Windmill Baby - WAAPA (20 November 2017)

For a venue that is difficult to light, boy oh boy, when they get it right it is a sight to see in my favourite theatre in Perth, The Roundhouse on the ECU Mount Lawley campus. The abandoned cattle station of yore comes to life as memories, both joyful and tragic, are re-enacted in the harsh glare of the desert sun or softer hues of evening relief. At one point audience members on my right visibly jumped as the elements were brought vividly into existence with lighting and sound. Excellent work by lighting and sound designers Jackson McKay and Ella Portwine respectively.

The set itself, designed by Kara Rousseau, is glorious – all corrugated iron with the windmill looming over everything, a water tank, the back verandah to the homestead and an old-fashioned washing line. Curiously though, the featured structure of the title is more a silent observer, oft referred to but mostly ignored by the characters that are summoned by the storytelling gifts of Old May May (Abby Richards).

It is the verandah that is the more potent symbol as the boundary between the privileged station owners - Boss (Quaid Cooper) and his Missus (Nomi Haji-Ahmad) – and the indigenous station hands who do all the hard, manual labour. That one of those hands, the crippled Wunman (Jye Skinner) dares to cross into that space is the catalyst for most of the tragedy that follows.

But there is also, and predominantly, great warmth and humour in the storytelling driven by the wonderfully generous performance by Richards as the older woman who revisits the setting of her youth. It’s like sitting down to hear a great yarn full of diversions, episodic tales, reminiscences, and self-deprecating humour. There’s even some bawdy moments thrown in, mainly to do with Malvern (Lachlan Stokes), the once beau in May May’s life. Then there’s a charming strand about a half-dingo dog and a poodle that is thematically on point but also laugh out loud funny.

As Old May May’s memories take hold, Young May May, played with great expressiveness by Marlanie Haerewa, proves to be the ideal foil. The cutting between past and present is well crafted and enchanting to watch. Serena-May Brown as Sally, apart from being a dab hand on the ukulele, also brings a decency to her role as a rival for Malvern’s interest. She has a featured moment pulling an audience member up on stage to tell a story to that ends in a surprise gift.

Stokes is amusingly naïve when it comes to the female attention Malvern receives and I confess I missed his presence somewhat in the latter stages. Skinner gives Wunman a sly sense of humour as well as providing physical comedy by way of navigating his crippled limbs. His fate felt somewhat anti-climactic though given the fault-lines his relationship with Missus causes.

Cooper has perhaps the most onerous task playing the callous station owner who thinks little of his workers and perhaps even less of his wife. The retribution for crossing racial divides is harsh and unforgiving. Haji-Ahmad radiates a sense of propriety and goodness as the Missus in opposition to her husband’s cruelty.

Torika Forrester seems to act somewhat as a portent of doom as Aunty Darbella while Umima Shah-Munro rounds out the cast as Wunman’s Mum and in ensemble moments. Like with all great tales there’s some singing, a little dancing, and even a bit of puppetry. Director Eva Grace Mullaley uses the full extent of the thrust stage well letting the characters of the past swirl around her central storyteller.

At a smidge over an hour in length this was charming storytelling even in its moments of sorrow, anchored by Richards’ warm delivery and that fabulous set. A most pleasurable evening of theatre presented by the Aboriginal Performance students.

Bloody Bloody Andrew Jackson - WAAPA (16 October 2017)

Ah, musical theatre, what a great educational resource you are! My knowledge of American presidents has grown exponentially over the past few years due to Assassins (Midnite Youth Theatre Company, 2015) with its clutch of dead and almost dead presidents (as English Bob says mockingly in the movie Unforgiven, "Now, a president... well I mean... why not shoot a president?"), Clinton: The Musical (Black Swan State Theatre Company, 2016), the ubiquitous Original Broadway Cast Recording of Hamilton: An American Musical, and now, the second year's first standalone musical Bloody Bloody Andrew Jackson.

The American obsession with the office of the presidency, its inhabitants, and their legacies is perhaps an odd cultural phenomenon as seen through Australian eyes but one ripe for creative interpretation and reimagining. The four shows above use, respectively, a carnival sideshow setting; an actual split personality; the language of rap; and here, the world of a self-absorbed emo rockstar.

I admit, it took me a while to zero in on the tone of this production. In its opening salvoes it is spectacularly politically incorrect particularly towards the Native American Indians. This had me squirming more than a little. Jackson, a former general, founder of the Democratic Party, and a populist president (1829-37) is a polarising figure in presidential debate mainly due to his treatment of the native tribes and his support of slavery. The 'bloody' moniker is not unearned.

The comparisons to the current incumbent are, to be frank, scarily prescient. Especially when you consider this was written a decade before Donald Trump's ascendancy. Jackson, the 7th president, wanted to overthrow the system run by 'corrupt aristocrats' and, as was shown here, fiercely for American nationalism and bitterly opposed to the English, Spanish, and Native American Indians, forcibly resettling the latter westwards. He was the Trump of his day... with much better dialogue.

The show started to click for me during the number Illness As Metaphor where Jackson (Jarrod Griffiths) and his soon to be wife Rachel (Stacey Thomsett) cut and bleed each other as a demonstration of their love. It's a metaphor, get it? From then on I settled into the, more often than not, outrageous retelling of Jackson's life and political career.

Not only is this a pungent satire on the crass nature of political populism but a pointed commentary on musical theatre tropes as well. In an inspired moment Jackson starts to sing about his feelings on losing his first bid for president - a classic musical theatre technique to allow us insight into a character's emotional state - only to be interrupted by several of his political rivals vocalising their own feelings over the top of him. This is followed by a 'montage' like sequence to show the passage of time, again skewering more conventional narrative devices.

Indeed, all sorts of devices are thrown at the wall to see what sticks starting with the rear wall of The Roundhouse Theatre itself. This was plastered with posters and photos of many former presidents including Obama, Bush 43, Clinton, JFK. The path to the highest office in the land isn't perhaps so different for any president after all. There's even a weirdly complementary song to Hamilton's The Room Where It Happens with The Corrupt Bargain as behind closed doors shenanigans lead to Jackson being bilked of the presidency at his first attempt.

Other deliberately off-kilter choices for the period included the crippled Storyteller (Amy Fortnum) riding around on a motorised scooter; the Bandleader (Josh Reckless) wearing a Ramones t-shirt; the use of a modern day phone/intercom on the presidential desk, and even a disco ball makes an appearance. Once I latched onto the "all bets are off" nature of the production these elements, while raising an eyebrow, actually worked reasonably well.

The four piece band (Craig Dalton on Keyboard, Tom Purdy - Guitar, Ty Barwick - Bass, and Liam Hickey on Drums) is at the back of the stage with a microphone set up to replicate, in several songs, a concert feel for featured singers. The band is, again improbably, part of the action as Jackson declares them to be his Cabinet. They played well, especially the more upbeat bass and guitar driven numbers.

The conceit of President as Rock-Star-In-Chief is given a wonderful workout by Griffiths who dominates proceedings. He is rarely off stage, is charismatic and belligerent in equal measure, and sings well with appropriate swagger. There was also a lot to like to about his acting, notably in the, admittedly rare, serious moments such as when he confronts the Native American Black Fox (Jarrod Draper) about further compromises and betrayals of his people.

