The Productions That Made A Lasting Impact 2012-2018

Over the last seven years I've seen well over 500 shows. Phew! 

On reflection, these are the ten that have made a lasting impact. 

An oustanding collection of musicals and plays that are personal touchstones for a variety of reasons but most of all for this, the thing I crave every time the lights go down:

A good story well told. 

In no particular order...

Point & Shoot - Holland St Productions (2014-15)

For mine, the best original production originating from WA in the last 7 years. A superb one act comedy musical.

Animal - Upstart Theatre Company (2013)

Brilliantly written and acted, this brutal and provocative play left me gobsmacked, staged at the gritty PSAS in Fremantle.

Urinetown - WAAPA (2015)

I adored the satirical tone of this musical but it was the fierce choreography in the intimate confines of The Roundhouse Theatre that elevated this to memorable status.

The Drowsy Chaperone - WAAPA (2016)

Witty, gorgeous, laugh out loud funny, this was a dazzling musical that was a complete triumph for that year's graduating class.

A Midsummer Night's Dream - Acacia Prison & The Actors Workshop (2015)

An unforgettable theatrical experience that demonstrated the transformative power of theatre. Unique, raw, moving, and damn funny.

Festen - WAAPA (2014)

A gut punch of a play that was a brutal watch but utterly engrossing as the majestic horror unfolded.

Punk Rock - WA Youth Theatre Company (2014)

Featuring an outstanding young ensemble cast that demolished the set in the studio space at the Subiaco Arts Centre in a powerful and spirited performance.

Under Any Old Gum Tree - Noel O'Neill (2014)

Playwright Noel O'Neill may be better known for his comedy franchises but this is by far his best work. A devastating portrayal of a man traumatised by war.

The Day The Sky Turned Black - Ali Kennedy Scott (2012)

A bravura performance as Ali Kennedy Scott played multiple characters with aplomb to tell the heartbreaking story of the Black Saturday bushfires from unexpected angles.

Sunday in the Park with George - WAAPA (2018)

Made me cry. Went home and booked a ticket for the very next night. Cried again. Superb.

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

Dr. Felicity Rickshaw's Celebrity Sex Party - Fringe World 2016 (8 February 2016)

Who among us hasn’t fantasised about doing unspeakable things to their celebrity of choice? Sexual things. With Brad or Angelina or Colin or Madonna. Sure, most people don’t go on to write an award winning blog about their imaginary carnal exploits. More’s the pity if Dr. Felicity Rickshaw’s tales are to be taken as the high water mark of celebrity erotica. These blisteringly funny and raunchy episodes will make you blush while educating you on some of the more, shall we say, creative ways to achieve a mindgasm.

Of course, there are reasons why someone might choose to explore such explicit fantasies and share them with the world and this is where Holland St Productions add depth to the hilarity. Dr. Rickshaw is the alter ego of one Amy (played by Amy Russotti) who has family and work entanglements to deal with while living alone with her cat Mister Snuggles. The most amusing of these real world scenarios is with geeky office colleague Ben (Tyler Jacob Jones) while her older sister Karen (Claire Taylor) chides Amy for several reasons, most notably about their mother (Erin Hutchinson).

It’s the fantasy sequences, however, when the naïve and dowdy Amy transforms into the rapacious Doctor Rickshaw, that dazzle. Her internal moanologue includes a threesome of performers (Jones, Taylor, and Hutchinson) who sing, dance and cavort while the bearded Russian Victor (Robert Woods) provides musical backing on keyboards.

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). Don't worry, pop stars aren't left out. You have to see what happens to the band members of One Direction to believe it – my lips are sealed on that front… or back as the case may be.  

It’s not subtle and things can get more than a little blue but there’s the trademark wit and mischief throughout in spades. The songs add another element of mayhem as the good doctor’s fantasies are quite literally fleshed out. At times silly and over-the-top there is one gem in the vein of Absolute Perfection (from Point & Shoot) being Colin Fucking Firth.

The performances are all excellent from the stoic Woods with thick Russian accent to the antics of Jones, Taylor and Hutchinson 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 even in the face of Monster Cocks. Yes, it’s that kind of show.  

This is sure to be another hit for Holland St Productions and they do have form with two of their previous shows including Point & Shoot being award winners at Fringe. Opening night was sold out so I wouldn’t delay in securing a ticket. This is raunchy, laugh out loud funny, and performed with verve and chutzpah. There’s also a touch of pathos to ground the shenanigans but ultimately you’ll know in your heart that love truly is the driving force in the universe.  

