Memorable Performances 2012-2018

Oh my I've seen some wonderful theatre over the last seven years in Perth. Professional productions, community theatre, independent theatre, student productions, even high school shows.

The level of talent never ceases to amaze me, both onstage and off. Seen everywhere from the cavernous performance space at the Heath Ledger Theatre to various black box theatres dotted throughout the city to hubs like The Blue Room and the ECU campus at Mount Lawley. Then there are the pop up venues come Fringe time and the beautiful, oftentimes heritage listed, community theatres in the suburbs.

Here are some of the most memorable performances I've seen since 2012:

Declan Brown (Bennett) & Luke Binetti (William) - Punk Rock, WAYTCo, 2014

"Declan Brown gives a wonderful performance as the utterly loathsome bully Bennett. He is a physical presence that intimidates all of the others but it’s his use of pointed sarcasm and humour that hits home early before he goes too far with his humiliation of Chadwick."

"Then there is seventeen year old Binetti who gives a spellbinding performance as William... For that transformation and its consequences to be handled so convincingly is a testament to Binetti’s skill."

Brittany Morel (Kate) - All My Sons, WAAPA, 2015

"Brittany Morel is simply superb as Kate. The ferocity of Kate’s conviction that Larry is still alive results in a woman who is barely in control and Morel plays this with great skill... That this seemingly anguished and deluded woman turns into something far more potent in the third act is remarkable and Morel’s transformation is riveting..."

Prudence Daniel (Dot) - Sunday in the Park with George, WAAPA, 2018

Such an assured and confident performance. You simply couldn't take your eyes off Daniel as she handled the emotional and lyrical complexities of Dot with aplomb.  

Suzie Melloy (Anita) - West Side Story, WAAPA, 2014

"Suzie Melloy gives a star making performance as the feisty Anita – she is simply superb and a real charismatic presence."

Kingsley Judd (Pongo) - Animal, Upstart Theatre Company, 2013

"Nothing is wasted or misplaced here. It is beautifully acted by Kingsley Judd... who clearly relish(es) working with such quality material."

David Gardette (Alfie) - A Man of No Importance, Playlovers & Irish Theatre Players 2015

"... anchored by a superb, multi-layered performance by David Gardette in the lead role. His Alfie is at turns conflicted, sweet, passionate, naïve, understanding, unbowed and such a warm presence throughout."

Rhianna McCourt (Irina) - Three Sisters, WAAPA, 2016

"With an expressiveness that belies her age, McCourt lets Irina’s emotion flicker across her face to stunning effect... Shock, horror, loathing, resignation, desperate attempts to convince herself of the possibility of happiness, an abject longing to travel to Moscow, the love for her sisters and fondness for Ivan... are all communicated throughout the play without a word."

Kieran Garvey (Martin O'Meara) - Under Any Old Gum Tree, Dramafest, 2014

"... brilliantly performed by Kieran Garvey... powerful, moving, insightful, occasionally funny and a blistering exploration of the devastation the Great War caused on those who survived No Man’s Land."

Ashley Rousetty (Man in Chair) - The Drowsy Chaperone, WAAPA, 2016

"His tone is conversational and... he demonstrated excellent comic timing and warmth in addressing and responding to the audience. It’s a nicely judged performance as Roussety imbues the character with enthusiasm, passion, some snark sure but also tinged with an underlying sadness or being ‘blue’ as Man in Chair would put it."

Rhoda Lopez (Edith Piaf) - Madame Piaf, KNUTS Theatre, 2013

"Talking to (writer/director) Stephen Lee after the show, he reinforced what was apparent for all to see – sometimes an actor is simply perfect for a role. Rhoda Lopez gives a bravura performance as Edith Piaf."

Amy Russotti (Amy/Dr. Rickshaw) - Dr. Felicity Rickshaw's Celebrity Sex Party - Holland St Productions, 2016

"... but it’s Russotti who is the star here dropping in and out of the titular character with relish. Her lower lip trembles as Rickshaw mentally salivates over the steamy concoctions she conjures. It’s a tour de force comedy performance that never lets up..."

Giuseppe Rotondella (Eddie) - A View from the Bridge, WAAPA, 2016

"Rotondella as Eddie gives one of the finest performances I have seen at WAAPA in the last few years. There are so many layers revealed from the forthright, cocksure man’s man who is confident in his position and status to the slow unravelling of that certainty as Eddie’s pre-eminence is questioned by all around him."

