WAAPA Showcase (3 November 2017)

From Stephen Sondheim to David Mamet; Kander & Ebb to Peter Shaffer; Jason Robert Brown to Patrick Marber... you're unlikely to see as diverse a selection of acting excerpts and musical theatre numbers in two hours as you do at WAAPA's annual Showcase.

The W.A.A.P.A. Friends Of The Academy Showcase night is one of my favourite dates on the Perth theatre calendar as we get to say goodbye and celebrate the graduating musical theatre and acting students. I actually find it inspirational to witness the talent on display after three gruelling years of study and knowing that this marks the transition point from student to professional career.

As always that talent is across the board excellent. Congratulations to each and every one of you and all the best for your future endeavours and careers.

If I may offer a limited selection of favourites from the night...

Acting Showreel scenes:

A delightfully quirky scene featuring Katherine Pearson as an unusual theatre patron encountering Martin Quinn's somewhat bewildered director after the premiere of his play.

Spider-Man meets Catwoman in a very well written scene that highlighted the talents of Jack Scott and Laura McDonald with a nice array of emotions and underlying message. The writing was so perfectly suited to the actors' strengths I was delighted to discover Scott himself had written it.

Acting scenes:

An oft encountered pairing who have excellent onstage chemistry, Roy Joseph and Laura McDonald, in an excerpt from John Patrick Shanley's Danny and the Deep Blue Sea. I loved the physicality of the scene, their accent work, and the clear, crisp action changes. Many other scenes saw blocking where the actors were too far apart in key dramatic and/or emotional moments. Here, Joseph and McDonald were literally in each other's face which heightened the potency of the scene. 

Sasha Simon's fierce performance playing opposite Mitchell Bourke in a scene from People, Places and Things by Duncan Macmillan. The focus is squarely on Simon as her character fights for help on her own terms. A smart decision therefore to have Bourke (who sets the table nicely) sitting angled away from the audience so that she was featured.

Musical Theatre numbers:

One of my absolute joys at the theatre is being surprised. That is often the case when someone who maybe hasn't been featured as much in the last couple of years blows you away in a jaw-on-the-floor moment. Here it was Chloe Bremner's performance of Behind These Walls which was superb.

Finn Alexander taking a song written for a female character - Sondheim's Losing My Mind from Follies - and making it his own in an exquisite performance. Brave choice, excellent execution that paid off in spades.

I have to also mention the musical accompaniment on piano from WAAPA's own Kohan van Sambeeck that was a non-stop, hour long tour de force.

In the days to come agents and managers and talent scouts and all sorts of other people will make decisons based on what they see at the final Showcase in Perth tomorrow night and then in Sydney and Melbourne. On the evidence of tonight I look forward to reading of agent signings and then casting announcements, both screen and stage, from here on in.  

Radio Active - WAAPA (14 September 2017)

A terrific showcase for the vocal and musical talent amongst the now 200 strong cohort of contemporary music students. A fun time for the audience with an eclectic mix of songs from artists as varied as Toto to Beyonce. But an early highlight puts this all in context. Mia Matthiessen gave an excellent performance of the haunting Grandma's Hands by WAAPA alumna Meg Mac who is currently on a national tour with a hit album riding high in the iTunes charts. That's where the bar is set for these students - the possibility, one day, of a recording contract, album sales, hit singles, national tours and beyond. Heady stuff.

The musicianship of the band with rotating members was excellent. The vocal talent of the singers was uniformly outstanding. The stagecraft and how to work an audience, for many, is still a work in progress though there were a couple of natural performers in Zain Awan and Nicholette Chew. We also gained a brief insight into the personality of and inspiration for many of the singers as they introduced songs by their colleagues.

The first set was dominated by female vocalists with the second half leaning a little more to the male singers. Both sets were very good and I should mention the other students who make a night like this work - sound and lighting design, stage management, and the oft unsung arts managment front of house.

My other highlights:

Beyonce's Halo by the remarkable Ritchell Lim with backing vocals by the WAAPA Gospel Choir.

A blistering rendition of Justin Timberlake's Cry Me A River by Zain Awan, both vocally and in sheer style.

A moving version of Sia's Chandelier by Lani Melrose who proved a crowd favourite with a down to earth enthusiasm for her craft and the evening.

The band rocked out to Detroit with Cameron Hayes prominent on lead guitar.

Katie Reid presented an extraordinary arrangement of Kate Bush's Running Up That Hill using her voice to lay down and layer a live 'backing track' of increasing complexity.

James MacCallum flashed rock star credentials with Allen Stone's Satisfaction, again with the band kicking into full on rock mode.

Nicholette Chew brought the pizazz and the pipes for Beyonce's Daddy's Lessons.

Radio Active is a rare synthesis of audience and performers' enjoyment and is a great couple of hours to spend with possibly tomorrow's stars, standards from the past, and hits from the present.

Chicago - WAAPA (28 August 2017)

By scheduling a bona fide musical blockbuster in the last slot of 2017, WAAPA has eschewed the choice of lesser known productions over the last few years (The Beautiful Game, Carrie, Merrily We Roll Along). The results are surprisingly uneven.

Make no mistake, the songs and score are first rate and I was heartened to see a 15 piece orchestra under the baton of David King that played well. Special mention to the trumpet players Jack Sirett and either Matthew Smith or Benn Hodgkin.

