Viva La Restoration - Fringe World 2016 (11 February 2016)

Imagine a world where colour doesn’t exist. Where people only vaguely recall it from a children’s fairy tale about golden and crimson monsters battling black and white knights. Where the powers-that-be consider colour dangerous as it incites emotions such as red for anger, blue for sorrow, yellow for fear, and orange for… well, let’s forget about orange for the moment.

Of course, this horrifying dystopian nightmare is quite familiar to anyone who is colour-blind (raises hand sheepishly). But this is the premise for the originally written musical Viva La Restoration or, more accurately the reworked version as this initially premiered back in 2013. Back then it was under the auspices of the University Dramatic Society (UDS). Featuring the same creative team of Jackson Griggs (Music) with Book and Lyrics by Thomas Owen and Cal Silberstein, this production has now been picked up by The Midnite Youth Theatre Company and directed by Gregory Jones.

It stars an excellent young cast of musical theatre performers, headlined by Olivia Everett as the whimsical Gwen Archer; Rupert Williamson as the intense Elias Kane; and Erin Craddock as Mayor Vera Donahue. To quell stirrings of unrest in this black and white world, Craddock’s Mayor announces a competition where Archer’s painting of an eye trumps Kane’s own creation. Both, however, are dissatisfied as something is missing. That something is of course colour that each discover in startlingly different ways. Archer through seeing colour in the eyes of her friend Lucy (Amy Fortnum) and Kane in more brutal fashion as red blood flows freely from one of his admirers Anna Meeler (Amber Kitney).

While Archer sets off to find the almost mythic Professor Perkins (Ben McAllister) who was banished for insisting that colour exists, Kane dazzles the local populace with his bloody art. Red becomes all the rage. The Mayor, advised by a bumbling duo of Councillors (Daniel Kirkby and Kieran Lynch), struggles to keep things under control, instructing her chief enforcer Officer Ambrose (Luke Wilson) to restore the monochromatic peace. It all ends in a showdown between Kane’s towering ambition fuelled by blood and Archer’s childlike idealism aided by the Professor’s dubious science in the creation of true colour.

The show started a little slowly but I really enjoyed this. The predominantly black and white design in costuming and projected images with splashes of colour, particularly red, is striking. The lighting also created great atmosphere with movable wooden frames holding old fashioned blinds rearranged in different combinations to diffuse light and provide the background for those images.

It showcased an excellent piano and guitar driven score that was very well played by the band of Ben Hogan (Keyboard/Conductor), Josiah Padmanabham (Guitar/Keyboard), Gwyneth Gardiner (Bass) and Andrew Silberstein (Drums) that added a lot of mood and texture.

Everett continues to impress with a deft comic touch that I really enjoy. Williamson was all brooding malevolence while Craddock presented a sleek and stern Mayor. Kirkby and Lynch worked well together as comic foils while Fortnum’s change in allegiances was heightened by the earnest loyalty she imbued Lucy with. McAllister gave an offbeat performance as the Professor but gets away with it because we immediately recognise the mad scientist archetype. The ensemble provides great support with strong vocal talent amongst its ranks.

Unlike their previous collaboration How We Ruined MacArthur’s Markers where the lyrics attempted a Sondheim level of complexity, the songs here are simpler and far more effective because of it. Highlights included the dark Living Masterpiece and the lovely Horribly Horrible where Everett’s Archer, faced with the failure of her quest, sings of how she wanted statues. Yes, both lead characters are not short of ego!

But this is one of my quibbles – it took a while for the show to settle into a groove that I thought I’d found when Archer meets the Professor and we get some shtick and the light-hearted I Believe In You. Ah, musical comedy, of course! The very next scene dashed that thought entirely when things took a very dark turn indeed. These two competing tones battled each other throughout the production – the light comedy styling that Everett pulls off so well versus the intense psychological drama that Williamson embodied. It sort of works as both represent diametrically opposed forces on the colour spectrum but the changes in style could, at times, be jarring.

The other minor suspension of disbelief issue emanates from the Book – in a colourless world colour exists in nature as depicted by the eyes and the flow of blood. It was as if no-one had ever noticed this before, not even after a minor cut or scratch.

Other than that this was well played, well sung, looked terrific and featured a great young cast. Plaudits go to Messrs. Griggs, Owen and Silberstein on continuing to develop this 90 minute, one act musical. It’s a devilishly tricky form to get right and this is an enjoyable production that showcases great potential for future endeavours. A recommended addition to the local music theatre scene.  

Viva La Restoration is on at the Subiaco Arts Centre until 20 February.  

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! 

Assassins - Midnite Youth Theatre Company (21 May 2015)

Ah, the American Dream. Where anybody from any background can pull themselves up by the bootstraps and achieve anything they so desire… including becoming the President of the United States. Yes, even you Arnold Schwarze—okay, well, maybe not. But what about those people whose pursuit of happiness and the American way is thwarted by disappointment and heartache; rejection and bitterness? Well, you too can find salvation, my friend… by killing yourself a President of these here United States!

It’s a provocative basis for a musical that squarely takes aim (okay, that’s the sole gun metaphor I promise) at the American Dream and its illusory promise of happiness for all. Instead, it can empower misfits and worse to acts of violence when they feel betrayed by their actual lot in life. Even more subversive is that many of the assassins and would be Presidential killers are presented, if not sympathetically, then certainly in a more even-handed manner than might be expected.

There is no doubt that this is dark terrain indeed but there is a streak of jet-black humour that infuses the proceedings with a vitality that is compelling. That balance between black comedy, social and political satire, and the undercurrent of genuine darkness is a fine line to tread.