Felicity McKay (Vanda) - Venus in Fur, Black Swan State Theatre Company, 2015

"Felicity McKay is simply outstanding as Vanda. Her accent work is excellent and she slides in and out of various characters with astonishing ease, each one of them utterly distinctive so there is no prospect of confusion. She runs the gamut from playful, sexy, sensuous, commanding, dismissive, brash and refined but always with an underlying air of intrigue about who this person really is."

Cameron Rouse (Blanche) - A Streetcar Named Desire, WAAPA, 2018

"The third year acting students crushed it out of the park led by Cameron Rouse who gave a stunning performance as Blanche DuBois. And I mean stunning."

Clarence Ryan (Jake) - Metalhead, Creative Collaborations, 2015

"Ryan is superb as Jake – all coiled anger and aggression both physically and verbally. It’s an exhausting role and his physicality is outstanding – the fight sequences are well choreographed but it’s the manhandling of Gibson and Hampson that was achingly authentic and had the audience wincing."

Fringe World 2017 - Shows at The Brisbane (28 January & 9 February)

Where Be The Winged Apes? - Emma O'Sullivan (28 January 2017)

An empty waiting room outside the door to Hell. The receptionist is missing and Satan is apparently sooking behind the door. A queue of people wait to get in headed by newly deceased bus accident victim Emma in a 'sequined catsuit'.

We know it's purgatory as a) it's hot (special effects, Perth summer) and b) The Girl From Ipanema has been playing on an endless loop.

So begins a very funny one-sided conversation between Emma and Satan as she tries to gain entrance to this 'minimalist Hell'. Smart, likeable, and energetic, O'Sullivan is totally engaging as she plays up to the audience and creatively uses the door as both prop and defacto representation of Lucifer himself.

Just when I thought the premise was beginning to run out of steam, O'Sullivan pulls a reversal that is well-timed and cheekily executed as she sticks the landing with aplomb.

A fun show upstairs at The Brisbane that is destined to win Best Use of a Venn Diagram in a Fringe Show! Last show Sunday, 29 January.

Guess Who's Coming To Dinner - The Immaculate Conception (9 February 2017)

I can truly say that this show engendered an epiphany with its rousing anthemic closing number that has changed the way I see the world, today, tomorrow, and the day after next.

Words that will never leave me. I could share these talismanic lyrics of wisdom but such potent life-changing advice really should be experienced in person.

Of course, the journey to such wisdom is fraught with obstacles and what better way to depict the conflicts of the world than at the time honoured saga of introducing your gay Muslim boyfriend to your Carrie-esque religious mother over dinner? The premise is pregnant with satire and conflict.

What's more, the original songs show an inherent understanding of the musical theatre form driving the narrative forward and illuminating the inner emotional lives of the characters. The Book and Lyrics by Lucy Ross who plays the mother are witty and subversive; the music by Benjamin Colley playful and expertly rendered by Tim How.

Colley plays the son nervous about introducing Ashley Rousetty's Mo to his mother. As the increasingly inebriated Gloria becomes more offensive, Mo rises to the challenge. It's funny and pointed with a healthy dose of satirical bite.

Highlights include the aforementioned ending, a blazing rendition of Amazing Grace by Ross, and a standout setpiece as awkwardeness turns to disbelieving laughter which is cleverly incorporated into song. And sing all three can with talent to burn.

One more show left this Friday night. Go see it, it could change the way you see the world. Just don't sing the closing lyrics to your pastor.

*originally published at facebook.com/perththeatrereviews

Top Ten Theatre Productions in 2016 - Musicals & Cabaret

It was an oddly muted year for musicals in 2016. The top end was spectacular as always with WAAPA’s exceptional The Drowsy Chaperone only pipped for top honours by the unstoppable La Soiree road train.

The Academy features in this category as it does every year joined by local independent powerhouse Holland St Productions. Rachael Beck returns after last year’s Next to Normal and Fringe proved to be a reliable source of musical theatre flavoured entertainment.

1. La Soiree – La Soiree Australia

“In a show of jaw dropping brilliance there was one unmistakeable conclusion – not only is this troupe comprised of superb entertainers but they also count among their number world class athletes.”

2. The Drowsy Chaperone - WAAPA

“The show ticks all the boxes – gorgeous production values, a witty script, fabulous performances across the board, a fun score, and above all it is consistently laugh out loud funny. At a brisk 100 minutes with no interval it is utterly infectious and a complete triumph.”

3. Bring It On - WAAPA

“This was a pulsating show that matched the energy of its performers, was a visual feast, and sounded great. In many ways all these elements elevated what is really a paper thin plot and made it compelling.”

4. Rent - WAAPA

“Standout performances by Kelsi Boyden, David Cuny, Tom New, Finn Alexander and Mackenzie Dunn with the band in cracking form under MD Timothy How, especially guitarist Jack Maher and excellent use of my favourite venue in Perth, The Roundhouse Theatre by director Adam Mitchell.”