Others to shine: Fortnum as the cheerful provider of historical facts even when deprived of her scooter and having to haul herself across the stage; Thomsett gives a lovely rendition of The Great Compromise as Rachel forces her husband to choose between politics and their marriage; Josh Reckless who comes to the fore in the last third as the Bandleader particularly with Second Nature and leading the finale; Jessica Clancy as the Announcer who is like the political pundit of the day (and interesting that there are no less than three characters who provide overt narration); Prudence Daniel who featured with the deceptively sweet sounding yet rancorous Ten Little Indians; and Todd Peydo (John Quincy Adams), Elise Muley early as Frederick, and Imogen Howe all caught the eye in lesser roles/the ensemble.

It's a wild kind of show that runs for 90 minutes with no interval. It lost some of its bite and energy during the second half as Jackson assumes the presidency. There are too many sequences with citizens asked for their opinion on issues of the day to demonstrate he is a man of the people. The point is well taken and didn't need repeating before they turn on him. I did like, however, the choreography that was, at times, reminiscent of the all out assault of 2015's Urinetown.

Finally, special mention to the young actress who played Lyncoya in a delightful portrayal that was an audience favourite.

Best Bits - WAAPA (17 September 2017)

Simply wow!

I haven't had as much fun in a theatre all year as I did with the graduating musical theatre students' final production before Showcase. I certainly haven't laughed as hard or as consistently at anything else, theatre or otherwise, for quite some time.

It is the usual custom for the graduating students to 'take the piss' out of their major 2nd and 3rd year productions during Best Bits. But this cohort has many gifted comic performers and as a collective they have impeccable timing and mischievous sense of humour. The send-ups of Rent, Heathers, 42nd Street, and Chicago were exceptional and there were even a few sly Bring It On references interspersed throughout the program. What is most impressive amongst the inspired satire is an understanding of the weaknesses in story or structure or character that is ripe for the picking.

It also reminds us of the many tremendous performances we've witnessed over the last two years. Most notably Kelsi Boyden in Rent; Monique Warren in Heathers; Mackenzie Dunn in 42 Street; and Boyden again with Jenna Curran in Chicago. Looking back it has been a strong slate of musicals with compelling female characters.

That's not to say the male students have been any less stellar as Finn Alexander (Today 4 U from Rent), Nick Errol (Freeze Your Brain from Heathers); and Luke Haberecht leading the charge in reminding us of the glorious tap dancing from 42 Street demonstrated.

This wasn't solely about making us laugh however. In a generous program that stretched over two hours there were plenty of opportunities for the students to show off their acting and singing skills. Dance, other than the tap from 42nd Street, wasn't as featured.

I liked that a lot of the songs had a lead-in requiring the performers to display their acting chops. The second half also included many more serious pieces to give a sense of emotional range. Indeed, it was an eclectic selection of songs from a remarkably varied smorgasbord of musicals. I was even teased with a snippet from Hamilton. Brief, all too brief!

The two standout moments in this section were -

A beautiful rendition of Falling Slowly from Once by David Cuny (also on guitar) and Monique Warren (on piano). Extra points for difficulty as Cuny dealt with an unexpected broken guitar strap mid-song; and

A powerhouse vocal performance by Cameron Steens of Dust and Ashes from Natasha, Pierre & The Great Comet of 1812. The company adding backing vocals from the upper walkway elevated this further.

But there were so many highlights. To name a few:

Luke Haberecht delivering the rapid-fire, tongue twisting lyrics of Cole Porter's Let's Not Talk About Love with aplomb.

The accent work of Meg McKibbin and Daisy Valerio in singing The History of Wrong Guys (Kinky Boots) and I Have Confidence (The Sound of Music) respectively.

Some inspired mania by Joshua White during The Brain from Young Frankenstein.

A deliciously phlegmy (not a term I hope to ever repeat!) If I Were A Rich Man from Fiddler on the Roof by Tom Gustard.

Benjamin Almon Colley bringing The Roundhouse Theatre to enthralled silence with Tomorrow Belongs To Me (Cabaret).

A lovely, authentic moment between Bailey Dunnage and Daisy Valerio as the former sang World Inside A Frame (Bridges of Madison County).

A couple of real character numbers written by Sondheim - Jenna Curran's scathingly delivered The Ladies Who Lunch (Company) and Mackenzie Dunn effortlessly handling the black humour of Worst Pies in London (Sweeney Todd).

During the show costumes and props, once they were used, were placed in large wicker baskets and suitcases. The symbolic packing up after three long years. Final bows were quite emotional but the applause was enthusiastic and well earned.

See you on the other side in a few months time on stages here, over east, and who knows, maybe throughout the world. As Alexander Hamilton would say... just you wait...

Choice Cuts - WAAPA (9 September 2017)

A greatest hits 2015-2017 megamix to help raise money for the upcoming showcases and to celebrate three years of studies coming to an end.

In that spirit of learning here's what I gleaned from this hour long revue...

In what surely will become the industry standard, Martin Quinn's pre-show announcement to the audience did more than merely remind me to check my landline, but filled me with confidence that in case of an emergency ECU's multitude of physicians would save me.

Quinn later explained, whilst disguised as a Noel Coward character, the latest state of the art theory in how to write a play. Apparently it involves a basket, a river, and a 7 day wait. Revolutionary.

Corpsing is a skill best taught in a safe, supportive environment such as The Roundhouse Theatre. Mitchell Bourke, Roy Joseph, and Katherine Pearson excelled under extreme provocation; baskets, hats, melodies and all.

If you're not doing Shakespeare with rap are you even doing Shakespeare at all?

Why hand someone a business card when you can surprise them with a hat instead as Jack Scott so ably demonstrated.

One cannot truly experience their first kiss without a little one hit wonder pop embellishment. Even if you're a doomed Jewish girl.

Stephen King has it all wrong. Clowns aren't scary at all. Unless you get dragged onstage pre-show and asked if you have a "tight 5 minutes".

The lyrics of Mack the Knife, suitably altered, prove a fitting send off for this graduating class. Until, you know, their last show in October, The Threepenny Opera.

This was a fun, breezy, hour long restrospective and the chemistry of this group is very strong. It's a really good graduating class.

It was also witnessed by, unless I'm mistaken, Perth girl Katherine Langford who might have ended up on this very stage if not for successfully auditioning for the show that has made her a star, 13 Reasons Why.

Love and Information - WAAPA (26 August 2017)

The first time I saw a production of this play - a series of rapid fire vignettes over 90 minutes - I described it as a Showcase on Speed. That was last year with a new collection of performers at Curtin University. This time it is with the graduating class at WAAPA. My opinion has not changed.

The difference, however, is that I have seen this troupe of actors for the better part of two years over a half dozen or so productions.

The play itself keeps me at arm's length - I have no empathy or connection with any of the dozen upon dozens of characters as there is no narrative, no arcs, no backstory, no connective tissue, only a fleeting glimpse at a series of circumstances, the context of which is illuminated on the set. From that standpoint it is purely an intellectual exercise with the (tenuous) link between all these moments being thematic in nature.

