The York Realist - Garrick Theatre (23 July 2023)

I admit that at the start of the matinee production of The York Realist I wasn't listening properly. This wasn't helped by the unfortunate late arrival of two patrons who eventually found their seats, noisily. After they finally settled I concentrated on the scene before me to slowly come to the realisation that it wasn't what was being said but rather everything that wasn't. The first half of the play in particular, written by Peter Gill, is a masterclass in subtext. The surface level dialogue certainly establishes a strong sense of time and place and the characters who populate this tale but there's so much more simmering away underneath. 

That time and place is the early 1960s in a cottage in York where a "love that dare not speak its name" grows in tentative fashion between country farm labourer George (Alex Comstock) and London assistant theatre director John (Sean Wcislo). Both men are drawn to each other but due to circumstance and the vastly different worlds from which they come their longing is fraught with complication. None more so than the fact that such a consummated love was still illegal in Britain. 

There's another strand that is subtly communicated whereby George's mother (Lis Hoffmann) is in poor health which anchors George to the family home despite his desires. Then there's George's sister Barbara (Louise Plant), Barbara's husband Arthur (Phil Bedworth), George's nephew Jack (Keaton Humphreys), and family friend Doreen (Roxanne O'Connor) all of whose interactions give an authentic sense of family and community. These are decent, hardworking people who go to chapel, work the land, and look out for each other.  

Once I understood the play's framework I began to see what was happening rather than trying to glean meaning from the 'domestic' conversations taking place. In this director Barry Park excels with an elaborate choreography between Comstock and Wcislo as their characters come to terms with such intense feelings. 

I was fascinated in the space between them onstage, how that changed, who was moving forward, who was retreating, who was initiating contact, who was declining or accepting it. There was also the clearly delineated persona of each character - Comstock makes his George far more animated in a very likeable performance. We feel George's sense of frustration, of duty, of longing to break away from the strictures of his lot in life. 

Wcislo, by comparison, is mostly still, very upright, with his arms straight down his sides, hands palm down. It's as if his John is literally in an emotional straight jacket. Their work together is very good indeed. Helped by another layer - the oft mentioned play within the play that is John's excuse to be there and George's excuse to initially hide. George is, in fact, a good actor; a man pretending to be someone else. The relevance is not lost on the audience. 

There is a significant tonal shift after intermission with the opening scene playing in almost sitcom fashion as the family discuss John and George's play. It's genuinely funny, especially Hoffmann's Mother expressing disbelief that her son George could be so nasty. We have another time jump and again everything is so beautifully revealed instead of any direct exposition in the writing and the performance of such. It's here where the other cast members really shine - Bedworth has an affecting moment as his Arthur refuses to go have a pint with George. This comes shortly after a surprise revelation that skitters off into the ether with hardly a ripple other than to set the possible context for Arthur's response.

Plant's Barbara comes to the fore as brother and sister bicker, their love and concern for each other clear but strained. There is an emotional truth that resonates in these moments of heightened sibling drama. O'Connor imbues her character with a gentle comic streak as Doreen remains largely oblivious to what's really going on. Humphreys, remarkably only 15, is a likeable Jack. His projection wasn't as good as the vastly more experienced actors around him but given his age it's a minor quibble. Hoffmann provides the glue for the family interactions with sly humour, genuine parental concern, and nuanced signs of Mother's frailty.  

The final moments of the play are rightfully between John and a George who, in theory, has become untethered from a son's duty and loyalty to place. Yet these men are both trapped in their own worlds and more importantly the greater world's expectation of who they are meant to be and how they should act. There is no coincidence that 'realist' is in the title. 

Immeasurably aiding the authentic nature of this production is the set design (Barry Park), the depth of which I loved. There is a real sense of a lived in cottage; spatially, how it's dressed, and working elements such as the running water in the kitchen sink. Mark Nicholson's lighting design reinforces this by giving the illusion of both the interior and exterior of the cottage, bigger than you might expect with Garrick's narrow stage. Nyree Hughes' costume design isn't showy which suits these characters down to the ground. Finally, at no point did the Yorkshire accents pull me out of the story so kudos to dialect coach Phil Bedworth. 

The York Realist is a very well written play that has a lot going on under the surface. It is sensitively directed by Barry Park with excellent performances across the board. This is mature theatre of a high standard that is well worth a look. There are two more performances in the extended season on at 7.30pm, 27th and 29th of July at the Garrick Theatre in Guildford. 

All Shook Up - Hama Productions (8 July 2023)

All Shook Up seeks to answer that age old question posed by wise men and fools alike – what happens when you bring together two cultural icons, separated by an ocean of time and geography, to 1950s small town USA? The answer is a hip swivelling jukebox musical featuring the songs of rock and rock pioneer Elvis Presley with all the trappings of a William Shakespeare comedy – unrequited love, requited love, quite the love, and a character in gender swapping disguise.

Into this potent brew add an excellent group of performers, from the leads to every member of the ensemble; the type of high energy choreography that will knock your bobby socks off; a set that glides and slides into place with Mecano-like precision; a band that will have you tapping your feet to guitar driven classics; and a visual style through lighting and costume design that will make you wonder if you’re in an episode of Happy Days. You get the strong sense that first-time director Vincent Hooper, in an auspicious debut, has been given free rein to deliver a rousing, feel-good musical which was met with thunderous applause as the cast took their bows. 

