Fringe World 2017 - Shows at The Ellington (24 & 30 January, 6 & 16 February 2017)

Minor Major Marlene - Ali Bodycoat with Gabriel Fatin (24 January 2017)

Who knew that Fringe World had a time machine and that it was located at the Ellington Jazz Club?

This tribute to the formidable career of legend Marlene Dietrich had class written all over it from Bodycoat's performance and 'severe chic' look to the superb accompaniment by Gabriel Fatin on piano to the images from Dietrich's films projectedon the rear wall.

Classic songs abound - Falling in Love Again, Just a Gigolo, Where Have All The Flowers Gone and Blue Velvet among others, beautifully sung by Bodycoat.

Highlights for me - the haunting White Grass; Fatin feeling it during One For My Baby and One For the Road; and the impish The Laziest Gal in Town.

Make 'Em Laugh - The Untold Story of Donald O'Connor by Mikey Halcrow & Jens Radda (30 January 2017)

Having recently seen a big touring production of Singin' in the Rain and the renewed interest in the original movie after the passing of Debbie Reynolds, I was primed for this show. I knew Donald O'Connor played Cosmo in the classic movie musical but little more.

This show fills in the blanks including O'Connor's first wife, military service, and his partnership with a talking mule called Francis. Then, of course, there is his portrayal as Cosmo which earned him a Golden Globe nomination and from where the famous 'Make 'Em Laugh' comes from.

Halcrow makes for a charismatic O'Connor with Radda an excellent comic foil whilst also accompanying on piano. I thought there might have been more dancing but the stage space at the Ellington is fiendishly tight.

The most impressive aspect of the show was the chemistry between Halcrow and Radda. They bounced off each other wonderfully especially recovering from the odd goof in amusing fashion.

Highlights include Halcrow's athletic routine of the title number and a surprise 'appearance' of a legendary Broadway performer.

An entertaining show that shines a light on a varied and interesting career.

Wrong Direction presented by Christopher Dean (30 January 2017)

Chris, Jason, Ben, and Cameron. Remember those names as the boy band gone bad goes global. Surnames are for one hit wonders not sure to be household names from Balga to Boise; Belize to Berlin.

This is a high energy, full on parody, raunchy as all get out explosion of boy band harmonies, dance moves, and unforgettable lyrics. Trust me, there are lyrics you will never forget.

It also showcases superb vocal work from the four WAAPA graduates who lampoon a musical sub-genre while singing the hell out of a mix of original and well known songs.

The choice to cover Boyz II Men's End of the Road early established the talent on display. This was far more than a simple pisstake. Other covers included Uptown Girl and Robbie Williams' Angels.

The originals covered body parts, secrets, an extraordinary 'hymn', and, let's just say, some taboo subjects.

And didn't the audience love it. The reception was wholehearted and raucous.

A terrific show full of sass perfect for Fringe.

Frankly Hank - Radda Productions (6 February 2017)

It is so exciting to witness a rare live performance of the original 'Northbridge, Northbridge' before some hack called Sinatra stole it and retooled the lyrics in honour of a sleepy hollow in the US.

Welcome to the 50s where brylcreem is king and Hairspray is a decade away. Where Robert Menzies is Prime Minister and political correctness is not even a glint in the eye of the most ardent SJW.

Jens Radda plays Hank Finatra, crooner, bigot, and all round cad; drink at the ready, lyrical putdown cocked and loaded. This is a high wire act of pointed satire - and by pointed I mean a shank in your ribcage - which will have you thinking, "did he really just say/sing that... and did I just laugh?"

Radda tackles gender politics, race, sexuality, and religion by distorting the lyrics of famous Sinatra songs and other standards with acerbic asides in between. That he can sing the hell out of instantly recognisable classics despite the lyrical mangling and has an inherent charm helps deliver the, at times, breathtakingly non PC content.

This will have you laughing and squirming in equal measure and as the promo's state, is definitely not for the easily offended. A gutsy show that will perhaps divide opinions but is fearless in shining a light on today's inherent inequalities by reflecting on the past.

How To Co-Host A Murder - APAN Entertainment (16 February 2017)

I'm fast coming to the conclusion that the legendary Kander & Ebb are the soundtrack of this year's summer in Perth. Their timeless songs featured in A Hot Harlem Romp; Chicago opened recently in Kwinana to glowing reviews; and here they form the backbone of a loose narrative involving dancing dames, bumbling detectives, an effusive host and domineering club owner... with a murder of the star attraction. Everyone is implicated including the audience.

It's fun and frothy with audience interaction; some 15 musical theatre songs from Cabaret to Anything Goes and Chicago to Gypsy; colourful dancing girls; and a good-natured vibe.

The vocal talent was a little uneven and there were a few sequences that got away from the cast - notably Cell Block Tango and When You're Good To Mama - however the highlights included Lloyd Hopkins' Mister Cellophane and a funny twist on Lady Is A Tramp with a playful Hamish Briggs.