The characterisation and staging though were very vaudevillian. This is not a slinky, sexy production by any means, more a heightened satirical romp that left me oddly disconnected from the material.

The opening number All That Jazz was strangely lifeless and Cell Block Tango suffered mightily with the over-exaggerated portrayal of the Merry Mistresses of Murderess' Row.

The show did settle into a strong sequence of scenes/numbers from A Little Bit of Good to We Both Reached For The Gun to Roxie and the second half was much more convincing particularly with the trial sequence.

Director Crispin Taylor and guest Choreographer Michael Ralph made Jenna Curran work her backside off as Velma Kelly in a physically demanding performance. Kelsi Boyden, an always expressive performer, impressed as Roxie and Laura Jackson also caught the eye as Mama Morton. I didn't quite get the pathos of Amos from Finn Alexander though, again, he was mainly played for laughs.

David Cuny was suitably slick as Billy Flynn but the choice of a boxing themed introduction to the character jarred. Tom Gustard stole the show with the Mary Sunshine number A Little Bit of Good. Nick Errol makes the most of his cameo as Fred Casely in great style.

A colourful confectionery that had its moments but needed a more hard-boiled edge to truly convince.

*originally published at facebook.com/perththeatrereviews

Megan Washington & WAAPA Jazz Students (6 April 2017)

Before we begin we need to clarify a few things.

1) This was not a gig. This was not a recital. This was a CONCERT. We, the audience, were therefore 'concertgoers' and Megan and the students were 'concert performers'. I thought she explained this very concisely.

2) The aforementioned concertgoers, by overwhelming acclamation, were deemed by Megan to be... "lovely". And so we were. We didn't chat during songs or anything!

3) Not being familiar with the two time ARIA winning singer-songwriter - I'm past the age where I know what an ARIA is let alone who wins them - I discovered over the course of the night that she is a major talent with a fabulous, distinctive voice, engaging stage presence, and a knack for writing songs with smart lyrics and surprising origins (I learnt more about the mating habits of gorillas than I perhaps might have expected). She also wields a mean set of hands on the piano.

4) I further discovered she has a sly sense of humour. Yes, I was "that guy" in the front row. What can I say, you made me laugh. You're welcome!

All this, along with the talented jazz students, instrumentally and vocally, added up to an excellent evening of jazz standards and original songs.

I very much liked that there were different combinations used throughout the roster of 15 songs - a big band combo; a vocal ensemble; two separate band ensembles; and her solo moments on piano. Megan allowed us to see a vibrant personality with that sense of humour, off-beat stories about the creation of a couple of songs, and even a joke to stretch for an instrument change. She is a very expressive performer with physical movement and hands aflutter in Cocker-esque style passion.

Highlights included a stunning acapella rendition of Imogen Heap's Hide and Seek; the first solo number Skeleton Key; and first half closer Fisherman's Daughter with Michael Ellis again impressing on guitar after last month's Bebop. The set following the interval took things up another notch with a most unusual ballad; her original composition How to Tame Lions with the Vocal Ensemble adding real oomph; and a smashing Valerie as the vocals soared and Ensemble 2 cranked up the beat with Chris Musitano featuring on trumpet.

As Megan herself remarked, she only arrived in Perth on Monday and to have such excellent musical backing in that short a time frame and from students no less speaks volumes to their talent. 

Heathers The Musical - WAAPA (20 March 2017)

WAAPA is at its most adventurous in recent years with the choice of production in the first slot of the graduating MT class. Heathers proves to be no exception. Based on the bitingly satirical 1988 cult movie that starred Winona Ryder, Christian Slater, and Shannen Doherty, this captures the over-the-top tone perfectly while retaining the wry observations about teenage suicide, bullying, and depression with what was, at the time, almost a prescient foreshadowing of school massacres.

It's dark subject matter but the surface level presentation is infectious rock music with subversive lyrics; a riot of colour in staging, lighting, costuming, and rear screen projections; and exuberant choreography befitting the age of its characters. It's a fun show with energy and black humour to burn.

Monique Warren gives a star turn in the role made famous by Ryder. She sings superbly, looks fantastic, and I was impressed by her acting throughout. It is an eye-catching performance. Nick Errol is the square-jawed nemesis who nicely plays the arc from cool outsider to something far more deadly. His Our Love is God is a highlight.

Jenna Curran makes her mark as the Queen Biatch and ruling Heather until misfortune strikes. It's a delightfully venomous portrayal. The other two Heathers are played with swagger and style by Daisy Valerio who has a standout moment with the aching Lifeboat while Meg McKibbin assumes the red scrunchie of supreme bitchiness as the body count mounts.

Other highlights:

David Cuny's and Tom Gustard's hilarious Blue; Laura Jackson's beautiful solo Kindergarten Boyfriend; Cameron Steens' and Benjamin Colley's boisterous My Dead Gay Son; and Mackenzie Dunn cutting loose as Ms Fleming in Shine A Light.

As always, David King marshalls a fine orchestra in what is a cracking rock score and no less than Andrew Lewis himself directs this with great pace and playfulness.

A wildly entertaining start to this cohort's final year.

*originally published at facebook.com/perththeatrereviews

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.  

Carrie the Musical - WAAPA (24 August 2015)

I went along to see the 2015 graduating class’s final musical on Monday night with a mix of curiosity and some trepidation. I was intrigued to see how certain elements, particularly the telekinesis, would be staged as well as the infamous climax. Then there was the knowledge that in its original incarnation Carrie the Musical was a notorious flop. It seemed such an odd choice to close out the year for this group of very talented musical theatre performers.

