The Drowsy Chaperone - Stirling Players (23 November 2024)

At one point deep into The Drowsy Chaperone, Man in Chair opines that musical theatre is the antidote to all that may be troubling you in the real world, if only temporarily. In this he is absolutely correct and this show is Exhibit A. Like our fourth wall breaking narrator, I was feeling a little blue going in. Throughout, I laughed as hard as I have in some time and came out feeling rejuvenated and back to my old self.

This is the second time I've seen a production of Drowsy after WAAPA's exceptional 2016 effort. It's fair to say it's one of my favourite musicals and director Kimberley Shaw and the Stirling Players have done it justice in a breezy and very funny incarnation. It's a bright and witty confection of a musical that is a real treat because of how joyously meta and over-the-top it is.

The tone is immediately established by Ben Clarke as Man in Chair in a fabulous performance. I hadn't come across Clarke before so the suggestion in the lobby beforehand about his version being a little different had me intrigued. That unique 'take' is initially masked as the show opens with him situated stage right in darkness, unsurprisingly to those paying attention... in an armchair. His opening salvo as he addresses the audience is wonderfully cheeky as he wonders if the show will be too long, if there will be - gasp - audience interaction, and if they're ever going to turn the lights on. The audience laughs because these are things we all wonder when we take our seats for any show.

When the lights do come up I quickly understand how this Man in Chair is indeed a little different. Clarke has learnt all his lines after they were translated into braille. There's a hint of improvisation, later confirmed by the director, however it's such an engaging turn that it matters nary a jot. He has us in the palm of his hands as the character provides a running commentary on the show within a show. 

The conceit is that Man in Chair is listening to his favourite 1928 musical on a record player and by doing so magically summons the characters to life on stage. There are all sorts of clever shenanigans that disrupt or halt the show including his need to offer facts about each fictional actor playing each fictional part; his favourite songs and the ones that don't quite work; and how musicals function in general. It's smart writing drolly executed which is irresistible to music theatre lovers. 

The story itself is about the impending marriage of Robert Martin (Max Leunig) to star of the stage Janet Van De Graaf (Danielle Battista) and all those who have a vested interest in that marriage not going ahead including Broadway producer Mr Feldzieg (Ben Mullings) who doesn't want to lose his star attraction. There are a couple of gangsters disguised as pastry chefs (Emily Botje and Lukas Perez) who heavy Feldzieg; the absent-minded hostess Mrs Tottendale (Megan Kelly) and her Underling (Benn Austin); Robert's Best Man, George (Oliver Temby); and Kitty (Ciara Malone), a scatter-brained ingenue with her sights set on replacing Janet. 

Then there's the most unlikely of pairings in self-proclaimed Latin lover, Aldolpho (Christian Dichiera) and the Drowsy Chaperone herself played by Sonni Byrne who is far more interested in a tipple or three than shepherding Janet away from her betrothed on their special day. It's a musical so of course the marriage goes ahead... and the other marriage... and the other one... oh, and there's one more for good measure. Conducted by the most unlikely of 'ministers' in Trix, the Aviatrix (Tashlin Church). 

The performances are excellent in terms of comic timing, a willingness to play big when called for (often), fun choreography by Jordon D'Arcy executed with flair, and some real chutzpah to the vocals. Battista grows in stature as the story unfolds and makes for a vibrant and emotionally fraught Janet with Show Off an early highlight and Bride's Lament an unhinged fantasy sequence that is likely to haunt my waking nightmares for some time! I'm a sucker for a tap dance routine so Cold Feets led by Leunig and Temby is another highlight. In fact the whole musical is constructed as one marvellous set piece after the other with the linking narration by Man in Chair.  

Botje and Perez get to play shtick whilst delivering groanworthy pastry puns and a Toledo Surprise. Mullings and Malone form a screwball partnership with the latter bouncing all over the place with ditzy energy. Byrne and Dichiera are another combination that comes to life with gusto while Austin plays the straight man to Kelly's antics including the spit take sequence which is hilariously magnified by the height disparity between them.