Briggs was a likeable host though the setup was somewhat repetitive until the missing star is confirmed as dead. Madeleine Shaw added acting chops as Audrey and worked well with particularly Hopkins' hen pecked and lovelorn policeman.

Ben Todd was good on piano as Bobby though it was at times a thankless task with some of the 'bigger numbers' begging for extra oomph. The revelation for me was Andrea Lim as Babydoll who sang well and added character to a ditzy role. The dancers brought glamour and energy with especially Nikita D'Souza catching the eye.

A pleasant romp that was well suited to The Ellington.

*originally published at facebook.com/perththeatrereviews

Exactly Like You: The Magic of Dorothy Fields - His Majesty's Theatre (11 October 2014)

You know you’ve done pretty well when your opening act is Barack Obama. Yes, Exactly Like You starts with a recorded excerpt from the President’s first Inauguration speech where he borrowed lyrics from Dorothy Fields’ song Pick Yourself Up. It’s a somewhat obscure reference unless you are familiar with Fields impressive body of work – over 400 songs stretching from the 1920’s all the way to the early 70’s. If you’re not then writers Izaak Lim and Nick Maclaine take you on a guided tour of the lyricist’s career in a slick and entertaining cabaret show featuring Ali Bodycoat as Fields.

Having recently seen Lim and Maclaine’s tribute to Cole Porter (You’ve Got That Thing!) in Melbourne they use a similar format that works well – three performers and an accompanist on piano using songs between key narrative scenes to tell the span of a life story from one character’s perspective. While Porter was the referred to yet absent hero in that show, here Fields is front and centre with Bodycoat giving a wonderful performance both vocally and in the acting stakes. She is joined by Ian Cross as the much older and brash composer Jerome Kern; and Lim himself playing three roles – initially Fields’ early composer and lover Jimmy McHugh, her brother Herb Fields, and finally the composer Cy Coleman who lures Fields out of retirement for a late career resurgence that includes the collaboration on the musical Sweet Charity.

Collaboration is the key word here as Fields worked with a variety of famous people including Irving Berlin on Annie Get Your Gun which perhaps explains why she is not as well-known as her track record deserves. Indeed, much is made of Fields blazing a path in a traditionally male dominated realm but except for Kern’s initial protestations and early condescension little is seen of this. A point reinforced by the closing monologue where Fields acknowledges how grateful she was to have such gifted male colleagues, mainly the ones who are featured here. But this is predominantly a celebration of her songs so the negative aspects are nodded at but not explored in any great depth.

Bodycoat is such a strong presence that wisely the opening interlude with McHugh is brief as Fields flounders on learning she is merely a ‘fling’ for the also married composer. It’s a fleeting moment of weakness that throws the character but ultimately leads to more productive collaborations.  It’s when she butts up and holds her own against other dominant personalities – Cross giving Kern a lovably gruff father-figure aspect, and Lim as the irrepressibly charming Cy Coleman - that Bodycoat excels playing a strong, feisty woman who very much knows her abilities. Her posture throughout was very erect, her costuming very formal, and there was a stillness that radiated calm confidence. No flamboyance here even during one of Fields’ signature numbers, Big Spender, the writing of which was amusingly reconstructed with Lim on piano.

Other highlights included the transition from a moment of triumph – Kern and Fields winning the Oscar for Best Song (The Way You Look Tonight) - to the announcement of Kern’s death which was beautifully handled; the resurrection of Kern as a ‘phantom’ in the second act to urge Dorothy to ‘pick herself up’ after his death; and the fine comedy work between Bodycoat and Lim as Cy Coleman ‘propositions’ the older woman to write with him. The piano playing by Musical Director Lochlan Brown was excellent and the singing and sound balance throughout was equally impressive.

The standout though is Bodycoat who shines playing a woman who could craft a lyric from plain speak yet had that touch of New Jersey vulgarity. Even when put on the spot as we observe her sat melancholic while Cross’ rendition of Lovely To Look At plays over the speakers, she is fascinating in what was a brave directorial move by Michael Loney. Such deliberate stillness and inactivity for what must have been the better part of 3 minutes on stage takes guts by both director and performer.

I walked away from the sold out final night the same as I did from You’ve Got That Thing! – thoroughly entertained and knowing a lot more about a key figure in 20th century musical history. That is no small achievement and a seam that Lim and Maclaine will hopefully continue to mine with equally enjoyable results.

Directed by Michael Loney with a Book by Izaak Lim and Nick Maclaine, Lyrics by Dorothy Fields, Musical Direction by Lochlan Brown and featuring Ali Bodycoat, Ian Cross and Izaak Lim, the show was performed Downstairs at His Maj as part of Cabaret Soiree.