The results were mixed. The talent on display was in no doubt. This graduating class has swept all before it and has been outstanding in their two previous outings in 2015. The writing and construction of the musical itself, well, that’s a different story. I reminded myself of Stephen King’s tale by watching the remake of Brian De Palma’s classic horror movie starring Chloe Moretz as the bullied teenager with telekinetic powers and Julianne Moore as her fanatically religious mother. It’s quite a slow burn narrative that relentlessly builds towards the bloody finale as Carrie wreaks retribution on those who have humiliated her at the school prom.

It’s here where the musical form and the horror genre seem at odds. Carrie White and her mother are, in many ways, quite impenetrable characters; the former so withdrawn and repressed she doesn’t even know her own body; the latter, gripped by irrational fears and the horror of everyday life. The musical though attempts to do what musicals do so well – give their characters an emotional life and expose their internal monologues through song. In Carrie’s first number she sings about her hopes and dreams; mother and daughter share an early duet where Margaret White expresses her love for her daughter; other characters reveal motivations and fears and feelings in song.

This totally undercuts any tension as, while not sympathetic, they come across as, well, at least understandable. A mother, as misguided as she is, wanting to protect her child; a loner considered a freak who only wants to fit in and be loved. It’s all too explicit whereas in film it’s all in the eyes and facial expressions as we watch the reactions to the unfolding calamity. Here it felt like the typical ugly duckling turning into a beautiful swan story… with a bit of mayhem tacked on at the end.

Of course, the other element a stage musical cannot replicate is the special effects. Carrie’s growing understanding of her powers and the display of that ability is somewhat perfunctory. The songs themselves are not overly memorable and the score feels like it wants to be a rock musical but doesn’t really commit to that goal. But enough of the failings of the Book, Music and Lyrics, let’s talk about the performance itself.

What strikes you above all is the outstanding vocal ability of this class. Heather Manley has a superb voice and is a warm presence as Carrie. That in itself is problematic as she flashes a stunning smile and sings about all the things a normal teenage girl longs for – acceptance, a handsome beau, a special evening at the biggest social event of the year, love. No amount of dowdy costuming can hide that eminently watchable quality so her transformation into the belle of the ball is hardly unexpected. It’s difficult to find the freak here as her featured songs are too revealing and too well sung. There are flashes of steel as the character confronts her mother and occasionally her tormentors before Carrie White’s horrific vengeance is unleashed. Manley makes for a memorable sight after being doused by a bucket of (fake) pig’s blood which was perfectly executed on the night. 

Matilda Moran has perhaps the most difficult role as the devoutly religious mother who has sheltered her daughter so completely that it would make Wendla Bergmann blush. The attempt in Margaret White’s early songs to make her ‘relatable’ works totally against the nominally scary aspects that come later. Moran also has to deal with some overly convoluted lyrics but shows a fine voice when given the chance with more ballad style numbers that aren’t trying to cram a whole lot of exposition into the lyrics. 

Tayla Jarrett plays popular girl Sue Snell who has a change of heart after initially mocking Carrie to be an ally of sorts though Sue’s decisions ultimately lead to the disaster that happens. Jarret also has faux narrator duties as she is ‘interrogated’ periodically in a device designed to get us into the story proper. As the sole survivor she gives a little bit of snark to her unseen questioner and also stands up to Jess Phillippi’s bitchy Chris whose belligerence is another catalyst for the climax.

Phillippi is all attitude and strut as she plots her own vengeance but sadly the character largely vanishes in the second act which robs the show of much needed energy and narrative propulsion. The character’s boyfriend, Billy, played with malevolent charm by Daniel Ridolfi is also unfortunately sidelined for large stretches.

By comparison Sue’s boyfriend Tommy, played by Morgan Palmer, is genuinely charming as he draws Carrie out of herself. Palmer has a showcase moment in what was shaping as quite a corny scene until Tommy’s attempt at poetry bursts into song with a sweet clarity that was as unexpected as it was welcome. Rosabelle Elliott gives the gym teacher Miss Gardner a mix of sternness and concern while Harry Prouse added some goofy humour as the Principal and Reverend Bliss. 

The ensemble, as I’ve come to expect with WAAPA shows, was great and all had small moments to shine but really don’t have that much to do here. Some of the choreography also felt (intentionally?) cheesy at times especially coming from a group that crushed Urinetown and Legally Blonde with such ferocity. As always, the orchestra under David King played well and the staging and lighting was well handled.

It’s an odd show and it often felt as if I was watching a weirdly perverted version of the religious elements of Children of Eden mashed together with the school style hijinks of Legally Blonde. If only the biting satire of Urinetown was part of that concoction. While it doesn’t work as a coherent production it does give us yet another glimpse of the enormous talent in the 2015 class. Speed on Showcase!

Music by Michael Gore, Lyrics by Dean Pitchford, Book by Lawrence D. Cohen based on the Stephen King novel, Carrie The Musical is directed by Crispin Taylor with Musical Director David King and stars WAAPA’s third year musical theatre students. It is on at the Geoff Gibbs Theatre until 29 August.

