatable lead performance from Jake Fehily as impressionable “chump” Justin Leboy, a lovable schlub who follows his heart not his head.

Based on an episode of short-lived, cult-favourite US television series This American Life, the musical was written for the June 2014 This American Life live show at Brooklyn Academy of Music. Audience familiarity with hit 1980s television series, 21 Jump Street (and subsequent movies) greatly aids the instant understanding of the story. Miranda pulls a swift one, however, by focusing on a harmless kid, conflicting our sympathies between the consequences of drugs and the injustice of an innocent victim. It’s a neat accomplishment, especially with the few words available to tell the tale.

Compounding the dilemma is the supreme likability of the young policewoman, Naomi, played by versatile young talent Olivia Charalambous. The sting unfolds without a villain, all in the name of the prevailing power of the war on drugs. Charalambous is perfectly cast, flipping easily between baby-faced faux high schooler and serious cop.

Director Byron Bache, expertly balances the twin sympathies of the two leads, showing not a trace of preference towards either party

Lauren Edwards is the “hard hitting” journalist, whose pretty salmon pink jacket belies her serious intentions.

Nicola Bowman, Stephanie Wood and Kai Mann-Robertson infuse Justin’s classmates with a knowing wink as they bop along energetically with the funky choruses.

On opening night, sound (Celine Khong) experienced a few difficulties, and lighting (Jason Crick) was underdone, but the space was used very well to convey both the classroom and the interview studio.

Helmed by Stephanie Lewendon-Lowe, a band of six musicians nimbly rocked out the unfamiliar yet completely catchy score as if they had been playing it for years.

Melbourne fans of Miranda will not want to miss the chance to see 21 Chump Street.

21 Chump Street plays at Chapel off Chapel until 18 June 2017.

Tickets to 21 Chump Street and Ordinary Days can be bought separately or as a package deal.

Photos: Ben Fon

Tracing the key moments in a pair of relationships, 2009 off-Broadway musical Ordinary Days furtively engages audience interest and affection in its four characters, illustrating the beauty to be found in the ordinary.

For a modern, character-driven musical, there is no better director in Australia than Tyran Parke, a proven master at illuminating the minutiae of human connections. Parke’s subtle, yet highly detailed direction brings the characters vividly to life. Even with only a relatively modest staging, the city of New York is also clearly on board as a vital fifth character.

Adam Gwon’s charming score is through-sung, coming close in style to a song cycle but with strong storytelling threaded throughout. Thirty-something couple Claire and Jason move through a turning point in their relationship, reaching a climax with Claire’s absolutely gorgeous final ballad “I’ll Be Here.”

Well-matched pair Brittanie Shipway and Matthew Hamilton are completely believable as Claire and Jason. Hamilton balances Jason’s slightly humorous edge with serious, sincere intent. Shipway grounds Claire’s potentially overwrought relationship anxiety with an underlying tension that is finally resolved in the character’s revelations in “I’ll Be Here.”

Twenty-something lost souls Deb and Warren meet by chance and pursue an unlikely friendship. Warren delivers the touching message of the show in the final song “Beautiful,” which both owes a debt of honour to Sondheim’s “Sunday” and also continues the heritage of the focus on the transformative power of art.

It is difficult to overstate the crackling charisma of fresh graduates Nicola Bowman and Joel Granger as Deb and Warren. To watch the pair in action is to watch the leading lights of tomorrow’s musical theatre stage. Bowman’s Deb is part wide-eyed kewpie doll, part tenacious terrier. Watching the character thaw towards unlikely new best friend Warren is a joy. Bringing to mind a young Bernadette Peters, Bowman’s singing is effortlessly superb and her comic timing is extraordinary.

Blessed with a gorgeous smile, Granger glows with magnetic presence, yet also brings a completely endearing vulnerability to Warren. With a sweet, pure singing voice, Granger is the ideal new age leading man.

Musical director Stephanie Lewendon-Lowe leads three fellow musicians in a polished performance of the score. The instantly accessible music is heard at its best, and is sure to win over new fans to Gwon’s writing.

Designer Sarah Tulloch makes clever use of floating gauze panels, which represent both skyscrapers and hanging works of art. Pale blue hues in the costume design tie in beautifully with the steely abstract background. Lighting designer Jason Crick ties the look together with temperate tones that reflect the mood of each scene.

Lovers of modern musical theatre are sure to cherish this welcome production of Ordinary Days.

Ordinary Days plays at Chapel off Chapel until 18 June 2017.

Tickets to 21 Chump Street and Ordinary Days can be bought separately or as a package deal.

Photos: Ben Fon

A dark, yet uplifting, musical that celebrates and rewards the intelligence of its adult audience, Merrily We Roll Along is given a lean, incisive treatment by dedicated Sondheim company Watch This.

As the world laments its current political choices, the myriad life choices of composer-turned-film-producer Franklin Shepherd unfurl before our eyes as the musical addresses the question “How did you get to be here?”. Following the unique format of its source material, Kaufman and Hart’s 1934 play, Merrily We Roll Along unfolds in reverse, beginning with a scalding scene in which Frank is miserable in his success and then progressing backwards through the show biz trials of he and his old friends Mary and Charley.

There is an added pain in seeing someone make decisions for which the consequences have already been shown, and director Sara Grenfell takes a particularly unflinching look at the elusive, fleeting and superficial nature of fame. The furtive glances, blatant betrayals and withering zingers of George Furth’s book land with intensity, aided not only by the talents of the cast but also by the relative intimacy of the venue.

While Merrily We Roll Along is one of Broadway’s most notable flops, as chronicled brilliantly in 2016 documentary Best Worst Thing That Ever Could Have Happened, audiences need not allow this aspect to deter their attendance. A significant aspect of the flop was that audiences would not pay Broadway prices to watch a young and inexperienced cast. This angle has not been replicated here, as the actors are closer to the characters’ final mature ages rather than their initial tender ages.

Apart from the enjoyment of the intricate mechanics of the reverse-engineered plot, the cherished score for Merrily We Roll Along is one of Stephen Sondheim’s most accomplished. In line with the backward timeline, reprises are heard before full songs, and songs are heard being written after they have already been sung. Patter song “Franklin Shepherd, Inc.” provides a tour de force for Charley, and semi-autobiographical song “Opening Doors” is a lively showstopper for Frank, Charley and Mary. The brittle tension of the book scenes is given welcome relief in sweetly melodic songs such as “Old Friends” and “Good Thing Going,” not to mention the gorgeous glowing optimism of the final song “Our Time.”

In presenting this boutique production, Watch This has allocated the available budget wisely. Scenic elements are few, while period costumes are plentiful. A single piano serves as accompaniment, but the choice of theatre provides an extra polish to the season. The cast is wonderful, and the chance to hear the performers sing acoustically adds to the intimate connection.

The cast has been expertly prepared by musical director Cameron Thomas, who provides masterful accompaniment on piano.

Emily Collett’s simple scenic design flexibly portrays the wide range of settings required for the bicoastal story. Collett’s attractive costumes distinguish the multiple characters played by the ensemble and provide a vital, tangible sign of the reverse passage through the years.

For a musical that is weighted towards ballads, David Wynen provides a healthy supply of nimble choreography. The three leads are well served, with fun moves illustrating the camaraderie on display in “Old Friends” and bringing to life the satire of revue number “Bobbie and Jackie and Jack.”

Nicole Melloy is on fire as acerbic writer Mary. Unafraid to appear frumpy, Melloy takes Mary from embittered alcoholic back to peacekeeper, pragmatic realist, successful author, lovelorn wallflower and, eventually, to her initial incarnation as wide-eyed girl. Melloy’s convincing physical transformation adds to the power of her compelling portrayal, and her singing is excellent.

With a talent that is ripe for discovery by commercial producers, Nelson Gardner gives a warm and charismatic performance as noble playwright Charley. Gardner nails the fiendishly difficult “Franklin Shepherd, Inc.,” leaving the audience cheering for more.

Lyall Brooks imbues Frank with the confident swagger of a successful man who is accustomed to being at the centre of everyone’s orbit. This bravado is neatly offset whenever Brooks’ eyes fill with tears as Frank repeatedly loses those he loves. Playing best friends, Brooks, Melloy and Gardner interact with a palpable warmth and trust that belie the relatively short rehearsal period.