What is interesting though is that my empathy and emotional connection is with the actors themselves. They are given a myriad of different roles and scenarios to play, some seconds long, some a decent length scene. It demands a range of emotions and is a nice acting challenge. To see these students now on the cusp of professional careers rise to that challenge is the true pleasure of this play. In effect it IS a precursor to the end of year Showcases that will catapult them into the next stage of their acting journeys.

The other hook is in the execution. Associate Professor Andrew Lewis directs this with the same multi-layered approach as he attacked 2015's Macbeth. There are two musicians perched in each upper corner of The Roundhouse adding live music, recorded tracks, and aural effects; there are projections of scene titles and images on the set; and that set itself is a clever two level construction with compartments and scrim covered openings that allow for all types of creative configurations buttressed by the lighting design. Lewis is also very good at using the whole thrust stage space at the venue.

It all comes to what feels like an arbitrary stop as the play is unconnected to normal structures and story-telling rhythms. However, it was satisfying to see this group together all smiles at the conclusion. The two standouts in the Saturday matinee for mine were Audrey Blyde and Sasha Simon. Many a fine singing voice was also on display which bodes well for The Threepenny Opera in October.

*originally published at facebook.com/perththeatrereviews

Present Laughter - WAAPA (17 June 2017)

I had a great time with this Noel Coward comedy - witty and elegant this featured a handsome set, was stylishly costumed, briskly paced, with many wonderful performances by the third years.

Foremost was Martin Quinn as Garry Essendine with the trio of Natasha Vickery, Rhianna McCourt, and Laura McDonald all excellent.

Sasha Simon and Mitchell Bourke give notable support; the latter exhibiting the physical comedy and mannerisms of a young John Cleese.

The Q&A afterwards featuring Quinn, Vickery, Set Designer Kelly Fregon, and Stage Manager Radek Rubinski gave insight into the construction of the play both from a performance and technical perspective.

A classy production all round.

*originally published at facebook.com/perththeatrereviews

Sally Burton Awards (6 June 2017)

An entertaining evening of Shakespearean delights as the graduating acting class vied for the two $2000 awards courtesy of Sally Burton, widow of the legendary Richard Burton.

Stephanie Somerville (as Queen Margaret from Henry VI, Part 3) and Mitchell Bourke (as the eponymous king from Richard II) were deserving winners and the standard was high across the board including an inspired excerpt from A Midsummer Night's Dream.

If there was, implausibly, any lingering doubt about the talent pool at WAAPA the "light entertainment" provided by 2nd year actors Mia Morrissey and Adam Marks surely dispelled that with an exclamation point.

Morrissey blew the doors off The Roundhouse Theatre showcasing a superb singing voice that gave the audience collective chills in a holy ****! kind of moment.

*originally published at facebook.com/perththeatrereviews

The Blind Giant is Dancing - WAAPA (18 March 2017)

Hail and well met second year acting students! I look forward to getting to know your work invidually and as a collective over the next two years.

Your inaugural public performance in the newly refurbished Roundhouse Theatre accompanied by a welcoming 80's Greatest Hits soundtrack (it's been a while since I've heard a song by Kajagoogoo... actually, did they record more than one?) was certainly ambitious. A tale of the disintegration of a man, dressed up as a political drama; the disintegration of a marriage; and the disintegration of a family.

That all three strands swirled around the one character meant that Adam Marks who played Allen Fitzgerald had an enormous workload and acquitted himself well.

Here's the thing though. I simpy didn't like Stephen Sewell's writing. Characters felt more like positions than organic people; the political shenanigans were confusing with a late plot twist that was implausible; the dialogue was overly florid and didactic; and the interpersonal relationships verged into melodrama and didn't feel credible.

The play, at over two and a half hours, was also very long with those three strands only briefly intersecting to add any sort of dramatic heft. There were a lot of philosophical musings about love, religion, truth and freedom all coloured through a political lens that was hardly subtle.

Having said that, alongside Marks, I liked the work of Lily Stewart who played Fitzgerald's wife and was saddled with a lot of the clumsiest dialogue. The role demanded a range of emotions and while early scenes were a little awkward she handled herself with increasing confidence.

Others to impress were Michael Cameron as the main political antagonist; Jimi Rankin's initial scene played with scene chewing relish; Luke Smith's Ramon, Chile accent and all, though having the most socialist character be a Chilean exile was symptomatic of the overt nature of the piece; and Jarryd Dobson came into his own in the second half as the younger Fitzgerald brother. Thomas Jackson and Jessie Lancaster had their moments as the Fitzgerald parents.

The set was cleverly constructed with several compartments and sliding panels and it was a stylishly costumed show, the men's suits in particular.

It was an interesting introduction to this class who showed plenty of promise but ultimately the play didn't resonate for me.

*originally published at facebook.com/perththeatrereviews

A View From The Bridge - WAAPA (30 April 2016)

Respect. Pride. Honour. What it means to be a man. The man. In the family. In the neighbourhood. In an insulated world where work is scarce and masculinity paramount. Where your name and reputation mean everything. To lose that is to lose everything.

A View From The Bridge follows last year’s WAAPA production of another Arthur Miller play, All My Sons. The depth of insight in Miller’s writing about the male condition is exemplary and in the character of Eddie finds a subject who is undone by his own misconceptions and anxieties about his responsibilities as a man. It is a tragedy of Eddie’s own making which heightens the devastating conclusion.  

  

The setting is a waterfront neighbourhood of early 50s Brooklyn. Longshoreman Eddie (Giuseppe Rotondella) works on the docks and lives in an apartment with his wife Beatrice (Elle Mickel) and beautiful 17 year old niece Catherine (Brittany Santariga). He is overly protective of “Catie” and reluctantly acquiesces to allow her to take a job as a stenographer at a plumbing company.

When two brothers, Marco (Joel Davies) and Rodolpho (Rory O’Keeffe) are taken in by Eddie after being smuggled into the US by ship from an impoverished Italy, fractures begin to appear. Catie falls for the charming Rodolpho which so disturbs Eddie that he seeks the advice of lawyer Alfieri (Lachlan Ruffy). He claims “something ain’t right” about the blonde Italian who sings, helps Catie make a dress, wants to visit Broadway, and shows other ‘effeminate’ traits. Eddie thinks Rodolpho is on the scam so he can stay in the country and become a citizen but deeper, more troubling reasons emerge as to the true source of Eddie’s anxiety.

He begins to persecute Rodolpho which alienates his wife, his niece, and brings him into conflict with Marco. Eddie escalates matters out of his control when Catie is determined to marry Rodolpho. The result of his unthinkable betrayal so incenses Marco that the two men are bound together by the strictures of disputed honour on a destructive trajectory neither can abandon. Like All My Sons, the play slowly simmers and ratchets up the tension until it all explodes in a powerhouse finale.

Rotondella as Eddie gives one of the finest performances I have seen at WAAPA in the last few years. There are so many layers revealed from the forthright, cocksure man’s man who is confident in his position and status to the slow unravelling of that certainty as Eddie’s pre-eminence is questioned by all around him. The sense of discomfort he displays as Eddie tries to vocalise his disgust of Rodolpho to Alfieri – clutching his hat so tightly he almost mangles it as he rotates the brim over and over. The sheer anguish he bellows as Eddie is bent over double at the realisation of what he has done and its horrible ramifications. There is a calculated moment of machismo as he teaches Rodolpho to box, putting the young Italian in his place with sharp authority and a gleam in the eye. This is matched by the dismay Rotondella allows Eddie as Marco silently threatens him with a true display of strength. Then there’s the ending where the actor cuts loose with all the pent up bile and anger of self-loathing, masked in the name of reclaiming respect. From start to finish it is a riveting performance.