WAAPA Grads Say Thanks (22 June 2015)

A great advantage to having one of the world’s best training academies in our own back yard is that big touring productions such as Les Miserables and Wicked are invariably chock full of WAAPA alumni. Those graduates are generous in giving back to the institution that played a critical role in shaping their professional careers. We saw this earlier in the year with the Les Mis cast holding a Music Theatre Showstoppers concert at the Geoff Gibbs Theatre. On Monday night it was the turn of other performers from the storied Academy including many from the Wicked cast currently playing at the Crown Theatre.

Hosted by Lisa McCune and John O’Hara with Musical Direction and piano accompaniment by Kohan van Sambeeck (himself a recent graduate) it was an entertaining evening with an eclectic mix of songs and some nice surprises along the way. Sondheim is always a favourite at such affairs and so it proved with an early Medley and a couple of songs from Into The Woods.

An unmiked Lisa McCune kicked things off playing a sixteen and a half year old at her WAAPA audition singing Think of Me from Phantom of the Opera. It was a key theme of the night as McCune and O’Hara would periodically share their own and ask their colleagues to recount memories from those formative years at the Mount Lawley campus. There were some funny anecdotes but also the inspiration of having such luminaries as Hugh Jackman and Cate Blanchett talk to students along the way. It was all very relaxed and informal with McCune and O’Hara warm and engaging.

Highlights from the evening included that Sondheim medley where the whole ensemble gave us excerpts from songs such as Everybody’s Got the Right, Send in the Clowns, Being Alive and Johanna. The other medley – Somewhere - arranged by David King and featuring songs from The Wizard of Oz, An American Tale and West Side Story was beautifully sung by Katie McKee, Jennifer Peers, and Tom Handley as the lyrics weaved together in impressive style. 

 

A favourite of mine, The I Love You Song from The 25^th Annual Putnam County Spelling Bee, brought a smile as Edward Grey, Sophie Wright and Katie McKee gave a joyous version. Alexander Lewis and Brendan Hanson played up to the wonderful Agony and McCune herself launched into the lyrically stunning On The Steps Of The Palace to complete the Into the Woods double. Sophie Wright again and John O’Hara got their Freddy Mercury on with a soaring rendition of Who Wants To Live Forever from We Will Rock You while Matthew Lee Robinson and Jennifer Peers enjoyed the cheeky inclusion of The Song That Goes Like This from the hilarious Monty Python musical Spamalot.

Suzie Mathers, currently playing Glinda in Wicked, had excelled in the snippet of Send in the Clowns and was prominent again with Alexander Lewis in the duet Falling Into You (The Bridges of Madison County). The evening finished with a nice touch as the third year musical theatre students coming off the superb Legally Blonde ventured on stage for the penultimate number and then the second and first years joined them and their illustrious predecessors for You’ll Never Walk Alone from Carousel. As with the Les Mis concert there was a real sense of passing on the baton to the next generation of upcoming musical theatre stars.

An enjoyable evening of light banter, wonderful singing and excellent piano work, WAAPA Grads Say Thanks was a one off concert as part of 2015 Music Theatre Educator’s Alliance Conference (a coup for WAAPA as it’s the first time it’s been held in the southern hemisphere). It starred Lisa Adam, Edward Grey, Tom Handley, Brendan Hanson, Glen Hogstrom, Alexander Lewis, Suzie Mathers, Lisa McCune, Katie McKee, John O’Hara, Jennifer Peers, Matthew Lee Robinson, and Sophie Wright; directed by Edward Grey with Musical Direction by Kohan van Sambeeck.  

Tour of WAAPA - Friends of the Academy (5 May 2015)

The Friends of the Academy have been supporting WAAPA students for more than 30 years now, not only with fundraising activities but many other invaluable tasks such as assistance for interstate students getting acclimatised to their new surroundings. Financial grants are provided to supplement the travel and accommodation of final year students for work experience secondments. The Friends also contribute funds to the end of year Showcase tours for the graduating Musical Theatre and Acting students, so vital in securing agents in Sydney and Melbourne.

It’s always a pleasure to read the letters received from grateful students thanking the Friends for helping them achieve their goals. They are posted on the Friends Facebook page as are details of upcoming fundraising events. One of those events is regular tours of the WAAPA facilities. Having seen a little of the behind the scenes at the Mount Lawley campus during last year’s Open Day I arranged a day off work to tag along and see more…

What a fascinating day it turned out to be! We were greeted by the Secretary of the Friends, Tanya Tsirigotis who introduced us to our ‘tour guide’ for the first part of the day, Peter Cowan. Peter has a wealth of knowledge having worked at WAAPA for some three decades. He was full of wonderful stories about personalities and events as we made our way through areas the general public normally wouldn’t see.

First stop was the Geoff Gibbs Theatre where we heard about its history and development from the early days to its current configuration. This is probably the only time I will ever be on the main stage though thankfully no singing, acting or dancing was required on my part! Peeking behind the curtain to see the fly tower and other technical aspects was intriguing. 

Then it was off to the workshop where the set for Legally Blonde is being built for the Regal Theatre; followed by the props rooms full of all kinds of funky items; lighting with old analogue desks; costuming where again we saw a sneak peek of the designs for Legally Blonde; and other departments like sound. It’s a warren of corridors and rooms where students are encouraged to learn from their mistakes and create.