As Frank’s first wife Beth, Sophie Weiss has to sing a climactic song, the searing ballad “Not A Day Goes By,” as soon as she steps on stage. Versatile actress Weiss takes this challenge easily in her stride, instantly bringing out the tender vulnerability in the wounded young woman, and then later showing the trust and good humour Beth enjoyed before she was so badly hurt.

As the fiercely ambitious Gussie, Cristina D’Agostino plays a strident character who is unlikeable for much of act one. Returning to Gussie’s humbler origins later in act two, D’Agostino successfully brings out a calmer, more agreeable young woman.

Mark Doggett is well cast as producer Joe Josephson, a flawed man who can see talent but foolishly overlooks deceit.

Young actor Darcy Bryce charms in eth cameo role of Frankie Junior, instantly endearing himself to the audience and then tugging on their heartstrings in the painful courthouse scene.

The multitalented ensemble members sing superbly, move effortlessly and convincingly play a cornucopia of character roles.

Anyone who has ever lamented the frivolity of musical theatre should rush to experience the sophisticated wit and insightful intelligence of Merrily We Roll Along.

Merrily We Roll Along plays at The Lawler, Southbank Theatre until 15 July 2017

Photos: Jodie Hutchinson

Quite possibly the best rock musical you’ve never heard, heroic 1990 rock opera Paris is given a starry concert staging that serves both to return the epic work to public prominence and also pay tribute to its revered co-composer Jon English.

As concert stagings go, Paris is produced on a very impressive scale, featuring 46 performers, 14 musicians, crisp direction, spectacular lighting, mighty sound and creative costuming. Short run concerts can often be performed book in hand, but the full cast and chorus are well and truly off book here, allowing the show to be presented in the best possible light.

English’s note on the original studio cast recording states that Paris is primarily a love story, and acknowledges that the plot is based on the mythology surrounding the Trojan War without slavishly following established “facts.” Co-composer David Mackay has worked to streamline the book, particularly in regard to periphery characters. The result is a gripping story that is bold, majestic and easy to follow.

The restless young Prince of Troy sets sail for Greece but is almost drowned in a storm. Washed ashore, Paris is instantly smitten with the beautiful Helen, wife of Greek King Menelaus, and their illicit passion is a spark in the Trojan War. Much of the ensuing bloodshed derives from various characters’ deceits and weaknesses, all driving to a tragic finale for the ill-fated lovers.

While Paris’ opening I wish song, “Straight Ahead,” is vague at best, act one quickly gathers steam on its way to thrilling Trojan finale “Hell to High Water.” Act two loses focus slightly during the Ten Year War sequence, but regains momentum in climactic battlefield deaths involving Patroclus, Hector, Achilles and Paris.

Director Neil Gooding presents a fully acted performance, with the “concert” tag only really referring to the band being on stage and the general absence of scenery. Storytelling is clear and engaging, the passionate love story helping to sweep the audience into action. The heavily male-centric characters are clearly distinguished thanks to confident direction, interesting writing and excellent casting.

Dramatic storytelling aside, the chief attraction is the world-class score by English. Written at the height of the rock opera’s popularity, Paris has the through-sung momentum of works by Andrew Lloyd Webber and Boublil & Schönberg, with a similar level of melodic invention as heard in Björn Ulvaeus and Benny Anderson’s Chess. In the search for the great Australian musical, the romantic sweep and instant hummability of the score of Paris places it well above the grab bag of styles heard in King Kong and Strictly Ballroom.

The style of Paris also compares very favourably to current Broadway hit Natasha, Pierre and the Great Comet of 1812, especially given the fresh orchestrations heard in this current season. Fast-rising young musical director Isaac Hayward ably demonstrates why he is one to watch, with his keyboard and drum programming enhancing the music to a rich, full sound. Expertly conducting the band on stage, Hayward’s quirky presence is another aspect of the entertainment. Hayward’s exacting preparation of the Chorus, aided by Martine Wengrow, fills the singing with glorious harmonies.

The production is judiciously light on scenery and lavish on costumes and lighting. Costumes, by Janette Raynes and Mark Raynes, are a visually appealing mix of modern elements, mostly in black, with strong ties to period silhouettes and accessories. Stuart Smith and Andrew Sampford’s eye-catching animated projections support the storytelling and are connected by an attractive design style. The stage spectacle is capped off by Jason Bovaird’s grand lighting design, which fills the overhead space with lush, atmospheric colour and mighty beams of light.

There is not a weak link to be found in the leading players. Casting is notably strong, with all levels of experience represented, from legends (John Waters, John O’May, Tim Freedman, Brian Mannix) to experienced, high profile musical theatre performers (Ben Mingay, Kerrie Anne Greenland) to experienced, highly valued supporting players (Mark Dickinson, Scott Johnson, Tod Strike, Cameron MacDonald) to talented up and comers (Jack O’Riley, Jordon Mahar).

Young discoveries Matthew Manahan and Madeleine Featherby give breakout performances as Paris and Helen, singing the show’s best tunes with a mixture of sweetness and strength. Manahan has a legitimate rock musical voice that belies his tender appearance, and he belts with an unwavering power that easily matches his more experienced stage counterparts.

Greenland is in superb voice as frustrated prophet Cassandra, setting the bar high with her soaring vocals in “Prologue” and bringing the show to a highly memorable climax with “Oh Paris.”

Highlights from the male cast include, but are certainly not limited to, Dickinson’s awesome bass in act one’s “A Thief in the Night” and Waters’ whispering menace in “Ulysses’ Prayer.” Ably supported by O’Riley and Mahar, Mannix nails the show’s one comic song, “Inside Outside,” as the drunken trio prepares to man the iconic Trojan Horse.

After a rousing standing ovation on opening night, the evening was brought to a very moving end with a tribute to composer Jon English. As his photo was displayed overhead, English’s vocals for “Love Has Power” were accompanied by the band, with a spotlight on English’s son Jonathan Sora-English.

Paris is very highly recommended, especially for fans of the score who have not heard it live on stage since Stella Entertainment’s 2004 production at National Theatre.

Paris plays at Elisabeth Murdoch Hall, Melbourne Recital Centre until 15 July 2017.

Photos: Ben Fon

One of Melbourne’s all time favourite musicals, Jesus Christ Superstar is back on stage for a short, but quite spectacular, season.

Andrew Lloyd Webber has been quoted as saying that Jesus Christ Superstar is meant to be presented outside the confines of a proscenium arch theatre, and this large-scale production successfully captures a rock stadium vibe. Industrial scaffolding rises to three stories overhead, dazzling lighting effects abound, and the well-loved music is played and sung with energy to spare.

While the production standards and much of the work by the cast will be sure to please crowds of theatregoers, there is a significant missed opportunity in the absence of an engaging and logical concept for the production.

The litmus test for opera revivals is whether the director’s concept enhances the storytelling. By setting the show in contemporary times, director Gale Edwards loses the original meaning of the text but gains nothing in its place. The brilliant concept of the original show, brought out in Tim Rice’s lyrics, is to have the audience imagine what would happen if Jesus arrived in current time. Setting the show in current time removes the question but does not answer it. Cell phones and social media are nowhere to be seen. A lone television camera is brought on for the crucifixion, but the footage it takes is not shown.

The characters exist in a vacuum, with nothing at stake. Despite the towering scaffolding set, almost all of the performances are staged downstage centre, with performers singing straight out at the audience. Dressed like they are performing Godspell, Jesus and his Disciples seem free and easy. There are High Priests, inexplicably dressed like acolytes of Satan, but the impact of Jesus’ supposed threat towards their power is nonexistent.

While the work improves significantly in act two, much of act one is wasted. As Judas sings his opening interior monologue “Heaven On Their Minds,” Jesus and Disciples stand watching and listening to him but not reacting to his deadly warning. In “Strange Thing Mystifying,” Judas openly insinuates that Mary is a whore, but she shows no reaction. Worse, when Judas, dressed in wifebeater red singlet, pushes Mary to the ground, no one reacts.