It is followed very closely by Santariga as Catherine, playing a 17 year old on the cusp of womanhood. She inhabits Catie with an innocence that belies her beauty as the young girl is unaware of the impact of how she dresses and behaves around the men in the neighbourhood. Santariga exhibits a girlish enthusiasm as she scampers around the apartment keen to please her Uncle and Aunty while pouting at setbacks and pleading for her independence. The immediate infatuation she shows with Rodolpho is nicely portrayed as is the growing strength as the young girl matures into a woman with marriage on the horizon and the need to find her own way. The complex relationship with Eddie is handled with assurance as is the exuberance of first love with Rodolpho.

O’Keeffe plays Rodolpho with a joyous disregard of the judgements swirling around about the character’s sexuality and motives. His suitor is charming and an idealist which is a nice counterpoint to the hardnosed realism of the docks. It’s an engaging portrayal. By comparison the powerfully built Davies is almost a silence presence, his Marco slow to talk and to act but when he does it is with notable brutishness.

Mickel portrays Eddie’s wife as a pragmatist and voice of reason within the household. Her Beatrice effectively stands up to Eddie and gives Catie maternal advice which becomes more insistent as the true nature of the situation dawns on the character. Exhibiting a fine comic sensibility in previous WAAPA productions, it was refreshing to see Mickel tackle a dramatic role which she imbued with moments of humour and humanity. Finally, of the principal cast, Ruffy plays Alfieri who is both lawyer and narrator. He adds style - at one point in top and tails - and a lovely singing voice as he croons Paper Doll which becomes increasingly manic to reflect the shifting dynamics of certain relationships on the stage below him.

The set itself was quite sparse with a small kitchen table and chairs in the middle; a large backdrop with a circular cut-out that was lit with different colours and used for actors to pose in silhouette; and a feature I didn’t like – Eddie’s chair on the edge of the thrust facing away from the audience. This meant for a section of the viewers, key moments were unseen with Rotondella’s back to them. The lighting was also a little hit and miss – the silhouettes were effective but too many times scenes were lit with actors in partial shadow or dimness.

These are minor quibbles as this is a fine dramatic production with excellent performances that builds to a compelling conclusion. Directed by Lawrie Cullen-Tait, A View From The Bridge is on at The Roundhouse Theatre until 5 May.

Coriolanus - WAAPA (15 March 2016)

The balance between those who seek to rule and the people whose name they rule in has always been a fine one. Occasionally it tips violently one way or another – into dictatorship or open revolt – as that balance is disturbed. What is the responsibility of the politician versus the people in this regard? Do political leaders tell the people what they want to hear to gain their trust and more importantly their endorsement whether through formal vote or fealty; or do they stick to their beliefs and principles removed from such populist notions? And what of the people - is that trust and support given only through self-interest or for a higher purpose such as the sanctity of the nation when it is under threat, real or imagined?

These were some of the questions mulling through my mind as I watched one of Shakespeare’s lesser known tragedies, Coriolanus. The political intrigue is as potent today as when the play was written, now in the shadow of what might yet prove to be the most contentious and divisive US Presidential race in history.

At the centre of all this intrigue is Caius Martius (Angus McLaren) who is named Coriolanus for his deeds as a Roman General in defeating the hated Volsces. His domineering mother Volumnia (Anneliese Apps) pushes for him to become Consul but it’s not in Coriolanus’ nature to humble himself as is expected before the stratified Roman society of Senators, Citizens and Tribunes, instead rebuking them. Two Tribunes (Kate Betcher and Lukas Radovich) move popular opinion against him until he is pronounced banished. Coriolanus leaves the city to seek out his former enemy led by Aufidius (Alexander Daly) and together they march on Rome where Volumnia, his wife (Sarah Greenwood), young son Martius, and family friend Valeria (Emma O’Sullivan) wait to greet him in a desperate bid to save Rome from impending doom. Coriolanus relents but in doing so is proclaimed traitor by Aufidius and brutally slain.

I admit it took me a while to get into the story as I slowly found my feet with the language, the roster of characters and opposing forces. It was when Coriolanus, barefoot and dressed only in a robe, delivers himself to the people in an attempt at humility that things clicked into place. Until that point the proud soldier had been a physically stout presence and suitably adorned with sword, shield and chainmail. To cast aside the proud and brutish nature that had won him acclaim in order to become Consul was an intriguing dilemma. To watch him reluctantly entertain this conceit before indulging in mockery and then reject the people out of hand was fascinating. McLaren is terrific in this sequence as he projects a slow burn of conflicting emotions at the humiliating trial of approval until releasing Coriolanus’ complete disdain and hubris. From then on I was hooked.

There is no doubt that McLaren is the driving force in a terrific performance giving an ostensibly ‘unlikeable’ protagonist so many wrinkles and contradictions. That the character’s undoing comes from betraying his own nature in being persuaded to relent at the gates of Rome and that this is induced by his mother is at the heart of the tragedy. McLaren gives Coriolanus the air of a man supremely confident in his abilities, who doesn’t suffer fools lightly, and who is quick to action with a sword the mostly likely weapon of choice. His look of incredulity as the people demand the prospective Consul’s banishment is matched by the contempt McLaren gives full throated voice to as Coriolanus banishes Rome itself... from him. But there are also glimpses of the good father and loving husband that round out a portrait of a complicated man unwilling to bend to convention or expediency.

Apps proves to be a worthy match especially in the scene where Volumnia beseeches Coriolanus not to sack the city. To watch such a headstrong character subjugate herself, on her knees no less, was the parallel to Coriolanus prostrating himself before Aufidius at the Volscian city. Daly’s response to that moment was excellent in surprisingly embracing his hated foe with genuine fervour. Betcher and Radovich play the Tribunes not so much as conniving but totally naive to the ripple effects their machinations will cause. The crumbling of their safe and confident attitudes on hearing of an army headed by Coriolanus marching on Rome was writ large on their faces as was the back peddling of the people as if trying to abrogate themselves of responsibility.

Kieran Clancy-Lowe added an assured presence with a light comic touch as Senator and friend to Coriolanus while there are colourful flourishes by O’Sullivan as the kind-hearted family friend and Elle Mickel as a comical servant in the Aufidius household.

The hardworking ensemble represented a variety of layers in this fractious society – soldiers, the starving citizenry, servants and the like. Director Michael Jenn gives them free rein in ramping up the pressure on Coriolanus with raucous condemnation and occasional comic relief. The costuming effectively recreates such a hierarchical and militaristic world while the drum infused live music performed by Amelia Jutilane-Maynard and Arund Pearce provides the piece with a ‘heartbeat’ as one actor commented at the Q&A afterwards. The use of a vibraphone also added emotional depth to the more personal scenes notably involving family members and loved ones. Then there are the swords fight coordinated by Fight Director Andy Fraser that are boisterous and brutal. The split lip McLaren was sporting after the show was testament to their energetic rendering. 

