Lizzie - Milky Way Productions (15 March 2025)

Before Spotify and other streaming applications changed the way we listen to music with self-curated playlists, there used to be the album. The peak expression of that form was the concept album, a cohesive collection of songs that were thematically linked. Think Tommy by The Who. For me, growing up though, it was Pink Floyd's The Wall, that great work of bombast as Roger Waters howled into the void about alienation, rock stardom, and the loss of his father on the Anzio beachhead. Leavened by the brilliant guitar work of David Gilmour, Richard Wright's keyboard and their combined vocals. 

Here's the segue…

An early Pink Floyd instrumental is called, wait for it, Careful With That Axe, Eugene. I recommend the live performance from Live At Pompeii. It starts softly, melodic, seductive, slowly building in intensity until all hell breaks loose as Waters screams and Gilmour's guitar wails surrounded by Wright's psychedelic soundscape and Nick Mason's pounding drums. Replace Eugene with Lizzie and you're on the money. 

All this is to say that at the interval I remarked to another audience member that Lizzie is not so much a musical as it is a rock concert. This is a live performance of a concept album; that concept being the motivations and fallout of Lizzie Borden murdering her father and stepmother with an axe; decidedly not carefully. That revelation, to me, explains all the choices co-directors Kieran Ridgway and Luke Miller make from lighting design, the staging, the prominence of the band, down to costume design and the stylised movement of the cast. 

Let's start with the seven-piece band who take up most of the stage space with lights interspersed between them, front and back, and amps aplenty. It's a rock concert and they are the engine that drive the show. They are excellent under Musical Director Akari Komoto who also plays piano. I really liked the rock infused score that crackled with energy and was loud and aggressive where it needed to be, and quieter in moments of character introspection. 

Lead guitarist Sarah Curran makes an immediate impression and adds a seventies style tone when the electric guitar was the pre-eminent instrument of the era. The presence of Kiara Burke on cello adds a hint of Spring Awakening texture and class. They all rock out when called upon which had me rocking along with them. Take a bow, Komoto, Curran, Burke, Chelsea Cheah (piano), Silvia Salaza Molano (guitar), Erin Steicke (bass), and Martha Bird (drums). 

Here's the trade off though. In fact there are a few. The volume of the band when they're cranked up and into it is going to submerge the vocalists, even one as powerful as Lukas Perez. That's fine at a concert when everyone knows the words to a decades old classic or have listened to a new release multiple times, however, this is a somewhat obscure musical so the songs were completely foreign to me. 

I certainly understood the gist of what was going on but most of the lyrics were lost in the upbeat numbers. Attitude of delivery, the interaction of our singers, and a passing knowledge of who Lizzie Borden was and what she allegedly did carries me along. Though the writers pretty much put a line through 'allegedly' and point the finger directly at Lizzie as the culprit... while seeking to give plausible reasons as to why that might have been.  

The other trade off is the band takes up a lot of space. It leaves only a narrow strip for our four cast members to work in though there is also a second level where the creation of open barn doors in the rustic wooden set is used as a focal point. Set design by Luke Miller with set painting by Shelly Miller which depicts the two victims' portraits on the rear wall. As an aside, I'm with Mister Borden; pigeons are flying vermin.  

Let's get to our four lead vocalists in this rock extravaganza. Perez shines as Lizzie Borden, both vocally and in depicting an emotionally troubled woman. An early highlight is This Is Not Love where the clear inference is that Lizzie is being sexually abused by her father. Lizzie is surrounded by her older sister Emma (Brittany Isaia), housemaid Bridget Sullivan (Sarah McCabe), and neighbour Alice Russell (Jessica Huysing) and there is the symbolic removal of an outer garment as Perez rocks us in another way with a plaintively sung ballad. 

Isaia brings older sister angst to the portrayal of Emma while McCabe is fussy common sense and practicality as the servant who witnesses all. Huysing's Alice is allowed to be much sweeter in the first half as a suggested love interest of Lizzie's before a harder edge comes into focus after the break. They all sing and harmonise well together though Huysing's mic seemed to have a different tone to it. Perez is given every opportunity to belt out numbers with those impressive pipes and there's plenty of echo and reverb used throughout.

The first half ends with - spoiler alert - yep, you guessed it. The second delves into the trial and aftermath. Any pretence that this isn't a rock concert is dispensed when the four lead vocalists of our rock group come out with handheld mics and are flanked at the front of the stage by guitarists Curran and Molano for the final couple of numbers. They're bathed in an orgy of lights as the band and vocals reach a crescendo. Rock on. 

Lighting design by Bailey Fellows is a showy, multi-coloured spectacle that enhances the rock concert vibe, particularly with the use of an array of lights nestled around the band at stage level. Costume design by Sarah McCabe is an eclectic mix of 1892 period piece in the first half, then modern goth in the second. McCabe's housemaid could be an extra from Rocky Horror in the latter going with an ostentatious wig (Tashlin Church) capping off the illusion. Choreography by Naomi Capon is angular and awkward but again, it makes greater sense if you think of those gloriously over the top 70s concerts before the arrival of punk skewered the self-pretention of the supergroup and rock god.   

Lizzie is loud, it's raucous, it's aggressive. If I considered it as a musical, does it work? No. As a rock concert, I loved the band, enjoyed the score, and accepted the over-the-top theatricality which is a different kind of spectacle to a stage musical. This feels like a cult classic in the making that will attract a niche audience. That appears to be the M.O. for this production company as they offer up a harder edged selection of lesser known works that will appeal to younger and more diverse theatregoers. 