We sat in The Roundhouse Theatre which is perhaps my favourite venue to which Peter explained why it is so notoriously difficult to light and get the sound right for. It was kind of eerie seeing the set for the current production, All My Sons, devoid of actors, almost as if slumbering. Next was the Enright Studio which is currently configured for Much Ado About Nothing. We had seen the miniature mock-up of the set upstairs and what strikes you is how much work, skill and effort occurs in so many different departments well before an audience enjoys the production.

One of the actors, Lachlan Ruffy, poked his head in to say hello and talk briefly about the pleasure of working with the director Sean O’Shea, himself a WAAPA graduate. It’s one of the themes of the day – that sense of family and how the graduates give back to the Academy, most notably Hugh Jackman with his Foundation but many others as guest directors or in other capacities in the industry.

After a break for morning tea it was off to the Music Auditorium where a combination of 2^nd and 3^rd year musical theatre students, nine in total, were doing a “mock audition” for a production of Cats. There was a panel comprising the Head of Musical Theatre, David King; and the director and choreographer of Legally Blonde, Jason Langley and Lisa O’Dea respectively. Another choreographer impressively took the nine through their paces as dancing ability is a key component for a musical like Cats. 

Watching her build a sequence from scratch in blocks and explain in detail the body movements and positioning was fascinating. The students asked for clarification where necessary and it all felt very supportive while, I might add, not only the tour but a host of other students watched. Then it was time for the singing component of which we heard five students before we had to unfortunately move on. The idea was to simulate as closely as possible a real audition situation and notes and feedback were given afterwards but only for the students.

Next up was a movement class for the Aboriginal theatre students who were being taught by an effusive teacher again in a very supportive environment. This time the exercise was to undergo a birth as a creature of some description. Afterwards the students took questions and answered with passion and enthusiasm about acting and how such exercises help them enhance their craft as they develop characters and workshop scenes. I’m looking forward to seeing their showpiece production towards the end of the year.

The Director of WAAPA, Professor Julie Warn, then spoke to us in the courtyard and took questions and I was unaware that the Academy has as many as 1200 students. Clearly proud of WAAPA’s achievements, students past and present, and the upcoming international musical theatre conference and other events, it was nice to chat for a while. 

After lunch in the student cafeteria the day wrapped up with a Classical Tuesdays concert by the Symphonic Wind Ensemble back in the Music Auditorium. Conducted by Musical Director Dale Pointon it was an eclectic mix of 5 pieces, one inspired by the US Marine band; another - Sergei Prokofiev’s March Op. 99 - by May Day. A musically balanced view of US-Soviet relations back in the day!

It was a very enjoyable day and I would encourage firstly anyone interested in theatre and supporting WAAPA to join the Friends of the Academy and secondly, on doing so, to sign up for a tour. The creativity and energy in the hallways and in these workshops is inspiring and it is always a pleasure to talk to the students. 

Thank you to Tanya, Peter, and all the other Friends who provided the morning tea and also to the students and staff who allowed us a moment to share in your wonderfully creative and artistic world. The hard work, talent, and dedication are truly a delight to witness. 

Pride and Prejudice - WAAPA (14 March 2015)

The third year acting class opened their graduating season with an adaptation of this much beloved literary classic. Certainly, audience members around me were more than familiar with the tale of manners, upbringing and marriage in 19^th century England as they whispered excitedly at certain character introductions. With so many adaptations of the famous novel for the screen both large and small, forging a unique identity for this production was always going to be a challenge. However, it certainly presented the actors with the opportunity to play such iconic characters.

The story itself doesn’t bear repeating here other than to say that the five Bennet daughters are in search of a suitable husband in an age when such things were of vital import but it’s Elizabeth’s entanglements with Mr Darcy that is the main attraction. What I particularly liked was the amount of humour throughout the play driven in large part by Mr and Mrs Bennet (Luke Fewster and Harriet Gordon-Anderson), the former bemused by the antics of his wife who is fixated on marrying off her daughters to men of good fortune.

Gordon-Anderson is a standout with an eye-catching performance as Mrs Bennet that is all fussy insistence and pointed put-downs. She has excellent projection and diction with her use of deft comic timing a highlight. Fewster employed a droller sense of delivery that was a lovely counterpoint and their work together was impressive.  

Jessica Paterson was very good as Elizabeth Bennet and really worked into the role coming into her own in the second half as she inhabited the witty and clever though willful character. There was an ease and charm to her performance that was a delight. Lincoln Vickery had the unenviable task of playing the iconic Mr Darcy (yes, I heard Colin Firth’s name mentioned more than once during the afternoon) and while he gives a good account of himself the sort of presence and magnetism such a character demands will come with experience.

Other performances I really enjoyed included Seamus Quinn as the pompous Mr Collins who imbued his character with a kind of sleazy charm that had the audience cringing in the best possible way. Rebecca Gulia played Lydia Bennet with a childlike petulance and naivety that worked really well especially in the second half as she becomes the first of the daughters to unexpectedly marry, eloping with the dashing Mr Wickham (Andrew Creer). 

Then there was Megan Wilding as the Lady Catherine whose confrontation with Elizabeth was a dramatic high point. As she did last year in Grapes of Wrath, Wilding plays a matriarchal figure with great force and authority that belies her stature. The rest of the cast gives good support, especially Brittany Morel, Claudia Ware and Stephanie Panozzo as the other Bennet sisters. I must also mention the accent work which was strong across the board and is clearly a featured component of the acting course.    