It all ends with Coriolanus’ son (rotating between Darcy Stokes and Oliver Haluszkiewicz on different nights) contemplatively swinging his dead father’s sword. As one audience member remarked, we truly don’t learn from history.   

Written by William Shakespeare, Directed by Michael Jenn, and featuring the third year graduating class, Coriolanus is on at The Roundhouse Theatre until 17 March.

Macbeth - WAAPA (9 October 2015)

WAAPA prides itself on housing many disciplines under the one roof at the ECU, Mount Lawley campus. Not only performance - acting, musical theatre, dance, contemporary & classical music - but all the other disciplines that are required to stage a production, from lighting and sound design, to costuming, set design, and arts management. This totality of approach makes the Academy unique and was certainly on display with this modern interpretation of Macbeth.

As I walked up the long corridor to the Roundhouse Theatre I could hear the portentous rumbling of modern music which was the first sign of the multi-media accompaniment we were about to experience. As the line of patrons waited to file in, the director Andrew Lewis pointed out signs asking that the name Macbeth not be uttered inside. This is a long held tradition given the play’s reputation of being ‘cursed’.

Once inside, the freshly painted stage was bare. There was a spiral staircase up to the second level where three screens were situated; one centrally, the other two on each side. Apart from occasions where a table might be wheeled on there was little set to speak of. This is where the light and sound design came to the fore and the use of those screens in various ways. They crackled into life depicting key elements - the roiling witches' cauldron or Seyton's initial appearance for example; or indicate the setting - Birnam Wood; but most noticeably were utilised to project live video of crucial soliloquies as they were being delivered on stage. 

Filmed from the upper level with at least two cameras given the juxtaposition of images, the harsh video look worked perfectly to heighten the emotion on the actor's face in close up - usually Benjamin Kindon as Macbeth but also Shalom Brune-Franklin as Lady Macbeth. The screens flickered and crackled in time to the modern, rhythmic music that was an ominous score. The lighting design was excellent with lots of diffused light through smoke and the highlighting of actors again in key moments but great use of shadow as well. 

Lewis had chosen to set this Macbeth "in a corporate world inhabited by knife-wielding, suited professionals". That suited look worked well with 'armour' being replaced by police style flak jackets. Brune-Franklin looked stunning in several gowns while the other female characters were sleek in their corporate attire; the men resplendent in suit and tie. Instead of swords and daggers we had knives and some vigorous confrontations, notably in the final fight between Macbeth and Macduff (Hoa Xuande).

All these elements gave the production great atmosphere and allowed for seamless scene transitions - this fairly hummed along. Having said that there were times, especially involving the witches, where there was a languid, at times hypnotic pace within a scene that was mesmerising.

This considered and skilled approach allowed the actors to shine in the space that had been so meticulously crafted. First and foremost, Kindon was excellent as Macbeth - a strong physical presence, he also conveyed the range of emotion from the almost boyish delight on hearing the witches' initial pronouncements to doubt and rage, the full force of hubris, and the slow descent into madness. His blind conviction of his invincibility was writ large as he mocked Macduff at the end only to be undone by such misplaced faith. His terror at Banquo's appearance was well portrayed and he handled the famous soliloquies well - the softly delivered Tomorrow, And Tomorrow, And Tomorrow the best of them.

Brune-Franklin was at her best in the aftermath of Lady Macbeth's terrible cajoling of Macbeth to commit murder and seize the crown. The portrayal of guilt as she prowls the castle, sleepwalking at night ending in the famous Out, Damned Spot was strong. Those two characters' intersecting emotional through lines is always fascinating. From the stronger of the two at the start Lady Macbeth crumbles into irreversible guilt and finally suicide. 

Lincoln Vickery was a most affable Duncan and later the more earnest Scottish Doctor who witnesses Lady Macbeth's malady and overhears her seeming confession. Dacre Montgomery provided a strong counterpoint to Kindon in the early going as Banquo and his return as the blood spattered ghost that rebukes Macbeth is powerful.

Harriet Gordon-Anderson, Stephanie Panozzo and Brittany Morel comprised a set of tantalising witches adding a highly stylised approach to proceedings. They also doubled as various servants and messengers. They were joined by Elle Harris as Seyton. Harris has a chameleon like quality that can see her playing a young boy (Fleance here and Tom Joad last year in Grapes of Wrath) with as equal credibility as the vamped up Seyton. 

The other standout though was Jessica Paterson as Malcolm. WAAPA often likes to switch up their casting with gender reversals and here Paterson was more than equal to the task giving Malcolm an impressive strength and charismatic stage presence. Unfortunately, Xuande's Macduff wasn't up to the same calibre, the Shakespearean dialogue coming across as quite flat in his delivery. 

Then there was the famous Porter scene that immediately follows Duncan's death. A radical shift in tone to provide some comic relief to the relentless darkness and allow our co-conspirators time to change. Megan Wilding nails the moment and owns the stage with a full-throated approach that had the audience laughing and squirming in equal measure. 

Another highlight was the tension built up in the scene where Lady Macduff (Rebecca Gulia) cradling her baby and talking to her son (Gordon-Anderson), is assailed by Bevan Pfeiffer's and Rian Howlett's assassins. Pfeiffer's sudden appearance out of the shadows at the back of stage had the person sitting next to me pointing in warning. The resultant actions were brutal and devastating.

I walked back down that long corridor reminding myself "this is one hell of a play" and that is testament to all those elements that WAAPA brings to the table. 

Macbeth is on at the Roundhouse Theatre until 15 October. Written by William Shakespeare, Directed by Andrew Lewis, Set Designer Ashliegh Hodges, Costume Designer Dolly-Mere Nettleton, Lighting Designer Chloe Ogilvie and Sound Designer Alice Carroll.

It stars the 3rd year graduating class of Benjamin Kindon, Shalom Brune-Franklin, Dacre Montgomery, Lincoln Vickery, Jessica Paterson, Bevan Pfeiffer, Hoa Xuande, Rebecca Gulia, Harriet Gordon-Anderson, Luke Fewster, Claudia Ware, Seamus Quinn, Elle Harris, Brittany Morel, Stephanie Panozzo, Megan Wilding and Rian Howlett. 

Choice Cuts - WAAPA (19 September 2015)

I talked briefly to Andrew Lewis (Associate Professor and Associate Head of School for Performance at WAAPA) in the glorious Spring sunshine after this compact one hour show by the graduating acting class. A couple of key topics emerged - the emphasis on accent work which was clearly apparent during this retrospective; and how each class, be it musical theatre or acting cohort, has its own collective personality.

When you see Australian actors getting roles overseas in both movies and increasingly in high end US drama, they are universally praised for their ability to seamlessly adopt (predominantly) American accents. That is no doubt in large part to the excellent training in this area at world class academies like WAAPA. But there was a range of accents on display this afternoon and that was, in itself, a feature.

The second point was forming in my mind as I watched Choice Cuts. This is only the second year I have attended WAAPA productions in large numbers, mainly the acting and musical theatre streams. Each of those groups, of course, have their individual personalities, but it strikes me that as a collective there is a distinct dynamic and group personality that is unique to each year. It's difficult to explain but it seems clear in the way they interact both on and off the stage and every year and course is different. A kind of hive entity if you will with its own sense of humour, style and outlook. However, I hadn't quite grasped what that was for this year's acting class until only recently with the excellent The Mars Project and this very show today. It took me a while but I finally got there which was kind of exciting.