Book and Lyrics by Tyler Jacob Jones who also directs, with original Music by Robert Woods, Dr. Felicity Rickshaw’s Celebrity Sex Party is on at The Stables until 14 February. It stars Jones, Woods, Claire Taylor, Erin Hutchinson and Amy Russotti. I don't know if I'd take my mum but I'd definitely take the celebrity of my dreams. 

Top Ten Theatre Productions in 2015 - Musicals & Cabaret

It was an outstanding year for musicals and cabaret in 2015. From big touring productions such as Les Miserables and Wicked to the continued excellence of WAAPA's world class music theatre course there have been many tremendous shows. This has been supported by independent companies such as Stray Cats Theatre Company and Fresh Bred Productions who are mounting big productions catering to different audiences. Black Swan even got in on the act this year with the rock musical Next to Normal and the Regal Theatre continues to host a range of productions.

This made finalising the list quite difficult but here is my Top Ten for 2015:

1. Urinetown (WAAPA)
I adored this show. From the moment it opened the satirical tone had me in its clutches and the ferocious choreography sealed the deal. Outstanding.

"What a thrill to have a show grab you by the throat from the opening moments and not let go until the cast is taking well deserved bows. This is a spectacular production of a very funny and irreverent musical and I have to say, it knocked my socks off."

2. Les Miserables (Crown Theatre)

What more can be said about the fabulous Les Mis? Simon Gleeson and Hayden Tee headline a stellar cast, half of its number including Gleeson having graduated from WAAPA. 

"For rousing songs and sheer theatrical spectacle Les Miserables is hard to beat and this production has quality in every department."

3. Legally Blonde (WAAPA)

Such a colourful, energetic and joyous production, this showcased a fabulous graduating class to full effect.

"WAAPA’s mid-year musical theatre production has become a highlight of the Perth theatre calendar as they throw their considerable talent and resources – performers, musicians, set designers, costume designers, production department and many others into crafting a professional level experience both for its students and the audience. The results here, as with last year’s West Side Story, are impressive and wildly entertaining."

4. Next To Normal (Black Swan State Theatre Company)

I finally discovered that there is an orchestra pit at the Heath Ledger Theatre. And that Rachael Beck is a star. 

"Next to Normal stands out for the fact that its subject matter is challenging and under-serviced, certainly in musical theatre form. It demands that the acting from the performers is as good, if not better, than the singing requirements. The cast here deliver in spades with a potent mix of excellent songs, a great score, and a fully formed narrative arc for its central character that is as harrowing as it is gut wrenching."

5. Music Theatre Showstoppers (WAAPA)

The cast of Les Miserables doing a concert singing some of their favourite musical theatre songs? This only confirmed that the talent of that cast, top to bottom, is outstanding in a wonderfully entertaining evening. 

"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."

6. Assassins (Midnite Youth Theatre Company)

Staged in the intimate studio space at the Subiaco Arts Centre I loved the full tilt approach to this most audacious of concepts for a musical. 

"What I loved about this production is that all involved attacked it with total commitment and absolute ferocity. There is incredible intensity in the darker hued characters that is matched by some standout comic performances as this rogues’ gallery improbably comes together, ultimately, in a wonderfully written sequence, to convince one of their confreres to commit perhaps the most famous assassination in American history."

7. Sweeney Todd: The Demon Barber of Fleet Street (Fresh Bred Productions)

Another Sondheim and this one was beautifully sung and played at the palatial Joy Shepherd Performing Arts Centre. 

"... this is a fine production of a tremendous piece of musical theatre. I understand months of preparation and rehearsal have gone into making this show a reality and it shows. Congratulations to all involved on taking a risk with such a huge undertaking for independent theatre and pulling it off."

8. Point and Shoot: Farewell Show (Holland St Productions)

After touring the production on the eastern seaboard to further acclaim, this farewell show before heading to Brighton was so tightly executed that it couldn't help but make its way to this list.

"It would be fair to say that after witnessing the show for a second time that it is my favourite piece of original content generated out of Perth (in all formats) for quite some time."