Suitably, it's all presented as a brightly lit, fabulously costumed fairy tale that uses the full depth of the Stirling Theatre stage - Lighting Design by John Woolrych, Set Design by Wayne Herring with Costumes by Lyn Hutcheon. The 15 piece Orchestra under Musical Director Isabella Bourgault play the wonderful score with style off in a side room. They initially overwhelmed the start of the opening narration but Sound Operator Kieran Ridgway quickly adjusted the balance and it was spot on after that. 

This is a gloriously fun show. Music theatre lovers will adore it but it's easily accessible to anyone who loves witty writing, larger than life performances, and a joyous vibe. The Drowsy Chaperone is on at the Stirling Theatre until 7 December. 

The Sound of Music - Melville Theatre Company (17 November 2024)

The success of any production of the beloved The Sound of Music is always going to hinge on the performance of Maria. In Hannah Charlotte the Melville Theatre Company has found its star who sings the iconic songs beautifully, sets the tone and leads the large company with style, and works seamlessly with the seven Von Trapp children, another barometer of success. Perhaps not quite as successful in depicting the romance with the Captain, it's an impressive performance nonetheless. 

There is real charm to the production, driven by Charlotte's portrayal and some lovely turns by the children; notably Quinn Dally as a disarmingly forthright Brigitta, and 9-year-old Halle McDonald who is utterly adorable as Gretl. 

Nigel Goodwin is suitably stiff and uptight in the early going as Captain Von Trapp before the character softens on recognising the impact Maria is having on his children. The transition to falling for her isn't quite there but we get swept up in the romance as the storm clouds of an encroaching Nazi Germany gather. 

In this it's a musical very much in two halves. The last time I'd seen the stage production was in Melbourne back in 2016 where, I confess, to being totally smitten with Amy Lehpamer as Maria. I'd forgotten though how many classic Rodgers & Hammerstein songs there are in Act One. It's a cavalcade of music theatre standouts - the title song, How Do You Solve A Problem Like Maria?, My Favourite Things, Do-Re-Mi, Lonely Goatherd, and Climb Every Mountain. It also strikes me, after recently seeing a modern musical which is relentlessly paced, how stately this is. It takes its time as it unfolds memorable song after memorable song with the story interspersed throughout. You sit back and savour the result. 

The second act, for me, isn't as successful because it gets a little bogged down in plot mechanics as politics and the subsequent threat to the Von Trapp family grows. Musically, there are a lot of reprises to those first act tunes leaving Edelweiss as the most notable song. We'll get back to that later.

This is a huge community theatre production with 22 listed cast members along with 13 Nuns and 3 Postulants. The roles of Marta and Gretl, the two youngest children, have alternates. So a company of forty. This lends the show a sense of scale and provides vocal depth and, in the case of the show opening Preludium, great beauty with so many voices in harmony. 

Director Neroli Sweetman has extensively used the floor space in front of the stage and the central steps leading up to it, again to give a sense of scale and spectacle. Guests in the second act party scene are stationed on either side of the floor; Liesl (Escher Roe) and Rolf (David Bell) sing the sweet Sixteen Going on Seventeen in front of the stage, left; the foot of the stage and stairs are utilised for the impossibly cute So Long Farewell. We even had three Nazis sitting next to us in the front row for the Kaltzburg concert!

The stage itself is well appointed with sumptuous furniture and rear screen backdrops to depict the Von Trapp household and, of course, the hills. Indeed, there is as large a number of designers and crew to support the size of the show, including two people listed for Continuity which is hardly surprising given the logistics involved. Musical Director Nick Navarra has used a backing track for the music which is sometimes a little too overpowering as it swells in grandeur, however, it has allowed him to focus on the vocal performances which are, mostly, excellent with one curious exception. 

Costume Coordinator Michelle Sharp has handled the task of costuming so many performers in so many styles with aplomb. From the more austere habits of the nuns to the clever evolution of the children's clothes as Maria's influence takes hold, to the opulence of the guests, practicality of the servants, and the severe trim of the Germans. It truly is shocking to see a swastika armband which is entirely the point.  