During “Poor Jerusalem,” the Disciples distribute military machine guns, but it is not remotely clear who they are going to shoot. Later, when the stormtroopers soldiers arrest Jesus, the guns are nowhere to be seen.

The action gathers significant momentum and impact in the second half of act two. The tender beauty of “Could We Start Again Please?” is chillingly offset by having Jesus beaten by guards while Mary, Simon and Peter, impervious to Jesus’ current suffering, sing lyrics that now have even greater meaning. The most innovative sequence of the night comes in “The 39 Lashes.” Instead of one soldier whipping Jesus, members of the crowd takes turns to run forward and scratch Jesus, leaving bloody imprints smeared across his body. With the crown of thorns upon his head, the image of Jesus upon the wooden cross is a harrowing one indeed.

The impact of the final scenes is heightened by a tremendously committed performance from Rob Mills. An innately likeable performer, Mills is a natural as the idolized figure, but really impresses in the powerful torture and death scenes. Mills may not hit every high note in the score, but sings with requisite power, particularly in showstopping aria “Gethsemane,” which received the most enthusiastic applause on opening night.

A point of difference in presentations by The Production Company is their use of a lavishly sized orchestra. Working with only 11 musicians, maestro Anthony Gabriele nonetheless achieves a thrilling rendition of Webber’s score, with a measure of success coming when the audience stayed to listen to, and applaud, the playout.

Vocally, the musical direction is largely focused on power, with little focus on nuance of expression. An exception to this is the reliably superb singing from Michael Cormick as Pilate, who conveys a fearful and fearsome character in his elegant vocals. Trevor Ashley also impresses with the clarity and focus of his vocals in “King Herod’s Song.”

In his first appearance with The Production Company, and playing his first major role to date, Zoy Frangos makes a highly auspicious debut as Judas. Beginning the show on stage alone in front of 2,500 people brought out a slight touch of nerves, but Frangos soon moved past this to immerse himself in the role of the troubled traitor. Although Edwards’ placement of Judas as an immediate aggressive outsider removes some of his arc as a friend of Jesus, Frangos still shows the undercurrent of fear and doubt that threaten to overpower Judas at any moment. Already dressed in red, Judas’ appearance in red for the “Superstar” finale is diminished, but the overall combination of costumes (Kim Bishop) and choreography (Kelley Abbey) makes for a suitably spectacular finale.

Blessed with some of the best-loved songs in the score, Alinta Chidzey sings beautifully as Mary. Lesser-known act two song “Could We Start Again Please?” is also a standout in Chidzey’s capable hands. While Chidzey is somewhat let down by lack of direction for her character, she maintains an appealing stage presence and her lovely vocals are a pleasant contrast to the proliferation of male voices.

Paul Hughes has the requisite rumbling bass for Head Priest Caiaphas. With a very confidently placed high tenor, Stephen McDowell neatly complements Caiaphas as arch Priest Annas.

Featured ensemble member Andrew Cook stands out with powerhouse vocals as Peter. Mike Snell also adds strength as war-loving Disciple Simon.

With many extra performances added, this season of Jesus Christ Superstar is sure to be a popular success.

Jesus Christ Superstar plays at State Theatre, Arts Centre Melbourne until 13 August 2017.

Photos: Jeff Busby

Watching The Bodyguard the Musical is like meeting a person with infectiously high self-esteem; their self-image is crystal clear and they project unflinching self-confidence.

Certainly not a show for Sondheim snobs or Rodgers & Hammerstein romantics, The Bodyguard the Musical is guilty pleasure entertainment, with a score crammed full of the biggest set of pop hits from one artist since Mamma Mia!.  This is the sort of sure-fire crowd-pleaser that can only have originated in London’s West End, where, unlike awards-centric Broadway, they are unafraid to produce musicals whose sole purpose is to entertain.

Based, of course on the megahit 1992 movie, The Bodyguard is practically at a 42^nd Street level of flimsy storyline that is just there to link the songs. But what songs! Serving up irresistible lashings of nostalgia to Generation X and Y theatregoers, creators of the musical have almost tripled the number of Whitney Houston hits in the show compared to relatively modest set of six tracks in the movie soundtrack.

These beloved hits would be nothing without an extraordinary singer, and the Australian production has exactly that in Paulini Curuenavuli. With her incredible vocal range and mega wattage vocal power, Curuenavuli thrills the crowd as she nails song after song. In the high-octane opener, it is not just the jet blasts of flames that provide the heat as Curuenavuli belts “Queen of the Night.”

As Rachel Marron, Curuenavuli has the piercing presence and confident moves of a pop superstar, and her vocal quality extends to her speaking voice, which has a genuine warmth.

Adapting Lawrence Kasdan’s screenplay, book writer Alexander Dinelaris makes every attempt to add layers of meaning to songs, but musical theatre purists will find the action grinding to a bit of a halt as the original songs progress neither character nor plot. The broad strokes of the stalker storyline play out effectively enough, but potential tension is dissipated thanks to the curious choice of projecting large images of the stalker right from the beginning of the story. Sprinklings of a little more humour would have been very welcome.

Redesigned since the original West End production, Tim Hatley’s sets and costumes, Mark Henderson’s lighting and Duncan McLean’s projections are the rare combination that can fill the cavernous Regent Theatre. An extensive set of sliding panels allow filmic transitions, with the additional highly cinematic feature of creating an iris effect to both conceal and reveal key details.

In the title role, Kip Gamblin plays it completely straight, grounding the show biz setting with an authentically masculine presence. Gamblin’s steely focus is a key element in preventing any hints of eye-rolling melodrama to creep into proceedings. The boy gets girl stage of any musical can be tenuous, but Gamblin and Curuenavuli generate sizzling heat when their characters finally submit to a passionate kiss.

Rachel’s sister Nicki Marron lives in the shadow of her sister’s fame, and Prinnie Stevens neatly imbues this role with a balance of envy and affection. Sweetly cooing hits such as “Saving All My Love For You” and the mighty “All At Once,” Stevens keeps her wattage below that of Curuenavuli so as to maintain the storyline equilibrium. Stevens joins Curuenavuli for the stirring “Run to You” to great effect.

With the two lovely leading ladies very capably doing all of the heavy lifting, there is little or no material left for their co-stars to sing. This leaves a bevy of experienced musical theatre performers, such as Glaston Toft, Damien Bermingham and Brendan Irving, in rather thankless roles. Irving, at least, gets the cool role of The Stalker.

At this performance, engaging young actor Aston Droomer, one of four boys sharing the role of Rachel’s adorable son Fletcher, gives a performance of great confidence and spirit.

Special mention goes to Lachlan Martin for generating a couple of very welcome laughs with his wicked delivery as the karaoke guy.

While the drama of act two impedes the flow of hit songs ever so slightly, the iconic “I Will Always Love You” provides a tingling finale. To leave the audience on a real high, the full company delivers a sensational encore with “I Wanna Dance With Somebody.”

Leave your traditional musical theatre predilections at the door and sit back and enjoy The Bodyguard.

The Bodyguard plays at Regent Theatre, Melbourne until 29 October 2017.

Photos: Jeff Busby

A glittering celebration of twentieth century pop music, the Australian premiere season of Beautiful: The Carole King Musical is blessed with a superb local cast.

Owing a debt of gratitude to megahit Jersey Boys, 2014 Broadway musical Beautiful weaves the songs of Carole King, and others,  into an account of her life story. Fans who are mainly aware of King’s earthy, personal album Tapestry may be surprised at her early career as a prolific pop song writer, when she co-wrote enduring hits such as “Some Kind of Wonderful,” “One Fine Day” and “Locomotion.”

While the cavalcade of hit songs will have greatest impact for Baby Boomers, a good proportion of the tunes will be known to all ages. Appreciative ripples of recognition greet the opening notes and words of many of the numbers, and the pristine performances of the songs is one of the show’s chief attractions.

While book writer Douglas McGrath makes every effort to link the songs to the personal narrative, the deliberate simplicity of the 1960s-era lyrics tends to undermine this. Towards the end of act one momentum flags with a series of songs sung by pop groups, but the focus returns to King and friends in act two as the story drives towards King’s eventual performance of her own songs.