The set featured a revolving circular platform so that scene transitions were effectively done though occasionally actors appeared to be searching for marks as they placed and re-positioned furniture to represent the various locations. The walls were covered in gold material that seemed to represent the ostentation of the time. That didn’t really work for me though the stage itself was simply though effectively appointed with a piano featured. There were four doorways leading onto the stage and at one point two were used to represent full length portraits of Darcy and Wickham as the actors stood stock still to great effect. I also liked how various letters were treated especially in the rapid sequence of correspondence at the end – while the receiver ‘read’ the letter the actor whose character wrote it would recite the words behind them.

Adapted by Simon Reade from Jane Austen’s novel and directed by Adam Mitchell, Pride and Prejudice features the 3^rd year acting class of Luke Fewster, Harriet Gordon-Anderson, Brittany Morel, Jessica Paterson, Stephanie Panozzo, Rebecca Gulia, Claudia Ware, Seamus Quinn, Dacre Montgomery, Shalom Brune-Franklin, Rian Howlett, Elle Harris, Megan Wilding, Lincoln Vickery, Ben Kindon, Andrew Creer, Bevan Pfeiffer, and Hoa Xuande and is on at the Geoff Gibbs Theatre until Thursday 19 March. 

WAAPA Music Theatre Showstoppers (9 February 2015)

Take the cast of Les Miserables, half of whom are WAAPA graduates; their musical director Geoffrey Castles along with four other members of the orchestra; throw in a little star power with event patron Ben Elton; add the enthusiasm and organisational skills of Eponine herself (Kerrie Anne Greenland) and you end up with what can only be described as a spectacular fundraising concert at the Geoff Gibbs Theatre. The sheer magnitude of talent on display was breathtaking.

The number 30 was a significant one for the evening. WAAPA’s world renowned musical theatre course turns thirty this year and what a way to kick off yearlong celebrations by showcasing so many of their graduates. 2015 also marks the 30^th anniversary of the original West End production of Les Miserables. Obviously the only sensible thing to do was to celebrate 30 years of musical theatre with a roster of thir--, um, 16 songs. (I suppose 30 songs was asking too much!)  

The fundraising aspect involves WAAPA hosting the Musical Theatre Educator’s Alliance Conference in the middle of this year, the first time it has been held in the southern hemisphere. What with the launching of the Jackman-Furness Foundation last year and now this conference it’s an exciting time for the Academy.

To the show and we are greeted by our hosts Kerrie Anne Greenland, Lara Mulcahy, Rodney Dobson and Ben Hall with a rousing rendition of Live in Living Colour from Catch Me If You Can. The tone is set early with plenty of light-hearted banter, Mulcahy in particular proving adept at the witty one-liner and adroit comic timing. A post musical theatre career as a stand-up comedienne beckons!

There then followed a series of songs which was quite the eclectic mix with musicals as diverse as Phantom of the Opera to City of Angels, and Parade to Dr. Zhivago represented. What I loved though is that members of the ensemble were given equal opportunity to shine and you quickly come to realise the firepower a production like Les Miserables has. Every member of the cast is a fabulously gifted performer in their own right. The show as a whole was brilliant across the board but some of my highlights were:

Lisa Sontag and Matthew Heyward worked wonderfully well together in a funny performance of That Face from The Producers. This is given a reprise of sorts when Lara and Ben decide to interview them about what it’s like to be an understudy on Les Mis. Oh the jealousy you have to endure, Lara, the jealousy!

Mischana Dellora Cornish and Ben Hall crushed Rita’s Confession from The Lucky Stiff with Cornish especially impressive in a virtuoso performance.

While the ensemble cast members were relishing the spotlight Simon Gleeson and Hayden Tee reminded everyone why they are the headline stars of Les Mis (as Jean Valjean and Javert respectively) with a superb rendition of Lily’s Eyes from The Secret Garden. The power and control from both is simply first class.

Joshua Robson followed with a powerful Bui Doi from Miss Saigon backed by some eleven of his male colleagues. The massed voices made for a riveting aural experience.

Likewise, Chloe Zuel was supported by her female colleagues as she brought plenty of sass to a boisterous performance of Raise Your Voice from Sister Act.

Patrice Tipoki gave the penultimate performance with a stirring Defying Gravity from Wicked before Ben Elton was called onstage to share his thoughts about the importance of WAAPA in developing future generations of musical theatre stars.

It was therefore a treat to see the second and third year students onstage for the finale of One Day More. What was even better was when they moved to the front of the stage as if being anointed by their celebrated predecessors. The combined might of the Les Miserables cast plus some forty students singing the crowd pleasing song ensured a standing ovation as the show closed.

Some other thoughts:

The five piece orchestra was excellent. Well done to Geoffrey Castles (Piano), Laura Tipoki (Keyboard), Katherine Gillon (Keyboard), Anna Pokorny (Cello) and Bronton Ainsworth (Drums). 

  

The humour and genuine camaraderie throughout the show elevated this to something quite special.

I am contractually obligated to mention (because I told her I would!) that Kerrie Anne Greenland gave a “Cher-like performance” with at least 6 costume changes on the night.

It was a delight to briefly talk to some of the performers afterwards including Kerrie Anne, the elegant Elisa Colla, and Simon Gleeson who simply can’t shake Javert forced to sing opposite him even in concert! 