Sound by Mack Chidlow is generally good, however, microphone pickup was occasionally slow, especially in the larger numbers. Then there's the situation I didn't quite understand - Goodwin's mic was fine for dialogue but was surprisingly underpowered for his vocals. His singing, therefore, came across as tentative. I wasn't sure if that was because of the volume disparity or the volume disparity was because his singing wasn't as strong as certainly Charlotte's though he fared better in harmonies. It unfortunately cruelled Edelweiss which should have been an emotionally resonant moment.  

Other performers to catch the eye - Eilish Marie Blackmore as an empathetic Mother Abbess who guides Maria back to the Von Trapps and handles the challenge of the first act closer well; Peter Shaw and Imogen Porter as Franz and Frau Schmidt respectively who quietly add a little levity to proceedings until the mood turns as the Anschluss is enacted; Esher Roe as the oldest child Liesl in a lovely portrayal that couldn't be more removed from a role she played earlier in the year; and Darren Goodison who flirts with being too preening as Max Detweiler yet made me laugh with his "flowers and a certificate" shtick towards the end. 

This is a well-presented production of a perennial classic. Fans of the movie will lap it up. There were people happily singing along all around me. The scenes and songs featuring Hannah Charlotte and the children are simply a delight. Shout out to Choreographer Matilda Jenkins and Sweetman for staging these moments with obvious affection. A charming time at the theatre. 

The Sound of Music is on at the Civic Centre Main Hall, Almondbury Road, Booragoon until 30 November.  

Cast photos by Curtain Call Creatives

Crimson Gully - The Great Indian Theatre Company (16 November 2024)

Crimson Gully is the tale of several generations of women who work in the brothel of a fictional suburban town in India during the nineties. It explores the differing circumstances of how they came to be in this situation and their reaction to it. For some it is a way of life that ensures lodging and food. For another, it is the only thing she has ever known, literally having been born into her mother's trade. Another is cruelly tricked by a fake marriage proposal and forced into sex work. It is suggested that for the most beautiful there is a certain level of celebrity attached. Others feel trapped by a cruel economic reality and social status they cannot escape. The one who has been tricked slowly comes to accept her fate after, understandably, wanting to escape.  

Then there are the men who circle around the women - the clients, the young man who offers salvation via a marriage proposal, the heartless criminal element who profit off the women's 'labour', the corrupt officials who ensure the status quo, and a politician who callously proposes the brothel be torn down to build a hospital as an election promise. A promise he has no intention of keeping. 

There is also the female activist who is trying to save these women - from infection and disease, from exploitation, and from themselves in some cases. 

There's a lot going on and that may be part of the issue but we'll get to that later. For now, here are the elements I liked...

This is only The Great Indian Theatre Company's second major production after last year's The Final Line. The creative force behind the company - Sreekanth Gopalakrishnan - appears committed to mounting at least one of these productions at scale every year. It's a laudable ambition for the fledgling company.

The Acknowledgement of Country was tastefully done as the representative of one storied culture recognised the indigenous storytellers of the land on which this specifically India-set tale was being told. 

Unique elements that bring colour and vibrancy to the local theatre scene, especially costuming, traditional music and dance. There is a cultural specificity here that I appreciate and is embraced by the target audience.

The lead performance of Nidhi Wilson as Muskaan, the Rekha who is famed for her beauty. Wilson brings a playful sense to a character who is vivacious and more than aware of her power to seduce and bedazzle. There is great potential in her arc with Mit Singh as the young man, Madan, who embodies idealised love and causes Muskaan to consider a life outside of the only world she's known. 

Karthika Nair is another performer who slowly worked her way into prominence as the prized beauty who is tricked into sexual servitude. It's an incredibly difficult role that, as written, moves from desperation and fear to grudging acceptance and, eventually, an offer to sacrifice her own chance at freedom to assist Muskaan achieve hers. 

The production goes to some incredibly dark places as it wends its way to a bloody, overwrought conclusion. 

