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.

Carrie the Musical - WAAPA (24 August 2015)

I went along to see the 2015 graduating class’s final musical on Monday night with a mix of curiosity and some trepidation. I was intrigued to see how certain elements, particularly the telekinesis, would be staged as well as the infamous climax. Then there was the knowledge that in its original incarnation Carrie the Musical was a notorious flop. It seemed such an odd choice to close out the year for this group of very talented musical theatre performers.

The results were mixed. The talent on display was in no doubt. This graduating class has swept all before it and has been outstanding in their two previous outings in 2015. The writing and construction of the musical itself, well, that’s a different story. I reminded myself of Stephen King’s tale by watching the remake of Brian De Palma’s classic horror movie starring Chloe Moretz as the bullied teenager with telekinetic powers and Julianne Moore as her fanatically religious mother. It’s quite a slow burn narrative that relentlessly builds towards the bloody finale as Carrie wreaks retribution on those who have humiliated her at the school prom.

It’s here where the musical form and the horror genre seem at odds. Carrie White and her mother are, in many ways, quite impenetrable characters; the former so withdrawn and repressed she doesn’t even know her own body; the latter, gripped by irrational fears and the horror of everyday life. The musical though attempts to do what musicals do so well – give their characters an emotional life and expose their internal monologues through song. In Carrie’s first number she sings about her hopes and dreams; mother and daughter share an early duet where Margaret White expresses her love for her daughter; other characters reveal motivations and fears and feelings in song.

This totally undercuts any tension as, while not sympathetic, they come across as, well, at least understandable. A mother, as misguided as she is, wanting to protect her child; a loner considered a freak who only wants to fit in and be loved. It’s all too explicit whereas in film it’s all in the eyes and facial expressions as we watch the reactions to the unfolding calamity. Here it felt like the typical ugly duckling turning into a beautiful swan story… with a bit of mayhem tacked on at the end.

Of course, the other element a stage musical cannot replicate is the special effects. Carrie’s growing understanding of her powers and the display of that ability is somewhat perfunctory. The songs themselves are not overly memorable and the score feels like it wants to be a rock musical but doesn’t really commit to that goal. But enough of the failings of the Book, Music and Lyrics, let’s talk about the performance itself.

What strikes you above all is the outstanding vocal ability of this class. Heather Manley has a superb voice and is a warm presence as Carrie. That in itself is problematic as she flashes a stunning smile and sings about all the things a normal teenage girl longs for – acceptance, a handsome beau, a special evening at the biggest social event of the year, love. No amount of dowdy costuming can hide that eminently watchable quality so her transformation into the belle of the ball is hardly unexpected. It’s difficult to find the freak here as her featured songs are too revealing and too well sung. There are flashes of steel as the character confronts her mother and occasionally her tormentors before Carrie White’s horrific vengeance is unleashed. Manley makes for a memorable sight after being doused by a bucket of (fake) pig’s blood which was perfectly executed on the night. 

Matilda Moran has perhaps the most difficult role as the devoutly religious mother who has sheltered her daughter so completely that it would make Wendla Bergmann blush. The attempt in Margaret White’s early songs to make her ‘relatable’ works totally against the nominally scary aspects that come later. Moran also has to deal with some overly convoluted lyrics but shows a fine voice when given the chance with more ballad style numbers that aren’t trying to cram a whole lot of exposition into the lyrics. 

Tayla Jarrett plays popular girl Sue Snell who has a change of heart after initially mocking Carrie to be an ally of sorts though Sue’s decisions ultimately lead to the disaster that happens. Jarret also has faux narrator duties as she is ‘interrogated’ periodically in a device designed to get us into the story proper. As the sole survivor she gives a little bit of snark to her unseen questioner and also stands up to Jess Phillippi’s bitchy Chris whose belligerence is another catalyst for the climax.

Phillippi is all attitude and strut as she plots her own vengeance but sadly the character largely vanishes in the second act which robs the show of much needed energy and narrative propulsion. The character’s boyfriend, Billy, played with malevolent charm by Daniel Ridolfi is also unfortunately sidelined for large stretches.

By comparison Sue’s boyfriend Tommy, played by Morgan Palmer, is genuinely charming as he draws Carrie out of herself. Palmer has a showcase moment in what was shaping as quite a corny scene until Tommy’s attempt at poetry bursts into song with a sweet clarity that was as unexpected as it was welcome. Rosabelle Elliott gives the gym teacher Miss Gardner a mix of sternness and concern while Harry Prouse added some goofy humour as the Principal and Reverend Bliss. 

The ensemble, as I’ve come to expect with WAAPA shows, was great and all had small moments to shine but really don’t have that much to do here. Some of the choreography also felt (intentionally?) cheesy at times especially coming from a group that crushed Urinetown and Legally Blonde with such ferocity. As always, the orchestra under David King played well and the staging and lighting was well handled.

It’s an odd show and it often felt as if I was watching a weirdly perverted version of the religious elements of Children of Eden mashed together with the school style hijinks of Legally Blonde. If only the biting satire of Urinetown was part of that concoction. While it doesn’t work as a coherent production it does give us yet another glimpse of the enormous talent in the 2015 class. Speed on Showcase!

Music by Michael Gore, Lyrics by Dean Pitchford, Book by Lawrence D. Cohen based on the Stephen King novel, Carrie The Musical is directed by Crispin Taylor with Musical Director David King and stars WAAPA’s third year musical theatre students. It is on at the Geoff Gibbs Theatre until 29 August.