It is difficult for a show about such a famous and successful subject to have an I wish song, so Beautiful opens with King at her peak in concert at Carnegie Hall, where she hints at the story to come by telling the audience that even when life doesn’t go the way you want you can still find something beautiful.

As a prodigious 16 year old growing up in Brooklyn, King sells her first song to producer Don Kirshner at New York’s 1650 Broadway building. She is soon ensconced in the building, churning out songs with husband Gerry Goffin and working alongside colleagues, and dear friends, Cynthia Weil and Barry Mann. Achieving money and fame so young, these kids could have become lost in the new freedoms of the 1960s, but they worked with competitive drive, egged on by Kirshner, to continually aim for that next number one hit.

Having dreamt of life in the suburbs, King was happy to become a mother at a young age, but encountered difficulties in her marriage to Goffin, who suffered from bipolar disorder. Mental illness is almost never referenced in musical theatre, and its presence here adds not just a sense of gravitas but also a grey area in terms of sympathy for the characters.

Already a proven talent, Esther Hannaford reinvents herself yet again as an unprepossessing New York girl with a breathy singing voice. Hannaford’s portrayal of the self-deprecating King benefits from her superb comic delivery, which is neatly countered by her success at capturing King’s raw vulnerability. This is a towering performance, all the greater for the way Hannaford makes her work appear so natural and easy. The show draws to an end with a string of Tapestry hits, and by this point the audience is so completely in Hannaford’s thrall that the line is blurred between performer and character.

Each of King’s song-writing colleagues is perfectly cast. Carrying much of the show, the lead quartet of young performers generate winning chemistry and, like their real life counterparts, are all quite gorgeous.

Josh Piterman is in superb form as Goffin, convincingly taking the character from a high school heartthrob to a husband and father tormented by his own unavoidable failings. The role provides welcome chances to enjoy the splendour of Piterman’s singing voice, but his key achievement is in the unflinching and affecting portrayal of Goffin’s mental illness.

Amy Lehpamer defines the term dream casting as self-confident songwriter Cynthia Weil. Lehpamer infuses a healthy dose of energy from her first scene, when Weil auditions for Kirshner with her own snappy lyrics to “Happy Days.” Blessed with much of the best of Alejo Vietti’s costume designs, Lehpamer looks divine and, more importantly, sings superbly and also underpins Weil’s brittle, driven nature with lashings of warmth and heart.

In a highly auspicious main stage debut, recent WAAPA graduate Mat Verevis more than holds his own alongside his more experienced cast mates. Barry Mann’s unflagging hypochondria is a bit of a one-note arc, but C makes the man entirely likeable. A gifted singer, Veveris delivers a thrilling rendition of “We Gotta Get Out of This Place” in act two.

Anne Wood brings her signature verve to King’s mother Genie Klein, lacing Klein’s well meaning platitudes with an acerbic undertone of thinly veiled judgement. Mike McLeish plays the thankless role of straight man Kirshner with solid presence and a twinkle of good humour.

While the main focus lies squarely on the four leads, the show features a multitude of opportunities for the hard working ensemble, and Vietti provides a multitude of stunning costumes. The Drifters score laughs with a knowing wink to the audience as they perform their deliberately cheesy choreography. Chloe Zuel stands out with a vivacious performance as babysitter-turned-pop-star Little Eva.

The production gleams in the newly renovated Sydney Lyric. Scenic designer Derek McLane and lighting designer Peter Kaczorowski have collaborated to craft a fluid set that sparkles with an inner glow. The abstract rear backdrop is a clever collage of musical instruments and sound equipment.

Beautiful makes no apologies for its status as a piece of light entertainment (it’s right there in the title). For an evening of warm nostalgic pleasure it is very hard to beat.

Beautiful plays at Sydney Lyric Theatre.

Photos: Joan Marcus (yes, that Joan Marcus)

In a timely and glittering new production, Hayes Theatre Co has attracted an extraordinary cast to present Stephen Sondheim and John Weidman’s pitch black musical, Assassins.

Created with complete respect to the original concept, yet feeling fresh and new, this production is a thrilling 105-minute rollercoaster ride of insidious malevolence, blatant self-righteousness and wickedly mischievous humour. Director Dean Bryant clearly reveres the text, and has added ingenious layers and moments that shine further insight onto the masterful musical.

Casting such a critical light on America and Americans, and deliberately crossing a line in the portrayal of evil, the brilliance of Assassins has received little love in the US. An Australian production can explore the work and have audiences appreciate it for what it is without the interference of national spirit (perfectly valid and understandable though this spirit may be).

Despite the relatively small playing space of the Hayes Theatre, the production can justifiably be called lavish. Bryant, designer Alicia Clements and lighting designer Ross Graham have clearly worked together closely to craft a fully realised staging of Bryant’s concept. The abandoned fun park setting can glitter with gorgeous colours or throw haunting shadows across the stage. The staging is seamlessly fluid, presenting the various scenes and songs as distinct items in a revue.

Dispensing with chorus performers, Bryant has created a true ensemble show. Invited on stage by the redneck Proprietor, the assassins remain in view throughout the show, haunting the fairground as they cling to their bitter memories and failed dreams. Rather than employing dual or triple casting, the assassins themselves play the featured roles and ensembles. The concept of characters from completely different time periods interacting with each other makes perfect sense in light of this concept.

Singing and acting talent throughout the cast is as evenly matched as could possibly be desired.

John Wilkes Booth, the original presidential assassin, is given the grandest entrance and, being an actor, goes on to play all the other Presidents. David Campbell is in blisteringly good form, demonstrating his keen intelligence as an actor.

Martin Crewes channels his energy and focus into portraying Giuseppe Zangara’s awful stomach pain, conveying the way the unrelenting agony infiltrates every aspect of the poor man’s life. As with each of the assassins, the idea that killing a president will cease their woes is presented as a perfectly valid and viable option to Zangara, and he seizes upon the sweet relief it will supposedly bring.

Bobby Fox brings a wicked, self-deluding sparkle to Charles Guiteau. Fox turns “The Ballad of Guiteau” into a real show stopper, nimbly performing Andrew Hallsworth’s best rope choreography since The Production Company’s Carousel.

Resplendent in a Jan van de Stool wig and purple pant suit, Kate Cole is delectably hilarious as clunky cuckoo Sara Jane Moore. The sight gag involving the fate of Moore’s poor dog is one of the best uses of a fast lighting cue I have ever seen.

Hannah Fredericksen is a winsome rag doll as gullible waif Lynette “Squeaky” Fromme. The look on Fromme’s face as Moore deals with her obnoxious kid is priceless.

With goggled-eyed Jackie Gleason expression, Justin Smith delivers the bubbling rage of Samuel Byck’s two monologues while staying well clear of overdoing the bluster. Using a bumper car for Byck’s taxi is yet another clever deign choice.

Connor Crawford immerses himself in the role of Jodie Foster fanatic John Hinkley Jnr. Crawford pulls off a brilliant moment when he begins the lovely ballad “Unworthy of Your Love” with his character’s feeble singing voice and poor guitar skills before neatly switching to the beautiful way the song sounds in Hinkley’s head.

Casting a young actor and dressing the character with a contemporary look, Bryant has The Balladeer represent the continuation of these stories via the youth of today. 2016 VCA graduate Maxwell Simon gives a breakout performance in the role; his composure, his look and his singing voice, not to mention his ability to readily cry on cue, augur very well indeed for future roles. Preparing for the scene with history’s ultimate assassin, the other characters aggressively set upon the Balladeer, stripping him of his clothes so he can transition to Lee Harvey Oswald.

Jason Kos brings a raw masculinity to Leon Czolgosz, capturing the character’s ongoing incomprehension in the ways of the industrialised world.

Not playing an assassin, Laura Bunting enters as self-declared anarchist Emma Goldman for her scene with Czolgosz. In an inspired moment during “The Ballad of Czolgosz,” he draws strength in his goal to shoot the president when he sees a vision of Goldman.

Bryant wisely pulls back from using the Assassins in the moving 11 o’clock number “Something Just Broke,” having them silhouetted upstage with the spotlight on a lovely performance from Bunting. She is then left there downstage, crying for America’s loss of innocence as the assassins grin at the havoc they have wrought.