But here is where we need to talk about ambition meeting ability. 

Gopalakrishnan's script is trying to give us a holistic view of a town in all its aspects in much the same way as David Simon did for Baltimore in The Wire. One of the all-time great shows by one of the greatest writers/showrunners ever; told over five seasons and tens of hours of sublime television. At this stage Gopalakrishnan doesn't have the runway or the writing chops. Story strands disappear for long periods or feel extraneous. Plot mechanics feel designed to force a pre-determined outcome rather than coming from credible character choices. I'm also not quite sure what the play is trying to say. It ultimately turns into a quasi-revenge tale but that isn't clear for the majority of the production.

The biggest weakness is that characters rarely speak as living, breathing human beings. The dialogue is overstuffed with exposition and declamatory statements where characters either talk at the audience or at each other, not with each other in genuine conversations. This means the pacing of scenes is deathly slow because there are none of the rhythms and cadences of everyday speech patterns. This is compounded by the acting, most noticeably with the male performers, where the declarative dialogue is often shouted - there is no nuance or modulation. There is also a lot of searching for and mimicking of heightened emotion which simply doesn't land for what the story needs to work. 

As a writer I know how incredibly difficult it is to write compelling dialogue and weave multi-stranded stories into a thematically cohesive whole. It's something you have to work on and I hope Gopalakrishnan continues to do so. What may assist, as the company moves forward, is having someone else direct so there is a creative collaboration to interrogate and rework the script to bring out the best in characters, staging and performance. It would also help to focus on one or two story strands only at this stage and build towards these more epic productions which are fiendishly difficult for even the most talented of writers. 

I do not say these things to dishearten but rather to encourage. Both Crimson Gully and The Final Line contain compelling stories within those scripts told from a unique perspective. Stripped back, reshaped, and reconceptualised they have the potential to be powerful works. 

Cast photos by Albert Antony Roy

Come From Away - Koorliny Arts Centre (15 November 2024)

Where were you when...? 

The question that is asked when something of global significance has happened, usually catastrophic. The terrorist attacks on 11 September 2001 - 9/11 - changed the world forever. It led to three wars - Afghanistan, Iraq, and the so-called 'War on Terror'; ushered in mass surveillance of citizens under the Patriot Act with far-reaching implications beyond the US as Edward Snowden's revelations revealed; dramatically changed air travel protocols; with certain political elements using it to ratchet up anti-Muslim sentiment and the 'othering' of so many innocent people that continues to this day.

It was a Tuesday night in Perth when those planes hit the World Trade Center. They cut into an episode of The West Wing no less to report on the developing story. The images were, and remain, unspeakably shocking. 

Imagine if the answer to "Where were you when...?" was sitting in a plane diverted to Canada as the FAA shut down US airspace. Or, a resident of the town of Gander in Newfoundland where that plane and 37 others were incoming with some 7000 passengers. This is the true life premise for Come From Away. 

Why this is so compelling is that amongst the swirl of massive geopolitical implications that would define the beginning of a new century, a quintessentially human story is told. A story about compassion and empathy; about fear and uncertainty; about grace under pressure; about finding humour and connection even in the darkest of circumstances. It is in many ways a joyous story which has, by necessity, an underlying sadness. These are ordinary people - from around the world - caught up in an extraordinary moment.

Enough of the preamble as I'm burying the lede. Koorliny won the rights to stage the Western Australian amateur premiere and it's clear they know how special this property is. The attention to detail and execution on opening night is exceptional. I had not seen Come From Away before but knew something memorable was brewing after thunderous applause by a capacity audience greeted the end of opening number Welcome To The Rock. 

From there the production moves at a relentless pace. Yes, a fire alarm caused a brief show stop. By then the cast, musicians, and all involved had built up such good will that it didn't dampen the audience's enthusiasm at all. Well done to co-director Katherine Freind for clearly explaining what had happened to put everyone at ease. Then we were off again on a rollercoaster of emotions which culminated in a spontaneous standing ovation at final bows and raucous appreciation of the band as they played us out. I've not seen a surge of genuine affection like that in a long, long time. 