9. Chitty Chitty Bang Bang (Stray Cats Theatre & Mandurah Performing Arts Centre)

Completing a trilogy of big family friendly musicals after Oliver! and Mary Poppins this was an entertaining and fun show that exhibits all of director Karen Francis' signature traits - crowd pleasing, big casts, visually sumptuous and well performed.

"If one of the roles of community theatre is to engage with and entertain its local residents then these productions are among the finest examples we have in the state. Usually a run will only be four to five shows over one weekend but they are always well attended and sit comfortably in the spacious Performing Arts Centre."

10. Spring Awakening (Fresh Bred Productions)

Immediately after the completion of the show I went home and bought the original cast recording which has been on high rotation ever since. An outstanding collection of songs well sung in one of the most surprising adaptations to a rock musical ever.

"Matching the musicians was the vocal talent on display. This really was a strong cast from a singing perspective – the featured vocalists excelled and were given tremendous support from the ensemble."

Female Performer of the Year - Rachael Beck

Not only was Beck's singing excellent, it was her acting that really impressed in Next To Normal. She commanded the stage throughout but worked so well with the rest of the cast to bring a complex arc to life.

Male Performers of the Year - Simon Gleeson

A towering performance in the role of Jean Valjean and his Bring Him Home almost had me in tears. Again. Damn it!

Special Mentions:

Elethea Sartorelli - Excelled as Mrs Lovett in Sweeney Todd with Cockney accent in place, and a real energy to her performance that threatened to steal the show.

Megan Kozak - A powerhouse turn in Urinetown was matched by an equally impressive performance as Brooke in Legally Blonde. 

Jacob Dibb - Another performance from Urinetown that was compelling. Dibb showcased a terrific voice and played Bobby Strong with a straight ahead earnestness that worked so well.

Madeline Crofts - A standout in Spring Awakening as Wendla Bergmann, Crofts also popped up as Johanna in Sweeney Todd and perhaps most impressively gave a hilarious and feisty performance in the original musical How We Ruined MacArthur's Markers.  

Kate Thomas - Thomas sank her teeth into the star role of Elle Woods in Legally Blonde. She looked fantastic in Elle's signature outfits and sang beautifully in an assured performance. 

That's it for 2015. Hope everyone had a great Christmas and I look forward to seeing you all at the theatre in the new year! 

Point and Shoot: Farewell Show - Holland St Productions (11 April 2015)

I first saw Point and Shoot at Fringe World 2014 where it won two major awards including $10,000 to assist touring the production interstate and overseas. It was subsequently performed in Brisbane, Melbourne and Sydney towards the end of that year garnering more awards and praise with an encore season at Perth’s Fringe this year. As the team prepare to take the show to the Brighton Fringe Festival in the UK they announced 4 final shows in WA – two in Perth and another two in Busselton to raise money to assist with costs or, as one declared at the end of Saturday’s performance, so they can afford to eat while on tour!

It would be fair to say that after witnessing the show for a second time that it is my favourite piece of original content generated out of Perth (in all formats) for quite some time. I revisited the brief review I wrote back in February 2014 and this still holds true:

“This is a hilarious and pointed satire of Hollywood and the filmmaking business with a clever plot ("twist") and biting lyrics. The four actors play multiple roles and instruments and all are in fine voice. The transitions are seamless and this rockets along at a frenetic pace.”

What struck me on Saturday night though is that after touring the show and making tweaks here and there it is such a tightly constructed and slickly performed production. The writing (Book and Lyrics by Tyler Jacob Jones) is clever and witty which has fast become the Jones trademark as witnessed by his subsequent play F**k Decaf and work on Skin Deep which debuted at Fringe this year. It is also a wonderful synthesis of a love and understanding of both movies and musical theatre. A passion shared by Robert Woods who wrote the music and crafted the filmed excerpts for the fictional 1961 sitcom Selma Saves The Day and its bombastic, over-the-top 2042 feature incarnation.

This is the mischievous conceit of the whole undertaking – inverting the current Hollywood paradigm to posit a world in 2042 where the Independents rule the roost in the name of ART and the blockbuster of yesteryear is in disgrace after every single property was plundered for entertainment. All except the obscure, one season show where Selma, her meatloaf, and trusty pet canine literally save the day. In steps the granddaughter of its original creator who comes to Hollywood with dreams of bringing Selma to the big screen. What follows is so furiously entertaining and funny with twists galore that you are swept up in the sheer audacity and inventiveness of it all. The script none-too-subtly lampoons the state of cliché ridden filmmaking but also betrays an intimate understanding of genre and how to subvert it.

