The Sound of Music - Melville Theatre Company (17 November 2024)

The success of any production of the beloved The Sound of Music is always going to hinge on the performance of Maria. In Hannah Charlotte the Melville Theatre Company has found its star who sings the iconic songs beautifully, sets the tone and leads the large company with style, and works seamlessly with the seven Von Trapp children, another barometer of success. Perhaps not quite as successful in depicting the romance with the Captain, it's an impressive performance nonetheless. 

There is real charm to the production, driven by Charlotte's portrayal and some lovely turns by the children; notably Quinn Dally as a disarmingly forthright Brigitta, and 9-year-old Halle McDonald who is utterly adorable as Gretl. 

Nigel Goodwin is suitably stiff and uptight in the early going as Captain Von Trapp before the character softens on recognising the impact Maria is having on his children. The transition to falling for her isn't quite there but we get swept up in the romance as the storm clouds of an encroaching Nazi Germany gather. 

In this it's a musical very much in two halves. The last time I'd seen the stage production was in Melbourne back in 2016 where, I confess, to being totally smitten with Amy Lehpamer as Maria. I'd forgotten though how many classic Rodgers & Hammerstein songs there are in Act One. It's a cavalcade of music theatre standouts - the title song, How Do You Solve A Problem Like Maria?, My Favourite Things, Do-Re-Mi, Lonely Goatherd, and Climb Every Mountain. It also strikes me, after recently seeing a modern musical which is relentlessly paced, how stately this is. It takes its time as it unfolds memorable song after memorable song with the story interspersed throughout. You sit back and savour the result. 

The second act, for me, isn't as successful because it gets a little bogged down in plot mechanics as politics and the subsequent threat to the Von Trapp family grows. Musically, there are a lot of reprises to those first act tunes leaving Edelweiss as the most notable song. We'll get back to that later.

This is a huge community theatre production with 22 listed cast members along with 13 Nuns and 3 Postulants. The roles of Marta and Gretl, the two youngest children, have alternates. So a company of forty. This lends the show a sense of scale and provides vocal depth and, in the case of the show opening Preludium, great beauty with so many voices in harmony. 

Director Neroli Sweetman has extensively used the floor space in front of the stage and the central steps leading up to it, again to give a sense of scale and spectacle. Guests in the second act party scene are stationed on either side of the floor; Liesl (Escher Roe) and Rolf (David Bell) sing the sweet Sixteen Going on Seventeen in front of the stage, left; the foot of the stage and stairs are utilised for the impossibly cute So Long Farewell. We even had three Nazis sitting next to us in the front row for the Kaltzburg concert!

The stage itself is well appointed with sumptuous furniture and rear screen backdrops to depict the Von Trapp household and, of course, the hills. Indeed, there is as large a number of designers and crew to support the size of the show, including two people listed for Continuity which is hardly surprising given the logistics involved. Musical Director Nick Navarra has used a backing track for the music which is sometimes a little too overpowering as it swells in grandeur, however, it has allowed him to focus on the vocal performances which are, mostly, excellent with one curious exception. 

Costume Coordinator Michelle Sharp has handled the task of costuming so many performers in so many styles with aplomb. From the more austere habits of the nuns to the clever evolution of the children's clothes as Maria's influence takes hold, to the opulence of the guests, practicality of the servants, and the severe trim of the Germans. It truly is shocking to see a swastika armband which is entirely the point.  

Sound by Mack Chidlow is generally good, however, microphone pickup was occasionally slow, especially in the larger numbers. Then there's the situation I didn't quite understand - Goodwin's mic was fine for dialogue but was surprisingly underpowered for his vocals. His singing, therefore, came across as tentative. I wasn't sure if that was because of the volume disparity or the volume disparity was because his singing wasn't as strong as certainly Charlotte's though he fared better in harmonies. It unfortunately cruelled Edelweiss which should have been an emotionally resonant moment.  

Other performers to catch the eye - Eilish Marie Blackmore as an empathetic Mother Abbess who guides Maria back to the Von Trapps and handles the challenge of the first act closer well; Peter Shaw and Imogen Porter as Franz and Frau Schmidt respectively who quietly add a little levity to proceedings until the mood turns as the Anschluss is enacted; Esher Roe as the oldest child Liesl in a lovely portrayal that couldn't be more removed from a role she played earlier in the year; and Darren Goodison who flirts with being too preening as Max Detweiler yet made me laugh with his "flowers and a certificate" shtick towards the end. 

This is a well-presented production of a perennial classic. Fans of the movie will lap it up. There were people happily singing along all around me. The scenes and songs featuring Hannah Charlotte and the children are simply a delight. Shout out to Choreographer Matilda Jenkins and Sweetman for staging these moments with obvious affection. A charming time at the theatre. 

The Sound of Music is on at the Civic Centre Main Hall, Almondbury Road, Booragoon until 30 November.  