As each of the assassins have their scene in the spotlight, the Proprietor (Rob McDougall) sits gleefully side of stage leafing through vintage posters of the relevant Presidents like a kid at a footy match going through his footy cards as he watches his idols in action. While lyrics such as “Every now and then the country goes a little wrong” are incredibly prescient, the final image displayed by the Proprietor still draws gasps.

Not for the faint of heart, this production of Assassins is a compelling spectacle for lovers of Sondheim and of serious musical theatre.

Assassins plays at Hayes Theatre, Sydney until 22 October 2017.

Photos: Phil Erbacher

The perfect size for a boutique musical production, They’re Playing Our Song launches new independent musical theatre troupe Company Eleven with great flair.

The intimate new space of MC Showroom, Prahran allows the audience to be up close and personal with the quirky pair of lead characters of They’re Playing Our Song. The show is performed acoustically, a feat achieved all too rarely in recent times, with music and performance levels neatly balanced for easy listening.

Although the production clearly has a relatively modest budget, the staging is very well realised and the performances are of a standard that far belies the two-day season.

Based on the collaboration of real life composers Marvin Hamlisch and Carole Bayer Sager, They’re Playing Our Song can be described as a play with songs. In stark contrast to the usual production numbers that accompany the rise of the curtain, the beginning of each act features a significant dialogue scene. The duo’s songs are threaded throughout a delectably comical book by master playwright Neil Simon, which contains laugh out loud one-liners aplenty.

The rather romantic story is basically a love triangle with an unseen third wheel. Successful, uptight composer Vernon Gersch meets daffy, freewheeling lyricist Sonia Walsk, and the mismatched pair attempts to correct their compatibility so as to balance their work/life (or is that life/work) relationship. The path to success is a rocky one, with any momentum being quickly derailed by lingering Leon, Sonia’s needy ex-boyfriend.

Young director Sam Hooper shows a very confident hand, establishing ideal performance levels for the small space. Sonia’s mania could easily be overwhelming in a close theatre, so Hooper dials this back to more of an inner mania, achieving performances from both lead players that really draw the audience towards the characters. The characterful comedy is played oh so straight, making Simon’s work all the funnier.

Hooper’s choreography for Vernon and Sonia is as funny as anything seen on Kath and Kim.

Designer Tessa Robinson has achieved an authentic late 1970s vibe, and the scenic elements are easily rearranged to creatively represent the various settings. Sonia’s penchant for theatrical costumes is beautifully achieved, providing many a visual gag.

In a very clever use of space, musical director Chris Nolan sits directly opposite Vernon’s keyboard, allowing Vernon’s tickling of the ivories to be achieved directly in sync with the live music. Toshi Clinch, on bass, and Luke Singleton, drums, complete the tiny band, and the talented trio shows great restraint in playing at volumes that allow the unamplified vocals to be easily heard.

Lighting, by Celine Khong, appears quite simple but is deceptively well designed, creating mood, establishing time, drawing the eye to various positions on the wide stage and creating interesting effects, such as the passing flicker of street lights on the difficult drive to Long Island.

Glenn Hill is splendidly cast as Vernon, his natural curls forced down into an errant marcel wave in a way that an uptight man would surely style his hair. In line with the restrained performing style of Hooper’s direction, Hill conveys Vernon’s ticks and quirks as a tightly bound package that seems set to explode at any moment. Likewise, Hill sings with a natural, unforced tone that fits both the character and the space perfectly.

Alana Tranter is a delight as Sonia, bringing out the lovable side of the potentially irritating character with seemingly effortless grace. Tranter keeps Sonia’s insecurities bubbling away just below the surface without ever letting the pot boil over. Tranter’s singing is lovely, particularly in het act two lament “I Still Believe In Love.”

It is, of course, usually just taken for granted that actors know their parts, but given the very short season and the very large roles, it is worth mentioning just how completely secure both Hill and Tranter are in every regard of their performances.

The pinnacle of the two lead performances, and indeed of Hooper’s direction, comes in the final scene, when the journey achieved by Vernon and Sonia can be seen in their changed body language. It’s all there in Simon’s book, but it is the physical performances that really tell the story of how far these two songwriters and lovers have come.

The two-hander is slightly expanded by the inclusion of an inner voice for the two lead characters, a concept explained by Sonia as part of her song writing process. Baylie Carson, Belle Power, Sam Ward, and James Watkinson give polished, confident performances in these rather thankless roles. Special mention goes to Ward and Watkinson for the gorgeous harmonies created with Hill in act two ballad “Fill In The Words.”

They’re Playing Our Song plays at MC Showroom, Melbourne until 7 October 2017.

Photos: Tennille Mansell

Explosive energy threatens to blow the roof right off the theatre as StageArt presents the Australian premiere of 2010 Best Musical Tony Award-winner, Memphis.

Once again presenting a boutique musical with enough power to fill a theatre at least five times the size, StageArt has rewarded local audiences with a thrilling production of the Broadway and West End hit, daring to go where ultra-cautious, revival-focused commercial producers have dared not tread.

The story of the elevation of coloured music to mainstream popularity in early 1950s Memphis has its casting challenges, and StageArt has taken these gamely in its stride. The result is a terrific company of triple threat talents, anchored by a pair of extraordinary lead performers.

Budding radio DJ Huey Calhoun ambitiously and unreservedly pursues his goals of bringing music by black artists to mainstream popularity and making his love, Felicia Farrell, a star. At a time when inter-racial marriage was illegal, the pair face far more daunting obstacles that Laurie and Curly ever encountered; in fact, the story comes to an all too rare bittersweet ending rather than the usual happily ever after.

Most of Huey’s success seems to come from his ability to baffle the Memphis establishment into submission with unbridled quirkiness. Joe di Pietro’s book gives us a very unusual leading man, who is successful yet troubled by demons, confident yet frustratingly introverted and loving and passionate yet unromantic. Young actor James Elmer absolutely immerses himself in the role, perfecting Huey’s clenched drawl and distinct lack of charm. Despite the cantankerousness of the character, Elmer imbues enough of a good-natured sparkle in Huey’s eye for the audience to fall in love with him and his dreams. Elmer backs up his acting with a strong singing voice and even better dance skills.

Living doll Elandrah Erahima-Feo is perfectly cast as fragile yet feisty songbird Felicia Farrell. Completely believable as a burgeoning 1950s starlet, Erahima-Feo commits herself completely to the endearing role, breaking audience hearts at many turns. Possessing an incredible belt, Erahima-Feo brings down the house with act one’s “Someday,” repeating the effect in act two with “Love Will Stand When All Else Fails” (an anthem for today if ever there was one).

Both Elmer and Erahima-Feo are giving performances that would see them hailed as breakout stars in a mainstage production.

Director Dean Drieberg keeps energy high and pace snappy. Memphis tells an American story, yet racism and the quest for civil rights are universal. Drieberg ensures that the racial slurs and the acts of violence land with maximal impact, often drawing gasps from the highly engaged audience.

Tightly rehearsed choreography is something of a trademark in StageArt productions. Newcomer Kirra Siebel more than lives up to this standard, delivering eye-popping choreography that is a joy to watch. Towards the end of act one in “Radio,” black and white teens face off on the streets as coloured music grows in popularity. Where the Broadway production used a skipping rope, Siebel has reconceived the number to involve hopscotch to terrific effect.

To simply convey the story’s multiple locations, Drieberg has created an attractive, well-made unit set that is papered with a collage of vintage black and white music posters. Costume designer Emilija Tanner contrasts the vibrant reds, blues and purples of the coloured cast members with the dull grey attire of white folk who are not lucky enough to have experienced the musical revolution yet.

Melbourne’s go-to lighting designer Jason Bovaird has excelled himself again, providing so much rich colour that the static nature of the set is barely noticeable. Key characters are neatly picked out in white light in the midst of rich floods of colour, and lighting effects play a significant role in reflecting the dazzling energy and spirit of the characters on stage.

Musical director Nathan Firmin, conducting and on keys, displays a keen ear for the era, deftly providing fulsome accompaniment from the band of five musicians. Marcello Lo Ricco’s sound design is reliably pristine.