This in itself is impressive but the kicker is in the execution. Four actors playing over fifty characters with rapid fire character transitions AND playing multiple instruments during the course of the story with musical motifs cleverly used throughout. It’s a dizzying display of talent, chemistry between the performers, and tight direction and choreography. All four – Jones, Woods, Tamara Woolrych and Erin Hutchinson inhabit different personas so distinctly with such diversity across their multiple roles that it truly showcases triple threat ability – singing, acting, and musicianship. This isn’t used as a gimmick but rather as a meticulously crafted and wildly inventive presentation of the story.

Jones is ever the showman as the screenwriter who dreams of bringing the movies of his childhood back to the big screen. Woods has a manic intensity as the hobo who portends cinematic doom. Woolrych is both ditzy newcomer and knowing femme fatale while Hutchinson is the desperately lovelorn secretary who will sacrifice everything for her unrequited love. But they are so many more iterations including their parts in the filmed footage. It’s simply a dazzling fusion of writing, performance, direction and music.

An added bonus was that as part of their fundraising drive an original cast recording was available for sale on CD. The standout song for me – Absolute Perfection – so beautifully sung by Woolrych will no doubt be stuck in my head for days to come. It was also no surprise to see so many local filmmakers in the audience with even a brief discussion afterwards about how you would go about adapting Point and Shoot for the screen. For art, of course!

All that’s left to say is that I wish the four performers and their support team all the best for their UK performances. I have no doubt the show will be a hit and deservedly so.  

Top Ten Theatre Productions in 2014 - Musicals & Cabaret

It was a big year for musicals, especially comedy musicals. From trailer parks to roller skating rinks, from Transylvania to the vastness of space, and even the Hollywood of the future to alien invasions in 1950s American suburbia, it was a wild ride. WAAPA proved yet again why they are the pre-eminent training academy for musical theatre in the country while the Koorliny Arts Centre had another strong year. There was the further emergence of a local writing and performing duo whose audacious ‘holiday special’ presages a very bright future.

To my favourites:

1. West Side Story (WAAPA)

A spectacular production at the Regal Theatre boasting the combined might of WAAPA’s second and third year musical theatre students and a host of talented students from all other departments. Throw in a wonderful set, an orchestra in fine form, and one of the best ever musicals and it was a highlight of the year.

"It’s not a feeling I get often but the buzz around WAAPA’s mid-year showcase production at the Regal Theatre has been enormous and I was hoping, expecting, pleading for magic and that’s exactly what was delivered – magic of the most potent kind. If you had told me that baton was a wand I would have believed you."

2. Children of Eden (WAAPA)

A production that took me totally by surprise but left me thoroughly impressed as WAAPA’s second year students announced their arrival in exuberant style.

"I’m happy to report that any reservations I had disappeared almost immediately in what turned out to be a spectacular production. The second years were uniformly excellent; it is a beautiful score with wonderful songs; and the venue was comfortably configured and used to maximum effect. I walked away with a real sense of the ‘wow’ factor hence my delighted surprise."

3. Hair (WAAPA)

WAAPA’s third year students kicked off their final year with a bang with this performance of the rock musical that harkened back to the era of flower power and the Vietnam War getting the tone and atmosphere spot on.

"The main players were more than ably supported by the rest of the cast who had a wonderful sense of energy and chemistry as they genuinely enjoyed the playful choreography and playground style set. Then there was the eight piece band that was in terrific form led by musical director David King."

4. Oliver! (Mandurah Performing Arts Centre) 

You know it’s been a good year when this joyous production is only fourth on the list. One of the highlights of 2014 was the massed cast including some 40 children performing Consider Yourself.

"When musical theatre gets it right, when everything is firing on all cylinders – the performances, the vocals, the orchestra, set, costume, lighting,everything – it is a sight and sound to behold."

5. Merrily We Roll Along (WAAPA)

The final production for WAAPA’s sterling third year class who lapped up Sondheim’s musical in the more intimate Roundhouse Theatre.

"After the big, elaborate musicals of the last few days over in Melbourne this show was a pleasant reminder that a stripped back production such as this in an intimate setting with talented performers and musicians can be just as entertaining and memorable. And yes, Mister Sondheim, I was tapping my feet more than once!"

