Taryn Ryan: West. End. (25 June 2018)

A farewell concert at the Ellington Jazz Club. New beginnings imminent in the UK. Perth loses one of its brightest independent theatre stars. London gains a unique talent, equally adept at belting out a song or acting the hell out of a scene, often whilst wielding her trademark ukulele.

Fittingly, the Ellington was full of friends, colleagues, and those who’ve come to appreciate Taryn’s contribution to the Perth theatre scene over the last few years.

Taryn first burst onto my radar in 2015 with the opening production of her graduating year at WAAPA, playing Little Sally in the musical Urinetown. But it was the mid-year spectacular at the Regal Theatre, Legally Blonde the Musical, where she cemented herself as one to watch with a show stealing performance as Paulette. As I wrote in my review, “I must confess I didn’t even recognise Taryn until checking the programme at interval. She was fantastic as Paulette bringing a different kind of kooky energy to match Elle’s eccentricities. Her showpiece number Ireland was a highlight as was her ‘bend and snap’…” 

Picture courtesy of Chris Firman

After graduating Taryn stayed in Perth to become a fixture of the city’s independent theatre output, particularly at The Blue Room and as part of Fringe World. Notable productions included the autobiographical The Naked Truth which was a quiet highlight of the 2016 Fringe World programme; another Fringe gem, When He Gets That Way, from 2017; and the musical Once We Lived Here at The Blue Room. The latter earned her a spot on my performers of the year in 2017 – “Taryn’s performance in Once We Lived Here grounded the whole production and, most impressively, she handled the emotional range required in the fractured timeline narrative expertly. It’s also a delight to hear Taryn sing after several non-musical roles this year.”

Other lauded productions that I unfortunately didn’t see include Porto (nominated for Best Supporting Actor (Female), PAWA Awards); Laika: A Staged Radio Play; and Tissue. Taryn also contributed her vocal and comedic skills to a reading of the hilarious first draft of Tyler Jacob Jones’ new musical, Summer of Our Lives, earlier this year. It’s an impressive resume.

Picture courtesy of Chris Firman

But back to the farewell concert where Taryn wowed the audience with an eclectic mix of songs from “Tin-Pan Alley, classic Broadway, West End blockbusters and European cabaret, concept albums, pop/folk crossovers, and contemporary Australian musicals.” She sang beautifully with easy charm and heartfelt emotion over two sets of songs at the intimate Ellington Jazz Club. It was a splendid two hours showcasing Taryn’s immense talent and generosity. Despite declaring that we shouldn’t expect any rehearsed banter between songs there was spontaneous and self-deprecating humour throughout. One of the traits I admire about Taryn is that she is a such a genuine performer – there are no airs and graces or facades here. This builds an immediate bond between singer and audience that is tangible.

In this she was aided by an excellent band comprising Joe Louis Robinson on piano and vocals; Krista Low adding class and texture on the cello; a last-minute replacement on saxophone; Stephen Walker on bass/guitar; and Jasper Miller on drums. Robinson also provided new arrangements to many of the songs. The expert accompaniment was loose and relaxed which suited the evening to a tee.

Picture courtesy of Chris Firman

Then there was the special guest vocalist; a member of Taryn’s graduating WAAPA class, powerhouse vocalist, Megan Kozak. Or ‘pipes’ as Taryn affectionately referred to her as. The camaraderie was there in spades as were the vocal fireworks as Megan nudged, okay, blasted us, into full tilt disco.

Highlights included Sondheim’s Getting Married Today; a stunning rendition of No One Else from Natasha, Pierre & the Great Comet of 1812 dedicated to local theatre writer-director Scott McArdle; the tandem pant-suited disco attack of No More Tears with Megan; crowd pleaser Mein Herr from Cabaret; an original song on ukulele with piano and cello accompaniment from The Naked Truth; culminating in a rousing finale of As Far As The Eye Can See that is such a wonderful moment in the Australian musical Once We Lived Here. A perfect end to a special evening.

There is no doubt Perth is losing a unique talent. But there was a sense that Taryn has outgrown us and that bigger and better things await as she chases her dreams on the other side of the world. On the evidence of her body of work to date and this memorable performance London will be gifted with an accomplished performer who will flourish in the spotlight.

Thank you for providing so many theatrical highlights both at WAAPA and in Perth’s independent theatre scene. It has been a singular pleasure to witness you act, sing, strum; move and entertain us.

The Ruby Red Fatales - Paper Haus (20 July 2016)

Garters, guns, Nazis, and jazz - what more could you want in this musical comedy romp where ‘Allo ‘Allo meets Cabaret? The former is supplied in a script by Heather Jerrems (who also directs) where, amongst other things, a woman poses as a man who poses as a woman to infiltrate a crack unit of Nazi assassins who are ordered to take down an American trained unit of burlesque dancers-cum-assassins. At the end of the second act when the silliness is at its height there are more guns onstage than at a Republican National Convention. The latter comes courtesy of some slinky outfits for our heroines and a cracking jazz quintet made up of WAAPA students. The venue itself, the intimate Ellington Jazz Club, provides the atmosphere.

Two key ingredients make this work – the show knows exactly what it is and plays up to the absurdity; and there is an impressive level of musicianship and vocal chops you wouldn’t necessarily expect for such a deliriously over-the-top confection.