Cast photos by Curtain Call Creatives

The Guy Who Didn't Like Musicals - Art In Motion Theatre Company (7 September 2024)

For some it's a recurring nightmare. You're walking down the street minding your own business when suddenly a pack of feral music theatre kids pounce on you out of nowhere with their jazz hands and harmonies. You stagger around the corner only to be met with a busker singing Memory. Reeling, you plunge into a company of tap dancers where anything goes. You plead with them, "All I ask of you is to stop this damn infernal music of the night." They respond with a rousing chorus of Do You Hear The People Sing. You wake up screaming, "I don't want to be welcomed to the sixties!" Sobbing, you reflect that it used to be quiet uptown.

So it is for our hero Paul who hates musicals. Except Paul isn't really our hero but we'll come to that later. For now though, this comedy horror musical sees a meteor crash into a small American town unleashing a blue goo that infects people with the urge to sing and dance. As Marlon Brando might warble, “the horror, the horror.”

Proceedings begin promisingly with the 'infected' company singing the title number where Mathew Leak in particular makes an impression as he belts out the song. What follows is an oddly paced first act where I wasn't quite sure what was being parodied. There is a lot of table setting as the characters are introduced in their normal world. Paul (Joshua Hollander) works in an office for Mr. Davidson (Leak) alongside Charlotte (Brittany Isaia), Bill (Clayton van Dijk), and Ted (Blair Price-Morgan). Paul has the hots for Emma (Escher Roe), a barista at a nearby cafe. Ted has the hots for Charlotte. Charlotte still loves her husband Sam (Leak) while Bill wants to reconnect with his daughter Alice (Georgia McGivern). Mr. Davidson has the hots for... we'll get to that. 

A long time passes before we get to the next song with the pacing quite slow as the show puts all these narrative balls in the air. The tone was also hard to pin down. Isaia's Charlotte felt more like a character from a Tennessee Williams play with a fraught portrayal of a neglected southern wife. I don't doubt the commitment to that choice, however, it didn't gel with the expected comedy horror vibe. The other issue is that Paul is totally passive as a character. He reacts to the suggestions of others - notably Roe's Emma and, later, van Dijk's Bill who is desperate to rescue his daughter - instead of driving the story forward in any meaningful way.   

There are moments in the first act that work well - What Do You Want, Paul? is a hilarious piss-take of the 'I want' song where the main character of a musical expresses their hopes and dreams in song. It's reversed here where Leak's Davidson asks the question of Paul before revealing his predilection for [say what?] with his wife while [oh my]! There's a sequence where John Carpenter's The Thing is obliquely referenced in both the behaviour of the aliens and the need to test for who's still human, amusingly by asking them to sing. I also liked the change in disposition when the later infected Charlotte and Sam launch into Join Us (And Die). The first act doesn't end on that musical number, rather a cliffhanger as Bill sets off to save Alice... with Paul in tow.

The second act is where the show works much better starting with McGivern's Not Your Seed as the infected Alice rejects her father's rescue attempt in taunting fashion. It's then that all the tropes and cliches of horror and disaster movies are parodied as the pace ramps up - destroying the 'hive brain' to wipe out all the infected; secret military agencies; stopping to have a deep conversation when urgency is called for; characters presumed dead reappearing; fake out endings; improbable twists and revelations; and the mad scientist who goes off the rails. 

Here it's Artorius Emanuel as Professor Hidgens who gives a very idiosyncratic performance that reminded me of Brent Spiner's Area 51 scientist in Independence Day. Emanuel's Professor springs a surprising revelation on us before launching into the wonderfully bizarre parody of the musical showstopper with... Show Stoppin Number. Hollander finally breaks free of the straightjacketed Paul with Let It Out as he sings up a storm to save the day. But really, Emma is our true protagonist which is hammered home at final bows in uproarious fashion with a frantic Escher Roe who is excellent throughout. 

I liked the rock style score which is well played by a five-piece orchestra under Musical Director Zac Skelton. The songs are fun and generally well sung with lots of belting as the craziness escalates. While there were some pacing and narrative issues for mine, the performances are enjoyable with the actors committing to clearly delineated archetypes including Price-Morgan as the office sleazeball and van Dijk as the single-minded father. 

Staged on a simple set, it's the growing prevalence of blue makeup and other effects that track the spread of the infected with visual clarity... along with a blue brain! Special mention also to Emma's very effective wound. Director Micheal Carroll lets his cast and even crew members embrace the zaniness, greeted with raucous approval by the more well-versed StarKid fans in the audience. The lady next to me was beside herself at times with excitement.

The show is on at the Don Russell Performing Arts Centre until 15 September. 

Pictures by Perfectly Picturesque Photography 

Evil Dead The Musical - Wanneroo Repertory (2 May 2024)

It would be fair to say I didn't quite know what to expect as I travelled northwards to a secluded theatre in the woods hoping to be distracted from the evils of modern life. Little did I imagine what malevolent forces awaited me from aggressive foliage, foul mouthed demons, and deadly kitchen utensils to all manner of shenanigans with critters and a chainsaw. Sure, I had seen the movie the musical is based on when I was back in, ahem, high school but how could such a horror classic be converted into an all singing, all slaying stage production? 