Isaac Lindley is adorably expressive as Gator, a young man who has not spoken since he was five. Mandi Lodge hides her belt under a bushel until finally breaking out and cutting loose in act two showstopper “Change Don’t Come Easy” (yet another anthem for today).

Strong support also comes from Iopu Auva’a (as Felicia’s protective brother Delray), Nik Murillo (as hot discovery Bobby Dupree) and Greg Pascoe (in the authority roles, most notably as store owner Mr Collins and Radio/TV manager Mr Simmons).

Such is the quality of work by the ensemble cast it would be remiss not to name them all: Lucas Biondo, Bianca Bruce, Tanisha Buhanec, Wem Etuknwa, Agnes Fifita, Laura Greenhalgh, Stephanie Marion Wood, Lachlan Nash, Tsungirai Wachenuka, Callum Warrender, Jason Yang-Westland and Vidya Makan.

For musical theatre lovers of Melbourne (and beyond), Memphis is a show that simply cannot be missed.

Memphis the Musical plays at Chapel off Chapel, Melbourne until 28 October 2017.

Photos: Jayde Justin

It seems that when StageArt are not too busy presenting Australian premiere musicals, celebrating diversity in casting or providing affordable high quality entertainment, they are shining the spotlight on new, original Australian musical theatre works.

While other theatre companies might enjoy a night off on a Monday or Tuesday, StageArt are turning their theatre over to a pair of new Australian musicals as part of their 2017 season of StageArt Xposed. Currently enjoying massive success with the Australian premiere of Broadway hit Memphis, StageArt are showcasing streamlined presentations of new works Beautiful Things and Lay Down Sally.

Beautiful Things is penned by multitalented Melbourne musician and writer Drew Downing, who has put together a 55-minute workshop version of his ongoing project for this season.

If this presentation is meant to be a “workshop,” it seems that everyone involved did not get the memo. Beautiful Things is fully orchestrated, lit, costumed, directed and choreographed, and features fully realised performances by its terrific cast of six energetic performers. On this opening performance, the company was at optimum level from the moment they stepped on stage, and the energy never flagged. The laughter flowed, the time flew by and the house buzzed with good fun and positivity.

Not to be confused with classic gay-themed play Beautiful Thing, the musical focuses on a team of four rambunctious guys known as GLEAM (the Good Looking Engagement and Aesthetics Movement). Their backgrounds come to light as the team members are interviewed on a talk show as part of their world tour.

At a time of diversity, inclusion and political correctness, the joke here is that the guys are trying to represent the rights of people who really do not need any help at all. Deeply shallow, the guys relish their physical beauty and are not afraid to flaunt it.

The snappy repartee of Downing’s book provides may laughs, but there is an absence of an overall arc in this reduced version. The talk show setting is more of a scenario, and there is no twist or light bulb moment for any of the characters, who all end the show as they began it.

The songs are fabulous, indicating Downing’s innate skill with catchy tunes and toe-tapping rhythms. A rocking band of six musicians plays Downing arrangements, and the music is completely infectious. It can only be hoped that Downing sticks with musical theatre composition, as he could easily be snapped by the pop music industry.

Each of the four leading men presents a distinct character, and each sings and dances with great style. Adam Perryman is buff personal trainer Beau, Danny Medica is heartbroken ex-rocker Jason, Henry Brett is vague model Kosta and Bradley Marshall is driven plastic surgeon Dorian.

As interviewer Parker Heer, experienced actor Ana Mitsikas smooths over some of her more crass dialogue with a welcome touch of class.

In a series of flashbacks, Kosta sees himself as a child, and very young actor Samuel Boyden just about steals the show as sassy Young Kosta. Boyden completely maintains focus during his first monologue despite the presence of a crying baby in the auditorium (!!) and drops the F-bomb with shocking aplomb when required. Boyden is definitely a star of tomorrow, and one to keep an eye on in future engagements.

Beautiful Things plays again on Monday 23 October 2017 as part of StageArt Xposed 2017 at Chapel off Chapel, Melbourne.

Photos: Robbie Carmellotti

Celebrating their tenth anniversary season, local Melbourne company OSMaD serves up another pristine production. The gorgeous music of Chess is heard at its very best with a 22-piece orchestra, strong leads, large chorus and pit singers.

Written at the peak of the British mega-musical era, Chess may not have achieved the more enduring success of counterparts such as The Phantom of the Opera and Les Misérables, but there is no denying the lasting beauty of its rapturous score. Benny Anderson and Björn Ulvaeus penned sumptuously romantic ballads and duets, crossing deftly between light rock and operetta.

In line with the mega-musical style, Chess is through-sung, and while Tim Rice’s lyrics may be excellent, the cohesiveness of the book has long been the show’s weakest attribute. Unlike almost every other licensed musical, Chess gives producers explicit permission to tinker with the book. The 2008 staging of Chess in Concert improved the story’s clarity greatly. This production, which uses all the snippets of dialogue, including some tweaks by director Alan Burrows, nails the storytelling, presenting the show as the gripping drama it was always intended to be.

Using the game of chess as an allegory for political machinations, Chess puts a personal face to the implications of the Cold War, pitting an American champion against a Russian contender who later defects.

With the support of his creative team, Burrows begins the show in striking fashion, outfitting the company as black and white pawns as the Arbiter tells “The Story of Chess.” Even those unfamiliar with the show will discern that the prologue’s king, queen and rook in white and black are to be the key characters of the night.

Not only does this opening sequence make a strong statement about the direction of the story, it also makes immediately clear the very high quality of the music. Setting aside the fact that a professional production can cast the best available singers as leads, OSMaD’s combination of lush orchestra, exacting musical direction (Martine Wengrow), superb chorus and pit singers and excellent sound design (Glenn Bardwell) make this the best choral performance of Chess I have heard to date.

When the chorus returns for the second number in a complete costume change, and then another, and then another, it soon becomes clear that costumes are to be a key highlight of the production. Costume designer Katrina Stanley has assembled an incredible array of outfits, channelling many of the colourful excesses of the 1980s (the Russian, Anatoly, seems to be the only one who has missed out in this regard). Highlights include the festive Tyrolean costumes of the residents of Merano, the Arbiter’s frilled electric blue jacket and glossy white platform shoes, and Florence’s extensive chic wardrobe.

Having costumes as a feature while the set remains mostly static proves a wise choice. Multiple locations can be suggested with costumes, and changes of furniture, on a scale that would be difficult to achieve with full sets. David Dare’s set design has the orchestra upstage and the floor and orchestra wall painted boldly in a reproduction of the musical’s original marketing image of orderly chessboard squares falling into chaos.

Dare supplements the stage design with three overhead screens. These not only aid the storytelling by displaying images relating to time and place, but Burrows also makes canny use of the ability to show video footage. From their hotel room, the Russian camp watch footage of American Freddie Trumper shoving the press; during “1956 – Budapest is rising,” black and white archival footage expands on Florence’s explanation of the hell her family endured at the hands of the Russians; when Anatoly’s wife Svetlana is introduced, home movies show the happy family he has left behind to defect from Russia and be with Florence.

As just one facet of her exemplary musical direction, Wengrow slightly decreases several tempi to successfully bring more clarity to the lyrics. I have heard the score countless times (both live and recorded), and there were some phrases I understood for the first time in this production.

Choreographer Dianne Crough adds significant visual impact to the staging, not only contributing lively choreography for the big chorus numbers but also enhancing smaller scenes with additional movement. Crough proves adept at a wide range of styles: the company frolics merrily in “Merano,” the “Merchandisers” have the vigour of a pep rally, and “The Arbiter” has the style of a 1980s music video clip. The use of dancers during the matches “Chess #1” and “Chess #2” is perhaps a little distracting, but nonetheless quite beautiful.

Graduating from ingénue roles, Emily McKenzie gives a performance of great maturity, depth and flair as Florence Vassy. McKenzie brings a vulnerability to a woman who could be seen as self-serving, raising the stakes of her romantic attachment to Anatoly and making Florence’s quest to find her father all the more believable and affecting. McKenzie’s rendition of hits such as “Nobody’s Side” and “Heaven Help My Heart” is a pleasure to hear.

As Russian Anatoly Sergievsky, Owen Clarke captures the imperturbable façade of a champion chess player, keeping the man’s dilemmas bubbling just below the surface. Clarke’s performance of classic tenor ballad “Anthem,” which closes act one, had audience members still swooning at interval.