To wit, the band of Harry Josland (trumpet), Joshua Cusak (double bass), Matthew Salt (saxophone), Oscar van Gass (drums), and Thomas Freeman (guitar) sounded right at home in Perth’s premier jazz venue. They also added a few sight gags of their own behind the performers in the tight stage space. You have the impression that they would have happily kept playing through the night. The audience would have happily kept listening. The smooth musical arrangements by Alex Turner added a touch of class.

The vocal talent headlined by sweet-voiced Cindy Randall and a brassy Sinead O’Hara was excellent. It also matched their characters to a tee. Randall was the fresh-faced innocent who becomes the main player in the battle between swastikas and stockings, guns drawn. Her Gina firstly becomes the improbably named burlesque tyro Miss Titties before assuming the male identity of Heimlich. Much humour is made of her/his appearance as confusion reigns and romance blooms. O’Hara is the leader of the Fatales as Miss Ruby and she embraces a take no prisoners approach to the role in a feisty performance. Emelia Peet is the third member of the troupe as Miss Scarlet, the faithful sidekick to Ruby. Peet has a couple of funny solo moments sending up advertisements of the period.

Their foes are the band of Germans headed up by Manfred (Brett Peart) and his mismatched assassins, Jurgen (Adam Droppert) and Klaus (Ryan Hunt). Jurgen falls for Gina/Miss Titties while Klaus falls for Manfred’s manly facial hair. Yes, there is bromance to go along with the romance. The outrageously kitsch I Don’t Just Need A Beard, I Need Two is a highlight. That it comes in the middle of the best sequence of the show is testament to a fine start to the second act. The duet between Randall and Droppert - When At War, Fall In Love – was not only the best song but performed with such joy and chemistry. Randall’s smile was incandescent. O’Hara replies after the follicle folly of Manfred and Klaus with a snarling Ultimateum; the sequence capped off by a beautifully sung and plaintive What’s It Going To Feel Like? by Randall. From there it’s all standoffs and conflicted loyalties as the climax gets a little messy but by then I was happy to forgive such excesses.

I can see why this reportedly did so well at Fringe World earlier in the year. It’s the perfect sort of fare for a couple of hours at a good venue having a drink and, in my case, one of their pizzas, while watching a talented cast and band frolic and play on stage. It’s funny, more than a little sexy, and showcases some serious talent. 

Written and directed by Heather Jerrems with Music and arrangements by Alex Turner, The Ruby Red Fatales has two more performances at The Ellington Jazz Club on Tuesday and Wednesday, 26 & 27 July. 

Dinner is Served - Fringe World 2016 (4 February 2016)

The humble dinner party. An event full of potential land mines that could ruin friendships, end relationships, hospitalise guests, and be the cause of any number of social transgressions that will see you ostracised to the couch in your pyjamas eating pizza alone for all eternity.

Thank goodness we have Megan Kozak and Harry Prouse to guide us through the harrowing and, quite frankly, terrifying prospect of inviting people over for dinner. I mean, there’s so much to consider – what to wear, where to hold your soiree (if the Ellington Jazz Club is inconveniently unavailable), what entertainment to provide, what to talk about… oh, and I suppose what to serve.  

Speaking of which, Harry forgot to go to the butchers before the show so the promise of succulent lamb roast was but a fleeting expectation for my tastebuds (so cruelly dashed!). Good news though, the Ellington does a nice range of pizzas and other finger foods.

Clearly, however, such culinary pearls of wisdom can only be delivered with a healthy accompaniment of songs. Coincidentally, an accomplished piano player happened to be in attendance, one David Wickham of WAAPA renown. Fancy that!

It was an eclectic mix of songs. I would be tempted to say ‘pot luck’ except I’m fearful Megan would attack me with a cocktail fork. There were appropriately themed musical theatre numbers from some of the greats (Cole Porter, Kander & Ebb, ahem, Beauty and the Beast); a scoop of Sinatra, a dash of Nat King Cole, and, if I’m not mistaken, a pinch of Frankie Valli amongst others.

Sure, Megan and Harry may clash over how to host the perfect gastronomic evening but one thing they do share is the ability to belt out a song with the best of them. The singing is excellent as is the piano playing by Mister Wickham.

What was perhaps even more impressive is the rapport the two WAAPA graduates shared on stage. It was comfortable and relaxed like a 50s screwball comedy as they exchanged barbs and banter with some lovely physical comedy and sight gags thrown in for good measure.

Kozak had a touch of a blonde Lucille Ball as she ranted about the fatal error of asking guests to bring dishes at random or ‘pot luck’ as she called it. Or threatening to walk out... at least as far as her microphone cord would allow. Prouse was more the straight man but injected his own sly sense of humour as the two bounced off each other over the course of 45 punchy minutes. There’s even a little audience participation. All I’ll say about that is be prepared to show off your table presentation skills. 

Dinner is Served is on for two more nights at the Ellington Jazz Club, 10-11 February at 7pm. To use a dinner metaphor, this is a perfect entree for an evening in the city while Fringe is on. 

Order a drink, have a pizza and a laugh but as all dinner hosts know, once the show is over it’s time to fire up the vacuum and tell your guests to get the hell out. At least you’ll do so with a smile on your face.