Likewise, it’s always a pleasure chatting to some of the WAAPA students whose year commenced today. What an inspiring and perhaps daunting experience tonight was for them. This is the bar they have their sights set on as they continue the extensive, world class training at the Academy.

This was a magical night and a timely reminder of the power of musical theatre at its very best to move and enthral us.  

WAAPA Showcase - Perth (3 November 2014)

At the end of the musical theatre section of Monday night’s Showcase the screen at the rear of the stage showed all the performers in a line, looking fabulous and in high spirits. As the camera pans across them it stops abruptly and 2014’s graduating class all look over their shoulder… at a Centrelink sign. It received a big laugh from the audience but there’s a sobering message underneath the humour. Things are about to get real and the stakes are high. On Saturday 18 actors and 20 MT performers will leave for the eastern states and two Showcase performances, one in Melbourne, one in Sydney. Agents and professional careers await. 

On the evidence of this performance the prospects are very good that all of them will find representation and be gracing our screens, both small and large, and stages throughout the world for years to come.

This gives me a moment of pause as I can’t possibly do justice to an evening that featured 21 pieces for the actors with another 23 musical theatre acts after intermission. However, I have decided to give general impressions and then list some of my personal highlights. Others will be making far more significant determinations in the coming days so my apologies in advance for the omissions. Let me say this though, it has been an absolute pleasure watching both classes throughout the year and this special Showcase performance for the Friends of the Academy was a fitting send off. I look forward to seeing your work in the coming years.

Okay, enough first act exposition! The evening was held at the Geoff Gibbs Theatre and I was fortunate to have a seat in the front row. The acting class was up first and their program was a mix of showreel scenes played on the big screen and live performances. The other aspect for both classes was individually filmed introductions for each actor/performer that were quirky and amusing to give a real sense of personality.    

The showreel scenes were directed by Andrew Lewis himself and looked terrific. My favourite was a beautifully nuanced piece between Holly Dyroff and Aleks Mikic who conveyed the subtext between their housemate characters superbly. Felicity McKay and Jane Watt had a fun scene that went in an unexpected direction involving a bathtub and, well, let’s just say, unusual interruptions. Joel Horwood and Harriet Davies were in a lovely ‘walk and talk’ scene that was understated and quite philosophical. What struck me through all the filmed scenes was the natural screen presence the actors had with Adam Sollis, Alexis Lane, Liam Maguire, Alex Malone and Emma Diaz also impressing.

Of the live pieces, Jane Watt gave a memorable performance as an over-eager participant in a fox hunt (Decadence); Holly Dyroff started proceedings with a bang in a scene from Venus in Furs with Jonny Hawkins; while Henry Hammersla and Felicity McKay attacked an excerpt from Enron in great style. There were a couple of 'classics’ thrown in with Stephanie Tsindos and Emma Diaz giving a new take on The Odd Couple while Joel Horwood and Alex Malone had fun with some Woody Allen style neuroses from Annie Hall. Aleks Mikic gave a really physical turn with a piece called Road. The riskiest act was written and performed by Adam Sollis and Jonny Hawkins who had a little fun with the whole showcase concept in a performance piece called We Are Acting that was amusing and clever.

Then it was all over. Friends and family were waiting in the foyer and there was a sense of relief and excitement. I congratulated those unencumbered by well-wishers and had a brief chat with Jonny who is always generous with his time.

Next up was the musical theatre class and there was a real Chicago vibe going on from Suzie Melloy featuring in Roxie to Jessica Voivenel’s Can’t Do It Alone and ensemble work to Overture/All That Jazz, Cell Block Tango and Hot Honey Rag. That suited me just fine! Sondheim also had a work out with Sophie Cheeseman giving a wonderfully moving rendition of Not A Day Goes By and Ben Adams reprising his star turn in Merrily We Roll Along with Franklin Shepard Inc. Daniel Berini was very strong with Finishing the Hat and Ashleigh Rubenach charming as she sang On The Steps of The Palace from Into the Woods.

Other highlights included William Groucutt’s crowd pleasing Boyband which is such a well-executed showcase of his talents. Similarly, Max Bimbi’s The Plane (is Going Down) always gets a laugh but is a demanding piece that he does very well. Rounding out the quirky quotient was Nick Eynaud’s To Excess which features quite disturbing lyrics if you stop to think about it but is presented with such goofy charm that we laugh anyway.

Perhaps my favourite piece was Lyndon Watts’ Le Jazz Hot, a stirring exhibition of his singing and dancing skills. It was very slick and yes, very hot. Du Toit Bredenkamp gave a stirring rendition of The Streets of Dublin then there was Rebecca Hetherington’s powerful No One Will Bruise where she didn’t miss a beat with the only blemish on the night – the woman next to me whose mobile starting ringing - come on people, it’s not that fucking difficult, turn the damn thing off or put it on silent! I very much liked Shannen Alyce’s With You and Sophie Stokes ended the evening with a terrific performance of On My Way. I should also mention the excellent work on piano by Kohan van Sambeeck while Groucutt and Bredenkamp provided occasional musical assistance.

Afterwards I had conversations with Suzie, Ashleigh, Sophie, Daniel, Nick, and Rebecca and again what strikes me is how generous they are with their time and how genuinely lovely they are. Interestingly, many expressed how much more nervous they were performing in front of their peers that afternoon. For many this is also their last week in Perth so it is a massive time of change and future prospects.