Robbie Medica throws himself wholeheartedly into the role of American Freddie Trumper, an unlikeable lead character if ever there was one. In a role that is almost un-singable, a few of the very highest notes are a bit of a strain for Medica, but his overall singing in the role is very good. In Medica’s performance of “Pity the Child,” which reveals a sympathetic back-story for Freddie, he still retains a hard edge to the character rather than indulge in melodramatic angst.

Ian Frost brings his highly characterful expression to the role of American television executive Walter de Courcey. Nic Russ has pizazz and presence to spare in his glamorous incarnation of The Arbiter. Zak Brown, surely Melbourne’s best non-professional bass baritone, pours forth his powerful, deliciously burnished vocals as manipulative Russian schemer Alexander Molokov.

After just catching a glimpse of Candice Sweetman in the prologue, we are kept waiting until act two for her true entrance as Svetlana Sergievskaya. Anatoly’s wife is unearthed by Molokov as a means of controlling the result of Anatoly’s performance in the world championship game in Bangkok. Sweetman portrays Svetlana as a staunch survivor rather than a victim, making her a worthy adversary for Florence in their competition for Anatoly’s affection and attention. Sweetman’s delivery of choice ballad “Someone Else’s Story” is wonderful, and when Sweetman and McKenzie combine for classic duet “I Know Him So Well,” the result is quite extraordinary.

The review would not be complete without another mention of the outstanding work of the ensemble. The choral singing is magnificent, and the amount of acting and dancing also performed by the chorus in a wide range of roles is extremely impressive.

Chess plays at Geoffrey McComas Theatre, Melbourne until 28 October 2017.

Photos: John Shelbourn

CLOC Musical Theatre revives seminal Broadway classic A Chorus Line in a production that neatly balances a fresh interpretation with respectfully traditional elements.

Based on the experiences of actual Broadway dancers, the well-known scenario needs little introduction. Broadway has well and truly bounced back from its mid-1970s death knell, and although musical theatre may not be part of popular culture in the way it was in the time up to the Golden Age, Broadway is thriving today, with tickets prices rising exponentially.

If the experience of dancers lamenting and fearing the end of their art form is not immediately relevant today, the shared experience of growing up in uncertain times most certainly is. Richard Perdriau’s expert direction keeps an unflinching lens on the raw, exposed discomfort of the dancers as Director Zach peels away their layers of artifice and defense.

When CLOC last presented A Chorus Line back in 1998 (at their old home, Alexander Theatre, Clayton) the cast seemed well populated with performers who were experienced in lead roles. This time, it seems very appropriate that the two most experienced performers, particularly in terms of CLOC shows, are the actresses playing Sheila and Cassie. The bulk of the cast members are relative newcomers, attracted by the iconic show and its revered characters.

Perdriau introduces some new action into the show. Much in the way that the modern HBO-style television drama will cut away to flashbacks that inform the present, Perdriau adds upstage scenes, muted into soft focus by a scrim or gauzy curtains. These scenes not only enhance the text, but also make excellent use of the additional performers in the cast who are cut from the audition after the opening sequence.

During “At The Ballet,” actual ballet is seen, and this progresses into ballet class which Shelia, Bebe and Maggie join as they continue singing. During Diana’s big number “Nothing,” her acting class is seen, and her actions mirror the recollected Mr Carp as he tells her she will never be an actress. In “The Music and The Mirror,” Cassie dances with four anonymous men, expanding her recollections from her time with Zach to a procession of lovers on both coasts.

Perdriau also contributes the set design, and has worked closely with costume designer Victoria Horne to create an authentic 1970s aesthetic. The coloured stripes on the mirrors will take audience members of a certain age straight back to the ‘70s. The mirrors have a life of their own, choreographed by Perdriau and moved with precision by the ever-reliable CLOC crew.

Horne’s dancewear designs make clever use of colour to distinguish each dancer. A number of brief leotards add to the exposed feeling needed for the scenario. David Wisken also contributes several tousled wigs that add to the ‘70s vibe.

The settings for the climax are wonderfully lavish, and combine with Horne’s eye-popping gold outfits to create a truly spectacular finale.

Adding significantly to the visual picture is the excellent work of lighting designer Jason Lord. Besides the mind boggling job of picking out 17 individual performers in pinpoint spots, one of Lord’s key achievements here is the simple beams of light streaming down from he darkness behind the line of auditionees.

Working with an extremely talented cast, David Harford has crafted choreography that includes all the expected moments that are built into the music while adding a vibrant sense of energy that transfers directly across to the audience. The choreography is tight and well disciplined, while retaining a characterful edge.

The additional blessing of the present day triple threat performers is that they can sing the score superbly. Music director Daniel Heskett presides over a band of 16 musicians to deliver a festive, upbeat performance of the almost constant music. Instrumental and vocal music are expertly balanced by sound designer Marcello Lo Ricco, who achieves particular success in highlighting lead singers over the chorus.

It is very difficult to mention highlights from individual performers given the extremely high level of talent throughout the cast.

As previously mentioned, two dancers have a high profile at CLOC. Playing a 30-year-old means that Tailem Tynan must surely have been thirteen years old when I danced with her in CLOC’s Anything Goes in 2000 (and this was not even the first of her 16 CLOC shows). Tynan is a delightfully droll Sheila, balancing the character’s world-weary humour with her hard-won dignity.

How many actresses on the world stage can go from Madame Thénardier to Cassie in the same year? Melanie Ott is in superb form as Cassie, capturing the aching vulnerability of a successful woman who has to start again. Ott belts out “The Music and The Mirror” to thrilling effect.

Shaun Kingma, another CLOC veteran, is very well cast as director Zach. Kingma’s voice carries rich expression that conveys every possible emotion while he is, for the main part, heard but not seen.

Also progressing on from CLOC’s May 2017 Les Misérables, Emily Morris is sunny and sassy as Val, and India Morris demonstrates exceptional dance technique as plucky Bebe.

Of the CLOC newcomers, standouts include, but are certainly not limited to: Kiane O’Farrell, who is strong in “Nothing” but really shines in Diana’s gentle rendition of “What I Did For Love”; athletic Dylan Henry, who dances assistant choreographer Larry with sharp precision; nimble Mitchell Chapman, who raises the energy early in the show with a terrific performance of Mike’s “I Can Do That”; Shaun Pirovano, who draws in the audience with a nicely understated performance of Paul’s big act two monologue; and Abbey Hansson, playing Maggie, whose amazing voice and terrific dance skills make her one to watch out for in future productions.

A Chorus Line plays at National Theatre, Melbourne until 28 October 2017.

Footnote: having repeated two shows this year (and another revival on its way in 2018), I’d like to chance this opportunity to encourage CLOC to trust its faithful audience and take a gamble on some new shows. A number of recent Broadway musicals come directly to mind, including: Nice Work If You Can Get It, Bullets Over Broadway, An American in Paris, The Light in The Piazza, Finding Neverland, A Gentleman’s Guide to Love and Murder, Newsies. Why not venture where commercial producers are scared to tread?

Photos: Ben Fon

An intelligent update and a terrific cast make Brigadoon an immensely satisfying offering from The Production Company.

Crafted in a form we now take for granted, Brigadoon’s origin came at the dawn of Broadway’s golden age, when the seamless weaving of story, song and dance was as exciting and innovative as Hamilton is today. Much credit for the success of Brigadoon has been attributed to Agnes de Mille, choreographer of the original 1947 production, whose dances enhanced characters and added dramatic depth.

This production encapsulates the very best of what makes The Production Company such a treasured asset in the Melbourne musical theatre landscape: the re-enlivening of an all too rarely seen classic show, and the perfect blend of established talent with up-and-coming stars of tomorrow.

In only his second engagement at The Production Company, director Jason Langley shows what can be achieved with a carefully considered update that respects the show and aligns strongly with the original authors’ intentions. Brigadoon is customarily updated to begin in the year in which it is produced, and Langley has capitalised on 1717’s contrast with 2017 technology and political correctness, also using the present day for a deliberately jarring return to the glitzy yet superficial reality of modern New York.