To the show itself and this fairly hummed along at a brisk one hour running time. There were snippets of past shows - Columbinus, Blood Wedding, Punk Rock, Grapes of Wrath, All My Sons, Measure for Measure, Thezmophoriazusae, Pride and Prejudice, The Playboy of the Western World, and The Mars Project -  and even a theatrical 'trailer' of sorts for the upcoming Macbeth, recreated here as 'Macbeth in a Minute'. Spoiler alert, everyone dies... hilariously.

Some of the other highlights:

A chilling moment from Punk Rock especially a visceral beat between Harriet Gordon-Anderson and Bevan Pfeiffer;

Rian Howlett's rapid fire, tongue twisting alliteration of Someone Spoke to Me;

Dacre Montgomery getting his Shelley Levene and American accent on with a profanity laced tirade at Hoa Xuande in a scene from Glengarry Glen Ross;

The company getting loose and funky in several moments: Stephanie Panozzo's amusing mangling of Aretha's Respect with the others in coordinated support; the abrogation of self in the Animals & Toddlers exercise; and the hilarious recreation of The Fellowship scene from Lord of the Rings (the first one) that had everyone in stitches;

Lincoln Vickery's abuse of poor Rebecca Gulia in a memorable monologue from The Mars Project;

Elle Harris and Megan Wilding both so good in a mesmerising scene from the Grapes of Wrath;

Luke Fewster and Lincoln Vickery likewise in a scene from The Judas Kiss;

Stephanie Panozzo and Ben Kindon crushing a very funny scene A Stud & A Babe which showcased their singing ability as well as their comic timing; and

Rebecca Gulia singing a song I absolutely adore to close the show - Sondheim's glorious No One Is Alone from Into The Woods - which she did so beautifully before the rest of the group joined in as they said their final farewells.

And then they were gone.

It was sharp, short and almost too perfect. I wanted more. I wanted my customary intermission cider in the lobby before the second half. But in many ways it was fitting. There will be more - much more - once this group move into their professional careers and we see them on screens, large and small, and on the stage again.

There are only two more shows, tonight at 7.30pm and tomorrow at 5pm. An hour of your time to see another great graduating class. All of them were terrific. Go see it!

Choice Cuts starred the graduating class of Rebecca Gulia, Claudia Ware, Dacre Montgomery, Elle Harris, Harriet Gordon-Anderson, Hoa Xuande, Jessica Paterson, Ben Kindon, Bevan Pfeiffer, Brittany Morel, Lincoln Vickery, Luke Fewster, Megan Wilding, Rian Howlett, Seamus Quinn, Shalom Brune-Franklin, and Stephanie Panozzo (with Andrew Creer).

Best Bits - WAAPA (5 September 2015)

Almost 18 months ago I went along to the Enright Studio to see the first public performance of the then second year musical theatre class. As is the WAAPA way this inaugural outing isn’t a musical at all. In this case it was an abridged version of the sprawling Australian play Beach. Twenty brand new faces. Twenty performers you’ll slowly get to know as you watch their potential blossom over the coming months. It’s an exciting time as the next crop of talent is unveiled. From my review at the time:

“Talking to the director afterwards, this was the acting debut of many of the students in front of a paying audience. There is some singing – enough to be excited for future musical productions – but this is mainly a mix of comedy, drama, and skits. I’m not sure it entirely worked for me as a coherent play but it did showcase the talent of the second year musical theatre class. Everyone had an opportunity to shine and the production went without a hitch.”

Fast forward to today where that excitement and talent has developed into a stellar graduating class. Best Bits is a fun show because it celebrates their joint achievements, lampooning the four musicals they go on to perform after that initial introduction. It also gives us a glimpse into the enormous amount of work and training they undertake outside of the public eye. Each performer - now 19 in total - has a featured moment and the vocal talent across the board is superlative. Above all it’s funny, entertaining, and has a looser, raw feeling that is very engaging. The latter is by necessity as their final musical finished only a week ago – spontaneity breeds creativity.

Appropriately, the show opens in homage to Beach as the group takes to the stage in bathers before each individual gives us a snippet of a song I’m assuming they performed in their very first week on campus (“O-Week Audition Medley”). Chris Wilcox and Taryn Ryan, reprising their roles as Officer Lockstock and Little Sally from Urinetown, act as hosts of sorts as they guide us through a selection of songs interspersed with mischievously condensed versions of Children of Eden, Urinetown, Legally Blonde and Carrie the Musical. In comparison to last year's show there isn’t as much focus on dancing but, as mentioned, the singing ability reverberates around the intimate Roundhouse Theatre as do the acting chops in the more interactive numbers.

Sondheim was certainly a popular source of songs with Joel Granger and Rosabelle Elliott performing Kiss Me; Morgan Palmer taking on Not While I’m Around; while Daniel Ridolfi excelled with Epiphany (all from Sweeney Todd); with Taryn Ryan tackling Getting Married Today from Company with aplomb. A special mention to Timothy How who accompanied the group on piano and only received the sheet music the day before. “Too much Sweeney Todd” he lamented afterwards but his playing was a highlight.

A few of the other highlights (among many) for me were: Kate Thomas reminding us how good she was as Elle Woods with the title number from Legally Blonde; Tayla Jarrett (who also showed a deft comic touch throughout) on piano singing The Hill from Once; two beautifully sung numbers by Harry Prouse (I, Who Have Nothing) and Callum Sandercock (Music of the Night); the original crowd pleasing cabaret piece Bath by Matthew Hyde; and a sultry Call From The Vatican by Baylie Carson.

I also enjoyed Matilda Moran's Maybe I Like It This Way; Heather Manley's Papa Can You Hear Me?; and Alex Thompson's How Glory Goes. Chris Wilcox continues to exhibit a sly sense of humour that is captivating (as well as getting his U2 on) and I really like Joel Granger's and Taryn Ryan's stage presence from an acting perspective.

Megan Kozak showed off some fine yodeling talent with Roll in the Hay and Jess Phillippi had me tapping my feet along happily to I Can Do Better Than That from The Last Five Years. Jacob Dibb gave a playful rendition of Rosemary and Joe Meldrum cut a fine figure during Easy Street from Annie. 

 

It's safe to say everyone was impressive and the sheer talent across this group is a delight. As is their obvious chemistry with, I have to say, a lot of snogging going on and great comic timing. Look out for a very funny running gag in the Carrie sequence.

It all ends with the entire class singing In The Beginning from Children of Eden, a fine dropping off point as thoughts turn towards Showcase, graduation, and a professional career in musical theatre. That’s all still to come, however. For now though, this was a relaxed, funny, and entertaining look back at the last three years for an exceptionally talented group of young performers. I wish them all the very best and look forward to seeing them on stages across the country in the near future.

Best Bits starred the 2015 graduating class of Alex Thompson, Baylie Carson, Callum Sandercock, Chris Wilcox, Daniel Ridolfi, Harry Prouse, Heather Manley, Jacob Dibb, Jess Phillippi, Joe Meldrum, Joel Granger, Kate Thomas, Matilda Moran, Matthew Hyde, Megan Kozak, Morgan Palmer, Rosabelle Elliott, Taryn Ryan and Tayla Jarrett with Timothy How on piano.