Lizzie is on at the Don Russell Performing Arts Centre in Thornlie until 22 March.

The Drowsy Chaperone - Stirling Players (23 November 2024)

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

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

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

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

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

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

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

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

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

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

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

The Trail To Oregon! - Art In Motion Theatre Company (28 October 2023)

The great westward expansion was one of the pivotal events in mid-19th century America as hundreds of thousands of settlers forged a path to the Pacific coast. One of these Emigrant Trails typically started in Missouri and wound its way thousands of kilometres to Oregon. It was a hazardous journey that, in many ways, defined the character of a young nation. Those brave souls had many obstacles to face - bandits, harsh weather, starvation, disease, wagons with octagonal wheels, deformed oxen, aggressive hand puppets, um, vengeful crustaceans, the whims of a capricious God, and, of course, dysentery. Oh, and a particularly savage and bloodthirsty race known only as The Watchers. It's a wonder any of them survived!

Yes, this comedy musical, based on a video game, takes some basic facts and runs wild with exaggeration and absurdity. It follows a family - surname chosen by the audience, in this case the Spareparts - whose farm has burned down so purchase a wagon in Independence, Missouri to head west to Oregon. The family unit comprises the Father (Mathew Leak), Mother (Lukas Perez), 7 year old Son (Verity Lux), 14 year old Daughter (Brittany Isaia), and Grandpa (Max Leunig), all named by the audience with great enthusiasm. We had a Yo Mama, Woody Woodpecker, Screw Loose, and Seymour Butts while the father's *name was probably an inside joke I didn't quite catch and seemed to change slightly on each utterance. These were incorporated into lyrics and dialogue with generally amusing effect. Riley Merigan plays a variety of characters they encounter on the way, notably the bandit McDoon.

At first I didn't quite know what to make of what was going on. The volume of the performers' mics was quite loud to compete with the onstage band so a lot of the expository lyrics were hard to catch in the early going. The humour was broad to say the least and it was all being played way over the top. Then it started to win me over as I realised what type of show it was and for this main reason - the talented cast was one hundred percent committed to the bit. Anything less and this could have devolved into a slog but they sold the hell out of the craziness with no shortage of charm and, at the end, considerable bravery. 

They were well supported by the cowboy-hat-wearing band who were all visible, corralled behind a wooden fence. There was also a bit of a home crowd feel to the audience who cheered on approvingly so I settled into a night of entertaining silliness. It also helped that the story vaguely reminded me of that great, quirky road trip movie Little Miss Sunshine where a fixated father and practical mother travel to California in a broken-down VW van with their starry-eyed daughter, withdrawn son, and crotchety grandfather. In this analogy Steve Carell is the... ah, blind and horny ox pulling the wagon (sorry, Steve). 

Every performer gets a moment to shine, whether it's Leak extolling the virtues of the journey ahead in The Grind or trying to woo Mother before the portentous Dysentery World; Perez dishing out homespun practicality and sass whilst also delivering the vocal highlight of the show with their solo When The World's At Stake; Leunig leading the cast in the whacky first act highlight Pays To Be An Animal; or Lux, displaying deft comic timing throughout, plunging headlong into the show closer Naked In A Lake where the cast strip down to tan bodysuits and tights as the second part of perhaps the zaniest ending you'll ever witness in a musical. 

The first part of that ending involves the audience selecting the fate of one of the family members. On this night it was Isaia who was tapped to perform a, shall we say, breezy and theatrically aromatic tour de force that saw her throw herself around the stage with the threat of wardrobe malfunctions aplenty. Isaia also has a strong vocal moment at the start of the second act with Lost Without You. Then there's Merigan who is the spare parts man extraordinaire to this Spareparts family. Forget dressing up as Barbie, Ken or Oppenheimer for Halloween... if you're not rocking a full-size Lobster costume (which genuinely had me in stitches) or Ox outfit you're simply not doing it right. Merigan chomps his way through the scenery with a bevy of villains and bizarre characters the family encounters.

The band under Musical Director Joshua Hollander plays an integral part in keeping the tempo upbeat, even rocketing the second act along with the frenetic Speedrun. As befits the mostly mid-west country vibes, it's a guitar (Sam Michael; Erin Steicke, bass) and banjo (Kieran Ridgway) driven score that's a jaunty accompaniment to the antics right in front of them. Hollander and Jennifer Phan play piano with Dylan Boxwell on drums and an uncredited saxophone player makes a cameo when Father is in the mood for lurve. 

Director Micheal Carroll allows plenty of room for the cast to "go big" with a sparse set and uncomplicated props including the practical simplicity of the wagon itself. Production Assistants Stella Sawyer and Tashlin Church create effective costumes for the family members with some memorable flourishes utilised for various creatures and villains. Sophie David enhances the eclectic nature of the family members with idiosyncratic choreography that favoured energy over technique. 

In all it's a boisterous show that doesn't shy away from its inherent silliness and one that the cast seemed to enjoy immensely with several corpsing alerts along the way. The audience also had a blast the night I was there and, I admit, I was heartily laughing along to the absurdity. A fun night at the theatre. 

*after inadvertent digital snooping I believe the name bestowed upon Father was Hatsune Miku who is - quick Google search - a 16 year old 'virtual idol'... okay then. *checks notes* I guess I was close with Hotsuemekoo (blank stare).