Well, the answer turned out to be a gloriously ingenious and over-the-top homage/parody of the first two Evil Dead movies and this sort of horror fare in general. I happily cackled my way throughout the show adding to the raucous response of the audience who lapped up the excess, the fake gore, and a production that revelled in its many eccentricities. 

The scene is set with a marvellous representation of the Necronomicon - The Book of the Dead - which only goes to show that reading can be bad for you, especially when it summons demons! Our intrepid college students - Ash (Luke Miller), Cheryl (Escher Roe), Scott (Jordan Richards), Linda (Ellie Coburn), and Shelly (Naomi Capon) discover the book and a tape recording of a translation in a cabin deep in the woods. Mayhem ensues. The second act loosely incorporates elements of the sequel whereby Annie (Capon), her assistant Ed (Max Leunig), with the aid of Jake (Clayton Van Dijk) travel to the cabin only to join in said mayhem.  

First time director Kieran Ridgway has presented a technically inventive production with flair and energy that shows a deep love and understanding of the source material. Everything is dialled up to eleven but the zaniness never gets (too) out of hand and is in service of mining the inherent absurdities of the premise to maximum effect. 

The cabin set (design by Luke Miller and 'Cast & Crew') is not only visually on point but conceals so many secrets that are a delight to watch as they burst into action in all sorts of ways. The woods are represented by evocative flats and, in one of the most notorious scenes from the movie, brooding tree-clad actors. Notably, there is prominent use of a trap door at the front of the stage. 

The multitude of props (Sean Wcislo, Astro Stewart, Coralie Steward & Teah Steward) is impressive with Ash's chainsaw perhaps the most famous. There is also hilarious use of puppetry with one reveal surprising the hell out of me, much to my mirth. SFX Mask Designer Kylana McIntosh and Costume Designer Stella Sawyer present a range of looks for the demons which cleverly deconstructs their human clothing and appearance. There's even a running gag about the sort of gratuitous costume choices often made in horror movies for the heroine. 

The mood and look of the show is enhanced by excellent lighting design by Shelly Miller - I particularly liked the 'portal effect' as the demons are vanquished - and Sound Design by Chris McRae. The sounds of the forest and the whispers of the demons ("Join us!") are contrasted with a lot of shrieking by, particularly, Roe's demon but we rarely lose clarity in what must have been a tricky balance to get right.

Then there's the four piece band under Musical Director Jasper Cruden who's also on keys. The Limelight Theatre has the advantage of using a pit so the rock score didn't overly intrude on the vocals. Cruden is joined by Ian Tassicker on drums/percussion, Chris Ingram on bass, and Chris Johnston on guitar who supplied many tasty licks throughout. 

To the performances and the cast excelled in delineating their human characters from the demonic versions. Everyone had a chance to shine so here are some highlights:

The show takes off with the song Look Who's Evil Now where Roe's buttoned down Cheryl transforms into a demonic heckler that would make Statler & Waldorf blush as she pops up from the trap door throughout the show to harangue our heroes. It's a full-throated performance that Roe revels in. What The Fuck Was That? is the hilarious response by Miller and Richards; the former increasingly becoming the hero of proceedings with a bravura physical sequence where he fights himself to uproarious effect. Richards has his own deftly timed comic sequence involving all the entrails one can carry.

Van Dijk wows the audience with Good Old Reliable Jake in a go big or go home performance that would terrify the locals in Deliverance and has a hint of Vincent D'Onofrio from Men in Black. Max Leunig's Ed has an ongoing bit with Capon's Annie that is like the The Upside Down version of Amos from Chicago which is paid off with a delightfully perverse mutation of Mister Cellophane in Bit-Part Demon. He was about to get his Razzle Dazzle on but sorry Ed, no starring parts for you!

Capon gets to be a true triple threat - playing the vacuous Shelly in the first half; the demon version of said tag along girlfriend; then the seemingly brilliant daughter of the archaeologist who started this whole mess, Annie, who has an unfortunate and persistent wardrobe malfunction. Capon balances all these contradictions, costume and wig changes with style; her starring number being All the Men in My Life Keep Getting Killed by Kandarian Demons. 

Coburn plays Linda with a sweetness that belies the craziness around her until she too gets her freak on with some demonic possession. Then there's Alyssa Burton who has such a bizarre cameo as Fake Shemp that I was howling with disbelief of the what did I just witness variety?

Shout-outs to choreographer Breanne Lucas, especially for the big dance number Do the Necronomicon, and fight choreographer Kyren Cleave for the finale where Ash kicks demon butt. 

I really enjoyed the large performances, the intricacies of the staging, the musical accompaniment, the running gags and sight gags, and the commitment to this crazy world of demonic possession. One thing I didn't expect was to laugh so much but this was truly funny and a most entertaining evening of theatre.

Evil Dead The Musical is on at the Limelight Theatre in Wanneroo until 11 May.