6. The Jones/Woods Holiday Special (Holland St Productions)

A retrospective greatest hits package as hilarious as it was audacious that featured Gravity the Musical that lampooned and adored Alfonso Cuaron’s film in equal measure.

"This company of talented performers clearly relished working with such quality material and, again, there was real chemistry between them all. The fact that the show was put together with something like only three weeks rehearsal time is testament to their abilities. The audience response was as enthusiastic as anything I’ve seen in Perth – foot stomping intensity in fact! "

7. Young Frankenstein the Musical (Koorliny Arts Centre)

The very first production I saw this year and what a way to start. The kind of craziness that only Mel Brooks could summon brought to kooky life down at Koorliny.

"Based on the Mel Brooks’ movie of the same name, it exhibits the typical Brooks sense of humour as it parodies the horror genre. The gags can be a little hit and miss but I generally found this very funny. It is also performed and directed with great verve and there are many wonderful set pieces."

8. The Great American Trailer Park Musical (Roleystone Theatre)
Another great surprise of the year. What a raucous, hollerin' and a stompin' good time this was with a lovely sweetness under all that big hair, outrageous costumes and trashiness.

"What impressed me most is that beneath the raunchy and crass exterior that poked fun at the ‘white trailer park trash’ stereotype there was an underlying sweetness and genuine affection for these characters."

9. Point & Shoot: A New Musical (Holland St Productions)

I was fortunate enough to see the additional performance that was added to this show's run at Fringe. I can see why there was such a demand as this is clever, funny, and wildly entertaining. 

"This is an hilarious and pointed satire of Hollywood and the filmmaking business with a clever plot ("twist") and biting lyrics. The four actors play multiple roles and instruments and all are in fine voice. The transitions are seamless and this rockets along at a frenetic pace."

10. This Is Why We Can't Have Nice Things (Gillian Cosgriff)

Another show I was lucky to catch at the tale end of its run at Fringe. Based on Cosgriff's own experiences the songs here are pointed, funny, and insightful, delivered with real panache.  

"A front row seat meant I was only 2-3 metres away from Cosgriff who proved to be a vivacious, witty, and very charismatic presence as she combined original songs with insights into her life and that of her generation, those of the already nostalgic mid-twenties."

Female Performer of the Year - Suzie Melloy

In a spectacular show that did so many things so well, Melloy stood out as Anita in West Side Story. She "gives a star making performance as the feisty Anita – she is simply superb and a real charismatic presence."

Male Performers of the Year - Tyler Jacob Jones & Robert Woods

I am usually the first person to rail against ties but you can't really talk about one without the other when it comes to musicals. Jones and Woods as creative collaborators and performers are a potent combination with a huge future.

Special Mentions:

Rebecca Hetherington - Gives a fine performance as Mary, the heart and soul of Merrily We Roll Along. "Not only is her acting impressive but vocally she shines..."

Jesse Angus - A full tilt performance in Young Frankenstein where Angus "attacks the role (of 'Fronkensteen') with impressive energy and the appropriate level of mania."

Jon Lambert - Unrecognisable as Fagan in Oliver! after his stint as the Monster in Young Frankenstein. A very charismatic performance. 

Madeleine Shaw - Steals the show as the eponymous lead in Cinderella. The petite performer has a divine singing voice and confident stage presence.

Kohan van Sambeeck - seemingly ever present as a musician in many of the WAAPA productions, van Sambeeck also found time to be Musical Director for The Last Five Years and compose his first original score for the play Closer. 

An excellent year with many other great performances and a couple of shows unlucky not to make the final ten. Thank you to all the casts and crews, musicians, front of house staff and all the other people who make the magic of theatre come to life. I look forward to seeing you all again in 2015!

The Jones/Woods Holiday Special - Holland St Productions (26 July 2014)

Back in a time before digital music downloads there used to be something called an ‘album’. This was a collection of songs played in a pre-determined order. Quaint, I know! This led to what was known as the Greatest Hits album where the best songs of a band or artist over their career were brought together onto the one record. Or what young people today call a ‘playlist’. Usually, to release a greatest hits album, you’d have to have a sustained period of success…

How audacious then for Messrs Jones and Woods to put together a showcase of their ‘greatest hits’ for two performances only at the Hackett Hall in Floreat. Billed as The Jones/Woods Holiday Special the evening was a collection of original musical theatre songs written by Tyler Jacob Jones and Robert Woods and performed by them with a little help from their friends. Except audacious is a perfect word to describe this duo and they have both the talent and material to more than pull off such an evening. In fact it was a stunning and hilarious night that had the audience stomping and clapping in approval.