Hooper's put together a murderer's row of creative and performing talent starting with Set Designer Bryan Woltjen, fresh off his stunning work on Footloose, creating another striking set. This time it's a remarkable array of double-sided flats that depict a small town where most of the action takes place in Act One; followed by an interlocking set of stairs that form the centrepiece of the disused fairgrounds in Act Two, augmented by rear screen projections of the various attractions. The cast and crew move these into place in seamless transitions where Hooper smartly uses other performers to distract the audience's eye. 

Woltjen's work is complemented by Lighting Designer Lucy Birkinshaw who provides colourful backdrops and sets a bright and breezy tone as she highlights the cast especially in the big dance numbers such as C'mon Everybody. The tone is apparent straight away as the show bolts out of the gate with Jailhouse Rock and it's clear the audience is in for a rollicking good time. In this, Choreographer Thern Reynolds plays no small part. Yes, there are the iconic hip swivels and pelvic thrusts along with high energy dance routines that cement the sense of time and place. And most of all, fun. There's nothing like a large cast sinking their teeth into a big dance number as they sing an iconic song like Heartbreak Hotel or tear up the stage with closer Burning Love.

Musical Director Harry Oliff  marshals a rocking twelve piece orchestra that has the pleasure of drawing on Presley's extensive catalogue of songs, most of them stone cold classics from the early days of rock and roll. Given this, the guitar work of Rick Webster, Jarrad Van Dort and Paul Pooley (bass) and drumming of Daniel Susnjar is prominent, though the big sound appropriate for an artist of Presley's reputation is enhanced by a selection of woodwind and brass instruments. Sound Designer Sam Goodsell ensures the balance is spot on between orchestra and performers with songs and dialogue clean and crisp. Costume Designer Nicole Marrington nails the period with the male Greaser look, and vibrant outfits for the female cast.

And what a cast it is!

John Berry does well in what is a tricky role as the stranger who rides into town, not with a six shooter but a six string and a broken down motor cycle. Not only does Berry have to capture the spirit and vocal stylings of Elvis, no small feat, but his roustabout character Chad has to be cool, a little dangerous, a little goofy when he falls head over heels in love, then change up when his he accepts an unexpected new love. He looks the part and has that certain strut but it's the poignant ballad I Don't Want To that is a highlight, though the vulnerability and confusion is undercut by a few, perhaps unnecessary, comedic flourishes.

While all the women swoon, it's Mia Simonette's Natalie that crushes hardest on Chad to negligible effect until the Shakespeare of it all comes into play as she disguises herself as Ed to get closer to him. Simonette has an outstanding singing voice but the show doesn't work if she can't convincingly sell the plot mechanics that drive the comedy and ensuing romantic chaos. This is where Simonette excels, giving a wonderful performance as the lovelorn Natalie and the blokey Ed. When she sings Fools Fall In Love deep in the second act it hit me that this is a leading lady we'll be seeing on stage for a long while to come. It's a star making turn.

Tate Bennett has carved out a niche as the comic foil in musicals and there's no doubt he does that well here again. What impressed me though is that Bennett imbues his oft neglected Dennis with a sensitivity that is reflected in his singing and acting, making him the moral compass of the story. His rendition of It Hurts Me was moving and heartfelt as an early highlight of Act Two. 

Then there's Paula Parore as Sylvia who has a stupendous voice, which she wields to devastating effect, and a commanding stage presence. She quickly becomes an audience favourite and is utterly riveting every time Sylvia makes an appearance. Fair to say she knocks There's Always Me out of the park and then some. Parore more than holds her own against that doyen of the local musical theatre scene, Brendan Hanson, who brings the charm as the widower Jim who finds his second wind. 

Josh Firman and Jade Baynes make for a lovely couple fighting against parental and societal prejudice with It's Now Or Never a beautifully sung and brilliantly staged number in Act One. Emma Haines gets to play the female object of desire, Miss Sandra, initially as aloof, then increasingly besotted as she's wowed by Ed and has a great moment with Let Yourself Go in a gorgeously costumed sequence on a fabulously presented museum set. 

Other highlights - the Act One closer Can't Help Falling In Love builds to a crescendo that showcases the breadth of singing talent on hand. Taneel Van Zyl (Mayor Matilda Hyde, no relation) and the ensemble had me wondering if I was watching an excerpt from The Sound of Music on acid with a kookily playful (You're The) Devil In Disguise; Clay Darius' Sheriff Earl's surprise contribution; and the closing numbers as we careen towards a happy ending for most of our characters. 

Indeed, remarkably for an opening night, the entire second act totally works without a hitch from the title number to final bows. The whole company seemed locked in and everything just clicked. Wonderful to see and there was much jubilation as the cast waltzed off stage at the end. 

This is a high-quality, crowd-pleasing production, full to the brim of exciting local talent and is highly recommended. Playing at the Crown Theatre until Sunday 23 July.