Thing is, they deserved it and then some. 

Let's start with the band. The band! They played the hell out of the infectious score that had me toe-tapping along happily. Take a bow Musical Director Kate McIntosh (Keyboard) and musicians Ben Clapton (Fiddle), Talitha Broughton (Whistles & Flute), Emily Ranford (Guitar), Christian Ingram (Bass Guitar), Nikki Gray (Drums & Percussion), and Dylan Randall (Ugly Stick). The music informs and enhances so much of the emotion and humour, played with such spirit. I loved that Clapton, Ranford and Randall were onstage during certain numbers adding a sense of community and vitality. 

All the production and design elements. The rustic set design (Stephen Carr) that captured the unusual and remote feel of Gander. The lighting design (Kat Brieden) that focussed my attention and highlighted characters and moments with clarity, so important with such a frantic pace. The sound design (Jonathan Hoey) that allowed that score and vocals to shine while letting scenes of high emotion breathe. The choreography by co-director Allen Blachford using diverse configurations of wooden chairs to depict everything from planes to buses to the interior of various town settings. An elaborate dance that was precise and playful when it needed to be. Costume consultant Melissa Kelly not only having to distinguish between locals and 'plane people' but plotting the hand-off of costume elements with the cast playing multiple characters. Prop designer Rebecca Foottit adding quirkiness as well as all the practical elements as the townsfolk realise the scope of what needs to be done. A cohesive team effort that created an awesome space for the cast to perform.

And perform they did. The cast of twelve hit the ground running and don't let up. There is an enthusiasm that is palpable from the opener and a respect for the stories based on real people. Strands and pairings slowly emerge along with featured roles. This is only a snippet of all the characters the cast bring vividly to life - Diane (Gillian Binks) and Nick (Colan Leach) starting a tentative yet sweet relationship; Beulah (Lucy Eyre) and Hannah (Mahali) forming a bond over their firefighter sons; Kevin (Tadhg Lawrence) and Kevin (Bailey Bridgman-Peters) whose relationship is buffeted by different reactions to their predicament. Maree Cole's Bonnie who's concerned with the welfare of the animals that were on those planes; Neil Young as the Mayor powering through to do what must be done; Phoebe Tempra's Janice as the novice reporter overwhelmed by the magnitude of what's happened; Rea Selepe's Bob who is initially more worried about being in 'redneck' territory; and Jason Nettle as Oz, a police constable on the island. Shannon Payette Seip is the trailblazing airline pilot Beverley Bass. They are all excellent - acting-wise and vocally while working seamlessly together as a company.  

Highlights are everywhere from the opening number to Mahali's superb rendition of I Am Here to Prayer led by Lawrence; Payette Seip's Me and the Sky; Young leading us into Screech In and so on. 

Directors Katherine Freind and Allen Blachford have crafted a marvellous production in all facets. It's the best community theatre musical I've seen since 2015's A Man of No Importance. A must see.

Come From Away is on at the Koorliny Arts Centre in Kwinana until 30 November. 

Cast pictures by Outatime Pictures 

9 to 5: The Musical - Art In Motion Theatre Company (2 November 2024)

Who here among us hasn't dreamed of getting one over on their boss? Particularly if that boss is unfair, unscrupulous, inflexible, and demanding. Sure, those thoughts may only occasionally stray into, ahem, abduction, poisoning, and the odd, poorly aimed gunshot or two. But when you're a woman working for a "sexist, egotistical, lying, hypocritical bigot" who can blame you for indulging in such fantasies? Of course, the imagination can be far more potent than reality when it comes to delivering a suitable comeuppance to someone like odious employer Franklin Hart.

The musical is based on the 1980 comedy smash hit of the same name that propelled country singer Dolly Parton into movie stardom alongside Jane Fonda and Lily Tomlin. The title song became one of Parton's biggest hits and an ear worm I won't be able to shake for the next few days! I vaguely remember the movie and it's interesting watching this tale of office revenge unfold in musical form over forty years later. 