5. This Girl – Rachael Beck

“Bringing star power and more than a touch of class Downstairs At The Maj, Beck sings beautifully, looks stunning, and exhibits a wonderfully self-deprecating sense of humour and playfulness.”

6. Gutenberg the Musical! – Holland St Productions

“… this is a must-see for everybody who has a dream, loves the written word, and enjoys a smart parody of the musical theatre form. Plus hats. If you love hats you'll LOVE this!”

7. Dr. Felicity Rickshaw’s Celebrity Sex Party – Holland St Productions

“One signature aspect of any Holland St Productions show is how film literate the driving creative forces, Tyler Jacob Jones and Robert Woods are. It’s tantalising then that a musical comedy is packed with allusions to well-known recent and not-so-recent movies with ‘cameo appearances’ by many a celebrity, most notably Keanu Reeves (Jones), Madonna (Taylor) and a pitch perfect Meryl Streep (Hutchinson).”

8: Impromptunes: The Completely Improvised Musical - Impromptunes

“One of the beauties of Impromptunes is that no two shows will ever be alike. It’s the genius of the premise that sees a completely self-contained one hour musical performed every night. Not even the cast know what’s going to happen or even what the topic is going to be.”

9: Best Bits - WAAPA

“Two immediate thoughts after having a wonderful time this afternoon with this iteration - The Drowsy Chaperone has to be remounted by WAAPA IMMEDIATELY! and the 2016 MT class give the best critique of The Beautiful Game, bar none. Impressive perception amongst the hilarity.”

10. Sincerely Yours, A New Musical – Stray Cats Theatre Company & Mad Cats Theatre Company

“… this was a mature and accomplished piece of musical theatre with an excellent score and well delivered songs that had some great moments of genuinely affecting dramatic acting.”

Male Performer of the Year - Ashley Roussety

Immediately set the tone as Man in Chair during the opening sequence of The Drowsy Chaperone and gave an immensely warm and entertaining portrayal that powered the show. Amusingly reprised the role narrating Best Bits.

Female Performer of the Year - Lisa Adam

A standout in the wildly uneven Clinton the Musical with a funky and energetic portrayal of the former First Lady. Displayed excellent comedic chops though the last laugh may end up being on us all given recent events.

Special Mentions:

Andre Drysdale (Sincerely Yours, A New Musical and The Beautiful Game)

Stefanie Caccamo (The Drowsy Chaperone and Bring It On)

Stephanie Wall (The Drowsy Chaperone)

Hannah Burridge (Bring It On)

Rachael Beck (This Girl)

Scott Hansen (Footloose)

Kelsi Boyden (Rent)

Thank you and good night!

Richard Hyde

The Drowsy Chaperone - WAAPA (14 March 2016)

One of the highlights of the Perth theatrical calendar is undoubtedly WAAPA’s mid-year musical extravaganza at the Regal Theatre. Increasingly though I would argue that the first performance slot of a musical theatre graduating class is the one to watch with Hair (2014), Urinetown (2015) and now this stunning production of The Drowsy Chaperone in the Geoff Gibbs Theatre.

The show ticks all the boxes – gorgeous production values, a witty script, fabulous performances across the board, a fun score, and above all it is consistently laugh out loud funny. At a brisk 100 minutes with no interval it is utterly infectious and a complete triumph. It’s not hard to see why it won Best Original Score and Best Book at the 2006 Tony Awards and this class does that pedigree justice with a thoroughly entertaining outing.

The story itself is a parody of all the tropes of the musical comedy genre as a theatre lover listens to one of his favourite recordings, the fictional 1928 production of The Drowsy Chaperone. On a vinyl record no less! The show comes to life in his living room as the ‘Man in Chair’ (Ashley Roussety) forgets all about his troubles and provides witty and arch commentary about the performers, the plot, and reveals more than a little of his own back story.

The story itself swirls around the impending marriage of starlet Janet Van De Graaff (Stephanie Wall) and Robert Martin (Matthew Manahan) while a collection of characters as diverse as gastronomic gangsters, a desperate producer, a ditzy wannabe starlet, a Latin lothario, and, of course, an increasingly inebriated chaperone provide a variety of hilarious obstacles and hijinks. It catapults towards a happy ending... it is, after all, a musical... and is in the finest tradition of good old-fashioned Broadway entertainment.   