We Will Rock You - Platinum Entertainment (7 July 2023)

Before we begin, some context - Queen was one of the formative bands of my youth. We're talking the early eighties so the albums The Game, Flash Gordon soundtrack and yes, the oft derided Hot Space (Cool Cat featuring a beautiful falsetto by Freddie is still one of my favourite Queen songs) were my introduction. I listened to them via a strange plastic device called a cas-sette which often required maintenance using a pen-cil. They were simpler times. I quickly discovered the rest of the catalogue including the terrific Live Killers double album before growing with them into their later work. 

All this is to say that if you're going to mount a musical using over twenty songs from one of the most theatrical of all rock bands then who am I to argue? Certainly, you can approach We Will Rock You as a pseudo concert as hit after hit are performed with lyrics and riffs that have entered the public consciousness long ago. However, this show at the Regal Theatre in Subiaco not only honours the music but also that sense of theatricality and flamboyance with a no expenses spared, stunning production. 

The multilevel set is spectacular - framed by a lattice of metalwork that invokes the sense of a mainframe which is germane to the plot, such as it is. Overhead is a circular metallic structure that holds a whizzbang array of state-of-the-art lighting technology augmented by other lighting sources. The curved back wall/screen of the stage is used for rear projection of various locations and visual effects with startling clarity and occasionally live video images of the performers. It reminded me in some ways of a theatre version of The Volume, famously used in The Mandalorian to recreate immersive worlds. 

To add even more flavour there is a revolve with a separate outer ring to give momentum and movement to sequences as if the choreography and physical performances aren't already enough. Then there's the costuming which is suitably bright and gaudy with no sequin spared for our Killer Queen in particular. In short, the show is a visual treat. 

The sound quality is also incredibly high with crisp vocals and a good balance between performer and a white-hot band (Chris Travaglini, Glenn Hogue, Shayne Savic, Jon Clements, Manoli Vouyoucalos & Kieran Murphy) who were in fine form. The show is LOUD as befits a band of Queen's rock and roll stature so sometimes dialogue during the raunchier numbers is harder to decipher. 

Which brings us to the plot. In the future, where music and personal expression has been banned, the Global Soft corporation fights the Bohemians until a chosen one, Galileo Figaro, who hears the old songs in his head, um, rediscovers rock and roll through the power of Queen's music. Or something. It doesn't really matter and pretty much all pretence of a coherent storyline is abandoned when we get into the homerun stretch of three of Queen's biggest hits so by that stage the audience is clapping in time and stomping their feet so who cares? And clap and cheer they do including a spontaneous call and response sequence which highlights the ubiquity of Freddie Mercury's iconic live performance style. 

Ben Elton's updated book mines most of its comedy from references to well-known lyrics from a wide array of artists; the use of famous musical names in strange ways for odd characters; and a lack of understanding of the old ways and technology. The performers sell it and Luke Hewitt (Buddy) especially makes great hay in the latter stages of the second act with a knowing wink and nod.  

To the performances and from the start let me say the singing talent on display is exceptional. No one is going to mimic Freddie Mercury's legendary vocal range but Nicholas Cruse is a hell of a likeable Galileo and belts out a Queen song with gusto including the immortal number that closes the show. He works well with Kelsey Skinner's feisty Scaramouche and the show finds its groove in the first act with their duet of Under Pressure. They also share another highlight with Who Wants To Live Forever in the second act. The 'quieter' songs were often more notable for mine as they carried greater emotional heft. 

The other significant pairing is standout Holly Denton (Oz as in Ozzy Osbourne) and Courtney Murphy as Brit (as in Spears). It's an odd duo which is why it works so well. They rock out to I Want It All and Denton nails No-One But You as a lovely tribute to those rock stars who died far too young including Australia's own Michael Hutchence. 

A gloriously vampy Dean Misdale makes an indelible impression as Killer Queen including a killer stretch in the second half with Fat Bottomed Girls, an unfortunately truncated Don't Stop Me Now (though what a note by Blake Williams that indeed stopped Misdale in his tracks), topped off with Another One Bites The Dust. Take that as a triple threat! Indeed, it's such a good sequence that the show falters somewhat with the subsequent Hammer To Fall and These Are The Days Of Our Lives marking time even though the latter is a strong vocal moment for Hewitt. The aforementioned Williams plays the henchman of the piece as Khashoggi who can also belt out a song when called upon. 

To top things off there are a host of dancers, notably the Gaga Kids who open each act with Innuendo and One Vision respectively, and the Yuppies who bring a little sass and slinkiness to numbers such as Crazy Little Thing Called Love.  

In all it is a cracking evening's entertainment which had the audience on opening night begging for an encore. The applause was deafening when their wish was granted in the only way possible. 

Directed by Trevor Patient (who also did the lighting design), with Musical Direction by Chris Travaglini, Choreography by Una Genuino & Ashleigh Perrie, Artistic Director & Costume Design Katrina Patient, Sound Design Jordan Gibbs, Visual Effects Design Rory Henderson, and Wig Design by Axel Richards & Dean Misdale, We Will Rock You runs until 15 July at the Regal Theatre.