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.      

Before we come to the many highlights, the intimacy of the studio at the Subiaco Arts Centre really worked well for this. The audience was like a co-conspirator and we were immersed in the immediacy of the performances which were excellent across the board. The set was two movable bleachers that were slickly configured to represent everything from a shooting gallery to famous locations in the dubious history of American political assassinations. There was a smaller rostrum-like component that doubled for everything from a car to the electric chair. Yes, this line of work has a certain finality for more than just the victims. Above it all was a neon lit sign – Lucky Shot – with a bullseye. Subtlety isn’t necessarily a requirement!

Beautifully lit with use of diffused lighting through smoke but also harsher effects to enhance the absurdity or gaudiness of certain moments this was a very handsome production to look at. Costuming and props were very good and I must confess I recognised the thoroughly disgusting bucket of KFC prop from my recent WAAPA tour which drew a chuckle.

The five piece band who handled the typically complicated Sondheim score with aplomb was situated at the back of the space. The music reflected the different time periods as the story cuts from assassins throughout history but in a fractured timeline. The show was a lock out due to the configuration of the stage and the performers weren’t mic’d. The sound balance, however, was very good and there were only a couple of brief moments where the band threatened to overwhelm the vocals. Well played Jackson Griggs (Conductor and keyboards), Joshua James Webb (keyboards), Elliot Frost (guitar), Gwyneth Gardiner (bass) and Rosie Taylor (percussion).

To the performances and each of the featured players have strong moments. The show begins with The Proprietor (Nicholas Miller) enticing our would be assassins to purchase a gun as they sing Everyone’s Got The Right. It sets the tone straight away and Miller, who I’m told is only 17 years old, gets us off to a really strong start. The Balladeer (Brandon Williams-West) then acts as a narrator of sorts as he introduces the diverse collection of misfits starting with the daddy of them all – John Wilkes Booth played by James Cohen. 

It’s all barbed satire and commentary delivered in wonderful style… until we come to Booth in the barn after he has shot Abraham Lincoln. Desperate to convince the world of his legitimate reasons in the face of The Balladeer’s protestations that it was more for personal vanity (The Ballad of Booth), this is a powerfully dramatic scene. It was the first sign that this show was going to deliver something more than laughs.

This is shortly followed by Sven Ironside’s immigrant worker Leon Czolgosz’s impassioned description of the horrendous conditions he faces in a factory that makes bottles, the casual breaking of one the catalyst for his rage. He later has a featured scene with Kimberley Harris’ Emma Goldman where he confesses his love to the anarchist leader and is gently rebuffed in perhaps the best acted moment of the show.

  

Likewise, Thomas Owen as Samuel Byck who planned to kill Richard Nixon by flying a 747 into The White House, gives a frenetic performance with his first monologue in particular a standout. Dressed in a dirty Santa Claus outfit and recording a message for Leonard Bernstein (the West Side Story references are hilarious given Sondheim’s own involvement), this is a profanity laced tirade that is part funny, part disturbing, and delivered with complete conviction. 

On the comedic side of the spectrum Cal Silberstein is all smooth charm as Charles Guiteau who wants to be Ambassador to France but is rebuffed by President Garfield. Nothing for it but to shoot him I guess. Arrested and sentenced to hang, the I Am Going To The Lordy/The Ballad of Guiteau is black humour at its most pungent as Silberstein plays the walk to the gallows with increasingly desperate optimism. Peter Martis adds further black humour with the electrocution of his character Guiseppe Zangara gloriously over the top.

Then there’s Olivia Everett’s housewife Sara Jane Moore who appears to be the least competent person to assassinate anyone let alone Gerald Ford. Dogs watch out though! She gives Moore an almost slapstick persona with thick glasses, wig and a lovable klutz-like charm. It’s very funny indeed. She works well with Niamh Nichols' Lynette “Squeaky” Fromme who also wants to kill Ford and proclaims herself Charlie Manson’s lover.

Lynette shares the ballad Unworthy of Your Love with Luke Wilson’s John Hinckley as each serenades their respective catalysts for murder – Charles Manson and Jodie Foster. It’s an affecting song because of the disparity between content and form. Wilson’s plays Hinckley’s obsession with the teen actress with a quieter off-kilter simmer that bubbles over as Fromme mocks him. 

Which leads us to the standout sequence as The Balladeer becomes Lee Harvey Oswald and is confronted by Booth one fateful day in Dallas, 23 November, 1963. Williams-West was thoroughly likeable as The Balladeer with a sweet voice and restrained mocking of the others but it’s here he excels with Cohen whose Booth persuades him to assassinate Kennedy. The audacity of that – Oswald and Booth together, with Booth summoning the help of the others so that they can in effect become immortal through one heinous act that reverberated around the world – is stunning. 

The ramifications are explored in the highlight for the ensemble in Something Just Broke. Comprised of Erin Craddock, Dash Fewster, Tessa Harris, David Jones, Kieren Lynch, Jessica Reynolds, Tatum Stafford and Alexander Wilkie, they gave excellent support throughout, dressed all in black and adding punch to scenes.

Directed with style and energy by Gregory Jones, I really enjoyed this – the storytelling is exceptional in its audacity; the humour is a rich vein of jet black comedy; the singing is very good indeed; and it’s well played and presented. Above all, you simply can’t be passive with something as intricate as Sondheim so I loved the intensity right from the get go. The run quickly sold out and an extra show was added – a matinee on 23 May (yes, today!). If you can get a ticket then it’s well worth seeing. If you can’t, just don’t shoot a President, okay?