I was fortunate enough to see the final show of Point and Shoot at this year’s Fringe Festival, a musical that deservedly won the Artrage Theatre Award for Best Theatre Production and the coveted Martin Sims Award for Best New Western Australian Work. They had taken out the Artrage award the year before for Falling to the Top, a musical featuring The Divalettes, a group on the comeback trail with their appearance here (a chapter that will surely make its way into the annals of pop music history). I had also been impressed with Jones’ Finley Award nominated role as the lead in the musical Curtains as this very venue last year. It’s fair to say my expectations going in were high. It’s also fair to say they easily cleared that bar.

Three things that immediately struck me during this show – the showmanship on display (the chemistry between Jones and Woods is impressive as they introduced each segment, bantered, mock-argued, made-up and, at times, genuinely amused each other); the brilliance of the songs which are smart, incisive, clever, and outright funny; the absolute affection they have for not only musical theatre but also - and this was what I didn’t know but should have guessed at from Point and Shoot - feature films. There is a perfect fusion here between those two passions – film and musical theatre – and it’s a potent mix.

This was highlighted with a punctuation point in the closing section of the evening when they presented a new, short piece Gravity the Musical, a film Woods described as the greatest ever and bemoaned the fact it didn’t win the Best Picture Oscar. Brianna Williams gave a pitch perfect performance as ‘Sandy’ with St John Crowder as ‘George’ and Jones himself as the third astronaut whose name nobody remembers and, donned in a blonde wig, Sandy’s daughter. The lyrics here are so incisive as they lovingly pay homage to the film but also mock it mercilessly (the lack of ‘Sandy’s back story other than she had a daughter… who died; and the massed company imploring  Sandy that “she can do it” satirising the film’s ropey second act turning point). This is a Fringe Festival show and lawsuit waiting to happen. But, oh my, it was jaw-achingly funny.

There were so many other highlights as the duo presented their back catalogue – a Japanese version of Lookamalips from Falling to the Top performed by kimono-clad Ichina Parker while The Divalettes looked on unimpressed; Jones singing the witty You’ll Do from Zombie Girlfriend, and an aching lament to Ashley Judd for never winning an Oscar; a roaring 80’s style pisstake, One Heart, from the duo’s Moviefest Extra entry Dragon Conquest, belted out by Ann-Marie Biagoni with a little help from Robert Woods and an over-the-top dual saxophone solo that was hilariously on point; the wistful Absolute Perfection from Point and Shoot which is perhaps my favourite of their songs, beautifully sung by Tamara Woolrych; You’re Insane from Robert Woods’ solo musical theatre exploit, Delicious House, featuring Timothy How and Tamara Woolrych; Paul Spencer’s rendition of Astronaut as a rhyme-challenged Woodsman; and Woods singing an excerpt from Jones’ Year 12 essay on the film American Beauty chosen at random by an audience member.

Phoebe Jackson was featured in two numbers, I Want To Fly (from undoubtedly the definitive Peter Pan adaptation) and Awful Folk from The Amberly Show. The Divalettes (Breeahn Jones, Kimberley Harris, Mariaelena Velletri and Claire Taylor) also had their moment to shine with a sassy reprise of Lookamalips. The ensemble from Point and Shoot (Jones, Woods, Woolrych and a wonderfully zany Erin Hutchinson) ran through four songs from that show and perhaps the biggest applause of the night was for youngster Rhylan Bush who played Captain Hook in I Want to Fly. David Gray rounded out the ensemble with vocal support on numbers such as the deliciously black Zombie Girlfriend and, if I'm not mistaken, was on keyboards at one point. 

This company of talented performers clearly relished working with such quality material and, again, there was real chemistry between them all. The fact that the show was put together with something like only three weeks rehearsal time is testament to their abilities. The audience response was as enthusiastic as anything I’ve seen in Perth – foot stomping intensity in fact! 

Robert Woods and Tyler Jacob Jones are a duo to watch. They are touring the eastern states in a couple of months and I expect that they will break and break big – there is too much creativity, invention, and sheer chutzpah for them not to. On the evidence of this fabulous showcase theirs are names we’ll be hearing a lot of in the future.