Roussety is superb as our narrator. The show starts in darkness as he expresses the fears of many an audience member – will the show be short, entertaining, and not have actors entering the stalls. His tone is conversational and I immediately relaxed into the opening number as he demonstrated excellent comic timing and warmth in addressing and responding to the audience. It’s a nicely judged performance as Roussety imbues the character with enthusiasm, passion, some snark sure but also tinged with an underlying sadness or being ‘blue’ as Man in Chair would put it. He totally grounds the production and makes the narrative device work so effectively that all the gags relating to the turntable and the vagaries of a stylus on vinyl... on vinyl... on vinyl... ahem, sorry... work a treat.

But excellent performances abound and it’s interesting that the story is constructed in such a way that there are several distinct comic pairings and every principal cast member gets a showpiece moment. Man in Chair effectively is the narrative device that links one great number after another.

The hostess for the wedding, Mrs Tottendale, is played by Melissa Russo as a somewhat dotty matriarch with an outlandishly odd accent to say the least. Her comic pair is the servant simply known as Underling who is given an amusing air of English fortitude and thinly veiled disapproval by Jens Radda. Russo and Radda work beautifully together with one of the highlights involving a glass of “iced water” that is gloriously funny in its silliness.

The producer Feldzieg (Andre Drysdale) and his potential new ingénue Kitty (Christina Odam) are irresistible as another comic pairing; the former being pressured to stop the wedding so he doesn’t lose his star; the latter exuberant in her claim to be a perfect replacement. Drysdale is in full on Groucho Marx mode as he chomps on the scenery like a not so cheap cigar while Odam impresses with an adorably ditzy characterisation of the not so bright but eager wannabe star. Both deploy exaggerated accents to good effect while Odam bounces around the set on the balls of her feet as if exploding with excitement at the prospect of being the next Janet Van De Graaff.    

Janet herself is given haughtiness and glamour by Stephanie Wall who looks stunning, sings beautifully, and sells the conceit that she is the world’s biggest and most desirable star. The song Show Off is a highlight as Wall proves adept at doing exactly that, showing off in a number of ways while feigning modesty. It’s the sort of set piece that brings all elements together – singing, choreography, direction, music, and sheer verve – to stunning effect.

That it comes immediately after another eye opening sequence – the tap dance routine of Cold Feets – by Manahan’s debonair groom and his fretting best man George (Mikey Halcrow) with a killer cameo by Radda – is testament to how wonderfully entertaining this all is.

Then there’s the drowsy chaperone herself, Stefanie Caccamo, who plays the role with such casual insouciance that her every appearance on stage is compelling. Displaying a powerful voice that she uses tellingly in her “rousing anthem” As We Stumble Along there is real swagger here and not only as the character becomes increasingly tipsy. Her comic pairing comes in the form of Jason Arrow’s amorous Aldolpho who is tasked by Feldzieg to stop the wedding by sleeping with the bride. Mistaken identities dot the story in the best Shakespearean comic tradition and Arrow laps up the over-exaggerated Latin lover stereotype with Freddy Mercury style strut and vocal dexterity.  

Samuel Welsh and Hayden Baum are the two gangsters who have their own shtick going on with bad culinary puns as they heavy Feldzieg to save Janet from wedding induced retirement. That they are pressed into service as Kitty’s backup dancers during Toledo Surprise is another comic highlight. I must also mention the ‘false start’ of the faux second act opener that is such a brilliantly pointed slap at Rodgers and Hammerstein that I was gasping at the audacity of it all.

Finally we have the deus ex machina literally swooping down from the clouds in Trix the Aviatrix (Embla Bishop) who saves the day as all the complications collide. It’s a stirring finale as Bishop leads the company in belting out I Do, I Do In The Sky with a surprising twist that involves more than the hand cranked propeller she wields on her bi-plane.

This show really is outstanding – the ensemble added vibrancy and colour; the choreography of different dance styles from the twenties is outstanding; it truly looks sumptuous with the period costuming, clever set design, and is the most startlingly lit show I’ve seen at the Geoff Gibbs Theatre; the orchestra under Musical Director David King was exemplary, and it is flat out funny. I can’t remember having a better time in a theatre in quite a while. 

Surprisingly there were a few vacant seats at the Monday evening show. I don’t expect that to last long as word of mouth already has this as one of the best shows at WAAPA in years. Sure, you can wait for the cast recording on vinyl (good luck!)... but I suggest you book yourself a ticket as this is a terrific way to start WAAPA’s 2016 performance programme.

Music and Lyrics by Lisa Lambert and Greg Morrison; Book by Bob Martin and Don McKellar; directed with flair by Crispin Taylor; with choreography by Bernie Bernard and Musical Direction by David King, The Drowsy Chaperone is on at the Geoff Gibbs Theatre until 19 March.