There are two more shows - Sunday 6 September at 2pm and 6pm. Ticket sales at the venue.

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. 

Urinetown - WAAPA (16 March 2015)

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.

The tone is immediately set with a self-aware and satirical narration by Officer Lockstock (Chris Wilcox) that tells you this ain’t going to be your standard musical, my friends. Wilcox gleefully debunks and mocks the usual expectations of a musical throughout as he directly addresses the audience. He foreshadows plot points, what to expect in the 2^nd act, and updates us after intermission amongst other mischief. Most of all he tells us this isn’t one of those happy musicals which is reflected in a subversive ending.

The opening number Too Much Exposition by Lockstock and the Company had me chortling away happily. We quickly learn that this is a world where you have to pay to pee and control of public urinals is strictly maintained by representatives of Urine Good Company or UGC. Most notably urinal number 9 is the province of Penelope Pennywise (Megan Kozak) and if you can’t cough up the pennies you can’t pee.

If there’s such a thing as a show stopping number in only the third song of the evening then Kozak delivers it with a stunning It’s a Privilege to Pee. With a powerhouse voice and attitude to burn as the hardened warden this is an early highlight. The show starts with a bang and quickly had me in its pocket for the crazy ride.

Of course, with such a repressive regime one needs a budding young hero. Enter Bobby Strong (Jacob Dibb) who is motivated to act after his father Old Man Strong (Morgan Palmer) is shipped off to Urinetown for peeing in public. Dibb plays the earnest hero who is told to follow his heart (warning, obligatory love interest coming up) which leads to outright rebellion, with a straightforwardness that grounds the craziness around him. He also sports a fabulous voice with Look at the Sky and Run, Freedom, Run! among others utilising it to good effect. His duet with Rosabelle Elliott Follow Your Heart was a highlight and it’s a little unfortunate there was no break in the action to allow for applause at its conclusion.

The love interest is Hope Cladwell (Elliott) who just happens to be the daughter of the architect of this draconian social and political hierarchy, Caldwell B Cladwell (Matthew Hyde). Bobby doesn’t know this at first though and their relationship goes through several, shall we say, captive moments. Elliott nicely plays the arc from bubbly innocent that can fax (and copy) to something far more formidable in the second half before suffering an unfortunate coda in the finale. Yes, it really isn’t one of those types of happy ending musicals!

Hyde gets to play the ‘evil’ head of UGC but the character has a strong rationale for his actions which allows for some texture even when he’s selling his daughter down the (metaphorical) river. Taryn Ryan gives good support as the canny street kid Little Sally who acts as a counterpoint to Lockstock’s observations as a faux second narrator of sorts. The rest of the cast play either ‘the poor’ of Bobby’s revolution or representatives of the ruling hierarchy. I liked that the beginning of the second act allowed for the ensemble to be featured with Jess Phillippi as the pregnant Little Becky Two Shoes and Daniel Ridolfi, her partner Hot Blades Harry in particular having strong moments.

Having said that the cast are uniformly excellent from the Poor’s Josephine Strong (Baylie Carson) to Kate Thomas’ Soupy Sue who has quite the amusing challenge for one of the occupants of the front row (of which no more shall be typed); to Lockstock’s sidekick Officer Barrel (Callum Sandercock) and the smarmy politician Senator Fipp (Harry Prouse). That’s because while the singing is very good indeed the choreography is simply outstanding. There is so much kinetic energy in the numbers and it is performed with such foot stomping ferocity, at times only a metre or so away if you’re in the first row. The performers were regularly in your face often imploring you for a coin or scowling as matters turned darker. At one point when Dibb offered me his hand I wasn’t sure if I was about to be hauled on stage (thankfully not!). That immediacy and intimacy was compelling.

Above all else this is very, very funny with a subversive tone that I found wonderfully appealing. The songs are great with many moments where I wanted to clap along or start bopping away. The orchestra under David King’s direction was excellent and discreetly tucked away behind the centrepiece of the grimy public urinals atop which were the UGC offices. Yes, ‘symbolism!’ All elements of performance, vocal quality, musicianship, costuming, stage, and lighting were top notch. The only slight detraction was a few technical problems with microphone pickups but, to be honest, I was so engrossed in this that it hardly mattered.

If this class announced themselves last year with Children of Eden then they just added a huge punctuation mark with Urinetown. 

A must see show with Music by Mark Hollmann, a Book by Greg Kotis with both writing the lyrics; Directed in fine style by James Millar, with David King as Musical Director and Bernie Bernard as Choreographer. It features the 3^rd year musical theatre class of Jacob Dibb, Rosabelle Elliott, Chris Wilcox, Taryn Ryan, Callum Sandercock, Megan Kozak, Matthew Hyde, Harry Prouse, Heather Manley, Alex Thompson, Jess Phillippi, Daniel Ridolfi, Matilda Moran, Baylie Carson, Morgan Palmer, Kate Thomas, Joe Meldrum, Joel Granger and Tayla Jarrett. It runs until Saturday 21 March at The Roundhouse Theatre. Go see it!    

Blood Wedding - WAAPA (11 October 2014)

If Game of Thrones has taught us anything it’s that weddings are to be avoided at all cost. Red ones, Purple ones and now, courtesy of WAAPA and Federico Garcia Lorca, Blood ones. Yes, this is not a happy tale. Things start calmly enough as the audience is greeted by a band playing appropriately Spanish music with Hayden Emery doing some tasty classical guitar work. The Roundhouse set is particularly impressive with full length arches made of entwined rope and what will be a series of different drapes hanging from the rafters. There is an upper level walkway that will see extensive use even by a surprise ‘character’ in the second half.

The production begins with the band retreating to upstage left and the second year acting students in 1930s period attire attacking the stage with gusto in dance and song. It’s an attention grabbing opening. From there the tale of generational family conflict and bloodshed unfolds as a Mother (Stephanie Panozzo) bemoans the use of guns and knives as her son, credited only as the Bridegroom (Andrew Creer), goes off to work on the family vineyard. It seems he is betrothed to a woman – The Bride (Shalom Brune-Franklin) - who once had a relationship with Leonardo (Ben Kindon) who is from a family that murdered the Mother’s husband and other family members. Leonardo’s Wife (Rebecca Gulia) is none too happy when Leonardo wants them to travel to the wedding leaving their baby with the Mother-in-Law (Jess Paterson). The Father of the Bride (Bevan Pfeiffer), however, is eager to finalise the union as the Bridegroom’s family has extensive lands and wealth compared to his. Things go terribly awry when Leonardo runs off with The Bride on the wedding night and they flee into the woods. It does not end well as the Mother’s wrath and anguish towers above this tragic tale of impulsive love, revenge and generational violence.

In many ways this reminded me of the Sicilian sequences in The Godfather. That sense of passion, the pre-eminence of family, and the animosity between clans that lingers for generations. The production is full of song and dance and even gets quite surreal at points in the second half as the Moon (Lincoln Vickery) decides the fate of those in the woods with his light illuminating (or not) the transgressors. There’s also a creepy Beggar Woman (Hoa Xuande) in this sequence who adds a supernatural tinge to proceedings.