The production is well sung and well played but I admit I was struggling a little with the story itself which is pretty thin and follows a, by now, well trodden trajectory. What did grab my attention though were the imagined sequences which are far more theatrical than the familiar office politics. This is where the show shines as it frees itself from the straight jacket of representing an everyday work environment, even one beset with inequity and misogyny. When the show launches into its own "He had it coming..." sequence of The Dance of Death/Cowgirl's Revenge/Potion Notion the production hits its straps as the three leads bring the sass and vibrancy that the long office set-up had largely denied them. 

Timid new employee Judy (Stacey Gobey), high on pot, transforms into a film noir-style femme fatale, all glamour and gun toting bravado. Doralee (Jen Gadeke) who is the object of Hart's lust and victim of unsavoury office gossip, turns the southern belle into a formidable cowgirl; and Violet (Sarah McCabe), overlooked and underappreciated, morphs into a murderous Snow White who's brewing up a potion to off the biggest rat of all. 

Hart himself, played by Aaron Lucas, shrinks before their wrath as they imagine ways to end his tenure in terminal fashion. These startling character changes are supported by clever costume reveals; complete switch in lighting palette; and the ensemble playing up to the inherent absurdity of it all, most amusingly in the fairy tale setting. 

Other imagined scenes that pop - the one that sets the template as Lucas embraces the lecherous nature of Franklin Hart as he objectifies Doralee in Here For You which is both funny and repulsive at the same time; in some ways the reverse perspective as the obsequious assistant Roz (Mary Carter) pines for Hart in Heart to Hart; and Violet getting her Roxie moment early in the second act with One of the Boys. 

Gobey is excellent as Judy, giving the divorcee a real sense of vulnerability as she adjusts to new circumstances before breaking out of her shell culminating in the impassioned Get Out and Stay Out.

Gadeke brings the southern drawl, the swagger, big hair, and bigger voice in the role Parton made famous. It's an eye-catching performance with Backwoods Barbie an early highlight. 

McCabe's office-bound Violet is very straight-laced and almost underplayed so the change up for the imagined scenes is a welcome contrast. She has a tender moment with Joe (Liam Tickner) in the ballad Let Love Grow. 

The three leads complement each other vocally with numbers such as I Just Might and Shine Like The Sun while embracing the increasingly screwball nature of the revenge arc. I also liked the variation in costumes to signpost their character traits with Gobey in dowdy outfits; Gadeke in figure hugging dresses; and McCabe in practical office attire.   

Lucas revels in the lewd nature of Hart before submitting meekly in the revenge fantasies including a fun costume choice that deflates Hart's ego in delicious fashion. This may be an odd thing to say for such a slimy character but his presence is missed for most of the second act. 

Carter impresses as Roz though the character, through today's eyes, is a little problematic in her fawning over a cad like Hart. Carter almost makes me feel sorry for her in 5 to 9 which is an achievement in itself. Tickner lends Joe a fundamental decency and there is a large ensemble that spice up the big dance numbers and provide comedic beats; notably Keri-Rose Baker as office lush Margaret, Terence Smith as the oblivious Dick, and Rp van der Westhuizen as salt-of-the-earth Dwayne. 

Musical directors Tara Oorjitham and Jasper Cruden marshal a 12 piece band who play the upbeat score with brassy flair. My initial concern about that size band situated in front of the stage with no pit was quickly alleviated as they accompany the mic'd up actors well. 

It's a busy set with lots of transitions but a large team of stagehands did so effectively and I liked the fold-out flats that were cleverly designed to present multiple configurations. Those and rear screen projections gave us a clear sense of place and, I must say, there was an impressive array of office props including a full-size office printer at one point.

Director Lys Tickner has drawn out some very strong performances here, however, I was far more engaged with the imagined sequences which are full of energy and creativity. The music is infectious and the songs are well performed. In the end our heroines triumph in toe-tapping fashion.    

9 to 5: The Musical is on at the Don Russell Performing Arts Centre until 10 November.