In all, an excellent night with some two hours of entertainment that is the culmination of three years of hard work, talent, and dedication that I can only but admire.

To the acting class of Julio Cesar, Harriet Davies, Emma Diaz, Holly Dyroff, Alexander Frank, Henry Hammersla, Jonny Hawkins, Joel Horwood, Alexis Lane, Liam Maguire, Alex Malone, Kristy Marillier, Felicity McKay, Aleks Mikic, Harry Richardson, Adam Sollis, Stephanie Tsindos, and Jane Watt; and the musical theatre class of Ben Adams, Shannen Alyce, Daniel Berini, Max Bimbi, Du Toit Bredenkamp, Eloise Cassidy, Sophie Cheeseman, Nick Eynaud, William Groucutt, Rebecca Hetherington, Miranda Macpherson, Stephen Madsen, Suzie Melloy, Ashleigh Rubenach, Sophie Stokes, Jack Van Staveren, Jessica Voivenel, Lyndon Watts, Patrick Whitbread, and Chloe Wilson I wish you all the best for the eastern states’ Showcases and your future careers!

Shows reviewed from this year:

Acting: Festen, Realism, Great Expectations, and Choice Cuts

Musical Theatre: Hair, West Side Story, Merrily We Roll Along, and Best Bits

Great Expectations - WAAPA (27 August 2014)

In the early going of Great Expectations there is a bare knuckled fight between a young Pip (Adam Sollis) and Herbert (Harry Richardson) started by the latter, won decisively by the former. They much later become fast friends. I mention this because it prompts the thought that I have been watching a World Heavyweight Title Fight all year between the respective third year musical theatre and acting classes at WAAPA. Two evenly matched opponents slugging it out and what a bout it has been!

If West Side Story is the crowning achievement of the musical theatre class in the red corner then the acting cohort in the blue corner have replied in stunning fashion with this production. To extend the boxing analogy, I had a ringside seat, front row centre, at the Geoff Gibbs Theatre. And what a view it was - a brilliant adaptation of the great novel, inventively staged and directed, with superb performances across the board.

The cast of seventeen actors are all given moments to shine as the adaptation features the use of a rotating chorus who vocalise Pip’s innermost thoughts and provide ancillary characters as well as, amusingly, such things as dogs and gargoyles. The cast is in constant movement and this gives the play great energy and a unique treatment to one of the classics of Western literature.

But it’s in the featured roles where impressive performances are everywhere:

Firstly, I doff my cap to Adam Sollis as Pip who is tremendous. From frightened young boy, to disgruntled apprentice, to eager suitor, to a gentleman in London living the high life, to a man whose newfound world crumbles around him as the revelations pile up in the second act, he gives such a likeable and convincing performance in the demanding central role.

Jonny Hawkins is wonderful as Joe Gargery, the simple blacksmith with a big heart. I spoke to him briefly afterwards to congratulate him on the show and his blistering performance in Festen and he said the trade-off for playing the devil in Festen was to play Joe, the complete opposite. He was in high spirits and clearly had fun in the role generating a lot of good-natured humour.

Emma Diaz is radiant as Estella, the object of Pip’s affection. Pip is constantly asked by Miss Havisham if Estella is pretty and yes, Diaz is every bit the beauty here but plays the cold and heartless creature of Havisham’s creation very well.

Alexis Lane is unrecognisable as Miss Havisham with grey, bedraggled hair, dirty wedding dress and stark make-up. She appeared to be relishing the role of the manipulative old woman whose heart was broken at the altar with a mischievous gleam in the eyes that was compelling. 

Jane Watt shines as the (male) lawyer Jaggers and after final bows almost danced off stage and so she should be happy with her authoritative performance. Harry Richardson plays Herbert with a straightforward earnestness that I really enjoyed and Stephanie Tsindos is an honest, straight talking Biddy.

Alex Malone is a vigorous Mrs Joe and really propels the play in the early scenes. Likewise, Julio Machado provides an early comic turn as Pumblechook that sets up the lighter tone that is throughout the play though not so much in the latter stages of the second act as we get down to business with a series of revelations that actually require a lot of exposition and even the odd ‘flashback’ scene, one done very effectively in silhouette behind a white sheet.

Aleks Mikic is brutally in your face as the convict in the opening and has a much bigger presence in the second act as Magwitch makes his presence known to Pip. While a changed man and the source of Pip’s good fortune, he can’t help but be who he was conditioned to be as he attacks his nemesis Compeyson (Alexander Frank) to seal his downfall. Liam Maguire is suitably creepy and resentful as Orlick with Harriet Davies (Wemmick), Henry Hammersla, Joel Horwood, Kirsty Marillier, and Felicity McKay rounding out the cast in various roles and as part of the chorus.  

The buzz at intermission and after the show was one of real excitement. I was talking with three young actors who have aspirations to go to WAAPA and how could you not be but inspired on the evidence of this outing. That and the fact there were two other high quality performances going on in the nearby venues. It was also great to see such good crowds all three nights that I have been at the Mount Lawley campus this week.

Directed by Andrew Lewis (also in high spirits after the show), Adapted from the Charles Dickens novel by Nick Ormerod and Declan Donnellan and featuring WAAPA’s graduating acting class, there is only one show remaining at the Geoff Gibbs Theatre, Thursday 28 August at 7.30pm. If you can get a ticket definitely go and see it - a highlight of 2014.