The show ends quite abruptly after The Bride presents herself to the Mother and beseeches the grieving woman to cut her throat and end the cycle of violence. But what use is this sacrifice to a woman who has lost all the men in her life so cruelly? This is punctuated with a thud as the deceased are summarily disposed.

I really enjoyed this though it took me a little while to get my bearings. The first scene after the dance introduction was tentative and awkward but from that point Panozzo (who sports a convincing Spanish accent) gives an increasingly strong performance culminating in a powerhouse final sequence where her anguished song is quite devastating. It’s interesting that all of the main characters seem set in their ways throughout – the Mother foreshadows the outcome in the very first scene – but maybe that is the true tragedy – none of these people can change their essential nature. 

Brune-Franklin is terrific as the haughty Bride and her plea to the Mother at the end is heartbreaking. Creer is a strapping Bridegroom whose character is beholden to his mother but adds some lighter touches during the wedding celebration as brief as it is. Kindon is fiery and passionate as Leonardo which is a tricky role as he is less than kind to his wife and his impulsive nature is the catalyst for the tragedy. Gulia (with a beautiful singing voice) has a lovely moment with Paterson as they serenade the baby to sleep though she is largely left to play ‘the other woman’ as her husband follows his rash desires. A standout in a supporting role was Harriet Gordon-Anderson as the Bride’s servant. She is all fussy efficiency and practicality with yet again another strong singing voice.

There is plenty of work for the rest of the cast with a ribbon sequence between Brittany Morel, Claudia Ware and Elle Harris that is quite effective and Seamus Quinn, Dacre Montgomery-Harvey and Rian Howlett playing woodcutters in the second half. The cast is rounded out by Luke Fewster and Megan Wilding.

This is a wonderful mix of drama, dance, song and music but there were a few things that didn’t quite work for me. The band, who added so much mood and atmosphere particularly with a mournful saxophone (Michael Bednall), were a little loud in the latter sequences of the first half which tended to drown out pivotal dialogue which was already tricky to follow with the Spanish accents. When the woodcutters are chopping into the table a sound effect was used. This play is so visceral and passionate I wanted to hear the axes crunch on the table; I wanted to feel the reverberations. Not so good for the table perhaps but the sound effect was a little chintzy especially when it curiously wasn’t used for one of the woodcutters (nice save, checking the axe blade). Yes, later there was a cool lighting effect when the trees are cut down but it was a small moment that felt off-kilter. Likewise, I wanted to really experience the final THUDS. 

A couple of other minor things – most of the action is set quite far back and perhaps could have been brought forward to take advantage of the Roundhouse configuration. There are also times when central characters are saying dialogue to back of stage when they could have circled around to deliver lines. Other than that this is a really strong piece and has whetted my interest in seeing what this class does next year.

Directed by Ross McGregor, Written by Federico Garcia Lorca, starring WAAPA’s second year acting students and featuring a band of Michael Bednall (soprano saxophone), Hayden Emery (classical guitar), Jameson Feakes (guitar), Lila Raubenheimer (celeste), Dario Jiritano (double bass) and Tom Robertson (cajon), Blood Wedding is on at The Roundhouse Theatre until 16 October.

Choice Cuts - WAAPA (20 September 2014)

Let’s begin at the ending, shall we…?

Far, far away in a magical land called Mountlawleycampus there was a good witch who was no doubt popular (Jane Watt) and a green-faced, masculine witch with a black witch’s hat and caked on face paint (Joel Horwood) who was clearly evil (the grin gave it away!).  Yet despite their differences and Elphaba-Joel making Glinda-Jane crack up during their number, they came through three years of trials and tribulations stronger and yes, changed for good. 

   

When the massed company of WAAPA’s graduating acting class joined Horwood and Watt in singing Wicked’s For Good in Choice Cut’s finale it was funny but also strangely moving as the sentiment of the lyrics was appropriate and heartfelt. It capped off a couple of hours of entertainment from the third year students whose thoughts will now wander towards showcase tours and life beyond WAAPA.

What an eclectic mix this show presented from three years of productions and study! There were the obligatory scenes from a selection of Shakespeare’s greatest works - Macbeth, As You Like It, and Othello; the last played out with murderous intensity only inches from me in the wonderfully compact Roundhouse Theatre. Interspersed throughout were monologues and self-devised pieces including Harriet Davies lamenting her ISS or Irritable Singing Syndrome which saw her amusingly burst into song at any moment.

In fact there was far more singing than I expected with several strong voices on display such as Henry Hammersla (I Believe) and Alex Malone (Maybe This Time). Indeed the first half ended in raucous fashion as ‘The Girls’ of the class presented their Protest Song that challenged, far more indelicately than I will describe it, certain, ahem, expectations of female grooming. It had the small but appreciative audience chuckling their way to the bake sale in the foyer. An aside: damn nice homemade cookies and cake!

There was a lot of accent work on display and clearly this is a focus over the journey. It featured as the group revisited productions such as The Golden Age, Speaking in Tongues/No Worries and Chekhov in Yalta where, damn it, Felicity McKay will create Magic If! There were two specific Accent and Dialect Monologues as well, by Julio Cesar and Kirsty Marillier.

Physicality was highlighted with a mix of fight sequences and the inhabiting of everything from animals to the poor, twisted creatures of The Golden Age to Toddlers. The last I had seen conducted as an exercise by Angela Punch-McGregor during Open Day so I was delighted to watch Adam Sollis and Jane Watt channel their inner child with such abandon. 

The humour here was more of the sly variety, for example Joel Horwood and Jonny Hawkins having fun in an excerpt from Waiting for Godot where the worst possible insult, far above moron or sewer rat, was musical theatre student! The transitions worked better in the second half but there were times the audience was unsure when to clap so some ‘acts’ didn’t get their just applause as they bled into the next. This certainly wasn’t the case after Hawkin’s Tribute to Stritch, a statuesque performance in stockings, heels, wig and a dress.

All the third year shows were reprised with the sequence from Festen giving me the same uncomfortable feeling as when I first saw it, a testament to that production’s power and to the skill of this class. Realism revisited some brave moments with Liam Maguire, Harriet Davies and Alexis Lane featuring while Great Expectations had a quick whip around by the chorus. I was intrigued by the glimpses of shows I hadn’t seen, namely The Resistible Rise of Arturo Ui and Hour of the Wolf (second year production).

It was an engaging tour of three years of hard work and talent with the dramatic highlight being the work of Holly Dryoff, Aleks Mikic, Emma Diaz and Henry Hammersla in the Othello scene which had great intensity particularly from Diaz and Mikic. The Protest Song was an unexpected treat and the understated humour throughout worked well. Not everyone had a featured moment but all worked well in the various ensembles including Steph Tsindos and Alexander Frank. I’ve only just realised one person was missing, Harry Richardson whose Herbert I quite enjoyed in Great Expectations.

Well done one and all and thank you for a great year. Thank you also to the second year students who were on front of house and bake sale duty. It was great to chat with some of you and I look forward to seeing Blood Wedding and hearing what your third year shows will be.

Now, as mentioned, the audience wasn’t that large for a Saturday matinee on the first hot day of the impending summer. But there is one more show left, Sunday at 5pm and the money collected from ticket sales, the raffle and bake sale help get these talented actors over east for their showcase tour. It’s going to be stormy and awful outside so go and see some theatrical magic instead!