Alterations within the main body of the libretto show are where Langley really makes his mark. Sexist attitudes are retained, yet partially softened by changing the parent of Fiona and Jean from Mr to Mrs MacLaren. In another change of gender, having Mrs Forsythe explain the “miracle” created by her husband, who died in the process, adds a sentimentality beyond just having fellow elder Mr Lundie explain the backstory.

In a moment of high drama at the wedding celebration, Langley has troubled youth Harry not just kiss the bride but also violently strike her. This shocking action adds to the audience’s attitude towards Harry, whose death now occurs violently in full view rather than off stage.

As well making these tweaks to Lerner’s book, Langley is also to be highly commended for achieving such a deft balance of genuine comedy, poignant romance and affecting sorrow. Any potential corniness or melodrama in the 70-year old musical are neatly sidestepped.

While the staging corresponds to previous presentations, with minimal scenery and the orchestra on stage, Langley has worked with his creative team to present a fresh and interesting appearance. Positioned well upstage, the orchestra disappears into the silhouetted hillside when not playing. Projections on a downstage scrim curtain add to the magic as the town of Brigadoon appears and disappears.

Lighting designer Matt Scott contributes significantly to the magic and beauty of the staging. Set designer Christina Smith gives the staging a tactile texture, with dozens of cemetery crosses floating overhead and also attached to the central multi-purpose platform unit. The rear stage wall features a relatively simple yet visually striking combination of scrim framed by lower and upper panels that conjure landscapes and horizons.

Completing the visual appeal are the wonderfully layered costumes by Isaac Lummis. Using a creative range of fabrics and furs, Lummis distinguishes each member of the cast. Trent Whitmore’s wigs complete the characterful styling. The wedding features the town’s best tartans, and although this has not been used to denote clans, it is a gorgeous pageant nonetheless.

To achieve an audience-friendly running time of 140 minutes (including interval), the show zips along with zesty energy. Musical director Michael Tyack keeps tempi brisk and lively, enhancing the appeal of Lerner and Loewe’s charming score for modern ears. Loewe’s music sounds glorious as played by the 21 musicians of The Production Company Orchestra.

While the majority of the audience will not notice that some of de Mille’s dances are trimmed or excised, it is a shame that the triangle between Harry, Maggie and Charlie is lost. Impressive sequences that are retained by choreographer Cameron Mitchell include the bold Sword Dance at the wedding and Maggie’s mournful Funeral Dance. Choreography throughout the production is joyful, energetic and well integrated.

Fresh from his starring role in the Australian tour of Singin’ in the Rain, Rohan Browne clearly demonstrates the strides he has taken in cementing his position as one of Australia’s top triple-threat leading men of the musical theatre stage. Browne brings fresh appeal to Tommy, convincingly conveying his swift rebirth from disillusioned New Yorker to passionate lover. Mitchell plays up Browne’s dance ability by adding light-footed choreography for Tommy. Browne sings Tommy’s romantic ballads with gentle flair, moving naturally from speaking to singing.

Young soprano Genevieve Kingsford is a delight as Fiona, her soaring voice perfectly suited to the gorgeous songs. Enjoying charming chemistry with Browne, Kingsford is just as convincing in portraying how Fiona quickly falls in love. Kingsford’s portrayal of Fiona’s sorrow secures the emotional heart of the show, and her performance will surely win her many new fans.

As Tommy’s wisecracking friend Jeff, Luke Joslin is in top form, landing all the laughs with finely honed comic timing.

Recent Helpmann Award-winner Elise McCann makes an auspicious and long awaited TPC debut as saucy maiden Meg, a clear counterpart to Oklahoma!’s Ado Annie. McCann brings out all the humour in the role, but the most exciting aspect of her performance is her sensational singing, taking “The Love of My Life” and “My Mother’s Wedding Day” well beyond being merely comic numbers.

A pair of very recent musical theatre newcomers are given well deserved exposure in Brigadoon.

2016 WAAPA graduate Matthew Manahan continues the sensational form he showed in the title role in Paris. From his first entrance as bright-eyed bridegroom Charlie, Manahan raises the stage energy considerably, performing with enthusiastic, yet well-disciplined, verve. Manahan’s tenor voice soars through ballads “Go Home with Bonnie Jean” and “Come To Me, Bend To Me,” reflecting the exciting stage future he has ahead of him.

Joel Granger, who graduated WAAPA a year earlier, takes a dramatic detour from the charming characters he played in Melbourne independent productions Titanic and Ordinary Days. Granger commits himself to Harry’s stormy, sullen countenance, landing the physical action scenes with gravitas.

Stefanie Jones is reliably delightful as eager young bride Jean. Given only a snippet to sing, Jones displays her willowy elegance in Jean’s expressive dancing.

Experienced performers Stephen Hall (Mr Ritchie) and Sally Bourne (Mrs MacLaren) bring characterful presence and palpable warmth to their roles.

Living legend Nancye Hayes shines in a role that befits her revered status, playing Mrs Forsythe, the wisest elder in the town.

While the season’s success will largely depend on the appeal held by golden age gems, musical theatre audiences are very strongly encouraged to embrace this wonderful production of Brigadoon.

Brigadoon plays at State Theatre, Arts Centre Melbourne until 5 November 2017.

Photos: Jeff Busby

Menier Chocolate Factory once again proves that bigger isn’t better, presenting a lively, immersive  staging of classic 1980 musical Barnum.

The season of Barnum coincides with the current big screen release The Greatest Showman, and the storytelling elements between the two versions of the life of show business impresario P. T. Barnum marry quite well. Hearing the gloriously hummable Cy Coleman score again certainly raises the question as to why Hollywood producers commissioned a new score when this toe-tapping beauty already existed.

In an interview in the program, Barnum’s book writer Mark Bramble states that the great man only mentioned his wife Charity twice in his autobiography. Liberal use of artistic licence has created a  Charity in the new movie who comes from far grander origins than the salt of the earth soul in the musical. The musical also covers more ground, moving on to cover Barnum’s political aspirations and Charity’s death.

The annual Menier Christmas musical is highly anticipated, and the theatre has gone above and beyond in creating a sense of occasion. The foyer has been made over on calico adorned with images and messages related to the show. The intimate auditorium has been been decked out like the inside of a red and white striped circus tent, with the audience seated right around the central ring.

Designer Paul Farnsworth adopts a gritty tone, using festive colours but avoiding the temptation to glamorise the costumes and sets much beyond what could hav been achieved in the mid-1800s.

Director Gordon Greenberg makes terrific use of the space, working closely with choreographer Rebecca Howell to provide a cavalcade of visual action. The ensemble are the absolute stars fo the show, trained in circus-styles feats but also delivering the usual singing and dancing expected of a chorus. The show really takes flight in full company numbers such as “Come Follow the Band” (which cleverly features the show’s band on stage) and “Join the Circus.”

On the other hand, at the show’s centre where there should be a supernova there is, unfortunately, more of a black hole. Barnum is one of musical theatre’s great leading roles, and has been played by the likes of Jim Dale, Michael Crawford and Reg Livermore. Marcus Brigstocke uses most of his energy remembering to be sure to alternately face the audience in each direction. His singing is ordinary and his acting is basic. Most disappointingly, at this performance Brigstocke fell three times in the climactic act one wire walk and had to finish the journey holding on to a chorus boy’s hand.

Laura Pitt-Pulford is a delight as Charity, bringing palpable warmth tho the role and singing beautifully. Charity anchors “One Brick at a Time,” and Pitt-Pulford leads the big number with great flair.

Celinde Schoenmaker sounds every bit the Swedish nightingale as opera singer Jenny Lind.

Harry Francis delivers a sensational solo dance as he performs Tom Thumb’s song “Bigger isn’t Better.” Topele Dorgu fairly oozes with confidence and style as she performs Joice Heth’s “Thank God I’m Old” and later sings the lead vocal in “Black and White.”

London based fans of musical theatre should not stop at one P. T. Barnum musical this winter. Barnum is a melodic treat, and the ensemble really brings the show to life.

Barnum was reviewed 8pm Tuesday 9 January 2018 at Menier Chocolate Factory, London where it plays until 3 March 2018.

Photos: Nobby Clark